Las rutas de la remezcla

• Lupine vs Edamame / Nagasake Bloody Mary / Tempura Fish Ball, served in the pre-refectory.

• Christian Bells and Buddhist Gongs.

In the pre-refectory, artists and diners greet each other in a rite of passage before the journey: the Iberian and Japanese worlds face each other for the first time in a fraternal agape. We share Lupinus Albus (White Lupin) and Glycine max (Edamame): the free snack of the Sevillian bars is elevated to the altars in front of its Japanese brother, the edamame. A welcome cocktail, Bloody Mary of Naga-sake (tomato juice and sake), announces the development of the play: recreating and imagining historical cultural exchanges from the present day. The fishball tells us the journey of the fried food that arrives in Japan with the Portuguese Jesuits and returns transmuted into tempura by the slow collective creation of the people.

The bells of the churches of Castile and the cathedral of Leon and Valencia ring out, ringing to call the daily mass. The pealing of the bells intertwines with the sound of Bonshōs from Kanazawa (bells placed in Buddhist temples in Japan to call to prayer and organize the time), from the Asakusa Kannon Temple or the Chionin temple in Kyoto. They chime calling to travel..

• Japanese breakfast is translated as Iberian breakfast:
  • Garlic Soup (Miso soup) / Gilda (Pickles) /Migas (Rice) /Bacalao, orange (Fish) /Sweet piquillos mojama, served standing at the initial tables of the refectory
• Iberian sacred music with ingredients of Japanese and Moluccan classical music.

The central table is divided into two worlds, first divided by Tordesillas, and then connected by the Jesuit evangelizing journey and its strategic cultural hybridization.

On the table, bowls, plates, mirrors, silk and food become liturgical elements to transit from Iberia to Japan by the hand of the Jesuit adaptation: from the miracle of the multiplication of the loaves and fishes to the goddess Uke-Mochi-No-Kami, from the Wedding at Cana to the making of Sake. As a poetic impersonation, the meta-menu called Japanese Breakfast is constructed. The meta-menu is a tapa containing a complete menu, a menu within the menu: starter, soup, main course and dessert. Based on the format of the Japanese breakfast (miso soup, fish, rice and pickles), we replace the Japanese ingredients with Iberian ones, looking for similar references in our culture and cooking the ingredients that characterize Iberia and travel at the central table.

The music of the scene transits analogously between the two worlds, and reinterprets the Jesuit cultural adaptation by remixing Iberian sacred music from the 16th century with fragments of classical and religious Japanese music. Masses, hymns, polyphonic chants, requiems and ave marias by Francisco Guerrero and Tomás Luis de Victoria, merge with choral recitations of Buddhist sutras (Shōmyō), ceremonial chants, shakuhachi flutes of mendicant monks, and folk songs from the Moluccas and the production of Sake. After the journey at the central table, while the diners taste the Japanese breakfast, a visual triptych tableau unfolds on the screen. A tableau made of imagery associated with more than 40 remixed musical fragments, which mirrors the two religious worlds, a hybrid liturgy of Iberia-Cipango.

• Tapeo sevillano (Gazpacho / Farinata and mackerel escabeche), served around the central stage table in the refectory.
• Imaginary festive music of flamenco samurai

The table and screen take the form of a Japanese folding screen, a 6-panel Rokkyoku byōbu. In these two screens, the musical and culinary ingredients of this festive and imaginary composition dialogue so far away so close.

On the central table, images and paper rolls as emaki unfold and intertwine in a collage-kaleidoscope evoking the encounter between Japanese and Sevillians: Hasekura and Sotelo, orange blossom and its scent, American tomato, pomegranate and cucumber from the Hortus Floridus (1614); Seville and its river portrayed by Manuel Barrón (1851); Takahashi Yuichi's salmon, painted in the Western style or yōga (1877); kimono and dalmatic, mirrored. Above this, haikus written for the work are shown in Japanese on rice papers in traditional calligraphy.

The food takes the form of a pairing of gazpacho and farinato with escabeche, recreating the Sevillian tapa that may have been offered to the Japanese visitors. The binomials are a way of giving a liquid tapa and a solid one. This binomial recovers the old way of serving, where the Tapa, covered the glass of wine. We serve a Gazpacho as a communion of the times that combines bread, oil, garlic, tomato, cucumber and bell pepper. And we serve the farinata, whose origin dates back to the 13th century when a storm floods the hold of a ship and the chickpeas, when mixed with salt water, create a nutritious and tasty mass. The escabeche comes on the scene as the processing that allowed the preservation of foodstuffs.

The musical feast is built with binomials of popular music: songs of Japanese stonecutters next to martinetes in the forge; fragments of jiuta, a musical style performed with shamisen by blind men (Tōdōza), sound next to Portuguese keyboard music of the sixteenth and seventeenth centuries. The sound of the Japanese koto dialogues with Sabicas' "Guadalquivir (danza)," and his recording "embrujo sevillano" is jangled with the sounds of street mochi kneading. The quejío of manuel agujetas is superimposed on the singing and masks of the noh theater, the clapping and jaleo are added to the music of the kabuki theater (often translated as "the art of singing and dancing"). And the scene ends with the famous traditional Japanese lullaby "Itsuki no komoriuta" over a soleá fandango.

• Edible performance ( Picos-Kanpan / Pao de Queijo + beet sauces / seaweed sauce / lentil sauce / soy sauce). In the refectory, standing, you eat from the central stage table with your hands
• Collective construction and deconstruction of sound layers of the two cultures.

Bread symbolizes God, it is the body of Christ. Bread in Japanese is called Pan. Bread is placed on the table as an offering, with each loaf, a sound, a whisper, a moan. The music of the scene is constructed as a machine of repetition of sounds recorded live, deformed to the point of unfamiliarity. With sauces, the noise is painted on the table and the spectator goes from watching to acting, participating in the construction and destruction of this edible painting, eating directly on the tablecloth. With each piece of bread that passes from the voice to the body, the sounds, the language melt into the noise of incomprehension.

The picks and the bread belong to the Sevillian tradition of tapas bars and in Japan kanpan, the emergency bread, is sold in metal cans for catastrophes, as a survival kit. The bread chosen is a Pao de Queijo of Portuguese origin with spices from our mountains: rosemary and thyme. The sauces bring the colors to the table: the black-brown of the soy, the green of the wakame seaweed, the garnet red of the beets bound in aioli, and the light orange of the lentils, sesame seeds and wasabi and umeboshi.