Coincident or not, Lola Indigo has also taken a liking to Lorca. Like The Javis. However, so far, his “reinterpretations of the Lorca universe”, as the press release defines them, have not been very visually stimulating.
Neither the video clip for ‘Tusinitials’ nor this ‘El Bachatón de la L’ seem to have much to “reinterpret” about ‘La casa de Bernarda Alba’ and ‘Bodas de sangre’.
More than a reinterpretation, what we find in ‘El Bachatón de la L’ is the illustration of some of the most recognizable elements of the work. There are the bride and groom, the horses, the knives, the religious imagery, the final confrontation between the fiancé and Leonardo… A repertoire of tropes and symbols easily identifiable for any viewer familiar with ‘Blood Wedding’.
But little more. There is no rereading of any kind, be it pop, camp, meta, postmodern, political, queer, feminist, revisionist… And the clip begins with an image that does have a strong semantic load: the singer outlining one eye with a razor, a gesture that evokes the famous opening shot of ‘An Andalusian Dog’, by Buñuel and Dalí. However, the reference is reduced to a simple visual nod without narrative or conceptual consequences.
The rest of the video clip continues along the same path. The plot of ‘Blood Wedding’ is reproduced in a schematic and recognizable way, while its conflicts and symbols remain as a simple prestige decoration. A catalog of iconic images that parade before our eyes while Lucho RK touches his belly, points his finger at us and caresses a horse like a child at a school farm.
