See the incredible, path-breaking Estévez/Paños y Compañia in U.S. Premiere of their breathtaking work of contemporary flamenco, Triptico #2 Meter los Pies : Dancers who present themselves as rhythm machines, sequencers of polyrhythms to transmit and transmute the legacy of those historical dancers who were the patriarchs, apostles and prophets of zapateado and their disciples, prodigious zapateadoras and brave women, undisputed queens of flamenco dance. Following the ancient concept of dance to the guitar, we will transcribe to zapateado historical flamenco scores, music and touches that will intertwine to create a random and surprising polyrhythm that in turn will be the structure, the accent, the texture and the order. A rhythmic support provided by the zapateado itself, but that we will also look for in the experiences, testimonies and concepts of our ancestors and ourselves and that we will find along a journey that will lead us to break the straight line that produces the metronome to perform the exact measurement of the pulse. A journey that incites us to look for textures and sounds with bare feet so that others dance on a tectonic fault feeling the vibration of an earthquake, to sing the zapateado with the onomatopoeic language that only dancers understand or to place ourselves vertical and static in a bullring, where the ferocity of the charging bull and the courage of the man who faces him intertwine in a two-step of life and death To arrive at the fall or the tropezón [typical step of the zapateado], to zapateado kneeling like a penitent or looking at the sky. Soft zapateado, energetic zapateado; wild, like in the Nijinskyan ritual of spring, like an American tap dancer, a jarocho or a possessed person. like a flamenco.