The Taranto, as a flamenco style, comes from the mining area of Almería. Originally it is a primitive, simple, dry cante (singing), without a guitar, which was born from the need of singing freely. In this piece of stage research there is a nudity that accompa- nies us and with which we experiment. Respecting the structure of the traditional tablao, we investigate how the encounter between dance and cante (singing) can give way to the random to transform itself. From silence, without instrumentation, we start a conversation between the voice and the body, letting the random to take part. The call to dance explores the quejíos (whining) of the taranto so that the choreographies are transformed by contagion, in- corporating everything that arises from dancing and singing. In the stage language framed in the new dramaturgies we delve into the investigation of the body and the surprise of naked cante (singing). Without looking for something concrete, irreverent gestures, humour and randomness appear. The dance and the cante are modified without breaking completely and which we integrate it, as in life, to continue dancing.