Press Clipping 2014

Flamenco Festival New York
Press Clipping
2014
Medios USA

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

DOSSIER DE PRENSA

ESTADOS UNIDOS













THE NEW YORK TIMES, SUNDAY, MARCH 2, 2014 AR 19

Dance

Change Your Style, You’ll Survive

Flamenco diversifies, and Russes capitalized on their exotic appeal
‘battle lines have been drawn.’ by presenting a Spanish-theme ballet, “Le
Tricorne” (1919), with music by Manuel de
By MARINA HARSS Center, March 20 to 22), Ms. Molina’s Eva Yerbabuena will PACO GARCIA PACOLEGA Falla, designs by Picasso and dances by
piece, begins with the dancer barefoot, bal- present two evening- Leonide Massine, the Russian ballet chor-
This year’s edition of the Flamenco Festi- ancing on a chair with her torso curved length works at City Cen- “There is always someone who will say eographer, who had immersed himself in
val, which opens on Thursday at City Cen- over a guitar. At various points over the ter: She will dance alone ‘This isn’t flamenco,’” Miguel Marín, the flamenco. Flamenco fusion was born.
ter, comes on the tail of the worst recession course of the evening, she performs mod- in “Ay!” and will be ac- director of the festival, said recently over
Spain has seen since the end of the Franco ern-dance contractions, plays the guiro companied by an ensem- Skype, sounding a bit tired of the question. As Mr. Galván recently put it, “cada fla-
period. But the festival, now in its 14th gourd, and sinks into deep, sensual grand ble of four in “Lluvia.” menco es un mundo,” every flamenco is a
year, is larger than ever. It has expanded pliés. None of these are elements of tradi- “Battle lines have been drawn,” con- world. The festival offers a glimpse of
its scope, adding Los Angeles and San tional flamenco. The Flamenco curred Estela Zatania, a flamenco histori- these contrasting realities, first at a Gala
Francisco to its itinerary. In New York, it Festival enters its an and critic, via email. “If the ‘fusion’ peo- Flamenca (Thursday and Friday) and then
has spread to six additional spaces. The Mr. Galván’s “La Curva” (at the Schim- 14th year, larger ple see a dress with lunares”— polka dots, in a series of individual shows. (The festi-
festival’s organizers are looking to new mel Center, March 13 to 14) goes even fur- than ever. the traditional pattern for the long dresses val also includes a variety of music pro-
markets in the Arab world and Asia. Fla- ther afield, verging on the surreal — in- known as batas de cola — “it’s automatic grams.) At the gala, audiences will be
menco is one of Spain’s most successful ex- tentionally so. The mercurial dancer rejection. Likewise the traditional flamen- treated to a varied mix: the balleticized
ports. switches identity with lightning speed, at co crowd needs only to see a violin, Indian classicism of Carlos Rodríguez, who
one moment fluttering his fingers rapidly tablas, a woman with short hair, and they danced with the Nuevo Ballet Español; the
But along with the expansion has come a against his jacket, face and teeth to create want no part of it.” showy, jocular style of the veteran Antonio
change in the style of the works them- staccato rhythms, at another prancing gro- Canales; and the irresistible virtuosity of
selves, in part as a result of the crisis. tesquely, like a figure out of Hieronymus But flamenco has always adapted to sur- Jesús Carmona, a newcomer who looks as
Many are small in scale, with only a hand- Bosch. Both he and Ms. Molina are re- vive. It spread from its Gypsy roots to be- if he were creating the steps on the spot.
ful of performers. In Spain, “presenters markable virtuosos. But is what they do come an entertainment at café cantantes,
ask, ‘Can’t you have fewer people onstage, really flamenco? music halls and theaters as early as the Another first-timer, Karime Amaya, em-
can’t you dance alone?’” Rocío Molina, one mid-19th century. Then, when Spanish bodies the explosive gitana force that
of the most captivating of the new genera- dancers became the toast of in Paris in the many identify with flamenco’s rough-and-
tion of dancer-choreographers, said re- early 20th century, Diaghilev’s Ballets tumble origins. Appropriately, she is the
cently via Skype. grandniece of Carmen Amaya, the great
dancer of the 1940s and ’50s, whose explo-
For a while, when the economy was sive moves earned her the nickname “the
booming, flamenco shows seemed to fall human Vesuvius.”
into one of two categories: tightly choreo-
graphed productions with large ensembles Eva Yerbabuena, an artist of imposing
and high production values, often accom- technique and a decidedly melancholy dis-
panied by a “fusion” of musical styles; or position, will present two evening-length
theatrically austere evenings featuring a works at City Center. In “Ay!” (March 8),
traditional format of sequential dance she dances alone, mostly enveloped in
numbers, accompanied by guitar and can- darkness — many of this year’s shows are
taor. dark to the point of murkiness — with the
accompaniment of a solitary voice or vio-
Among the austere, Soledad Barrio’s lin. There is great emphasis on the sharp,
Noche Flamenca company (now based in tormented movements of her upper body
New York) and the Paco Peña Flamenco and arms. The work could be seen as a
Dance Company are well known to local synthesis of her identities as a dance thea-
audiences. But lack of flash need not mean ter artist — and admirer of Pina Bausch —
pallid dancing. Quite the opposite: Ms. and a flamenca.
Barrio’s solos crescendo to an almost
frightening intensity. And last year, Mr. The second work, “Lluvia” (March 9), is
Peña, a highly regarded guitarist, intro- more theatrical, and darker still. With an
duced the bailaor Ángel Muñoz, whose wit ensemble of four, set against a crumbling
and musicality were a revelation. Despite street scene, Ms. Yerbabuena creates a
their many admirers in the United States grief-stricken Lorquian ambience. The
and abroad, however, Ms. Barrio and Mr. dancers fall to the ground or open their
Peña do not have much of a presence in mouths as if to cry out in anguish; emo-
Spain. (Ms. Barrio has appeared at the tional isolation is the theme. Midway,
Flamenco Festival only once, in a gala. Mr. though, the atmosphere changes, and sud-
Peña, never.) denly we are in an old-time flamenco club;
the women wear batas de cola and flowers
The field has diversified, with young in their hair, and the men don high-waisted
dancer-choreographers like Israel Galván pants and bolero jackets.
and Ms. Molina creating exceptionally per-
sonal, even eccentric evening-length Mr. Galván’s “La Curva” and Ms. Moli-
shows focused around their evolving in- na’s “Afectos” are more free form. In “La
terests. “Afectos” (at the Baryshnikov Arts Curva,” Mr. Galván’s partner in crime is

CONTINUED ON PAGE 21

THE NEW YORK TIMES, SUNDAY, MARCH 2, 2014 AR 21

Film

Hard Life for a von Trier Woman

CONTINUED FROM PAGE 13 METRO-GOLDWYN-MAYER

don’t believe you when you say this.’” Rebellions Boiling
“Nymphomaniac” moves from Joe’s
ROLF KONOW/LIONS GATE FILMS And Simmering
youth to the desperation of her marriage to
a past love (Shia LaBeouf), her attempts Nicole Kidman in “Dogville.” Her character, Grace, is one of many roles for leading actresses in CONTINUED FROM PAGE 16 Michael Caine de-
to kindle desire with S-and-M and three- the films of the Danish director Lars von Trier, characters that often endure cruelty and suffering. fends the fort in the
somes, and finally her unusual partnership Africa, South African blacks were forbid- neocolonial actioner
with a teenager. The frankness of its the movie “Everest,” was unavailable to er himself said, “My technique is that I di- den to see it. spectacle “Zulu”
much-hyped sex scenes (performed with comment. But in an interview recorded for vide my personality into the characters (1964), directed by
body doubles, props and composite imag- a coming Criterion Collection DVD edition that I write, and then very early on they Thanks to accomplished filmmaking by Cy Endfield.
ing) did not deter Ms. Gainsbourg. On the of the film, she recounts a similar actor- get a life of their own.” the writer-director Cy Endfield, a onetime
contrary, as is the case with some other director connection. associate of Orson Welles, self-exiled to
von Trier stars, the extremity of the char- “Nymphomaniac,” for all its excesses, Britain in the early 1950s to elude the
acterization held some of the attraction. “I found him incredibly sensitive,” she might belong with the suffering of “Melan- blacklist, “Zulu” has long enjoyed a rep-
says, adding that Mr. von Trier’s artistic cholia” and “Antichrist” as a kind of trilogy utation as one the premiere action specta-
“I think Lars has that sort of appetite, experimentation in the film came out of a of souls wracked by internal forces. For cles of the 1960s. The opening scene antici-
and he understands — not to say that he’s sense of personal renewal. The first thing Ms. Martin, the latest to endure Mr. von pates that of Sam Peckinpah’s “Major
a nymphomaniac,” Ms. Gainsbourg said. “I he said to her when she arrived on the set, Trier’s tests of mettle, the acknowledg- Dundee,” and the sequence in which the
think it’s more interesting to talk about Ms. Watson says, was that he had fallen in ment of suffering is positive — and not an Zulu horde storms the garrison infirmary
someone that has this excessive appetite, love for the first time and that he wanted to expression of misogyny. presages the original “Night of the Living
rather than portray someone that could be change everything about what he did. The Dead.” Jonathan Demme got his break in
very normal.” film’s hand-held camerawork and raw inti- “As soon as you see a woman in pain or the industry after the producer Joseph E.
macy came out of his urge to “learn to struggling, someone is saying, isn’t he be- Levine read his favorable review in The
Apart from its explicit depictions, “Nym- touch people.” ing misogynist? But that’s not allowing the Coral Gable Times. Peter Jackson is said to
phomaniac” is not even Mr. von Trier’s woman to make mistakes,” Ms. Martin have credited “Zulu” as a model for the
most taboo-ridden film. For some, that Along similar lines, “Lars uses women said by telephone from London, calling the battle scenes in “The Two Towers.” In 1982,
might still be “The Idiots” (1998), a film as the main character in many of his films, role “exactly the kind of work I want to be Martin Scorsese hosted a special screen-
that Ms. Gainsbourg singled out for praise. I think, because many of his films are doing.” ing.
It featured people pretending to be mental- about things from himself,” Louise Vesth,
ly handicapped. who produced “Nymphomaniac” and the As for Ms. Gainsbourg, who was fresh As recounted by the Village Voice col-
apocalyptic “Melancholia” (2011), said by from filming a Wim Wenders project in umnist Arthur Bell, Mr. Scorsese (ubiqui-
For Ms. Kidman, star of “Dogville,” a dif- telephone, suggesting a proxy psychologi- Montreal, she said she would gladly work tous this week) recalled seeing “Zulu” at
ferent von Trier film drew her in. “The rea- cal portrait. “And he can give female char- with Mr. von Trier again. Her only hesita- the RKO Palace in Manhattan with an en-
son I wanted to work with Lars was be- acters more depth by bringing some of his tion spoke perhaps to the inherent at- thusiastic, mainly black audience. “If
cause I had such a visceral reaction to own life experience.” She added later, “The traction of the outer limits reached by his there’s a word to describe the movie, it’s
‘Breaking the Waves,’” she wrote in an actors I talk with while we’re working, movies. ‘relentless,’” he declared. The same could
email from Morocco, where she is shooting they say he kind of sets them free.” be said of John Barry’s effectively impla-
a Werner Herzog movie. “I walked out of “I would love to, but I’m not sure that he cable African-inspired score, which contin-
seeing the film and was meant to go to din- In an interview with me before he would ask me again,” she said. “I think he’s ues to build in tension even during the
ner and instead had to go to bed in a fetal stopped talking with the press, Mr. von Tri- seen it all. I’ve gone as far as I could each choreographed spear-to-bayonet combat.
position crying. That is when I knew I had time.”
to work with him.”

“Dogville” courted controversy not only
for its sardonic allegory about its mythical
American small town, but also for making
Ms. Kidman’s character, Grace, the brunt
of its cynical message about what people
will do to an outsider. But Ms. Kidman
joined up and welcomed the discussion
that surrounded the film. She says now
that she would gladly work with him again.
(She skipped the “Dogville” follow-up,
“Manderlay,” set in a slave plantation fro-
zen in time, to avoid repeating herself, she
said; “I just felt that I had been to that
place already.”)

The movie that inspired Ms. Kidman,
“Breaking the Waves,” was a break-
through for Mr. von Trier and its star, Ms.
Watson, defining the first of his mistreated
heroines. Ms. Watson, who was shooting

Dance

Change Your Dancing Style, You Will Survive

CONTINUED FROM PAGE 19 conversation among Ms. Molina, the sing- Karime Amaya, who is
er Rosario La Tremendita and a double the grandniece of the
the pianist Sylvie Courvoisier, who does bassist (Pablo Martín). Ms. Molina reacts dancer Carmen Amaya.
Cagean tricks with a prepared piano, bang- to each song or jazz improvisation with a
ing on the strings and punching out angu- different riff of movement, turning her Flamenco
lar, hard sounds with the keys. At a table small, powerful, pliant frame into an in- embraces other
sit the fantastic cantaora Inés Bacán and strument. As Alastair Macaulay wrote in forms and finds
the palmero (hand percussionist) El The New York Times in 2010, “She’s won- new audiences.
Bobote. Between them, Mr. Galván derfully free in her conception of what fla-
launches into bursts of furious footwork — menco may include.”
on a table, in a mound of white powder, on
the floor — and knocks over tall columns of The diversification of flamenco is also
chairs, or twists and folds his body into good business. By embracing jazz, concep-
sharp angles. The show’s surreal style is tual art and contemporary dance, flamen-
inspired in part by the flamenco avant- co opens itself to new audiences and en-
gardist Vicente Escudero, who, in the sures itself a future in the always-tenuous
1920s and ’30s, performed all manner of marketplace for dance. So, what is fla-
crazy tricks, accompanying himself with menco today? Asked this question, Mr.
the snapping of his fingers and tongue- Galván answered, “Esencia, vida y muerte
clicks or the sound of machines. — with each performance, you have to die
a little bit and give life.”
“Afectos” is more intimate, a three-way

KARIME AMAYA

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Rocío Molina and La Tremendita in Flamenco Festival - NYTimes.com http://www.nytimes.com/2014/03/25/arts/dance/rocio-molina-and-la-tremendita-in-f...

http://nyti.ms/1gT5dhJ

DANCE | DANCE REVIEW

Playing With Boundaries

Rocío Molina and La Tremendita in Flamenco Festival

By SIOBHAN BURKE MARCH 24, 2014

Flamenco dancers rarely perform without live music. A solo dancer surrounded by singers, guitarists and
percussionists — flirtatious interchanges flaring up, various members of the clan staking out or ceding the
spotlight — is a familiar image. That dancer-musician banter is a pleasure of the form.

But the synergy between the dancer Rocío Molina and the singer Rosario Guerrero, known as La
Tremendita is unlike anything I’ve witnessed in my (albeit limited) flamenco-going experience: stranger,
stronger, more affectionate and more electric. On Thursday at the Baryshnikov Arts Center, as part of
Flamenco Festival 2014, these two prodigious performers, joined by the bassist Pablo Martín, offered the
United States premiere of their collaborative “Afectos,” with choreography by Ms. Molina and original
music by Mr. Martín and La Tremendita. (Her real last name, which means warrior, is as fitting as her
stage name.)

Ms. Molina — who, at 30, is part of a boundary-pushing generation of flamenco artists — has a
compact, voluptuous physique that you might call feminine and a plump, round face that, at first glance,
looks cute. But one of her striking qualities (aside from lush technique, magnetic presence and
extraordinary command of rhythm) is her ability to play up that conventional femininity or absolutely
shatter it, sometimes in the same instant.

She can be demure one moment, luxuriating in an upper-spine arch, and terrifying the next,
unleashing a barrage of steps that seem to come from many bodies, not one. Her creaturely hands suggest
pleading or punishing, grasping or giving up. There are no traditional, full-skirted flamenco dresses in her
wardrobe (most of which hangs from a coat rack and, after several onstage costume changes, lies strewn
on the floor), but there is a trench coat and a red bolero jacket, the kind more often worn by male dancers.

La Tremendita, with her oceanic voice, is less capricious, not a chameleon so much as an unshakable
force. Their intimacy is at once friendly, familial and romantic, their choices so inventive that you
sometimes forget you’re watching flamenco. Ms. Molina removes La Tremendita’s white sweater and
replaces it with an orange jacket; La Tremendita taps on the dancer’s back or reels her in by one wrist. Mr.
Martín is more peripheral, spatially, but integral musically, mixing their clapping, stamping and wailing
with his double bass into a resonant score.

“Afectos” is not without its superfluous flourishes, like the wavering lights in the final section, as Ms.
Molina feigns falling into a deep sleep. More fascinating here is her decision to forgo footwork, leaving us
with the image of her vinelike arms.

Seventy minutes felt like barely enough time with these artists. “No quiero que tu te vayas,” La
Tremendita sings to her partner at one point. (“I don’t want you to go.”) I could completely relate.

A version of this review appears in print on March 25, 2014, on page C6 of the New York edition with the headline: Playing With
Boundaries.

© 2014 The New York Times Company 10/04/14 14:52
1 de 2





January 14, 2014

Flamenco Festival 2014 stars Eva Yerbabuena‫‏‬

New York City Center & Flamenco Festival Present
Flamenco Festival 2014

Gala Performances by Antonio Canales, Carlos Rodríguez,
Karime Amaya and Jesús Carmona

Two New York Premieres by Eva Yerbabuena
March 6 – 9, 2014

New York, NY, January 14, 2014 –The internationally renowned Flamenco Festival returns to
New York City Center, March 6 – 9, for a 14th season of world-class flamenco dance and
music, featuring Spain’s finest performers in three programs. The Festival opens with a gala
performance that showcases the best of modern Flamenco, followed by two New York
premieres by flamenco superstar, Eva Yerbabuena.

1

The opening gala on March 6 and 7 will star some of flamenco IAs greatest stars,
representing the dance in all its fiery glory, in an evening of flamenco showcasing the best of
modern flamenco. Directed by Ángel Rojas, this gala brings together four of the world IAs
most celebrated flamenco dancers: the master of flamenco Antonio Canales, a true master
of the form; Carlos Rodríguez, the renowned choreographer of Nuevo Ballet Español; the
riveting Karime Amaya; and the young star Jesús Carmona, accompanied by musicians and
three female dancers.

The Festival continues with two New York premieres by Eva Yerbabuena: AY! on March 8
and Lluvia on March 9. In AY! (2013), Yerbabuena returns to a more traditional format: a
series of solo set pieces with live musical accompaniment. Lluvia (2010) showcases
Yerbabuena at her most elegant and emotive. Accompanied by four dancers and her
critically acclaimed ensemble of musicians, she delivers an unforgettable tour-de-force
performance in what has been described as the most sophisticated and powerful production
of her career.

Famed for her speed, power, and dramatic footwork, Eva Yerbabuena is considered one of
the world’s finest flamenco dancers. Yerbabuena was awarded Spain’s National Dance Prize
in 2001 in recognition of her place among the great figures of flamenco. Among her
international credits is a collaboration with famed German choreographer Pina Bausch in
which she appeared with Mikhail Baryshnikov.

Flamenco Festival is sponsored by Instituto Andaluz del Flamenco; Regional Ministry of
Education, Culture and Sports; Junta de Andalucía; and INAEM, Minister of Education,
Culture and Sports of Spain.

New York City Center (Arlene Shuler, President & CEO) now in its 70th year, has played a
defining role in the cultural life of the city since 1943. It was Manhattan’s first performing arts
center, dedicated by Mayor Fiorello La Guardia with a mission to make the best in music,
theater and dance accessible to all audiences. Today, City Center is home to many
distinguished companies, including Alvin Ailey American Dance Theater, City Center’s
Principal Dance Company, as well as Manhattan Theatre Club a; a roster of renowned
national and international visiting artists; and its own critically acclaimed and popular
programs. The Tony-honored Encores! musical theater series has been hailed as “one of the
very best reasons to be alive in New York.” In summer 2013 City Center launched Encores!
Off-Center, a new series featuring seminal Off-Broadway musicals filtered through the lens of
today’s most innovative artists. Dance has been integral to the theater’s mission from the
start, and dance programs, including the annual Fall for Dance Festival, remain central to
City Center’s identity. Vital partnerships with arts organizations including Jazz at Lincoln
Center and London’s Sadler’s Wells Theatre enhance City Center’s programmatic offerings.
City Center is dedicated to providing educational opportunities to New York City students
and teachers with programs such as Encores! In Schools and the Young People’s Dance
Series. Special workshops cater to families, seniors and other groups, while events such as
the Fall for Dance DanceTalk series offer learning opportunities to the general public. In
October 2011, City Center completed an extensive renovation project to revitalize and
modernize its historic theater.

2









January 22, 2014

actualizado | por EFE| EFE

Eva Yerbabuena, Estrella Morente y
Tomatito, en festival de Flamenco de
Miami

Miami, 22 ene (EFEUSA).- Estrella Morente, Eva Yerbabuena y su ballet flamenco y
Tomatito Sextet forman parte del cartel del Flamenco Festival Miami, que llevarán una
muestra de este arte a los escenarios de Miami del 27 de febrero al 8 de marzo.

EFE
Eva Yerbabuena, Estrella Morente y Tomatito, en festival de Flamenco de Miami
Miami, 22 ene (EFEUSA).- Estrella Morente, Eva Yerbabuena y su ballet flamenco y Tomatito Sextet forman
parte del cartel del Flamenco Festival Miami, que llevarán una muestra de este arte a los escenarios de
Miami del 27 de febrero al 8 de marzo.
El Flamenco Festival Miami alcanza este año su séptima edición con una gran acogida de público: "En los
años pasados, el festival se ha convertido en toda una sensación disfrutada por más de 20.000 personas",
señaló hoy en un comunicado John Richard, presidente y gerente general del Adrienne Arsht Center, donde
tendrá lugar el evento.

Richard resaltó que la cita de este año trae al Arsht Center una "fiesta sensorial de la música, la voz y el
movimiento" del mejor flamenco.

La garra y pasión de la cantaora Estrella Morente, uno de los platos fuertes de la programación, traerá la
pureza de este arte el próximo 6 de marzo.

La coreógrafa y bailaora Eva María Garrido, Eva Yerbabuena, se subirá al escenario con su ballet flamenco
el 1 de marzo, "un gran espectáculo de flamenco tradicional con una coreografía fresca", destacó la
organización en un comunicado.

"Famosa por sus impresionantes solos, su talento teatral y su hechizante movimiento, la sensacional Eva
Yerbabuena regresa al Arhst Center", tras una ausencia de siete años, para presentar su trabajo "Lluvia".

La figura de José Fernández Torres, el guitarrista conocido como Tomatito, será también protagonista de
esta cita. Ganador de cuatro premios Grammy, su "carismática personalidad y su maestría" quedarán
patentes el próximo el próximo 8 de marzo.

Tomatito ha colaborado con grandes cantaores como el fallecido Enrique Llorente, padre de Estrella
Morente; José Menese y Vicente Soto, además de colaborar con estrellas como Elton John o Chick Corea.

"Stars of Flamenco", evento con el que arranca el festival el 27 de febrero próximo, reunirá a cuatro de los
más reconocidos bailaores de flamenco: Antonio Canales, Carlos Rodríguez, la bailaora Karime Amaya,
sobrina-nieta de Carmen Amaya, y Jesús Carmona.

Copyright (c) Agencia EFE, S.A. 2011, todos los derechos reservados

January 22, 2014

Eva Yerbabuena, Estrella Morente
y Tomatito, en el festival de
Flamenco de Miami

EEUU FLAMENCO | 22 de enero de 2014

En la imagen, la bailaora Eva la Yerbabuena. EFE/Archivo

1

Miami (EE.UU.), 22 ene (EFE).- Estrella Morente, Eva Yerbabuena y su ballet
flamenco y Tomatito Sextet forman parte del cartel del Flamenco Festival Miami,
que, del 27 de febrero al 8 de marzo, llevarán una muestra de este arte a los
escenario de Miami.
El Flamenco Festival Miami alcanza este año su séptima edición con una gran
acogida de público: "En los años pasados, el festival se ha convertido en toda
una sensación disfrutada por más de 20.000 personas", señaló hoy en un
comunicado John Richard, presidente y gerente general del Adrienne Arsht
Center, donde tendrá lugar el evento.
Richard resaltó que la cita de este año trae al Arsht Center una "fiesta sensorial
de la música, la voz y el movimiento" del mejor flamenco.
La garra y pasión de la cantaora Estrella Morente, uno de los platos fuertes de la
programación, traerá la pureza de este arte el próximo 6 de marzo.
La coreógrafa y bailaora Eva María Garrido, Eva Yerbabuena, se subirá al
escenario con su ballet flamenco el 1 de marzo, "un gran espectáculo de
flamenco tradicional con una coreografía fresca", destacó la organización en un
comunicado.
"Famosa por sus impresionantes solos, su talento teatral y su hechizante
movimiento, la sensacional Eva Yerbabuena regresa al Arhst Center", tras una
ausencia de siete años, para presentar su trabajo "Lluvia".
La figura de José Fernández Torres, el guitarrista almeriense conocido como
Tomatito, será también protagonista de esta cita. Ganador de cuatro premios
Grammy, su "carismática personalidad y su maestría" quedarán patentes el
próximo el próximo 8 de marzo.
Tomatito ha colaborado con grandes cantaores como el fallecido Enrique
Llorente, padre de Estrella Morente; José Menese y Vicente Soto, además de
colaborar con estrellas como Elton John o Chick Corea.
"Stars of Flamenco", evento con el que arranca el festival el 27 de febrero
próximo, reunirá a cuatro de los más reconocidos bailaores de flamenco: Antonio
Canales, Carlos Rodríguez, la bailaora Karime Amaya, sobrina-nieta de Carmen
Amaya, y Jesús Carmona.

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Date 1/23/2014

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Por María del Rosario Arreaza, Especial para El Sentinel

5:18 p.m. EST, February 18, 2014

No es un arte para todos los gustos. Pero cuando el zapateo, el cante y la guitarra del
flamenco se meten en la fibra de los espectadores, surge un sentimiento musical que va
más allá de la técnica. El arte se escucha, se vive, se siente…
Por eso el Festival de Flamenco de Miami que comienza el 27 de febrero en el Adrienne
Arsht Center es un evento muy esperado en el sur de Florida.
"Por los últimos seis años, el festival se ha convertido en una sensación que han
disfrutado más de 20,000 personas", dijo John Richard, presidente y director ejecutivo del
Arsht Center. "Esta temporada el festival es un festín sensual de música, voz y
movimiento que trae el drama del más querido arte español al escenario del Arsht
Center".
En su séptimo año, el evento creado en Nueva York por el empresario español Miguel
Marín, el Festival de Miami incluye a Estrellas de Flamenco, Ballet Flamenco Eva
Yerbabuena, Estrella Morente, Tomatito Sextet y Karime Amaya, en una cartelera de
presentaciones que van hasta el 8 de marzo.

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Y a muchos amantes de este arte originario de Andalucía, la presencia de Amaya les
traerá a la memoria la imagen de Carmen Amaya, la bailaora que hoy en día, 51 años
después de su muerte, sigue siendo considerada un genio del flamenco.
Karime Amaya es la sobrina nieta de Carmen e hija de Mercedes Amaya — "La Winy"—
y con 28 años es considerada una de las estrellas flamencas jóvenes de mayor potencial.
"Mi sueño es tener mi propia compañía", dice la bailaora nacida en México en una
familia española de tradición de flamenco. "Mi sueño es seguir trabajando; me veo
viajando y presentándome alrededor del mundo".
Y no le resultará difícil, pues aparte de que el arte flamenco fue declarado Patrimonio
Cultural Inmaterial de la Humanidad en 2010, según Amaya "[el flamenco] está en un
gran momento. En Japón es una locura. Lo que tienen los japoneses por este arte es
increíble y se podrían apoderar de él. Hay muchos países a los que les encanta. Cuando
vamos fuera sentimos que se nos valora mucho más que en la propia España".
Y acaso el fundador del festival, Miguel Marín, haya tomado ventaja de ese sentimiento
cuando lo creó en 1996.
"Siempre me ha gustado el flamenco, pero cuando estaba viviendo y estudiando
administración de artes escénicas en Nueva York y mientras conocía gente nueva empecé
a añorar a la madre tierra y a tener una relación diferente con el flamenco", cuenta Marín
en entrevista telefónica con El Sentinel. "Me di cuenta de que había pocos espectáculos
españoles en Estados Unidos y comencé a pensar qué podía hacer para traer el flamenco a
Nueva York".
Y lo que hizo fue crear un movimiento cultural que comenzó con cuatro ciudades
estadounidenses —Nueva York, Miami, Washington, Boston— y ahora el tour viaja por
24 ciudades y terminará en Canadá el 30 de marzo. Esto sin contar las muchas otras
presentaciones en Europa y Japón.
Y como todos los años, Marín presenta algo nuevo de este arte ancestral. "Presentamos lo
que está pasando, qué artista está creando", dice. "Siempre queremos traer artistas
consolidados como Eva Yerbabuena y la maestría de Antonio Canales. Pero también
presentamos artistas jóvenes que están empujando con mucha fuerza, como Jesús
Carmona y Karime Amaya. Ellos dos son las futuras estrellas del flamenco".
Si Vas
Qué: 7º Festival de Flamenco de Miami
Dónde: Arsht Center, 1300 Biscayne Blvd., Miami.
Cuándo: 27 de febrero – 8 de marzo
Costo: $25 - $95
Informes: arshtcenter.org, 305-949-6722, 1877-949-6722

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February 20, 2014 Circulation: 40,000

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Date: 2/23/2014

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España invade a la ciudad de Miami y
es que la séptima edición del Festival
de Flamenco llegará a la ciudad con un
grupo de bailarines, música y cantantes
exponentes del folklore del país
ibérico.

Entre los días 27 y 28 de febrero se
presentarán en Miami las Stars of
Flamenco, Ballet Flamenco Eva
Yerbabuena, Estrella Morente y el
Tomatito Sextet, reconocidos artistas
de la música española quienes
ofrecerán un espectáculo de primera.

El The Adrienne Arsht Center, será el escenario en el qe sonarán las castañuelas y el
tablao. El precio de las entradas va desde los 50 dólares por eventos hasta $130, si se
desea un paquete que incluya varios espectáculos. Boletos disponible en:
www.arshtcenter.org/ o en las taquillas del complejo cultural.

February 25, 2014

Gala de estrellas abre el séptimo Festival
del Flamenco

OLGA CONNOR
ESPECIAL/EL NUEVO HERALD

Con palmas, ovaciones y “olés” han sido recibidas con gran éxito por seis temporadas
anteriores las figuras del Festival del Flamenco en el Adrienne Arsht Center.
Esto sucede porque uno puede encontrar en ellas el espectacular alboroto y las mejores
técnicas de los tablaos y teatros de toda España con sus representantes más destacados.
Así son los que llegan este séptimo año a Miami, con cuatro shows a escoger: la gala de las
Estrellas del Flamenco, el Ballet Flamenco Eva Yerbabuena, la espectacular intérprete
Estrella Morente y su grupo, y el Sexteto de Tomatito.
La primera tanda esta semana en Miami será la de las Estrellas, bajo la coordinación
artística de Miguel Angel Rojas –el jueves 27 y el viernes 28 de febrero–, con Antonio
Canales, uno de los poderosos bailarines de este género; Carlos Rodríguez, el coreógrafo
de Nuevo Ballet Español, que nos visitó anteriormente; Karime Amaya, sobrina nieta de la
legendaria Carmen Amaya, y el más nuevo, Jesús Carmona, que viene por primera vez a
Miami.
Nacido en Barcelona en 1985, Carmona es uno de los más ágiles bailarines de estos
tiempos, habiendo empezado su educación desde la edad de siete años en danza española,
flamenco, escuela bolera y ballet clásico. Ha bailado con Nuevo Ballet Español, el Ballet de
Antonio Canales y otros, y fue primer bailarín del Ballet Nacional de España, con el que
estuvo por cinco años. También ha formado su compañía y coreografiado sus propios
shows: Cuna negra y blanca y, recientemente, Siete balcones.
“Ahora en Miami lo que hacemos es un espectáculo que se llama Garra flamenca, una carta
de presentación de diferentes artistas en América”, dice Carmona representando al grupo.
“Algunos de ellos no tienen ya necesidad, como Canales y Rodríguez, pero para Karime y
para mí es importante, porque queremos traer luego nuestros
proyectos”.

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Carmona asegura que le hacen el trabajo muy fácil a Rojas porque todos son profesionales
de experiencia. “Hacemos interpretaciones en solitario y bailes en común que crean un
espectáculo con muchísima fuerza”, asegura el bailarín.
Ya lo han presentado antes en los festivales de flamenco de Londres y de Hong Kong, y
llega aquí muy practicado de antemano. “En solitario yo trato de expresar mi verdad, la raíz
de la danza y del flamenco, porque aunque tengo formación de danza clásica y
contemporánea, lo que ha primado en mí es el flamenco”, afirma Carmona.
El flamenco de este espectáculo se diferencia de los de antes, porque “como cualquier otro
tipo de danza, esta tiene su evolución”, apunta el bailarín. “Y las nuevas generaciones
tienen otros tipos de técnica, que llevan los movimientos y el ritmo más al límite”.
Este show seguirá unas coreografías cuyo guion preparó el director, pero se las montaron
los artistas por sí mismos. “Hay que seguir un orden”, explica Carmona, “que es un poco
rescatar desde una visión de arte de los tiempos antiguos aquellos palos [danzas] que se
hacían, pero en una versión más original, más actual”.
Entre las ofertas de Carmona estará la de un solo de “alegrías de Cádiz”. “Es un baile muy
animoso, de pueblo, muy cercano, muy rápido”, subraya el bailarín, “en el que la energía
llega pronto al corazón del público”. •
‘Estrellas del Flamenco’, 27 y 28 de febrero, a las 8 p.m., con Antonio Canales, Carlos
Rodríguez, Karime Amaya y Jesús Carmona. / Eva Yerbabuena con su Ballet Flamenco
presenta ‘Lluvia’, 1ro. de marzo, 8 p.m.; 2 de marzo, 5 p.m., ambos en el Ziff Ballet Opera
House. / Estrella Morente, 6 de marzo, 8 p.m., y Tomatito Sextet, 8 de marzo, 8 p.m, en el
John S. and James L. Knight Concert Hall. Adrienne Arsht Center, 1300 Biscayne Blvd.,
Miami. Boletos $30 a $95. Paquetes desde $130 para los cuatro espectáculos.
www.arshtcenter.org y

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February 26, 2014 Circulation 209,073

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February 26, 2014

International flamenco artists perform at the Arsht Center

By Barbara Corbellini Duarte / SouthFlorida.com
Wed Feb 26 2014 10:23 AM

She is one of several artists participating in the seventh Flamenco Festival Miami, which will present four
different shows from Feb. 27 to March 8 at the Arsht Center.
The dance show "Stars of Flamenco" will open the festival on Thursday and Feb. 28. Directed by flamenco
dancer and choreographer Angel Rojas, the show joins four premier flamenco dancers: Amaya, Antonio
Canales, Carlos Rodriguez and Jesus Carmona.
"What I wanted was to bring different generations together, and bring different personalities of the flamenco
dance to be with the audience in the same show," Rojas says. "The job of the director is based on them not
realizing that I am directing. I am directing, but nobody knows it. They all have very strong personalities."
Eva Yerbabuena and her dance company, who participated in the first Flamenco Festival Miami, will perform
traditional flamenco on March 1 and 2. Estrella Morente, flamenco vocalist who dubbed Penelope Cruz’s
singing in the Pedro Almodovar movie "Volver," will perform on March 6. Tomatito, a 2013 Latin Grammy
winner and flamenco guitarist, will close the festival on March 8 with his sextet.
Amaya and Rojas are both excited to perform in Miami.
"The Miami audience is very warm," Rojas says. "I want to leave the people with the desire to watch more
flamenco, with the desire to watch another flamenco show. It’s a great opportunity to see this gala. It unites
great dance stars, and this is very important."

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February 26, 2014

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February 28, 2014

International flamenco artists perform at the Arsht Center

When flamenco dancers take the Adrienne Arsht Center stage to the sound of Spanish guitar
and castanets, they will attempt to transfer their feelings to the audience. "My goal is to
convey to the public a triumph, an adventure, a sorrow, any feeling. I want the public to feel
it," dancer Karime Amaya says in Spanish. "It’s something that you feel, and you can’t
explain. It’s a feeling that floods you, excites you, and you need to express what you feel."

She is one of several artists participating in the seventh Flamenco Festival Miami, which will
present four different shows from Feb. 27 to March 8 at the Arsht Center.

The dance show "Stars of Flamenco" will open the festival on Thursday and Feb. 28.
Directed by flamenco dancer and choreographer Angel Rojas, the show joins four premier
flamenco dancers: Amaya, Antonio Canales, Carlos Rodriguez and Jesus Carmona.

"What I wanted was to bring different generations together, and bring different personalities
of the flamenco dance to be with the audience in the same show," Rojas says. "The job of
the director is based on them not realizing that I am directing. I am directing, but nobody
knows it. They all have very strong personalities.

Eva Yerbabuena and her dance company, who participated in the first Flamenco Festival
Miami, will perform traditional flamenco on March 1 and 2. Estrella Morente, flamenco
vocalist who dubbed Penelope Cruz’s singing in the Pedro Almodovar movie "Volver," will
perform on March 6. Tomatito, a 2013 Latin Grammy winner and flamenco guitarist, will close
the festival on March 8 with his sextet.

Amaya and Rojas are both excited to perform in Miami.

"The Miami audience is very warm," Rojas says. "I want to leave the people with the desire to
watch more flamenco, with the desire to watch another flamenco show. It’s a great
opportunity to see this gala. It unites great dance stars, and this is very important."

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February 27, 2014

February 27, 2014

February 28, 2014

A mother's cry: flamenco star Eva Yerbabuena brings two
intimate creations to New York

‘At each performance I discover something new inside myself that I didn’t know
before," says dancer Eva Yerbabuena. "That’s why I like my work. That’s why I
like movement, the language of the dance or, in this case flamenco."
Yerbabuena, an award-winning artist who has reached the pinnacle of Spanish
dance, returns to New York City Center with her company as the prime attraction
of the annual New York Flamenco Festival, which takes place from Thursday
to March 9.
Appearing in the one-woman show "¡Ay!" and together with her company in the
evening-length "Lluvia" ("Rain"), she follows on the clicking heels of a gala
opening. That celebration, on Thursday, launches the festival with glimpses of
several artists including the celebrated Antonio Canales, and up-and-coming

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