This show was at its best when the dance was fast and frenzied, elevated at times to the sublime by the thrilling vocals of Juan Jose Amador.
While showcasing her own daughter-father relationship the specifics described can be interpreted to extend to a consideration of other father-daughter relationships. Including the tenderness and the influencing while acknowledging difference and the necessary unknown in the other. There was poignancy in the metaphor of a lifted embrace from which she was eventually set down. Fathers will carry a little daughter until she is too grown. And ultimately, he will have to go.
Choreographed by Ana Morales herself and her charismatic dance partner, Jose Manuel Alvarez, the piece was less successful in over extended quiet passages, with intention sometimes elusive. Small objects supposed to be of significance were lost in the size of Sadler’s Wells main house.
However the show was a great pleasure to watch and the Sadler’s audience was appreciative of Morales and her ensemble, giving them a standing ovation at the end.
Review by Marian Kennedy
Emerging talent Ana Morales blends the traditional with the avant-garde in the innovative and emotive, Without Permission, Songs for Silence. In a blend of styles and dance forms, demonstrations of synchronicity and experimentation, of celebration and reflection, this contemporary flamenco artist represents the bright future of flamenco dance.
Without Permission, Songs for Silence, looks at memory, delving into the delicate recollections of the artist’s father, his connection to Andalusia and to flamenco, and her own journey to understanding art and its connection to life.
Part of Flamenco Festival