Two women eat in a park, or at the door of a house, or in a courtyard. They share a common everyday space, a conversation, the intimacy of the silence. Suddenly, the singing and dancing break the ordinary world and introduce the magic. 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 surrounds 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 to sing freely. In this piece of stage research, there is 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 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 completely breaking and we integrate them, as in life, to continue dancing.