In a suspended, enigmatic time, the choreograph is born as a delicate whirl
until it becomes a whirlwind. A heel tapping that complains and laughs in a loop.
A song that doesn’t stop, that rises upwards and surround the space.

The Taranto, as a flamenco style, comes from the mining area of Almería. Originally it is a primitive, simple, dry cante (singing), without a guitar, which was born from the need of singing freely. In this piece of stage research there is a nudity that accompanies us and with which we experiment. Respecting the structure of the traditional tablao, we investigate how the encounter between dance and cante (singing) can give way to the random to transform itself. From silence, without instrumentation, we start a conversation between the voice and the body, letting the random to take part.

The call to dance explores the quejíos (whining) of the taranto so that the choreographies are transformed by contagion, incorporating everything that arises from dancing and singing. In the stage language framed in the new dramaturgies we delve into the investigation of the body and the surprise of naked cante (singing). Without looking for something concrete, irreverent gestures, humour and randomness appear. The dance and the cante are modified without breaking completely and which we integrate it, as in life, to continue dancing.