After intermission, Ramona and company appeared in a more conventional format, with singer Leo Triviño leading five musicians and the dancers presenting their arrangements of flamenco styles. Even here, there were multicultural infusions: pianist Alejandro Carrasco's moody jazz rhythms and harmonies, drummer Gerardo Morales's back-up on Indian tablas, and for some numbers an electronic reverb amped into the sound.
Clara Ramona got into a more extended use of footwork in her tientos, Con todo mi alma, her pounding rhythms blending with the musicians' amplified clapping. In Compos duros, a soleá por bulerías, Isaac de los Reyes's stamping seemed to erupt into flamboyant, almost decorative arm gestures. Nino de los Reyes worked up his fast, vibrating foot rhythms in a seguirías, A mi forma, until he was flailing and yanking his whole body around in a not-quite-out-of-control tantrum.
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