The bonds grow stronger. Rosario la Tremendita and Mohammad Motamedi are closer and closer. Since ‘Qasida’ premiered at the latest edition of the Dutch Biennial, the dialogue has grown in form and in substance. And thus polished and fine-tuned, it was displayed in a most ideal setting: the beautiful cloister of the former Santa Clara Convent, with the sky as its roof and the damp breeze swaying the trees. Persians and Andalusians don’t speak the same language and, therefore, the music is their only means of communication. The coinciding rhythmic structures – more so with Antonio Coronel’s presence -, the vocal sketches, the melody games… lead them to understand one another and to share connected feelings and roots with the listeners. The seguiriya, the bulería, the fandango, the tangos… everything seems to fit in and intertwine naturally. And it’s a luxury that because of dialogue, the Bienal makes us broaden our ear, importing other musical expressions and, specifically, this so sophisticated Mesopotamian one which tells us so much history.