According to the bailaora Rocío Molina, “El Oruco is “like an instrument that has everything” and emphasizes the elegance and sweetness of “El Rubio”, Oruco and his brother Miguel “El Rubio”, Sevillian dancers, are considered members of the school farruquera, since they grew up with the grandchildren of the great bailaor Antonio Montoya “Farruco”, inheriting from the Gypsy dynasty the strength and temper that characterize its art. They perform during the first two weeks of April in Las Carboneras, Madrid, where they debuted in October 2016. In this new entry of our blog, the great bailaora Rocío Molina, with whom El Oruco collaborates assiduously in her shows, analyzes the two bailaores.
Jose Manuel Ramos “El Oruco”
(Seville, 1987) received his first lessons with the Sevillian bailaor “El Torombo” with whom he shared the stage in the flamenco season of the Diputación and the Coliseo Cubierto “El Palenque” in Seville, then passing to hands of Juan Manuel Fernández Montoya “Farruquito”. He has complemented his studies with artists such as La Farruca, La Faraona, Antonio Canales, Juan de Juan and, among his most important works, he emphasizes his participation in the show “The Gnomes of Flamenco”, by the company of Antonio Montoya ¨Farru¨, as well as his intervention in the different editions of the Biennial of Flamenco Art in Seville, the Mont de Marsans Festival, the Paris Biennial of Flamenco Art, the USA Festival and other national and international events dedicated to flamenco art besides artists such as Israel Galván, Rocío Molina, Rosario “La Tremendita”, Esperanza Fernández, Pastora Galván, Argentina and José Ángel Carmona, among others. He also highlights his leading role as a bailaor in shows such as “Flamenco de Raza”, by Cantaor Curro Fernández; ¨Rara Avis¨, by guitarist Eduardo Trassierra; ¨Alma Gitana¨, of the bailaora Juana Amaya, and ¨Diquela¨ and ¨Seis por Derecho¨, of his own authorship.
He currently produces his new show “Ladrón del Tiempo”, he participates in the shows of Rosario “La Tremendita”, Rocío Molina, Eduardo Trassierra, and continues presenting, along with his flamenco group, the works “Eco” and “Seis por Derecho” in different scenarios of Spain and the world.
As part of his teaching activity, he continues to develop an academic project, FormArte Flamenco”, along with the dancer Karolina González “La Negra”, promoting the study of flamenco art from its structural bases, technic, rhythm and choreography, which has reached different academies in countries such as Chile, Mexico, Colombia, Greece, the United States and, more recently, Japan.
Miguel Ángel Ramos “El Rubio”
(Seville, 1992) grew up surrounded by flamenco, traveling since his childhood to places directed by important artists such as Manolo Caracol and “La Niña de los Peines”. He received his first lessons with Manuel Fernández Montoya “Farruquito”, “La Farruca” “El Torombo” as well as his older brother “El Oruco”. His debut as a flamenco dancer was at age 5 in the show “Los Gnomos del Flamenco”, directed by Antonio Fernández Montoya “Farruco Jr.”. At the age of 8 he performed in the show “Triana Pura” at the Bienal de Flamenco of Sevilla.
He has traveled throughout the Spanish geography acting with the Family Fernandez, Ricardo Miño, Farruco, Rocío Molina, Remedios Amaya, Pastora Galván or “La Argentina”. He teaches courses both in the peninsula and in the Canaries.
An exception critic, Rocío Molina, tells us about the Ramos brothers
Rocío Molina speaks of El Oruco as an instrument:
«Oruco is like an instrument that has everything, all textures and percussion, all harmonies, a complete instrument in a complete orchestra. Apart from the precision, the nuance, the strength and also the subtlety, he has above all an incredible intuition, surely because he is bailaor. He is a great musician and great dancer and he has an intuition that, of course, also allows him to have a lot of flexibility when it comes to accompanying either a bailaor, a female dancer or any musician. He is advancing the route or the speech that can make a bailaor because he knows the body, and the one who can do the guitar or the sing, because he knows them. It allows you that flexibility that also does not become a machine although it is also (he has a very firm and solid base), but when you want to attack he follows you, he attacks with you, he knows how to take you, you can make alterations of time that thanks to his intuition he picks it up right away.
»As a bailaor I define his image as a wild boar, I like him because he has that aggressiveness, that school, he has a strangeness of sweetness that is something that I find rare. He has a delicacy and sweetness in contrast to his image and his physique, which takes you away, it surprises you. You can also talk about the nuance and elegance, he is not only dedicated to the feet, he also has a body language and I like him a lot.
»And then, as the child also knows how to sing, he carries the lyrics very well, he knows how to listen very well to the song, he separates and finishes very well when he has to do it. He is very complete, El Oruco has it all, the truth is that he gives a base, in a meeting of musicians and dancers he can become a great pillar. He is like the patriarch of the ceremony. For me that’s El Oruco. That and so much more».
For Miguel “El Rubio”, Rocío Molina points out:
«The elegance and class he has. What I like about him is that he is a relaxed content, he is not a tense content, but tasteful. I really liked the other time I was in the tablao watching him, I really liked how he danced the lyrics, he listened to them in a relaxed way and picked them up very nice, with a lot of wisdom and elegance, but with a lot of flavor too. So, I like that school he has, that I would not call it farruquera, but hey, they are both in the line, he with a lot of discretion and sweetness. Apart from that the kid is very good with palms too. He is discreet, but quiet and calm, as if he agreed with himself, which is what I think it makes it pretty».