{"id":2382,"date":"2025-03-07T16:18:11","date_gmt":"2025-03-07T15:18:11","guid":{"rendered":"https:\/\/preview.flamencos-enroute.com\/?post_type=kontext&p=2382"},"modified":"2025-03-13T11:09:42","modified_gmt":"2025-03-13T10:09:42","slug":"la-centaura-1964","status":"publish","type":"kontext","link":"https:\/\/www.flamencos-enroute.com\/en\/context\/la-centaura-1964\/","title":{"rendered":"La Centaura - 1964"},"content":{"rendered":"

\"The stamping of the feet in flamenco often evokes associations with horses, and certain rhythms are even typical of horses.<\/p>\n\n\n\n

The extension of the dancer's abdomen through the train is also reminiscent of the horse's body with its tail. This analogy inspired Susana's dance, along with the observation that the arm and hand movements of flamenco express the essence of the feminine in a certain sense. The drama between man and animal is transferred to the centaur, which escalates in the one body to a battle between below and above.<\/p>\n\n\n\n

Antonio Robledo has written flamenco music for piano and cor anglais in the alegr\u00edas rhythm. For the first time in Spanish music, the cor anglais takes on the lamentation of the flamenco song.\"<\/p>\n\n\n\n

Excerpt from the book:
Susana y Jos\u00e9, Spanish spirit in dance
Text Gerhard Zacharias, Frick Verlag Vienna<\/p>\n\n\n\n

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