Sarab has Morocco's colour, sounds, rhythms and smells, mixed together with the spirit and motion of Spanish dance, Flamenco and the choreographical parameters of contemporary dance.
It has also a drama aspect dealing with the separation of people into male and female universes. This shall deal with which unites them but also with the differences and inequalities.
Conjured up as a game of transparencies and labyrinths, of reflections and mirages,...
A venture to seek new rhythmic and musical languages of greater dramatic intensity...
They show this by taking two men on stage, who act in front of a veil, while the women are behind it. An obvious but visually brilliant way of showing society's separation between man and woman.
We experience a different world behind the veil. The five dancers use percussion - which play an important role in Sarab - within their beautiful ancient dance figures.
The tapping of their flamenco shoes accentuate the almost hallucinatory sounding Arabic rhythms. ..." 18.04.06 Thomas Hag - Kultur in Düsseldorf
The erotic power of disguise
Montse Sánchez and Ramón Baeza created a picture sequence which exposes behind disguise and veil the electrifying eroticism. This cumulates in a brutally symbolised union between man and woman. The music is Arabic but the movements are composed by flamenco and elements of contemporary dance. ... "The women play on the drums a furious beat for a solo of one of the men. The drum beats and the step-dance complement in a highly artistic manner. 18.04.06 Klaus M. Schmidt - Düsseldorfer Kultur
"Dynamik without decaying"
" At the Flamenco Festival in Düsseldorf, nobody questioned the art of Increpación Danza. Their combination of flamenco and modern dance language impressed also with the premiere of their new choreography "Sarab". ... Increpación danza is famous for producing a poetic picture by using clear and simple methods. They don't act especially virtuous but tell an idea with content. Sarab uses impressions from Morocco but it is neither about tourist impressions nor the roots of Flamenco. The focus is in the choreography by Montse Sanchez and Ramon Baeza and on the divisions between men and women. Te passion of Flamenco appeared after a veil - which divided the women from the men and the audience - disappeared. Because the ornamental Flamenco-singing has its roots in the Middle East, everything in this project fits together.... ... The choreography developed during sixty minutes into an increasing dynamic without decaying." 18.04.06 Klaus Lipinski - Ruhr Nadnriten
