A feast of footwork

On a balmy summer night under the stars at Argotti Gardens, we witnessed Puerto Flamenco's fifth edition called Apachaendo, meaning "raw", and raw indeed it was. The first notes of the guitarists Eduardo Trassiera and El Tuleda introduced the Solea por Buleria in which Ċikka Grima opened the dance routine. She was soon accompanied on stage by last year's phenomenon Jesus Herrera and Marco Jimenez, this year's novelty.

Jimenez's marking of time to the compass of solea was expert and the use of his arms and wrists was intriguing and original. Herrera did not fail to impress with his swift hip movement and fast footwork.

The trio of dancers each gave character to the buleria in a unique role but together they managed to synchronise their steps always keeping the spur of improvisation alive.

Mr Herrera and Mr Jimenez were like whirling dervishes executing fast turns and energetic footwork with such lightness and ease. In this piece, José El Tremendo's voice was soft but steady, accompanied by Ana Gomez in cante and Andrej Vujicic on cajon besides the two guitarists. The culmination of rhythm at the end of the piece typical of the dance style performed was impersonated by Ms Grima's interpretation, where she seemed to be literally possessed by the spirit of dance. The audience was entranced as the music played its spell.

There was a good balance between music pieces and dance pieces which kept the show from becoming monotonous. Mr Trassiera and Mr Vujicic played a soft melodic piece and Ms Gomez and Mr El Tremendo also had their moment of cante.

Ms Grima's guajiras was peformed in bata de cola (tail skirt) and using a fan. It was playful and very technical as the bailoara flirted with her skirt and yet controlled all movements without hesitation. The coquettish choreography demonstrated a high level of technical skill. The dance turned into a little "footwork fight" as Mr Jimenez and Mr Herrera battled each other's flamenco skill in an attempt to attract the guajira's attention.

Mr Jimenez's alegrias started off with the traditional tirici tran tran tran song and he danced to the accompaniment of the cantaors' voices. The choreography was a feast of footwork, with triples, picados and most amazingly coupled with some beautiful arm work. Ms Gomez did a good job in accompanying him and egging him on.

Ms Grima's solea solo was an epitome of expression not only through body movements but through the constant facial expressions she showed her true emotions. The choreography turned from solemn to playful where she also made use of the bolero she was wearing to dance a part usually done with a manton (shawl).

She showed a great force with clear footwork; she was really at her best. More extraordinary footwork ensued as Mr Herrera took the stage by storm for his solo taranto, a compass he excelled in especially. The footwork was just formidable and coupled with his skinny figure and temperamental attitude his show was top.

Mr Vujicic went into his solo on cajon with hands throbbing to the pulsing beat which could be felt vibrating through the inner core of each spectator's being. His face and hands were enraptured by the quasi hypnotic drumming. The company's execution of martinete was also fierce and energetic although by now the dancers, singers and musicians should have been exhausted. This dance had a strong dramatic impact. Ms Gomez voice topped the beats in a superb manner. This was quite a highlight because it s not a common or easy rhythm to dance to in flamenco.

The traditional fiesta por bulerias ended the show with an impromptu party style performance. Some of the musicians also danced besides providing the music and the cheerful atmosphere was felt as though the climax of the night's feast of rhythm. Enough rhythm to feel drunk on.