Mother, I would be part of a faneguería

Mother, I would be part of a faneguería
Mother, I would be part of a faneguería.Mother, If in Los Pedroches there was a Broadway Avenue, the show “Madre, quiero ser de una faneguería” (Mother, I would be part of a faneguería (group which picks olives)) will be eternally performed. The show inaugurates a new gender; this gender could be named as rural musical. To imagine this show you could replace the songs of Abba, Queen, Mecano or Lloyd Webber by the anonym jotas serranas (a regional dance) and you will recreate the show that we enjoyed last Thursday in the El Silo theatre in Pozoblanco.
 
Some of the best cultural names of the region are given the stage, but I will not mention all of them. Juan Bosco Castillacarte_obra has written a play that it is neither epic nor tragic, as he would like, but bucolic. “Mother, I would be part of a faneguería” is a love affair between olive-pickers with a happy ending. As in eclogues, the amorous rivalries serve as a setting for the rest of the action, which is what really matters.
 
The scenic production presents an essential duality, symbolically confronting the lives in the Zoleja’ family household and those in the faneguería house. With the former, we know the characters, their names and their fates; however, with the latter the characters are anonymous, a choir, a throng with a collective rather than a leading, role. That is life itself. In fact, there are only two characters that are perfectly and realistically written: the father and the mother, owners “of almost one thousand olive trees”; two people so recognizable that it would be easy to surpass the caricature or to not even reach the profile. However, with Manuel (Luis Ballesteros) and María (Amadory Redondo) everybody can identify themselves, thanks to two circumstances: their roles are performed by two wonderful actors of the Jara group and their dialogues have been written with an authenticity that is only possible with the emotional implication of the author. The kindly father, used to the bad moods of his wife, satisfied to have reached his life´s goal: to be an owner of an olive grove, and the mother is... so archetypical, so real, so much like our own mothers.
 
The success of the little custom portraits played by the Zoleja family is essentially due to the vocabulary employed, which involved much worthwhile research and the recovery of many, now disused, terms; however, we still recognise them when we hear them again. All these words form part of a dictionary of disused words which the organizers thought would be good to give the audience before the play, to whet our appetite.

Suffice it to say the defining traits of the 'La Faneguería' group's play are the music and the dances. Their dozen jotas (with an important contribution from Aliara) offer a wonderful range of the abundant folklore of the region, especially of the olive. The insertion of a Coloquio - a play inside a play - leads to the possibility of also recovering some Christmas carols (although in Los Pedroches even the Christmas carols are jotas) and the final ceremony is apt to introduce the culmination of the jota about the typical wedding in Añora, a rarity in our region and a great find in the inexhaustible mine that is the traditional music of this rough land. The whole of the spectacle makes up the sentimental portrait of a period whose death we have witnessed. When – in a brilliant turn of the script- we listen to Pablo Castro send statements to the sierra from the La Voz de Los Pedroches, a murmur of affirmation arises in the audience, that recognizes the importance of the present moment and they identify with him. The audience is an inherent element for this play, because most of the people that go, go there to see and to feel their pictures, to revive their own experiences, their own or the ones that have related to them, that are part of the life experience of some generations of the sierra that are still committed.

The effort of La Faneguería, of the Jara group, of Juan Bosco Castilla, and the direction of Luis Lepe, María Luisa Sánchez and Miguel Ángel Cabrera and the collaboration of many enthusiasts have a dual merit: to create an entire spectacle that satisfies even the most exigent people and to rescue the memory of the sierra for the new generations, those Pedroches to whom we are continually indebted.

 Text written by Antonio Merino. http://solienses.blogspot.com.es/

Image gallery

Mother, I would be part of a faneguería
Mother, I would be part of a faneguería
Mother, I would be part of a faneguería
Mother, I would be part of a faneguería
Mother, I would be part of a faneguería
Mother, I would be part of a faneguería
Mother, I would be part of a faneguería
Mother, I would be part of a faneguería
Mother, I would be part of a faneguería
Mother, I would be part of a faneguería
Mother, I would be part of a faneguería
Mother, I would be part of a faneguería
Mother, I would be part of a faneguería
Mother, I would be part of a faneguería
Mother, I would be part of a faneguería

Certifications

Certification Service CAAE. It is the Certification body for the organic agriculture and livestock
Territorial Quality Los Pedroches
Food Safety Management System  JAS – Certification of Organic Production for the Japanese market
Quality Management System – ISO 9001  Quality Certificate
Verification of Carbon Footprint