Rocio Molina and Rosario Guerrero, aka “La Tremendita” (68340)
Credit: Felix Vazquez photo

Rocio Molina and Rosario Guerrero, aka “La Tremendita,” in “Afectos” at the Baryshnikov Arts Center (March 20) were fiery! Molina’s speedy feet, Guerrero’s spellbinding voice and Pablo Martin’s skillfulness on the standup bass was a great recipe.

Martin entered, walked straight to his bass and set the mood with intermittent chords that filled the room. There was a comfortable armchair, a coat rack with clothing hanging from it, a foot stool, a guitar and a taller stool. The scene was set for “Afectos,” a story of many little stories titled “Intimo” (“Intimate”), “En Ti Mi Pulso” (“My Pulse is in You”), “Sal y Ponte Dama Hermosa,” “Café con Ron” (“Coffee With Rum”) and “Afectos” (“Feelings”).

When the ladies finally entered, Guerrero took the armchair and the barefooted Molina parked herself on the taller stool, resting her feet on the foot stool, then picked up the guitar and began to contort her arms, legs and full body around it—the dance of her feet just minutes away.

Following that, Molina’s provocative “Intimo” was a barrage of scintillating sounds and songs one after the other. She donned a fabulous pair of red shoes, then, depending on the story, either a long, lightweight overcoat, a red (or was it orange) jacket and other pieces that helped make up her chameleon-like changes for the emotional ride. The inexhaustible Molina, at the height of her “duende” (passion), hair pulled back, in a call-and-response with Rosario, shifted her hips, snapped her fingers, twirled her wrists, arms and torso, and dug into the floor, emitting unreserved rhythms from her feet.

Surely worth mentioning is Molina’s dance with the stool. Seated, the sounds were a mix of her shoes and hands hitting the floor and any available space on the stool. Another special moment was Molina’s reentry in full black (a shawl wrapping around her head and wearing a long-sleeved top, long black skirt and black shoes)—a possible ode to Martha Graham and Mary Wigman’s 1920s modern dance aesthetic.

The women and Martin were good together, finishing off or beginning dance and music sentences for each other. Shave just a few minutes off, and there would be even more of this emotional ride to absorb.