La Moneta’s eyes
La Moneta’s eyes have the intense artistic zeal of someone born to dance. Her gaze, deep and forceful, renders the audience senses supine, driving them into some sort of Stendhal syndrome of difficult treatment.
These are eyes that stare at every single one of the spectators with determination, but looking at no one; they glance at the past and the future, at the thousand mirrors that precede and accompany her.
Silent, just like an ice sculpture were she not burning, Fuensanta La Moneta starts her dance, listening to the music before she moves. It has to be said, this young “granadina” dances to the singing, she responds to the guitar. Sometimes, she dances in silence, making music with her heels or her toes, or ripping the air with the movement of her arm. She is a harmonious whole. The music and the dance merge together like siamese twins.
And, after the introspective force, comes the rapture, the precission footwork on the beat, which has a lot of improvisation, of soul. It is time now for the display of pure blood; some snippets of her “sacromonte” school are shown with a special delicacy. She channels her innate verve. Technique, repose and understanding are additions to her natural strength, intuition and dramatic quality.
With a long train dress, a short dress, a light dress or a nightgown “Fuensanta” shakes, maintains the tension, her whole body beats. And, at the end, she leaves unfinished, with the same freshness with which she began, as if warning us that she could continue. This is part of her truth. Words really fail to describe her “soleares”, “seguiriyas” or “farruca” dancing styles. One has to see her, feel her and enjoy her in order to get a glimpse of her talent, her passion, her authenticity.
Her proposals are both old and contemporary, thoughtful and unpredictable, rational and foolish. But, above all, “flamencas”, very “flamencas”.

Jorge Fernández Bustos