Last May 9th, the Teatro de la Casa de la Cultura Carmen Conde in Majadahonda hosted the performance of 'Fronteras en el Aire', Chapter II of the Trilogía Geografía Flamenca del Pensamiento, a production by the renowned dancer, choreographer, and director Ángel Rojas. The work, presented by the Nuevo Ballet Español (NBE), stands out for the bravery of its project in tackling the sensitive issue of African migration across the Mediterranean, a journey often marked by desperation and tragic outcomes at sea.
Specialized critics praise the artistic, logistical, and technical proposal of 'Fronteras en el Aire', calling it almost perfect, especially its lighting design. The NBE production is distinguished by its conceptual and staging originality, as well as the artistic quality of its cast, under Rojas's experienced direction. The work is based on a two-year research project with migrants, resulting in dance pieces that express both suffering and hope, aiming to move the audience and raise awareness about indifference to this humanitarian tragedy.
“"The great force that moves art is love."
The voice of Alana Sinkëy, a jazz singer originally from Guinea Bissau, serves as the narrative thread of the work, recounting the harsh reality with a power that complements the dance. The music, composed by José Romero (electronic) and featuring flamenco artists, the young guitarist Pedro Medina, and the world-famous percussionist José Ruiz Bandolero, fuses the cultures of both shores of the Mediterranean, creating a sound language that leaves no one indifferent.
The cast, selected after a long process, is notable for its choral work that revives the migrant experience. Guest artist Helena Martín delivers emotional solo moments. On the technical side, the artistic direction and choreography by Ángel Rojas, assisted by Lorena Oliva, and the lighting design by Carlos Molins are crucial. The costumes, designed by Conchy Sánchez and José Llorent, soberly reflect the condition of the migrants. Given its strong content and social commitment, it is suggested that 'Fronteras en el Aire' could be adapted into a documentary format for educational institutions.
