Press Clipping 2014

NYC se viste de flamenco desde este jueves - eldiariony.com http://www.eldiariony.com/festival-flamento-artistas-bailarines-eva-yerbabuena-estre...

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NYC se viste de flamenco desde este
jueves

Legendarias estrellas de este género como Estrella Morente y Eva Yerbabuena
así como nuevos talentos se presentarán en distintos escenarios de la Gran
Manzana

Madre de Oregon mató hijo de
4 años por pensar que era gay

Estrellas del flamenco visitan NYC La verdad detrás del vestido
"roto" de Jennifer Lawrence
(video)

Foto: Suministrada Consignan a policía en Cancún
por violar a estadounidense
Por: Carolina Pinto/EDLP Dominicana clama por ayuda
PUBLICADO: MAR, 6, 2014 12:30 AM EST en Facebook para su hijo
enfermo
Nueva York — A pesar de que Nueva York es considerada la "Capital del Mundo", a
partir de hoy y por un par de semanas, nuestra ciudad también se convertirá en la
"Metrópolis del Flamenco", ese género cautivante y lleno de energía originario del sur
de España, específicamente de Andalucía.

Una variedad de escenarios como City Center, Carnegie Hall, Lincoln Center y el
Instituto Cervantes, entre otros, se convertirán en el hogar temporal de aquella
combinación mágica que incluye el cante, toque, baile y palmas.

Entre las artistas más destacadas que visitarán la Gran Manzana se encuentra la
reconocida cantante Estrella Morente, hija del legendario Enrique Morente, quien
estará realizando un concierto en Carnegie Hall.

1 de 7 14/04/14 14:16

NYC se viste de flamenco desde este jueves - eldiariony.com http://www.eldiariony.com/festival-flamento-artistas-bailarines-eva-yerbabuena-estre...

Por su parte, la inauguración del evento estará a cargo de la espectacular Eva
Yerbabuena (esposa del guitarrista Paco Jarana), mientras que el guitarrista José
Fernández Torres, más conocido como “Tomatito”, estremecerá el escenario de
Lincoln Center.

Como antesala a lo que los neoyorquinos verán durante este mes, conversamos con los
bailarines Jesús Carmona y Karime Amaya, considerados dos de las jóvenes
promesas del género, y quienes participarán hoy y mañana en la gala de apertura del
festival.

También logramos obtener la perspectiva de la experimentada Eva Yerbabuena, quien
en esta ocasión trae dos espectáculos diferentes este fin de semana a New York City
Center.

12 diosas que no sufren el paso del
tiempo

Las caras nuevas: Jesús Carmona y Karime Amaya

-¿Qué traen en el espectáculo de esta noche?

Karime: Es una gala formada por cuatro bailaores, cada uno tiene su propio estilo. Jesús y Free Music Beat Maker
yo somos los jóvenes, luego está el veterano que es Antonio Canales, nuestro maestro, y
luego Carlos Rodríguez, que tiene un estilo más contemporáneo. El objetivo de la gala music-oasis.com/Beat-Maker
pues es mostrar las cuatro vertientes. Make Music Beats Like a Pro. Download
Free Software Now
-¿Tienen algún ritual antes de salir al escenario?
Iguana - Salsa Fridays
Jesús: A mí me gusta contemplar el camerino antes de salir al escenario, me gusta pisar el How To Sing - Really
escenario, tocarlo con las manos, sentir un poco lo que ha pasado en ese escenario y coger TSiincgkets To Broadway
la escenografía. Shows

K: Yo me concentro, intento pensar lo que voy a hacer antes de salir. Yo soy creyente y me Evening bags for the weekend
gusta rezar, pedirle a Dios que esté allí conmigo.

¿Hay algún objeto que nunca les puede faltar cuando están de tour?

K: Bueno, los zapatos (bromea)….siempre llevo una biblia, sobretodo porque soy muy Ideas para decorar reciclando
nerviosa con el tema de los aviones, y no siempre te toca viajar con gente agradable.

J: Yo no creo en traer fotos, velas, inciensos, relicarios… esas cosas que los artistas antes ¿Sus signos zodiacales son
compatibles en el amor?

2 de 7 14/04/14 14:16

NYC se viste de flamenco desde este jueves - eldiariony.com http://www.eldiariony.com/festival-flamento-artistas-bailarines-eva-yerbabuena-estre...

llevaban, creo que todo eso lo llevamos mas interno, no hace falta tener un camerino lleno Trucos para alargar y hacer
de cosas. crecer las pestañas

¿Les ha pasado algo embarazoso en el escenario? Comienza la 'rebatinga' por
herencia de 'Chucho' Benítez
J: Bueno, yo me he caído en el Teatro Real de España bailando, de pronto me pegué un
guarrazo contra el suelo…en ese momento lo pasas mal, pero luego te ríes. A Simeone le hicieron "reír
mucho" las declaraciones de
¿Por qué se considera al flamenco tan sensual? Ramos y Cristiano

J: Son movimientos rápidos que a lo mejor se pueden asemejar a situaciones Tigres dejó ir el triunfo y se
personales…dejémoslo ahí (entre risas). Yo no sé, creo que nosotros tenemos nuestras alejó de la liguilla (Video)
parejas, pero siempre se tiene éxito en el campo personal por eso, por la sensibilidad o la
masculinidad. Es como la salsa, también es muy caliente. FIFA divulga canción oficial y
álbum completo para Brasil
Y hablando de ritmos… ¿qué otros géneros les gustan? 2014

K: A mí me encanta la salsa, no me considero una experta pero me muevo, y me gustaría DESDE LA WEB
en algún momento tomar clases.
La familia Carulla paga a
J: A mí también me encanta la salsa, yo con mi chica me voy a mover el cuerpo. Hacienda 9,4 millones y evita el
juicio por fraude…
¿Qué es lo más original que les ha dicho un admirador/a? (El País)
Lo último para multar: ¡un
J: A mi hace poco me dijeron que tenía una sonrisa de un millón de dólares y yo les radar humano!
dije…¡pues dámelos! (Autobild.es)

Es la primera vez que vienen a NYC, ¿qué les gustaría conocer? Agresión escolar y salto al vacío
(El Mundo)
J: El Empire State, es un sueño desde que era un niño.
El fin de la racha de Undertaker
K: A mí también me hace ilusión la Estatua de la Libertad. conmocionó a la lucha
estadounidense
(Medio Tiempo)

recomendado por

Eva Yerbabuena: La Veterana 14/04/14 14:16

-Háblanos de los shows que traes…
Son dos espectáculos totalmente diferentes, el del sábado se titula AY!, que es muy

3 de 7

NYC se viste de flamenco desde este jueves - eldiariony.com http://www.eldiariony.com/festival-flamento-artistas-bailarines-eva-yerbabuena-estre...

minimalista, muy íntimo, una reflexión mía muy personal a través del flamenco. Fue por
un embarazo y cómo se ven las cosas desde otra barrera cuando tienes que parar.

Lluvia (domingo) es un espectáculo que habla del silencio, qué pasa cuando hay falta de
comunicación. Habla mucho de la melancolía, son cosas muy cotidianas que estamos
acostumbrados a ver todos.

-¿Cuáles son los objetos que nunca te pueden faltar cuando vas de tour?

Una foto de Fray Leopoldo, un santo de Granada, y otra del Hermano Manuel. Son
dos fotitos pequeñas que siempre llevo conmigo y están en todos los camerinos, siempre
me acompañan. Soy una persona creyente y cuando necesito ayuda siempre los tengo a
ellos.

-¿Hay alguna presentación que hayas hecho que recuerdes en especial?

Cada teatro es algo especial, pero algo de lo que me acuerdo fue en Argentina. Yo solía
hacer la soleá sin guitarra, y en pleno silencio recuerdo que escuchaba a una mujer gritar:
¡No te mueras nunca!, y a mi aquello me emocionó.

-¿Qué te atrae de NYC?

No hay una vez que haya pisado Nueva York sin acordarme de mi paisano Federico
García Lorca cuando él decía que es la ciudad que nunca duerme. Creo que es un público
muy especial, con mucha mezcolanza, lo cual enriquece.

-¿Cuál es el secreto del flamenco para ser tan magnético?

El flamenco tiene algo muy mágico, es muy directo. Son tres tipos de energía diferentes
que son la música, el cante y el baile, y eso es muy fuerte.

-¿Cuál es el mejor cumplido que te han dado?

Soy tan tímida que cuando me dicen un halago, prefiero perder el oído (entre risas). No es
que sea desagradecida, pero me aterra. Te puedo decir de corazón que el mejor halago que
me pueden dar es que la gente me quiera, no como artista sino como persona.

-¿Qué significó la muerte del maestro Paco de Lucía para el mundo flamenco?

Paco fue lo más importante que hemos tenido, fue quien realmente empezó una forma
diferente de manifestar, de sentir, de tocar. La evolución de la guitarra y a raíz de la
guitarra el baile y el cante ha sido gracias a él…se nos ha ido el artista más importante para
nosotros. El era como el Mozart del flamenco, y a veces lo triste es que se siente más afuera
que en tu propio país.

4 de 7 14/04/14 14:16

Nueva York abre sus auditorios para lo mejor del flamenco mundial - Terra USA http://musica.terra.com/nueva-york-abre-sus-auditorios-para-lo-mejor-del-flamenco...

Música P

ACORDES ARTISTAS CONCIERTO JUANES HOME SESSIONS LATIN GRAMMY LETRAS MUSIC CITY
PREMIOS Y ALFOMBRA ROJA R

05 de marzo de 2014 • 02:17 pm

Nueva York abre sus auditorios para lo
mejor del flamenco mundial

0 comentarios

L a Gran Manzana se pone flamenca y abre sus mejores auditorios y teatros entre el
6 y el 23 de marzo para la duodécima edición del Flamenco Festival.

Todavía de luto por la muerte de uno de sus popes, Paco de Lucía, el Festival viene con 31 espectáculos a
Nueva York, una de las ciudades decisivas en la trayectoria del genial guitarrista y también caldo de cultivo
para la fusión de este género ibérico con otros ritmos como el jazz y el soul o la danza contemporánea.

"En este momento, lo único que podemos hacer es seguir el ejemplo de Paco y agradecerle lo que él ha
hecho por el flamenco. Crear un espíritu libre, respetar a la tradición pero teniendo honestidad con su sentir
y libertad", explicó a Efe el director del festival, Miguel Marín.

El Flamenco Festival, asentado como una destacada cita anual en el panorama cultural neoyorquino, vuelve
en su duodécima edición a más escenarios que nunca, pues este año se han sumado notables novedades
como el Rose Theater del Lincoln Center, el Baryshnikov Arts Center y el Michael Schimmel Center for the
Arts.

"Llevamos una gran variedad en las propuestas, mostramos la riqueza que hay ahora en el flamenco. Esto
nos permite llegar a sitios nuevos, como el Barynshnikov, que es para público acostumbrado a la danza
contemporánea y que se adapta a la parte experimental de Rocío Molina o más vanguardista de Israel Galvá,
en el Michael Schimmel", explicó Marín.

El sábado 8, los asistentes podrán disfrutar de Estrella Morente, la joya de la programación y que vuelve con

1 de 3 14/04/14 14:17

Nueva York abre sus auditorios para lo mejor del flamenco mundial - Terra USA http://musica.terra.com/nueva-york-abre-sus-auditorios-para-lo-mejor-del-flamenco...

43 Entrar ' 8 #

acústicas del mundo y que solo abre sus puertas a los grandes.

Morente se encuentra en medio de su primera gira por Estados Unidos, con un espectáculo titulado
"Autorretrato" de dos horas sin intermedio en las que desgranará un repertorio de clásicos que van desde el
flamenco puro hasta el jazz latino.

publicidad El guitarrista Tomatito se reservará el sábado siguiente, el
día 15, para entrar en el Lincoln Center.

El ganador del Grammy Latino, acompañado de un sexteto,
demostrará la flexibilidad de la guitarra española con un
mestizaje de ritmos afrocaribeños y con el jazz.

El tercer plato fuerte será la actuación de la bailaora Eva
Yerbabuena en el New York City Center, sede de la
vanguardia y el mestizaje de la danza, que acogerá el
espectáculo "AY", el día 8, y un día después "Lluvia".

Ese mismo escenario alojará a la Gala Flamenca, un
espectáculo de síntesis con Antonio Canales, Carlos
Rodríguez, Karime Amaya y Jesús Carmona.

Ya como cierre, en el Savatore Capezio se representará "El
amor Brujo", de Falla, que explorará la relación del
compositor con el flamenco.

Sin embargo, el Flamenco Festival ofrecerá también cursos,
charlas y encuentros para difundir el espíritu flamenco en
Manhattan con la programación "Beyond Flamenco" (Más
allá del flamenco).

"Al principio tanto el público como el programador de Nueva York tenían una idea mucho más cerrada de lo
que tenía que ser el flamenco. Ahora está mucho más interesado en qué es lo nuevo, cuál es el motor que
mueve a los artistas, las motivaciones", explicó Marín.

Así, destacó también la coproducción con el Jazz at Lincoln Center "Flamenco Meets Jazz", resultado de una
residencia con el guitarrista Dani de Morón, el percusionista Guillermo McGuill, y el pianista neoyorquino
Aaron Diehl, así como la sesión en el Joe's Pub, uno de los locales más vibrantes de la ciudad, que acogerá a
Silvia Perez Cruz, Rosario Toledo y Fuel Fandango.

"Casi todos los artistas han pisado ya Nueva York y se ha creado un interés en la evolución de ellos. Se busca
un flamenco de autor", concluyó Marín.

El Flamenco Festival tiene su escaparate más vistoso en Nueva York, pero pasa también por Miami,

2 de 3 14/04/14 14:17

Noches Flamencas en Nueva York | Ser Padres http://serpadres.com/familia/el-flamenco-se-toma-a-nueva-york/

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Home > Actualidad

‘Lluvia’ Flamenca en Nueva York

18 de febrero de 2014 - por: Erika Montoya
Los grandes de esta danza folclórica, Antonio Canales, Jesús Carmona y Carlos Rodríguez se reúnen en Nueva York para una serie de
espectáculos programados en el marco del Festival del Flamenco, que este año tendrá lugar en el New York City Center entre el 6 y el 9
de Marzo.

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El Festival abrirá con una Gala que destacará lo mejor del baile andaluz,
seguida de dos premieres de la súper-estrella flamenca, Eva Yerbabuena, entre cuyos créditos internacionales, cuenta con una
colaboración junto a la aclamada coreógrafa alemana Pina Bausch en la que Yerbabuena, apareció junto a Mikhail Baryshnikov.

A continuación te presentamos la programación para el Flamenco Festival 2014:

GALA FLAMENCA 2014:
Antonio Canales, Carlos Rodriguez, Karime Amaya y Jesús Carmona
Jueves 6 y Viernes 7 de marzo 8:00pm
BALLET FLAMENCO EVA YERBABUENA “AY!”
Sábado 8 de marzo 8:00pm
BALLET FLAMENCO EVA YERBABUENA “Lluvia”
Domingo 9 de marzo 7:00pm
Boletería:
Disponible en línea en este enlace www.NYCityCenter.org también vía telefónica a CityTix® at (212) 581-1212 o en la taquilla del City
Center en 131 W. 55th St. (entre 6 & 7 avenidas)
Para mayor información, puedes dirigirte al sitio web www.NYCityCenter.org
Foto: Eva Yerbabuena, Flamenco Festival 2014

Anterior

3 de 5 14/04/14 14:14

March will bring two very different guitar recitals on a single night - San Francisco c... http://www.examiner.com/article/march-will-bring-two-very-different-guitar-recitals...

Coachella is streaming on YouTube all weekend long: Watch Lorde, OutKast & Skrillex live

March will bring two very different guitar
recitals on a single night

Stephen Smoliar February 23, 2014

SF Classical Music Examiner I have recently been writing about the fact that March will be a
| month in which serious listeners will have to wrestle over making
some very hard choices. It turns out that this proposition will
Related Photo: extend even to those with specialized interests. Even in the middle
of the week of the middle of the month, guitar lovers are going to
discover that they will have a choice to make.

On the one hand the next concert in the 33rd Dynamite Guitars

season, organized by the Omni Foundation for the Performing

Arts, will be a special event presented in association with The

Flamenco Society of San Jose. This will be the San Francisco

courtesy of the Omni Foundation for the Performing Arts debut of the renowned flamenco virtuoso Tomatito (José
Fernández Torres). He will be performing with his sextet, whose

other members are guitarist El Cristi, singers Kiki Cortiñas and

Simón Román, percussionist Lucky Losada, and featured dancer

Paloma Fantova. The program will feature a diverse selection of

flamenco approaches to different forms of song and dance.

This concert will take place on Wednesday, March 12, at 7:30 p.m. in the Palace of Fine Arts Theater (3301 Lyon
Street). Ticket prices are $65, $55, and $45. They may be purchased online through the event page for this concert
on the Omni Foundation Web site. Tickets may also be purchased by calling 415-242-4500, which will also provide
further information.

In a totally different style, John Zientek, currently in the Master’s program in classical guitar at the San Francisco
Conservatory of Music (SFCM), will be giving a diverse recital that same evening. On the classical side he will
perform the first of Mauro Giuliani’s “Rossiniana” compositions; but the remainder of the program will be far more
modern. Of greatest interest will be an arrangement of Toru Takemitsu’s orchestral composition “To the Edge of
Dream” for guitar and piano. This arrangement was prepared by Joseph Colombo on commission from Zientek,
and the pianist will be Keisuke Nakagoshi.

For the second half of the program, Zientek will perform with percussionist Elisabeth Hall. The first selection will be
a partita by Paul Lansky. This will be followed by “Ghosts of the Alhambra” from the first volume of George
Crumb’s Spanish Songbook. The vocalist will be Efraín Solís, currently an Adler Fellow with the San Francisco
Opera.

This concert will begin at 8 p.m. in the SFCM Recital Hall. The venue is located at 50 Oak Street, a short walk from

1 de 2 14/04/14 14:08

March dance calendar 2014 | New York Amsterdam News: The new Black view http://amsterdamnews.com/news/2014/mar/13/march-dance-calendar-2014/

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March dance calendar 2014

Charmaine Patricia Warren | 3/13/2014, 1:37 p.m.

Keelan Whitmore in LINES Ballet’s “Constellation” Dance in March offers up contemporary flamenco with Rocio
Molina and cantaora Rosario La Tremendita, as well as
Share This contemporary ballet from the San-Francisco-based Alonzo King’s
Story LINES Ballet.

0 The Baryshnikov Arts Center, in partnership with Flamenco
Festival New York, brings acclaimed flamenco performer Molina
Like and La Tremendita in the U.S. premiere of “Afectos” (March
20-22). For this collaboration, bassist Pablo Martín will join “the
3 fiery dancer and powerful singer [to] create a dynamic interplay
between movement and music, weaving together a series of
Tweet intimate, emotive vignettes,” according to the press release. For
more information, visit www.bacnyc.org.
0
In the same week, King’s LINES Ballet returns to the Joyce
0 Theater (March 18-23). After missing their New York stop last year,
thankfully, they are back!
Also of
interest LINES brings the New York premiere of “Constellation,” a work
wherein King “explores the orientation of our bodies to light,”
2 de 8 according to the release. “Constellation” is a collaboration with
visual artist Jim Campbell and Israeli mezzo-soprano Maya

10/04/14 14:24

March dance calendar 2014 | New York Amsterdam News: The new Black view http://amsterdamnews.com/news/2014/mar/13/march-dance-calendar-2014/

March Lahyani. The collaborators and the 11 dancers promise “a work that
dance is luminous and lucid, encompassing and intimate. Over the course
calendar of the piece, the dancers interact with the LED spheres—strings of
light drape the dancers’ bodies, and lighted globes are tucked in
April 2012 their hands or the crooks of their knees,” notes the release.
dance
calendar The dancers are Robb Beresford, David Harvey, Courtney Henry,
Ashley Jackson, Babatunji Johnson, Yujin Kim, Michael
Montgomery, Caroline Rocher, Jeffrey Van Sciver, Meredith
Webster and Kara Wilkes. Costumes are by LINES Ballet Creative
Director Robert Rosenwasser and couturière Colleen Quen, and
lighting design is by Axel Morgenthaler.

May 2012 Tamara Pinco photo
dance
calendar Rocia Molina
January
2014 dance Also this month
calendar
March 8-29: The 14th annual BAAD!ASS Women Festival at the
3 de 8 Bronx Academy of Arts & Dance, aimed at celebrating the
empowerment of women through art, culture and performance,
opens this year with Sole Sisters/choreographers Jennifer Chin,
Jessica Danser-Schwartz, Valerie Green, Shizu Homma, Nadine
Martinez, MAWU, K. Rizz and Yuko Snowbunny. For more
information, visit www.bronxacademyofartsanddance.org.

March 12: Renegade Performance Group’s Artistic Director André
M. Zachery will perform as part of the first Inception to Exhibition
Spring Dance Festival, a multidisciplinary organization serving
artists in the fields of dance, theater, music, film and visual art. For
more information, visit www.renegadepg.com.

March 14-16: Under Artistic Director Jelon Vieira, DanceBrazil’s
annual season will close out the Joyce Theater’s Brazil Festival with
its trademark movement vocabulary, live music and Brazilian
culture personified. New York premieres are “Búzios” by Guilherme
Duarte and “Gueto” by Vieira. Viera’s 2013 work “Fé do Sertão”
will round out the program. For more information, visit
www.joyce.org.

March 14-16: Kyle Abraham/Abraham.In.Motion takes part in the
92nd Street Y Harkness Dance Festival’s “Stripped/Dressed” series,
where he will share and talk about his 2010 work “The Radio
Show.” For more information, visit www.92y.org.

March 15-23: The Peridance Center’s two-week festival returns.
Week one will feature Peridance Contemporary Company in three
premieres by Robyn Minkeo Williams, Bryan Arias and Artistic
Director Igal Perry. In week two, as part of Flamenco Festival New
York, Manuel de Falla will present “El Amor Brujo,” featuring
Spanish flamenco cantaora Rocio Bazán and more. For more
information, visit www.peridance.com.

March 21-23: The REVERBdance Festival returns with
performances at the Baruch Performing Arts Center with a variety
of national and international choreographers, including
Abdur-Rahim Jackson/aB-LiV dAnCe, Mike Esperanza/BARE
Dance Company, Sidra Bell Dance, Bradley Shelver/Steps

10/04/14 14:24

Mañana es el gran show de Estrella Morente en Toronto | Toronto Hispano http://toronto.hispanocity.com/publicacion/2014/03/manana-es-el-gran-show-de-estre...

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Different Venues Fleck Dance Theatre Harbourfront
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Mañana es el gran show de Estrella Morente en
Toronto

Tras su espectáculo en New York, la artista española se presentará en la
ciudad de Toronto, en el Massey Hall.

Publicado: 10-03-2014 De nuestra redacción

TE GUSTÓ? Like 8 Twittear 7 0
COMPARTELO!

DEusratnrtee lellaDíMa doe rlaeMnutjeer, el pasado 08 de marzo Estrella Morente presentó un espectacular show en el mítico 10/04/14 14:23

Carnegie Hall, New York. Diversos medios a nivel internacional han destacado su espectáculo, señalando que la
artista española se metió al bolsillo a los asistentes con su genial arte y talento. Estrella Morente recordó a su padre,
el gran Enrique Morente; así como a Paco de Lucía y a Lola Flores, grandes artistas del flamenco que ya partieron de
este mundo.

Por segunda vez, Estrella Morente actuó en el Carnegie Hall. Vistió de negro y salió a cantar sola y a capela el
“Pregón de las Moras”. “Ay papíco de mi vida, yo no puedo andar, se me han roto las alpargatas y me he cambiado
un cristal”, cantó la artista española con un sentir desgarrador e insuperable esta canción de su disco “Autorretrato”.

Este martes 11 de marzo, será el turno de la ciudad de Toronto de disfrutar del gran talento heredado de la menor
de los Morente. Quien ofrecerá un gran show en el Massey Hall , 178 Victoria Street, Toronto, en el marco del
Festival de Flamenco 2014. Estrella Morente presentará su último disco “Autorretrato”. El espectáculo iniciará a las
8:00 de la noche, si aún no tienes tus entradas ingresa aquí.

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Love him or hate him, flamenco dancer Israel Galvan is mesmerizing - The Globe a... http://www.theglobeandmail.com/arts/theatre-and-performance/love-him-or-hate-him...

Love him or hate him, flamenco dancer Israel Galvan is mesmerizing

PAULA CITRON
Special to The Globe and Mail
Published Monday, Mar. 17 2014, 5:00 PM EDT
Last updated Monday, Mar. 17 2014, 5:00 PM EDT

To his legion of admirers worldwide, charismatic solo flamenco dancer Israel Galvan is an avant-garde genius who has taken
the art form to a new level of showmanship. To his detractors, Galvan is the most irritating man in Spain with his flamboyant
posturing and self-indulgent spectacles.

Both sides, however, acknowledge that Galvan’s mastery of flamenco’s lightning speed and intricate footwork place him among
the top flamenco artists in the world. Galvan has never found satisfaction as a traditional flamenco dancer. Rather, he has been
a maverick and a revolutionary who’s transformed flamenco puro into something that is both intensely personal and very
contemporary.

More Related to this Story

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Three powerhouses bring their can’t-miss dance shows to the stage in Vancouver

Galvan performs 21st-century nuevo flamenco that is dramatic, exciting, complex and highly creative. His show La Edad de
Oro (The Golden Age) finds him alone on stage with the Lagos brothers, singer David and guitarist Alfred.

What follows is 75 minutes of flat-out dancing with Galvan setting aside the conventional clichés of flamenco with his
innovative approach to rhythm. He drums his feet and clicks his fingers, but he also beats out the rhythms on his body – on his
chest, his navel, even his teeth. Love him or hate him, the guy is mesmerizing.

Compania Israel Galvan tours to Ottawa (Mar. 18), Vancouver (Mar. 22-23), Toronto (Mar. 29) and Montreal (Mar. 30)

1 de 1 10/04/14 15:30

Las distintas soledades de Eva Yerbabuena en "Lluvia" triunfan en Nueva York - Uni... http://feeds.univision.com/feeds/article/2014-03-10/las-distintas-soledades-de-eva

Las distintas soledades de Eva Yerbabuena en 14/04/14 14:18
"Lluvia" triunfan en Nueva York

Mateo Sancho Cardiel

Nueva York, 10 mar (EFE).- Tarantas, milongas o soleás al servicio de la soledad hicieron el
domingo al público neoyorquino ponerse en pie con "Lluvia", el espectáculo que la bailaora y
coreógrafo Eva Yerbabuena ha entregado en el Flamenco Festival de Nueva York y en el que
encadena contemporaneidad, metaflamenco y pasión.

Después de presentar "Ay!" el sábado, Yerbabuena ofreció otra cara de su talento en el New
York City Center con "Lluvia", espectáculo que le ha llevado de gira por todo el mundo, y en
el que la teatralidad que nace "de un día gris de pura melancolía" emprende una batalla
contra el silencio que casa el flamenco con el teatro, el melodrama y la parodia.

"El silencio hace daño cuando es puro", es el poema de Horacio Gracía que se lee en el
escenario, y "la Yerbabuena" lo araña con su punto fuerte, la apoteosis del taconeo, pero
también lo viste de esas influencias que ha ido recogiendo desde que comenzó su carrera,
allá a finales de los 80.

Así, el comienzo con "El sin fin de la vida" la presentó a ella como una flor roja entre un
campo humano gris y homogeneizado. Un muro, una puerta y Eva Yerbabuena emergiendo
de la platea para subir al escenario. Alfa y omega de este sentido espectáculo.

De Pina Bausch, quien le invitó en 2001 a participar en Wuppertal, en Alemania, aprendió a
encontrar la belleza coreográfica de los cuerpos imperfectos, y ese es el punto de partida de
"Lluvia", que se antoja en sus primeros minutos como una especie de guiño, en versión
distópica de su legendario "Café Muller".

Y así, una vez que Yerbabuena (Frankfurt, 1970) cruzó la puerta de aquél muro con
transparencias, se encendió el flamenco como grito de dolor y esperanza a un mismo tiempo,
en las voces de José Valencia, Enrique "El Extremeño" y Juan José Amador.

Una transición con el título de "Peldaño" y, por fin, la bailaora entregada a su arte en la
taranta "Barro" arrancaron los primeros "olés" de la platea.

A partir de ahí, el viaje melancólico se acelera y esa "Lluvia" emocional precipita con fuerza:
desde la incomunicación sentimental que atraviesa las maderas de una mesa en
"Soledades", uno de los momentos cumbres del espectáculo a ritmo de milonga, a la catarsis
sordomuda de baile contemporáneo llamada "Palabras rotas".

En ella, Yerbabuena desaparece como bailaora y brilla como coreógrafa: da protagonismo a
su cuerpo de baile, excelente, con Lorena Franco y Mercedes de Córdoba jugando a los
roles de género contra Christian Lozano y Eduardo Guerrero.

Eva Yerbabuena, tras esta vanguardista reinvención del quejío, reculó hacia la caricatura
voluntaria de la feria de Cádiz, se enganchó la rosa, la peineta y los faralaes y se dio al
tanguillo de "La querendona", dedicada a sus abuelos Concha y José, y al humor físico de
"Lluvia de sal", alegrías de "triquititrán" clásico con un giro de autoparodia que, al final, fue
pese a su ligereza lo que más animó a la audiencia.

Pero para cerrar con círculo coherente esta apuesta íntima, Yerbabuena se dejó el clímax
total: la soléa "Llanto", a ritmo de la hermosísima "Se nos rompió el amor", y con ella en
solitario entregada a la bata de cola, al terciopelo negro y al arrebato desgarrador,
recordando que ninguna flor duró dos primaveras, pero que "la Yerbabuena" lleva ya dos
décadas en lo más alto del baile flamenco. EFE

msc/ga

© EFE

1 de 2

La generosidad de Estrella Morente en Los Ángeles | Perdida en California http://abcblogs.abc.es/maria-estevez/2014/03/17/la-generosidad-de-estrella-morente-...

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Perdida en California

LaShare generosidad de Estrella Morente en Los Ángeles

Publicado por María Estévez el mar 17, 2014

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Las artes mágicas que tanto gustaban a Lope de Vega, a las que el arrebato añade pellizco y emoción, se plasmaron en el aire de
California, de Los Ángeles, de la Universidad de UCLA. Ayer llegó Estrella Morente a Hollywood y la luna, caprichosa y llena, se
asomó al balcón a verla hasta inundarla de luz. Hasta allí fuimos, igual que el actor Jeff Goldblum, que el cónsul de España, José
Luis Solano, o la nueva directora de la oficina de turismo, Belén González del Val. Una noche donde Morente derrochó generosidad,
con sus paisanos y con los californianos. Estrella, heredera de su dinastía y de las damas más grandes de la escena española. Con
cada gira se hace más grande y en esta se ha comprometido con Chicago, Miami, Nueva York, Toronto, San Francisco, Sonoma y
Los Ángeles donde ha demostrado que, si bien los pilares del flamenco se han puesto a temblar como hoy en la ciudad, ella viene a
sujetarlos. “Jartita” estoy de que digan cuánto pelean o peleaban tal y cual artista. Hablemos de la generosidad de las grandes en el
escenario, de sus interminables giras por el mundo, de cómo entendían al español que hecho a otra vida respiraba a su tierra en sus
canciones. Mujeres pioneras, luchadoras, entregadas. A Pastora Imperio, a Rocío Jurado, a Lola Flores o a Estrella Morente, a
ninguna se le oyó “esto no hay quien lo aguante” como hacen algunos actores, tal vez porque no es lo mismo sentir al público, tal vez
porque para ser tan artista y tan grande hay que saber ser generoso. Si Pastora se dio con Rocío y con Lola, la Faraona parece haberlo

1 de 4 10/04/14 14:21

La generosidad de Estrella Morente en Los Ángeles | Perdida en California http://abcblogs.abc.es/maria-estevez/2014/03/17/la-generosidad-de-estrella-morente-...

hecho con Estrella. Ayer en el Autorretrato que presentó en Los Ángeles le brindó homenaje a Lola Flores, al igual que a ese pilar del
flamenco que nos ha dejado temblando llamado Paco de Lucía, cuánta emoción en la seguiriya. Esa generosidad de Estrella siguió
desbordándose en el escenario cuando subió a una pareja con su bebé y le cantó al niño. Como las bulerías de la Niña de los Peines
dedicada, por petición, a un desconocido que le mandó un ramo de flores y fuera del escenario cuando un día antes, en Sonoma y con
las horas contadas para poder dormir antes de cambiar de ciudad, se fue a las once de la noche a visitar a un hombre que llevaba
meses esperándola y no pudo ir a verla por ponerse enfermo y Morente, cuando se enteró, decidió ir al hospital. Eso, igual que
hicieron antes Pastora, Rocío y Lola, porque lo hicieron, lo hizo ayer Estrella. Eso es generosidad.

El Festival de Flamenco tuvo por fin la visión de incluir la ciudad de Los Ángeles en su recorrido, que siga por muchos años porque
fue un éxito rotundo. Estrella Morente cautivó al público desde el principio, bien acompañada a la guitarra por Montoyita y Monti, a
la voz por Antonio Carbonell, su hermano Enrique Morente “Kiki”, tremendo en su interpretación, Ángel Gabarre y Pedro Gabarre
“Popo”, el percusionista que se arrancó por bulerías para ganarse un “qué arte tienes chiquillo”. Tras bajarse Estrella Morente del
escenario a cantar a su público entre las butacas, igual que las damas de la canción portuguesa, la cercanía desató pasiones y fue
“pa’rabiar”.

Como Lope de Vega, en una noche, en otro tiempo y en otro lugar, el arte mágico y efímero del flamenco se hizo presente, con la
luna de testigo. Gracias por tu generosidad. Qué bonito te enseñaron tu padre y tu madre a ser Estrella.

2 de 4 10/04/14 14:21

Israel Galván brings his unconventional flamenco to Toronto | Toronto Star http://www.thestar.com/entertainment/stage/2014/03/28/israel_galvn_brings_his_un...

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Dancer known for innovation performs La Edad de Oro at Koerner Hall on March 29.

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near Trenton Israel Galvan is a flamenco maverick bringing his signature work La Edad de Oro (The Golden rap: prosecution
Age) to Toronto's Koerner Hall on Saturday, March 29.
16C Thursday; parts of Hwy 401 closed after
By: Michael Crabb Dance, Published on Fri Mar 28 2014 tractor trailer fire

Forget the castanets and clicking heels, the endless peacock-preening machismo. Fennell insists ‘there is no scandal in
Prepare for a flamenco show like none you’ve seen, unless you’ve already witnessed the Brampton’
extraordinary artistry of Seville-born dance maverick Israel Galván.
Ex-employee held in North York office
stabbings

Young dad dies in crash after coming home
from unpaid overnight internship

Scandal hurting The chances are you have not. Although the world-travelled dancer has visited Canada
Wynne’s Liberals, poll before, his Saturday appearance at Koerner Hall marks Galván’s Toronto debut.
says
Galván, 40, long hailed in his homeland as a brilliant performer and fearless innovator,
has in more recent years become the toast of such major dance capitals as London and
New York. He’s redefined the popular image of flamenco, shedding its clichés and
demonstrating its ability to be a contemporary expression with potent theatrical appeal.

“He’s on another plane,” says Esmeralda Enrique, doyenne of Toronto’s own thriving Toronto.com: Top 10 Poutine Places in Toronto
flamenco scene.
First-time home
buyers feeling more La Edad de Oro (The Golden Age), the work Galván performs here, might suggest a A Panama vacation Travel Ireland, Dublin:
confident: poll classic flamenco recital. The dancer takes to a bare stage with an accompanying singer offers a tropical Quirky tour helps you
and guitarist, brothers David Lagos and Alfredo Lagos, respectively. Then the fireworks paradise with an urban make the most of the
start. For the next 75 minutes or so Galván proceeds to shatter every preconception you edge city
may have about flamenco.

There’s enough to hint at tradition but in speed, gesture and movement invention he No room for clutter Three recipes to get
defies categorization. Galván throws himself off balance, uses any available part of his —or guilt more pulses into your
body — teeth included — to beat rhythm and counters flamenco’s conventional push diet
into the ground with light, airborne moves. While his body can snap into the taut,
proud, arching posture of the toreador, Galván can equally become soft, almost lyrical.

It’s no surprise to discover that ballet is among many movement forms, along with
Indian kathakali, African dance, Japanese butoh and tap dance, that has fuelled

1 de 3 10/04/14 15:36

Israel Galván brings his unconventional flamenco to Toronto | Toronto Star http://www.thestar.com/entertainment/stage/2014/03/28/israel_galvn_brings_his_un...

Galván’s imagination.

It is, however, surprising to learn that Galván, born into a family of dancers, first
dreamed of becoming a soccer player. “Then, when I grew up, I became shy and dance
was a way of communicating with people,” he explains.

He trained with flamenco masters but never really conformed. Having emerged in the
late 1990s as an independent artist, Galván soon stirred controversy with his original
approach.

“Purists think he’s destroyed flamenco,” says Enrique. “Others think he’s opened it up.
People either love him or hate him.”

The haters are now in short supply as Galván has cast his spell across four continents. TV Listings
His special magic, apart from a one-of-a-kind charisma, is his authenticity.
What's on television tonight
“What I do is just to try to be loyal to myself, be honest in everything I do,” says Galván.
Most Popular
With more than 250 performances since its 2005 premiere, La Edad de Oro has
become one of Galván’s signature works. The “Golden Age” title encapsulates his belief College student dies after Hwy. 7 crash near
that the past is the past and that tradition, which he reveres and even references, is Trenton
equally made in the moment. “I think each person or dancer or artist has his own
golden age,” insists Galván. Tories rebuke Eve Adams but let her stay in
nomination race
And the work has evolved. “Think about your house and the little changes you always
make,” Galván says, “La Edad de Oro is my lab, where I test and try my ideas. I try to Patrick Brazeau charged with assault after
reflect also my different states of mind but being always loyal to the climate of the early morning arrest
show.”
Actor on Rob Ford's campaign team hosts
As for his journey from relative obscurity to dance celebrity — “crossing the desert,” as pot-smoking online show
he puts it — Galván views the transition cautiously.
Poll suggests gas-plants scandal hurting
“You can become a slave of success, in an infallible product, and then you won’t enjoy Kathleen Wynne’s Liberals
dancing. If you want to be happy dancing, you have to forget that and be yourself. You
have to focus on the way, not on the destiny. And assume that you have to make Ex-employee held in North York office
mistakes if you want to make good things.” stabbings

La Edad de Oro is at Koerner Hall, the Royal Conservatory of Music, 273 Bloor St. W.,
March 29 at 8 p.m.; 416-408-2824.

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2 de 3 10/04/14 15:36

Israel Galván brings a showstopping performance to the Vancouver International Da... http://www.straight.com/print/arts/613251/israel-galvan-brings-showstopping-perfo...

Home > Printer-friendly > Israel Galván brings a showstopping performance to the Vancouver International Dance Festival

Israel Galván brings a showstopping performance to the Vancouver
International Dance Festival

by Tony Montague on Mar 25, 2014 at 1:20 pm

At the Vancouver Playhouse on Saturday, March 22

You expect the unexpected and the cheekily imaginative from Israel Galván, and the flamenco star duly delivered a
gobsmacker at the Vancouver International Dance Festival. The Spanish legend astonished the audience with his
performance of La Edad de Oro, an intense 90 minutes of new flamenco dance, presented with singer Alfredo Lagos
and guitarist David Lagos.

The work showcased the trio’s impeccable teamwork. The intuitive understanding of the Lagos brothers was
extraordinary to see and hear, and they were given plenty of space and several solo spots to shine. Galván was the
lead attraction, however, and you couldn’t take your eyes off him. His sheer speed, the angularity and strangeness of
his gestures, and the agility of his footwork were mesmerizing. Constantly shifting pace, flow, and direction, Galván
was never frenzied, often wild, and always fluid. And best of all he was humorous, at times hilarious. The stream of
ideas seemed endless, and while the choreography was meticulously worked out it felt unforced, even improvisational.

After standing in a large rectangle of light in front of the silent musicians, Galván drew an imaginary semicircle on the
floor with his outstretched right foot. For a couple of minutes he danced with no accompaniment save his own
percussive feet, before voice and guitar joined in. The music was traditional, whereas Galván’s performance was
tradition-based, but blended strong elements of ballet, and contemporary and ancient dance. He referenced familiar
flamenco gestures, and sometimes sent them up—at one moment rapidly spreading the fingers of one hand behind his
head, suggesting at once the fancy hair-adornment worn by women in more opulent productions, the opening of a fan,
and a cockerel’s crest.

Galván filled the stage with his presence. While he usually kept within the brightly lit centre of the stage, he also
ventured into the penumbra beyond, playing to the wings. The production was stripped down, almost austere, while at
the same time the mood of the performance was generous and good-humoured—as when Galván clasped his hip
from behind his back and gazed out to the audience like a vamp.

Alfredo Lagos’s singing was thrilling. His melismatic flourishes were long and intricate, and at times he seemed about
to erupt with raw emotion, altering his delivery to better match the rhythmic cycle, the flamenco compás. At one point,
he engaged in a powerful dialogue with Galván, which ended quietly with the two men simply shaking hands. To close
another sequence, Galván simply floated one hand like a butterfly, or a piece of falling paper.

This was new flamenco at its finest, and the standing ovation was instantaneous. Following tradition, the performers
returned twice, stood downstage, and briefly attempted each other’s art with comic results, Galván singing tormentedly
and David Lagos parodying Galván with tiny steps and the dancer’s signature gestures.

1 de 2 10/04/14 15:34

Impressions of: Rocio Molina at BAC | The Dance Enthusiast http://www.dance-enthusiast.com/features/view/Afectos-Rocio-Molina-

Features > Impressions Related Features

Impressions of: Rocio Molina at BAC

By Deirdre Towers Published on March 24, 2014
View Profile | More From This Author Photo: Anna Lee Campbell

Rocio Molina & Rosario “La Tremendita" in the Flamenco Festival 2014 Advertise With Us
Dancer: Rocio Molina Make an impression - place an ad on The
Music: Rosario La Tremendita (Vocals and Guitar) and Pablo Martin (double bass and loops) Dance Enthusiast. Learn more.
Choreography and Art Direction: Rocio Molina
Venue: Baryshnikov Arts Center Contribute
March 20, 2014, 8pm Your support helps us cover dance in New York
City and beyond! Donate now.
In a class of her own with a sense of physical humor beyond compare, Rocio Molina treated the audience, which
included her host and ardent fan, Mikhail Baryshnikov, to a liberating, fearless performance.

Molina knows her form and flamenco tradition; she has mastered her technique. Having won choreography and dance
competitions from a very early age, she has nothing to prove and everything to gain by dancing her very particular
style. She gives us an endless blast of invention, exploring, with obvious glee, every cranny of Flamenco dance and
structure for fresh potency. Born in 1984, she is an astounding performer with the unique charm of such comedic
virtuosos as the late Danish pianist Victor Borge or Baryshnikov, especially his dancing Twyla Tharp’s 1976 Push
Comes to Shove.

Rocio Molina. Photo: Anna Lee Campbell.

The program at BAC begins with Pablo Martin ambling on stage to pick up his double bass, followed by Rosario La
Tremendita who sits in a fat, easy chair with a guitar. Molina completes the triangle, arriving in black tights pulled just
below the knee, midriff peeking through a black leotard, barely covered by a low-slung sundress. She too picks up a

2 de 4 14/04/14 13:48

Impressions of Gala Flamenca | The Dance Enthusiast http://www.dance-enthusiast.com/features/view/Gala-Flamenca-Flamenco-2014Ang...

Features > Impressions Related Features

Impressions of Gala Flamenca

By Deirdre Towers Published on March 10, 2014
View Profile | More From This Author Photo: Yin-Chun Wu courtesy of The Esplanade Co LTD

Flamenco Festival 2014 Advertise With Us
Dancers: Antonio Canales, Carlos Rodriguez, Karime Amaya, Jesus Carmona, Lucia Campillo, Carmen Coy Make an impression - place an ad on The
Director: Angel Rojas Dance Enthusiast. Learn more.
Music: Paco Cruz and Daniel Jurado (guitar); Miguel El Cheyenne (percussion), Roman Gottwald (violin), Rocio Bazan, Antonio
Campos, Ismael de la Rosa (singers) Contribute
Venue: New York City Center Your support helps us cover dance in New York
March 6, 2014, 8pm City and beyond! Donate now.

Virtuoso soloists who dance with ease and heart carried this year’s Gala, which could have been a response to the film
“Need for Speed.” In her Seguiriya, Karime Amaya, the grand-niece of Carmen Amaya nicknamed the “Human
Vesuvius” gave us unaccompanied, incredibly clean, fast footwork followed by moments of calm when she seemed
strangely vulnerable, if not slightly surprised. While Carmen Amaya was tiny and fierce, Karime Amaya, born in 1985,
has a subtle sensuality and slightly elusive quality. Despite her obvious diva power, she blended well with Lucia
Campillo and Carmen Coy for a playful trio danced with fans and red, snug fitting dresses with trains (bata de colas) in
a Caracoles choreographed with such flair and fluidity by Manuel Liñán.

Jesus Carmona, another soloist, is a tireless showman who would fit right into a Broadway cast with his flirtatious
panache. He began his Alegrías, a traditionally exuberant form in a twelve-count rhythm, sitting downstage left far from
the musicians in silence. The spotlight threw such a strong diagonal that he appeared to be wearing a mask. After all
the thunderous applause and violent floor drilling, his choice to remain completely still gave us all a brilliant reprieve.
He breathes new life into the traditional structure, exploring how to honor, yet break from each section of the Alegrias –
especially the extended Silencio.. His choreography with Campillo for the TrillA7 also made for a marvelous duet.

Jesus Carmona. Photo: Yin-Chun Wu courtesy of The Esplanade Co LTD 14/04/14 13:48

Carlos Rodriguez performed his lyrical choreography for Solea por bulerias with dispassionate grace. Criss-crossing
the stage, experimenting with subtle variations on traditional steps, his deviations defused the emotional impact of his
presence. At one point he acknowledged applause and then turned his body to face the wings, as though to say “If you

2 de 4

A Modern Man: Israel Galvan in “La Curva” | Musical America Blogs http://www.musicalamerica.com/mablogs/?p=16636

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A Modern Man: Israel Galvan in “La Curva”

By Rachel Straus

The Flamenco dancer Israel Galván juts his hand up in the air and calls, “Taxi!” flicks his fingers against the underside of his teeth,
and pounds white flour—all in volcanically dynamic rhythms. Far from being a traditionalist, Galván, who hails from a flamenco
family in Seville, isn’t making waves internationally just because he distorts flamenco tradition. He’s a figure of admiration because
his dance works push that tradition beyond its staid formulas, which include spectacle-like presentations featuring exoticism, tragic
otherness, and hyper masculinity.

In “La Curva” (The Curve, 2011), seen March 16 at the Michael Schimmel Center for the Arts at Pace University, Galván transforms
flamenco dancing’s noble male image. The experience is like watching a painter create a cubist portrait. Except in this case what
Galván presents is not a fractured face, but a full-blooded person, with his androgynous, grotesque, buffoonish, and madman
characteristics, as well as his regal, virile side.

On the wide stage reminiscent of a factory removed of its objects, Galván sallies between stage right, where the young, avant-garde
pianist Sylvie Courvoisier plays prepared piano, and stage left, where the middle age musician El Bobote and singer Inés Bacán are
seated at a table. El Bobote comes to represent the father as he raps his hands in counterpoint to Galván’s rhythms while shouting
salvos of approval. Meanwhile Bacán could be understood as the mother figure: her voice is as all encompassing as her Venus of
Willemdorf body.

1 de 4 09/04/14 12:41

A Modern Man: Israel Galvan in “La Curva” | Musical America Blogs http://www.musicalamerica.com/mablogs/?p=16636

Photo by Kevin Yatarola

In the middle of the 80-minute work, Galván hammers his feet atop the rickety table in front of his “parents” while Courvoiser plays
the opening bars of Igor Stravinsky’s “Rite of Spring.” Undoubtedly, Galván is thinking of the dancer-choreographer (and rebel)
Vaslav Nijinsky. He refused to employ ballets steps in his dance work to Stravinsky’s music. A kindred spirit for Galván, Nijinsky
distorted the ballet dancers’ bodies into totem-esque shapes in “Rite” and critics railed at this grotesquery. “Rite” also caused a riot.
In “La Curva,” the only real violence occurs when Galván topples, on four separate occasions, a stack of chairs. They crash to the
ground, but none present seem to care. It’s hard to cause a scandal in the theater these days.

Photo by Kevin Yatarola

In the program notes, the great flamenco dancer Vicente Escudero (1892-1980) is mentioned as a source of inspiration for “La
Curva.” Of particular interest to Galván, it says, was Escudero’s 1924 Paris performance, where the performer played a part of a
banjo as if it was a cajón (the Afro-Peruvian instrument currently used in most flamenco performances). In a similar fashion, Galván
hangs a folded chair over his chest and raps out a rhythm. The result is all too Duchamp. But the mention of Escudero in the program
notes appears to have a far greater significance than this one lost 1924 performance. Most flamenco fans associate Escudero with his

2 de 4 09/04/14 12:41

A Modern Man: Israel Galvan in “La Curva” | Musical America Blogs http://www.musicalamerica.com/mablogs/?p=16636

ten principles on male flamenco dancing. They are worth quoting:

Dance in a masculine style.

Sobriety.

Turn the wrist with the fingers closed.

Limited movement of the hips.

Dance in a calm manner, without vanity.

Harmony of feet, arms and head.

Be beautiful, flexible and honest.

Develop an individual style and emphasis.

Dance in traditional costume.

Keep a range of sounds in the mind, don’t put nails in the boots, dance on a simple stage and don’t use accessories.

In “La Curva,” Galván flouts every single principle of Escudero’s except the call to develop an individual style. Galván repeatedly
juts his hips forward à la Michael Jackson. He dances in black stretch pants and a t-shirt. He is never calm. Instead his dancing is like
a cyclone, where the most inner curve resembles warp speed. Rather than striving for harmony, Galván employs physical distortion
and isolation.

An iconoclast, Galván is one that thankfully has a cause. He refuses to be imprisoned by the noble, male, flamenco dancing image.
While it was carefully erected to celebrate the dignity of the gypsy, he sees no reason for keeping it. Those awkwardly stacked chairs,
which crash to the floor with a swift pull in “La Curva,” symbolize Galván’s thinking.

Like Be the first of your friends to like this.

Tags: Duchamps, El Bobote, Igor Stravinsky, Inés Bacán, Israel Galván, La Curva, Michael Schimmel Center for the Arts, Pace
University, Rachel Straus, Rite of Spring, Sylvie Courvoisier, Vaslav Nijinsky, Vicente Escudero

Related posts

A Masterwork by Israel Galván
New York Rites
Music and Dance Partnerships
Formalism in U.S. Dance
Dark Days: Jeanette Stoner and Dancers

Tags: Duchamps, El Bobote, Igor Stravinsky, Inés Bacán, Israel Galván, La Curva, Michael Schimmel Center for the Arts, Pace
University, Rachel Straus, Rite of Spring, Sylvie Courvoisier, Vaslav Nijinsky, Vicente Escudero

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3 de 4 09/04/14 12:41

http://www.pressdemocrat.com/article/20140314/entertainment/140319787

Flamenco singer Estrella Morente unleashes butterfly within (w/video)

By JOHN BECK FOR THE PRESS DEMOCRAT on March 14, 2014, 3:00 AM
The daughter of esteemed Spanish flamenco singer Enrique Morente, Estrella Morente was born into musical royalty.
At 7, she was performing in concert with her father. By 21, she'd recorded her first album (and married a bullfighter). And by 26, she
was collaborating with Academy Award-winning Spanish filmmaker Pedro Almodovar.
In the film, “Volver,” when actress Penelope Cruz sings the heart-wrenching title song, that's Estrella Morente's voice.

Now at 33, she leads the next generation of flamenco singers in Spain, with passionate bursts, smoky intonations and wiry, fluid
dancing.

When her father died while collaborating and helping record her latest album, “Autorretrato,” she likened it to a reverse
metamorphosis: “I was in the process of making music, caught up in the artistic process. I was like a butterfly with a lot of colors and
with wings open, flying. And (after my father died), life locked me up in the cocoon of a caterpillar before it becomes a butterfly.”

Now her mission is to get that music out to as many people as possible. Before she makes her Green Music Center debut Saturday
night, Morente took a tour break for an email chat:

Q: What was the first music you remember hearing as a child?

A: It was the voice of my grandmothers singing lullabies. And as time passed, it would be the voices of the people all around me —
the voices of the people working in the fields, in the mines and other jobs of Andalucia, the land where I was born.

Q: What did you learn about music and performing from your parents?

A: I learned that music calms the beasts. And I also learned that with music we can communicate in any part of the world. Music is a
bridge; it is dialogue.

Q: What is it about flamenco music that you fell in love with?

A: I am part of flamenco. Flamenco is my way of life. It is my life's breath. It is how my family celebrates life. It grows out of the
roots of the land and spreads across the world.

Q: How did you become involved with Pedro Almodovar's “Volver” and what was it like watching Penelope Cruz sing with
your voice?

A: I am lucky to be part of a masterpiece, a film that has traveled to all parts of the world. It came about as something natural and an
absolute collaboration between Pedro (Almodovar) and Penelope (Cruz). And in the end, she was able to convince even me that the
voice was hers. It is a song that audiences always request, in every place I perform.

Q: What can we expect to see on your latest tour?

1 de 3 10/04/14 14:10

http://www.pressdemocrat.com/article/20140314/entertainment/140319787

A: This will be an authentic show, from the soul and from the heart. The band is made up of musicians who have been playing
flamenco since they were born, and they will give it their all. This tour is the loudspeaker of our feelings and from there we will
branch out from flamenco to other worlds.

Q: What's the perfect show like for you these days?

A: I've dreamed every day about it and I still do not know yet! What I really feel is that each time I sing in concert, if you could see a
bit more about me, you will see how I break into a thousand pieces like glass. So every show is a different experience for the
audience and for me. That way it doesn't become boring, and if we're lucky we discover the magic of improvisation.

Bay Area freelancer John Beck writes about entertainment for The Press Democrat. You can reach him at 280-8014,
[email protected] and follow on Twitter @becksay.

The daughter of esteemed Spanish flamenco singer Enrique Morente, Estrella Morente was born into musical royalty.

At 7, she was performing in concert with her father. By 21, she'd recorded her first album (and married a bullfighter). And by 26, she
was collaborating with Academy Award-winning Spanish filmmaker Pedro Almodovar.

In the film, “Volver,” when actress Penelope Cruz sings the heart-wrenching title song, that's Estrella Morente's voice.

Now at 33, she leads the next generation of flamenco singers in Spain, with passionate bursts, smoky intonations and wiry, fluid
dancing.

When her father died while collaborating and helping record her latest album, “Autorretrato,” she likened it to a reverse
metamorphosis: “I was in the process of making music, caught up in the artistic process. I was like a butterfly with a lot of colors and
with wings open, flying. And (after my father died), life locked me up in the cocoon of a caterpillar before it becomes a butterfly.”

Now her mission is to get that music out to as many people as possible. Before she makes her Green Music Center debut Saturday
night, Morente took a tour break for an email chat:

Q: What was the first music you remember hearing as a child?

A: It was the voice of my grandmothers singing lullabies. And as time passed, it would be the voices of the people all around me —
the voices of the people working in the fields, in the mines and other jobs of Andalucia, the land where I was born.

Q: What did you learn about music and performing from your parents?

A: I learned that music calms the beasts. And I also learned that with music we can communicate in any part of the world. Music is a
bridge; it is dialogue.

Q: What is it about flamenco music that you fell in love with?

A: I am part of flamenco. Flamenco is my way of life. It is my life's breath. It is how my family celebrates life. It grows out of the
roots of the land and spreads across the world.

Q: How did you become involved with Pedro Almodovar's “Volver” and what was it like watching Penelope Cruz sing with
your voice?

2 de 3 10/04/14 14:10

http://www.pressdemocrat.com/article/20140314/entertainment/140319787

A: I am lucky to be part of a masterpiece, a film that has traveled to all parts of the world. It came about as something natural and an
absolute collaboration between Pedro (Almodovar) and Penelope (Cruz). And in the end, she was able to convince even me that the
voice was hers. It is a song that audiences always request, in every place I perform.

Q: What can we expect to see on your latest tour?

A: This will be an authentic show, from the soul and from the heart. The band is made up of musicians who have been playing
flamenco since they were born, and they will give it their all. This tour is the loudspeaker of our feelings and from there we will
branch out from flamenco to other worlds.

Q: What's the perfect show like for you these days?

A: I've dreamed every day about it and I still do not know yet! What I really feel is that each time I sing in concert, if you could see a
bit more about me, you will see how I break into a thousand pieces like glass. So every show is a different experience for the
audience and for me. That way it doesn't become boring, and if we're lucky we discover the magic of improvisation.

Bay Area freelancer John Beck writes about entertainment for The Press Democrat. You can reach him at 280-8014,
[email protected] and follow on Twitter @becksay.

3 de 3 10/04/14 14:10

http://abclocal.go.com/wpvi/story?section=news/entertainment/6abc_loves_the_arts...

6ABC Loves The Arts

Gala Flamenca at the Kimmel Center

Friday, February 14, 2014

TAGS: 6abc loves the arts

Comment Now Email Print Report a typo

February 16, 2014 (WPVI) -- Flamenco is the traditional dance of Spanish gypsies and four of the
most celebrated flamenco dancers in the world will be filling the Kimmel with the fiery rhythms and
true spirit of the dance.

"We'll have guitarists on stage, men and women dancing with each other, says Jay Wahl, Artistic
Director at the Kimmel Center, there are these gorgeous painted silk gypsy dresses, these hand-
painted shawls and fans castanets."

In folk tradition, Wahl says the Flamenco dance tells a story. "It carries with it this history of the
emotional people from Spain but how they survive and work together and form relationships."

While the art of the flamenco dance dates back hundreds of years, this performance is
contemporary with modern instruments and lighting. "The energy the fire the history of this entire
nation of people is out on the stage but it's interpreted for today," explains Wahl, "You're going to
see lots of different approaches with these 4 dancers. They'll take turns, they'll work together,
they'll work in different partnerships, and I think it will give you a lot of opportunities to take
perspectives on the way Flamenco can be interpreted."

And he says the show is designed for the entire family, "The emotion in which the movement and
the sound of the castanets will really translate to all ages." Gala Flamenca will be at the Merriam
Theater on March 2nd at 7pm.

For tickets go to www.TheArtsinPhilly.org.

Or you can visit 6abc.com's Entertainment Channel to find out about other area events.

(Copyright ©2014 WPVI-TV/DT. All Rights Reserved.)

TAGS: 6abc loves the arts Get more 6ABC Loves the Arts »

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1 de 2 10/04/14 14:13

hoyesarte.com Estrella Morente brilla en L.A. http://www.hoyesarte.com/opinion/estrella-morente-brilla-en-los-angeles_159285/print/

- hoyesarte.com - http://www.hoyesarte.com -

Estrella Morente brilla en L.A.

Posted By luismartin On 24 marzo, 2014 @ 0:24 In Flamenco,Opinión | 1 Comment

Se apagaron las luces y apareció, envuelta por la oscuridad del escenario, y cantó a capela. Su voz desgarradora llenó el
auditorio. Vestida de negro y con el pelo recogido, con la elegancia que le caracteriza, se presentó ante los asistentes,
entre los que se encontraban el actor Jeff Goldblum y el cónsul general de España, José Luis Solano.

Flamenco y universidad

Morente agradeció la oportunidad de cantar en la UCLA y de acercar el flamenco a la universidad, a los jóvenes, algo de lo
que su padre se sentiría muy orgulloso. Se dirigió a su público en español, entre los que debía haber muchos
hispanohablantes, a juzgar por los numerosos “¡Guapa!”, “Olé, chiquilla” y “¡Qué arte!”

Dos guitarras, una percusión y tres voces (entre ellas la de su hermano) le acompañaron, consiguiendo embriagar al
público de puro flamenco. Desde la primera nota de Autorretrato se pudo percibir la química y compenetración entre ellos.
Se sentía que eran uno y no una sola, aunque todos tuvieron su momento de protagonismo. Su hermano, José Enrique,
sobre el tablao, sólo con su voz y su guitarra, deleitó con una canción. Montoyita, guitarrista principal, le dedicó unas notas
al maestro Paco de Lucía, y el percusionista nos acercó a nuevas fusiones de rap y flamenco.

Noche de homenajes

En el Royce Hall, este arte demostró una vez más su universalidad. Entre esas cuatro paredes, de excelente acústica, el
público fue testigo del verdadero duende flamenco, esos sonidos negros, en palabras de Lorca, que “son el misterio, las
raíces que se clavan en el limo que todos conocemos, que todos ignoramos, pero de donde nos llega lo que es sustancial
en el arte”.

En California se instaló una porción de España. La artista granadina, radiante ahora de blanco y mostrando su melena,
homenajeó a los grandes del pasado. Cantó por Miguel Hernández y por Juan Ramón Jiménez, recordó a su padre, a Lola
Flores, a Paco de Lucía (“las cuerdas de la guitarra están llorando por Paco”) e interpretó, a petición del público, un tema
de La Niña de Los Peines.

Los asistentes se mostraron emocionados y receptivos en todo momento, pero el punto álgido, el de mayor conexión entre
todos, llegó cuando, tras sonar las primeras notas de la esperada Volver, la artista bajó del escenario para entremezclarse
con su público. Ya con las luces del auditorio encendidas, Morente tomó en brazos a un bebé de una pareja española, al
que le cantó a capela, dibujando una enorme sonrisa en su entregado público.

Article printed from hoyesarte.com: http://www.hoyesarte.com 10/04/14 15:22
URL to article: http://www.hoyesarte.com/opinion/estrella-morente-brilla-en-los-angeles_159285/

Copyright © 2013 hoyesarte.com. All rights reserved.

1 de 1

GALA FLAMENCA to Bring Stars of Flamenco to Philadelphia, 3/2 - BWWDance... http://www.broadwayworld.com/bwwdance/article/GALA-FLAMENCA-to-Bring-St...

undefined

by Dance News Desk January 31 http://www.broadwayworld.com/bwwdance/article/GALA-FLAMENCA-to-Bring-Stars-
of-Flamenco-to-Philadelphia-32-20140131

Related: Merriam Theater, GALA FLAMENCA

Under the direction of Angel Rojas, Gala Flamenca brings together four of the world´s
most celebrated flamenco dancers for Merriam Theater debut on Sunday, March 2 at 7
p.m. This fiery, spirited performance is a showcase of the best modern flamenco with
dancers, guitarists and singers joining on stage for new interpretations of this art form.

The program features the master of flamenco, Antonio Canales, one of Spain's most
powerful flamenco dancers of all times, the unforgettable choreography of Nuevo
Ballet Español Carlos Rodríguez, Karime Amaya, grandniece of legendary Carmen
Amaya, and the sensationally beautiful and riveting performer of the young starlet,
Jesús Carmona.

Tickets are available from $35 to $62 at kimmelcenter.org, 215-893-1999, or at the
Kimmel Center Box Office located on Broad and Spruce streets, Philadelphia, Pa.
(open daily from 10 a.m. to 6 p.m., later on performance evenings).

© 2014 Copyright Wisdom Digital Media. All Rights reserved.

1 de 1 10/04/14 14:14

Gala Flamenca dances across VPAC stage with style | Daily Sundial http://sundial.csun.edu/2014/03/gala-flamenca-dances-across-vpac-stage-with-style/
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The curtain is raised and a single beam of light spills over Carlos Rodríguez, a Plug-in social de Facebook
member of the renowned flamenco dance group Gala Flamenca. He moves his
hands towards the light and suddenly clicks his heels across the floor like the @DailySundial on Twitter
finger-snapping of a beat poet. There is a sharp progression, the tapping
elevates to a climax and then silence ensues once again.

As the story unfolded, the clapping and singing embroidered into the rhythm of
the guitar. The vocals of Rocío Bázan, Antonio Campos and Ismael de la Rosa
channeled the pulse of flamenco across the stage. Meanwhile, Jesús Carmona
churned out a complex pattern of foot stomping as musicians circled around
him. This illustrated the traditional roots of flamenco which was traditionally a
close-knit community gathering rather than a formal performing art.

Three women emerged in traditional red flamenco dresses with long ruffled tails
elegantly trailing behind them. Their black hair was slicked into a bun and
adorned with a flower. They glided across the stage and burst into a vibrant mix
of cascading dresses, arching their backs and using hand-held fans to
emphasize their wrist movements.

1 de 3 Audience members interacted with performers by shouting “Olé!” — a term 10/04/14 14:14
used to indicate approval and a strong emotional connection with the dance.

Karime Amaya took the performance to another level as she lifted her dress to

Gala Flamenca dances across VPAC stagheewr kitnhesetysled|uDrianiglyhSeurndsioallo and clicked her heels athattsp:h//astutnedriinalg.cssupne.eeddu./H20e1r4c/0li3p/sgala-flaTmweenecat-sdances-across-vpac-stagFeo-lwloiwth-style/
begin to fall out and her hair begins to unravel, but she didn’t pause. Instead,

she continued her segment with an intense vigor and footwork that brought the Daily Sundial 11h
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Gala Flamenca at City Center - NYTimes.com http://www.nytimes.com/2014/03/08/arts/dance/gala-flamenca-at-city-center.html

http://nyti.ms/1npqTbu

DANCE | DANCE REVIEW

Rhythmic Flourishes, Poise, Posture and the Forceful Whirl of
Skirts

Gala Flamenca at City Center

By ALASTAIR MACAULAY MARCH 7, 2014

New York’s Flamenco Festival is back with us. The crowd that thronged City Center on Thursday for the
first of two Gala Flamenca evenings abounded in Spanish speakers and flamenco aficionados. The
performers onstage, most of them strongly individual, all won eager applause.

The evening — just over 90 minutes, no intermission — reached its high point at the end, with a long,
voluptuous, powerful Seguiriya solo by Karime Amaya. (She’s the grandniece of the legendary Carmen
Amaya.) Only her dancing was solo; the way she worked with her six male musicians (the singers Antonio
Campos and Ismael de la Rosa, the guitarists Paco Cruz and Daniel Jurado, the violinist Roman Gottwald
and the percussionist Miguel El Cheyenne) made this the evening’s most intensely musical collaboration.

The sumptuous hourglass curves of Ms. Amaya’s figure — handsomely dressed in gold and black —
swayed, tipped and arched. Her head turned vividly in opposition to either shoulder. And her feet —
sometimes she hoisted her skirts above her knees — paced, darted and drummed.

Some of the evening’s male performers had delivered multiple pirouettes, but her rhythm made her
solo far more exciting when she delivered a quick, biting series of single pirouettes. She reached a climax
in a foot-trill that was astonishing not just in its power and rapidity, but in its rhythmic and dynamic
variety: One pulsation kept playing differently against another pulsation, always with an urgently
propulsive force.

The evening’s most exciting male dancer was Jesús Carmona. We saw him first in silhouette in the
evening’s opening Cantes, when it was fascinating to see how just his stance (a taut arc) and the brilliant
incisiveness of his footwork raised the evening’s tension within a second or two. And he can stand still,
with his face turned upward and his arms held in lines descending from the shoulders, and slowly circle
his hands to marvelous effect; it’s less the hands than the strong stillness of the rest of the body that makes
so fine an impression. In the dance duet “TrillA7,” performed with Lucia Campillo, every phrase he
delivered was an event.

Still, there’s something steely about his stylishness. When he returned for his big Alegrías solo later in
the evening, he sat on a chair for a silent eternity before moving — finally starting only after some polite
clapping from the audience. And what followed was punctuated with all too many bright smiles at us:
smiles that did not seek to ingratiate but that broadcast an awareness of triumph.

Certainly he made his Alegrías wonderfully brisk. Just the rapacious way he strides across stage space
is terrific, the fast-slicing percussiveness of his feet is brilliant, and the glamorously alert lines and shapes
he made throughout the body were almost as radiant as his smiles. But neither as musicianship nor as
drama is this great flamenco.

I have little admiration for the coarser delivery of Carlos Rodríguez, who performed a “Soleá por
Bulerías (Sienta)” early in the program. And there is much to object to in the blowzy performance style of
Antonio Canales, who delivered “Modernidad” and “Tangos de la Chumbera.” Neither of these men shows

1 de 2 14/04/14 13:54

Gala Flamenca at City Center - NYTimes.com http://www.nytimes.com/2014/03/08/arts/dance/gala-flamenca-at-city-center.html

the proud, stretched head-to-heel stance that can be part of flamenco’s glory; and Mr. Canales’s manner is
campy, ingratiating, even sleazy.

These men have quantitative technique in terms of rapid foot-trills; and Mr. Rodríguez is especially
fond of multiple pirouettes. But neither has the rhythmic complexity or dynamic variety that takes
flamenco beyond a series of wow effects; and Mr. Canales showed less wow than efforts at seedy charm.

The Caracoles for Ms. Amaya, Ms. Campillo and Carmen Coy — all dressed in red — brought multiple
pleasures: the tightly clad curves of the women’s figures from shoulder to thigh, their powerful
manipulation of their trains (sometimes seeming as massive as iguanas’ tails), and their constant
forcefulness. Rocío Bazán’s singing of the Señora, for all its idiomatic quality, was unrelentingly loud and
abrasive.

Neither the two male singers nor the guitarist were given the extended solos that are often vital
ingredients of good flamenco evenings. Although flamenco is a genre where dance and music work
together with phenomenal intimacy, here that only mattered much in Ms. Amaya’s Seguiriya.

The Flamenco Festival runs through Sunday at City Center, 131 West 55th Street, Manhattan; 212-581-1212, nycitycenter.org.

A version of this review appears in print on March 8, 2014, on page C7 of the New York edition with the headline: Rhythmic Flourishes,
Poise, Posture and the Forceful Whirl of Skirts.

© 2014 The New York Times Company

2 de 2 14/04/14 13:54

Gala Flamenca and Flamenco Festival | Broad Street Review http://www.broadstreetreview.com/books-movies/gala-flamenca-and-flamenco-festival

Broad Street Review

Gala Flamenca and Flamenco Festival

The dance as trance or political statement

Naomi Orwin

March 12, 2014 in Dance

I first encountered flamenco in a smoky club in Seville in the 1970s. I was young and daring.
It was late, and I was tired. But the music and the haze and the mournful songs and the
percussive sounds of hands and feet, the palmas and the zapateado, captured my imagination.
I was entranced. And then flamenco came to Philadelphia. For two weeks I could see the
dance, immerse myself in the music and the sound and, perhaps, recapture the impossible
adventures of my youth.

What I got was not only an experience of dance, but also a lesson in the history and politics of
a dance form that is as complex as the dance itself.

In the vastness of the Merriam Theater for Gala
Flamenca, I could pretend for a moment that I was
again in that club in Seville. A single dancer,
dressed in black, barely visible against a black
background, only face and hands reflecting flashes
of light, drew me back. The dancer was both the
music and the form. The rhythm came from his
feet. The sonorous voice of the cantaor evoking
pain and pathos and longing and who knows what
else — I didn’t have a clue what the words meant
— became my pain.

Rosario Toledo: Seeing flamenco in a whole new light. The dancers (Carlos Rodríguez, Jesus Carmona,

Lucía Campillo) danced, preening, commanding

“look at me.” Guitar, violin, drum, clapping hands, pounding feet. They cast a spell, and I couldn’t look away. Then

Antonio Canales appeared, wearing a loose shirt, and exuding the ease and confidence of the old master who has

done it all before. He smiled, he smirked, he played with the rest of the company on stage. It was effortless. Three

women (Karime Amaya, Lucía Campillo, Carmen Coy) in red dresses with flounces so voluminous that they

became dance partners, filled the stage with another energy.

Seeing Rosario Toledo perform Vengo at WHYY was seeing flamenco in a whole new light: This was traditional and
modern dance together. Toldeo wore sneakers as well as tap shoes, a short dress, and even a bathing suit. At one
point she danced barefoot. The stage was covered with sand and water, and the music was jazz, not Spanish
folklorica. This was not the flamenco I remembered, but it was equally seductive.

The performance was part of the Philadelphia Flamenco Festival, which offers lectures and classes and examples
of flamenco as an ongoing, ever-changing art form, one that is trying to change the traditional rules and gender

1 de 2 10/04/14 14:13

Gala Flamenca and Flamenco Festival | Broad Street Review http://www.broadstreetreview.com/books-movies/gala-flamenca-and-flamenco-festival

roles of the past.

And thus began my lessons in the origins and history of flamenco.

Commenting on the rules through breaking the rules

“It can be a pleasure just dancing traditional flamenco for what it is,” says Elba Hevia y Vaca, who organized this
year’s festival, although her focus has been on innovation and empowerment for women. That’s why she has
created Pasión y Arte Flamenco Company, a local all-female flamenco dance troupe, and why she has invited so many
innovators of the form — like Toledo, and Israel Galván and his sister Pastora Galván — to participate in the
festival.

But the history of flamenco is a part of the changes that are now occurring in the form. “The strategies to break
the rules are also commentary on those rules,” said Michelle Heffner Hayes, PhD, who gave a presentation on the
elements of flamenco and chaired a symposium on flamenco and popular culture as part of the festival.

Flamenco, which is a fusion of cultures — Arabic, Romani (Gypsy), Sephardic Jewish, North African, Indian,
Spanish folklore, Latin American, and Carribean — started as a dance of the lower classes, then moved to the
stage (the cafés cantantes), then the opera, until now it has become a representation of Spanish culture itself.
Along the way, it turns out, it has had to shake some controversial gender stereotypes (the image of Carmen as
seductress, for one) and some racial ones (it has connections to blackface and minstrel traditions), as well as the
rigid rules that govern traditional performances (men and women have different stances and hand and arm
movements).

As culture has changed, so has flamenco. And as the form is taught in various countries, it takes on characteristics
of those countries. In this country, it draws from (and has connections with) blues, jazz, tap, and breakdancing,
which are all also music and dance forms that originated from the streets and have grown into representations of
American culture.

And now that I know all this, I wonder, does it matter? Do I need the history to appreciate the form, or can I just
go and watch the dancers and enjoy the music? For the innovators in any field the challenge is to make what is old
and traditional relevant again while at the same time creating an art form that others want to see. If they’ve done
their job, do I need to know it, or can I just go to the theater and once again be that young woman in a smoky club
in Seville who fell in love with the dance?

♦

More in Dance

2 de 2 10/04/14 14:13

Gala Flamenca | Find tickets for all of the performing arts events http://www.artsfreepress.com/events/gala-flamenca-3/

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GALA FLAMENCA Address:
Academy of Music, South Broad Street,
KIMMEL CENTER Philadelphia, PA 19102

Mar 2, 2014 Phone:
Featuring some of flamenco’s greatest stars, this evening will represent the true 215-893-1999
spirit of the dance in all its fiery glory! Directed by Ángel Rojas, witness four of
the world’s most celebrated flamenco dancers including virtuoso Antonio
Canales, Nuevo Ballet Español choreographer Carlos Rodríguez, beautiful and
riveting performer Karime Amaya (grandniece of legendary Carmen Amaya),
and the young starlet Jesús Carmona.

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1 de 2 10/04/14 14:13

Flamenco Vocalist Estrella Morente to Return to Carnegie Hall, 3/8 - BWWDanceWorld http://www.broadwayworld.com/bwwdance/article/Flamenco-Vocalist-Estrella-More...

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by Dance News Desk January 22 http://www.broadwayworld.com/bwwdance/article/Flamenco-Vocalist-Estrella-Morente-
to-Return-to-Carnegie-Hall-38-20140122#.U0aKSccR1Qw

Estrella Morente, the celebrated flamenco vocalist renowned for her powerful singing and
rhythmic control, returns to Carnegie Hall on Saturday, March 8 at 7:30 p.m., bringing a
modernized take on the rich and complex tradition of classic flamenco music to Stern
Auditorium / Perelman Stage. This concert is presented in partnership with Flamenco
Festival, Inc.

Born in Granada, Morente is the eldest daughter of the late, legendary flamenco singer
Enrique Morente and the dancer Aurora Carbonell. She grew up surrounded by flamenco
and has since become one of Spain's most sought-after performers, drawing modern
elements of pop and jazz balladry into her music while remaining true to the classic
flamenco tradition. Morente's music has been universally lauded by demanding flamenco
connoisseurs and modern rock artists alike for its crystalline timbre and for the singer's
ability to move seamlessly between warm, seductive tones to more raw and expressive
phrases. A deep knowledge of the art form, as well as innate musical taste has made
Morente a point of reference for aficionados and newcomers to flamenco singing.

Morente is an experienced performer, having sung traditional Cantes de Levante at the
age of four and recorded with famed guitar master and flamenco composer Sabicas at
seven years old. She made her US debut in 2007 as part of the World Music Institute's 8th
Annual New York Flamenco Festival, and was featured on the soundtrack for Pedro
Almodóvar's film Volver (EMI Latin) in 2006. Morente has performed in prestigious
music venues and festivals the world over, including the Konzerthaus in Vienna, Royal
Theatre Carré in Ámsterdam, Auditorium Parco della Musica in Rome, the Oslo International Festival, and Les Suds à Arles and
Festival Voix de Femmes in France, among others. Recently, she recorded De Falla's El Amor Brujo with the Spanish National
Orchestra under the direction of Josep Pons. Her latest album, Autorretrato (EMI), was released in October 2012.

The Flamenco Festival is dedicated to the promotion of flamenco artists outside of Spain. The festival's annual international events
showcase the leading flamenco names of today, from world renowned artists and icons of traditional flamenco to the most innovative,
emerging young stars of flamenco dance, music, and song. Directed and founded by Miguel Marin in 2001, each year the festival is
presented in new theaters across the US-including New York, Washington DC, Miami, and Boston among other locations-and brings
new audiences to flamenco. In 2003, the first Flamenco Festival was presented in London at Sadler´s Wells Theatre, and has since
become an annual staple. The festival has continued to grow internationally, bringing flamenco to the most prestigious theaters of the
world, including those in Paris, Japan, China, Brussels, Moscow, and São Paulo, among others.

Page 2 >>

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1 de 1 10/04/14 14:11

Flamenco prodigy Israel Galván in Montreal for one night only! - mountainlake.org http://mountainlake.org/blogs/gens-delights/flamenco-prodigy-israel-galván-in-montr...

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The flamenco prodigy Israel Galván will be performing one night only in Montreal at Théâtre Maisonneuve
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Currently completing a North American tour, the prince of contemporary flamenco returns to Montreal to McGill University Schulich School of Music
present his show La Edad de Oro ( The Golden Age ) at Théâtre Maisonneuve of Place des Arts Sunday, Fundraiser Festival orchestra Chinese Food
March 30 at 7:30 pm Children Kids Fine dining play Old Port of
Montreal MAISON SYMPHONIQUE DE
With La Edad de Oro , Israel wishes to conveys his vision of the world through dynamic avant-garde MONTRÉAL Musical Usine C Charity event
expressions with his whole body: amazing footwork , powerful strides, facial expressiveness , waving McGill Rialto Theatre Nutcracker Montreal
arms, arched back... simply fantastic ! Just the percussive way the passionate dancer slams his fingers Highlights Festival Florie Valiquette Etienne
and hands on his body weaves a unforgettable rhythm into your mind. Dupuis Circus Festival de Jazz de Montréal
Chinatown Fashion McGill Symphony
The entire result is a stunning commentary on traditional flamenco and how Israel sets the bar high by Orchestra dinner Buonanotte Nutcracker
setting new standards in rhythm and drama! Market

La Edad de Oro premiered in 2005. It was acclaimed as being unpretentious with the show being Blog Categories
presented with a minimalist setting and strategic lighting to enhance the body movements.
Accomodations Arts Chalets concept
Israel Galván shall be once again accompanied by the talented brother duo David and Alfredo Lagos, restaurants Concert cultural Exhibition
respectively singer and guitarist.

La Edad de Oro is a unique event that flamenco aficionados will not want to miss !

1 de 4 10/04/14 15:37

Flamenco Meets Jazz: Aaron Diehl and Dani de Morón | Concerts | Time Out New York http://www.timeout.com/newyork/music/flamenco-meets-jazz-aaron-diehl-and-dani-...

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1 de 2 10/04/14 15:27

Flamenco Fever: Discover the Magic : San Francisco Classical Voice https://www.sfcv.org/article/flamenco-fever-discover-the-magic

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March 11, 2014

Flamenco Fever: Discover the Magic

BY MOLLY COLIN (/AUTHOR/MOLLY-COLIN)

There is something about flamenco music and Spain
evoked in Woody Allen’s 2008 film Vicky Cristina
Barcelona that is at once inviting and tempestuous. A
Spanish red wine and tapas-fueled night out at a San
Francisco candlelit bodega, complete with a recorded
soulful flamenco bulerias (bolero) playing in the
background, comes close to the real thing.

There is, however, nothing like the real thing, as four
flamenco artists will demonstrate over the next few
days as they heat up San Francisco Bay Area stages for
some serious heel smashing, head tossing, and
mesmerizing vocals.

The Spanish gypsy guitarist Tomatito and his Flamenco
Sextet kick off an unofficial week of flamenco on
Wednesday, March 12 at San Francisco’s Palace of Fine Estrella Morente

Arts. That same night in Berkeley the innovative,
five-member Spanish dance ensemble Ballet Flamenco Eva Yerbabuena perform
the choreographer’s full-length work Lluvia at Zellerbach Hall, where two days
later Spain’s most famous living flamenco singer, Estrella Morente, makes her
California debut. Local flamenco dance treasure Carolina Lugo and her company,
Carolina Lugo's & Carolé Acuña's Ballet Flamenco, cap the week on Sunday at San
Francisco’s Peña Pachamama Cultural Center.

The passion, fire, and grace of flamenco have long made it popular around the
world, according to Miguel Marin, the Andalusian-born, New York-based artistic
director of the Flamenco Festival, an organization that tracks the pulse of the art
form in Spain and produces international tours of Spanish artists. The recent
death of Spanish flamenco guitar legend Paco de Lucia only deepened the
musical genre’s international following, said Marin, speaking by telephone in
early March from Manhattan, where the Flamenco Festival was underway.

“He explored many other kinds of music and really went out of the boundaries of
flamenco,” said Marin of de Lucia, noting the guitarist explored rhythms,
harmonies, and instruments from outside the flamenco norm, such as
incorporating the Peruvian cajón, a six-sided wooden box that’s played as
percussion, into the musical mix.

As a result, Marin said, de Lucia had a
tremendous impact on the flamenco
world, including Morente and “My house was an art factory
Tomatito. A teenage protege of de growing up” -Estrella
Lucia, the Latin Grammy award- Morente, flamenco singer
winning guitarist Tomatito, born José
Ferńandez Torres, is known for
blending traditional flamenco with
jazz. Like his mentor, Tomatito, 55, combines age-old flamenco guitar
techniques, such as hard-edge strumming and suspenseful phrasing, to perform
a constantly shifting musical drama, his critics say. His upcoming performance
features musicians and a dancer. Requests for an interview with the guitarist,
who is touring the United States, were not answered by press time.

The 33-year-old Morente frequently
collaborated with de Lucia as well as
with many different kinds of musicians,
said Marin: “Estrella can sing Fado, she
can sing Argentine tango, she can
combine all different kinds of music
because artists like Paco de Lucia
opened the doors.”

The eldest daughter of the late Enrique
Morente, a prominent Spanish
flamenco singer, and the flamenco
dancer Aurora Carbonell, Morente has Tomatito

become one of Spain’s most
sought-after performers. She began participating in concerts with her father at
age seven. “My house was an art factory growing up,” she told the Miami Herald
in an interview earlier this year.

1 de 3 14/04/14 14:05

Flamenco Fever: Discover the Magic : San Francisco Classical Voice https://www.sfcv.org/article/flamenco-fever-discover-the-magic

She gained international prominence as the singing voice behind the moving lips
of Spanish actress Peńelope Cruz in Pedro Almodovar’s 2006 film Volver.
Nominated for a Grammy for best flamenco recording for her debut CD Mujeres,
she sings with both Paco de Lucia and her father on her latest recording
Autoretratto (Self-portrait). Morente declined an interview request, citing her
pressing tour schedule, said her representative Cindy Byram, in an email.

Music critics say Morente represents where flamenco comes from and where
flamenco is going. Marin, who said he knows the Morente family well, agreed.
“Yes, no doubt because of her father, who was very respectful of tradition, she’s
really deeply rooted in it,” he said. “All the exploration that she does, she does
from the mastery of flamenco — that respect. This knowledge allows her to go
into other types of music and interpret them.”

The flamenco tradition that Morente
and her fellow artists will perform this
week has its origins in a musical That’s the beauty of
migration from North Africa and India, flamenco. It’s so much like
borrowing traditions from Arabic, jazz; very improvisational.
Jewish, and Indian music, according to
Bay Area flamenco dancer and teacher Musicians and dancers just
Carolina Lugo, who performs later this jam together.” — Carolina
week with her daughter Carolé. Lugo, flamenco dancer and

Flamenco comes from the gypsies in choreographer
Spain, said Lugo, who has studied the
art form for several decades in Spain
and in the U.S. Its golden years were in
the late 1920s, noted Lugo, when flamenco moved from the living rooms of
gypsies to cabarets. “Gypsies would bring a slab of wood to the night club and
dance on top of it,” she said.

Before gypsies danced in their living
rooms, however, they celebrated outside
around the fire and under the moon, she
noted. “That’s where the polka dots
come in [on performers’ clothing] ...
they’re little moons, lunates, a sign of
good luck to gypsies,” said Lugo, in a
telephone interview from her dance
studio in Pleasant Hill. Costumes with
polka dots are also worn in flamenco,
she explained, to correspond with
different rhythms, such as the
fast-moving, 12-count bulerias, and are
associated with joyful songs and dances.
Performers don solid-color clothing, she
explained, when performing songs and
dances on sad or serious topics. Carolina Lugo's & Carolé Acuña's Ballet

While audiences around the world Flamenco

appreciate flamenco, concertgoers are
often unfamiliar with what it actually is, said Lugo. Flamenco is one of three
related dance categories that include Spanish classical dance, and regional or folk
dance, which make up a bigger heading called Spanish dance, she explained.

Positions of the torso, port de bras (arms) and epaulement (shoulders, head and
neck) vary in each of the Spanish dance forms. Shoes with tiny nails hammered
into heels and toes are worn in both flamenco and Spanish classical dance,
although the heels are a little wider in flamenco, which has heavier footwork,
Lugo said.

Initially footwork was primarily for “People connect with the
male dancers, while female dancers intensity of emotions on
emphasized arms and attenuated stage and that’s the message
torsos to underscore their femininity, [Estrella is] bringing to
according to Lugo. Today, footwork is audiences. It relates to basic
done by both genders. “That’s human emotions that are
important for women, otherwise you’re part of every culture.”
just all feet,” she said. — Miguel Marin, director of
Castanets aren’t played much of the Flamenco Festival
time in flamenco, said Lugo, as only a
handful of rhythms use them, such as
a sevillanas, a folk dance, which has
roughly a 3/4 time signature, although
it is generally counted in 6/8 time. “It
all depends on the artist and how
skilled they are with castanets,” she

2 de 3 14/04/14 14:05

Flamenco Fever: Discover the Magic : San Francisco Classical Voice https://www.sfcv.org/article/flamenco-fever-discover-the-magic

said.

The rhythm patterns of flamenco are
complicated. “People seem to think it lacks
complexity; that musically speaking it’s as
easy as the waltz, 1-2-3. But it’s not,” said
Lugo. Some of the 12-count songs, such
as the bulerias, can be counted in sixes,
she said. An eight-count Argentine tango
has a different rhythmic emphasis than a
flamenco tangos llamada, where the
stresses on counts aren’t even, as in a
1-2-3-4-5-6-7-8 pattern.

Experienced performers can pull
themselves in and out of the music, dance,
and vocals onstage by cuing with
accompanying musicians based on the
piece’s rhythmic structure, according to Eva Yerbabuena

Lugo. “That’s the beauty of flamenco,” she
said. “It’s so much like jazz; very improvisational. Musicians and dancers just jam
together. The minute you have more than one dancer on stage, though, you have
to have choreography.”

By contrast, a soloist can be spontaneous. “It's where the duende — the magic —
comes in,” she said.

Duende is de rigueur for a flamenco artist, according to experts. It’s their mojo,
said one knowledgeable observer. Defining it, however, is elusive, said Marin.
“It’s the magic that happens on the stage,” he said, pausing while reaching for an
explanation for something that may be unexplainable. “It’s going beyond
technique, beyond special effects. It’s the experience that’s almost spiritual that
makes people feel like they’re in another dimension. Estrella — she totally has
that duende.”

If flamenco does transport audiences into another dimension, it’s one where
language is no obstacle. Flamenco is sung in Spanish, yet has global aficionados,
noted Marin. “We’ve played crowded concerts in Japan and in India. That the
singing is in Spanish makes no difference. There are no boundaries with
language,” he said. “People connect with the intensity of emotions on stage and
that’s the message [Estrella is] bringing to audiences. It relates to basic human
emotions that are part of every culture. It’s one of those things that makes
flamenco universal. People can feel that human connection.”

Tomatito and His Flamenco Sextet ( https://www.sfcv.org/event/omni-foundation-for-the-
performing-arts/tomatito-and-his-flamenco-sextet) : March 12, 7:30 p.m., Palace of Fine
Arts Theater, San Francisco, Tickets: $65, 55, 45.

Ballet Flamenco Eva Yerbabuena: Zellerbach Hall, Berkeley, March 12, 8 p.m.,
Tickets: $22.00 to $58.00, available through the Cal Performances Ticket Office,
at (510) 642-9988, at calperformances.org, and at the door.

Estrella Morente: Zellerbach Hall, Berkeley, March 14, 8 p.m. ,Tickets: $18.00 to
$48.00, available through the Cal Performances Ticket Office at Zellerbach Hall,
at (510) 642-9988, at calperformances.org, and at the door.

Carolina Lugo's & Carolé Acuña's Ballet Flamenco: Peña Pachamama Cultural
Center, S.F., March 16 and 30 at 6:15 p.m.; March 22 at 6:30 p.m.; and March 29
at 6:15 p.m. Tickets: $19 for show or $39.95 for show and dinner.
www.carolinalugo.com or http://pachamamacenter.org/?key=calendar

Journalist Molly Colin (http://www.sfcv.org/author/molly-colin) writes about the arts and
cultural trends.

3 de 3 14/04/14 14:05

Flamenco Festival opens with flurry of footwork by dancers at Lisner Auditorium - T... http://www.washingtonpost.com/entertainment/theater_dance/flamenco-festival-ope...

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Flamenco Festival opens with flurry
of footwork by dancers at Lisner
Auditorium

By Paula Durbin, Published: March 5

Fans braved freezing temperatures and treacherous streets Tuesday to crowd
Lisner Auditorium for the Gala Flamenca that ushered in the Flamenco
Festival 2014 with a lineup of the legends and young lions at the top of their
art.

This event has been touted as featuring three dance generations, and stars
Antonio Canales, Carlos Rodríguez, Karime Amaya and Jesús Carmona were
listed in the program by seniority.

But prime time goes on for decades in flamenco, and the common
denominators of all of these artists were breathtaking technical skill and
breakneck speed. The concert’s constant was a wealth of rhythms, enriched by
Miguel El Cheyenne’s virtuosic percussion on cajón, the Peruvian “box,” a
flamenco staple. Its popularity is credited to the late guitarist Paco de Lucía,
who pioneered other fusions that propelled the tradition forward while
respecting its essence.

Fusion in that vein certainly marked some of the choreography on display.
Multiple musicians, including violinist Roman Gottwald, accompanied
Rodríguez, whose classical pirouettes and flourishes of footwork blurred the
boundaries between classical ballet and flamenco’s quintessential soleares. A
concert highlight was the improbably named TrillA7, performed only to cajón.
It spotlighted Carmona and Lucia Campillo in austere, alternating solos on
opposite corners of the stage before joining them in the sweep and sculpted
angularity of contemporary concert dance.

Canales signaled a transition to undiluted flamenco with his Tangos de la Chumbera. Another evening standout, it brought the entire
cast onstage to clap layered counterpoint from the sidelines as the veteran performer beat out footwork cadences tempered by his
trademark waggish humor.

Carmona’s hard-driving pyrotechnics made his alegrías a tough act to follow, and Amaya had the honor of performing last. Earlier
she had blended into a delightful trio of women fluttering fans and swirling ruffled trains in an up-tempo caracoles. But in her
seguiriyas finale, she exploded into a powerhouse who could hold the stage alone, her footwork as strong as any in the business.

The great-niece of the iconic Carmen Amaya, she easily measured up to her pedigree and promised to push even higher the
ever-escalating standards of contemporary flamenco.

Durbin is a freelance writer.

The festival continues through March 19.

1 de 2 15/04/14 10:46

Flamenco Festival Enters Its 14th Year - NYTimes.com http://www.nytimes.com/2014/03/02/arts/dance/flamenco-festival-enters-its-14th-yea...

http://nyti.ms/1lq15gW

DANCE

Change Your Style, You’ll Survive

Flamenco Festival Enters Its 14th Year

By MARINA HARSS FEB. 28, 2014

1 de 3 This year’s edition of the Flamenco Festival, which opens on Thursday at City Center, comes on the tail of
the worst recession Spain has seen since the end of the Franco period. But the festival, now in its 14th year,
is larger than ever. It has expanded its scope, adding Los Angeles and San Francisco to its itinerary. In
New York, it has spread to six additional spaces. The festival’s organizers are looking to new markets in the
Arab world and Asia. Flamenco is one of Spain’s most successful exports.

But along with the expansion has come a change in the style of the works themselves, in part as a
result of the crisis. Many are small in scale, with only a handful of performers. In Spain, “presenters ask,
‘Can’t you have fewer people onstage, can’t you dance alone?’ “ Rocío Molina, one of the most captivating
of the new generation of dancer-choreographers, said recently via Skype.

For a while, when the economy was booming, flamenco shows seemed to fall into one of two
categories: tightly choreographed productions with large ensembles and high production values, often
accompanied by a “fusion” of musical styles; or theatrically austere evenings featuring a traditional format
of sequential dance numbers, accompanied by guitar and cantaor.

Among the austere, Soledad Barrio’s Noche Flamenca company (now based in New York) and the
Paco Peña Flamenco Dance Company are well known to local audiences. But lack of flash need not mean
pallid dancing. Quite the opposite: Ms. Barrio’s solos crescendo to an almost frightening intensity. And last
year, Mr. Peña, a highly regarded guitarist, introduced the bailaor Ángel Muñoz, whose wit and musicality
were a revelation. Despite their many admirers in the United States and abroad, however, Ms. Barrio and
Mr. Peña do not have much of a presence in Spain. (Ms. Barrio has appeared at the Flamenco Festival only
once, in a gala. Mr. Peña, never.)

The field has diversified, with young dancer-choreographers like Israel Galván and Ms. Molina
creating exceptionally personal, even eccentric evening-length shows focused around their evolving
interests. “Afectos” (at the Baryshnikov Arts Center, March 20 to 22), Ms. Molina’s piece, begins with the
dancer barefoot, balancing on a chair with her torso curved over a guitar. At various points over the course
of the evening, she performs modern-dance contractions, plays the guiro gourd, and sinks into deep,
sensual grand pliés. None of these are elements of traditional flamenco.

Mr. Galván’s “La Curva” (at the Schimmel Center, March 13 to 14) goes even further afield, verging on
the surreal — intentionally so. The mercurial dancer switches identity with lightning speed, at one moment
fluttering his fingers rapidly against his jacket, face and teeth to create staccato rhythms, at another
prancing grotesquely, like a figure out of Hieronymus Bosch. Both he and Ms. Molina are remarkable
virtuosos. But is what they do really flamenco?

“There is always someone who will say ‘This isn’t flamenco,’ “ Miguel Marín, the director of the
festival, said recently over Skype, sounding a bit tired of the question.

“Battle lines have been drawn,” concurred Estela Zatania, a flamenco historian and critic, via email.
“If the ‘fusion’ people see a dress with lunares”— polka dots, the traditional pattern for the long dresses
known as batas de cola — “it’s automatic rejection. Likewise the traditional flamenco crowd needs only to

14/04/14 13:41

Flamenco Festival Enters Its 14th Year - NYTimes.com http://www.nytimes.com/2014/03/02/arts/dance/flamenco-festival-enters-its-14th-yea...

2 de 3 see a violin, Indian tablas, a woman with short hair, and they want no part of it.”
But flamenco has always adapted to survive. It spread from its Gypsy roots to become an

entertainment at café cantantes, music halls and theaters as early as the mid-19th century. Then, when
Spanish dancers became the toast of in Paris in the early 20th century, Diaghilev’s Ballets Russes
capitalized on their exotic appeal by presenting a Spanish-theme ballet, “Le Tricorne” (1919), with music
by Manuel de Falla, designs by Picasso and dances by Leonide Massine, the Russian ballet choreographer,
who had immersed himself in flamenco. Flamenco fusion was born. In the 1970s, the wildly popular
guitarist Paco de Lucía, who died on Wednesday, became a master of fusion, mixing flamenco with
everything from pop to rumba.

As Mr. Galván recently put it, “cada flamenco es un mundo,” every flamenco is a world. The festival
offers a glimpse of these contrasting realities, first at a Gala Flamenca (Thursday and Friday) and then in a
series of individual shows. (The festival also includes a variety of music programs.) At the gala, audiences
will be treated to a varied mix: the balleticized classicism of Carlos Rodríguez, who danced with the Nuevo
Ballet Español; the showy, jocular style of the veteran Antonio Canales; and the irresistible virtuosity of
Jesús Carmona, a newcomer who looks as if he were creating the steps on the spot.

Another first-timer, Karime Amaya, embodies the explosive gitana force that many identify with
flamenco’s rough-and-tumble origins. Appropriately, she is the grandniece of Carmen Amaya, the great
dancer of the 1940s and ‘50s, whose explosive moves earned her the nickname “the human Vesuvius.”

Eva Yerbabuena, an artist of imposing technique and a decidedly melancholy disposition, will present
two evening-length works at City Center. In “Ay!” (March 8), she dances alone, mostly enveloped in
darkness — many of this year’s shows are dark to the point of murkiness — with the accompaniment of a
solitary voice or violin. There is great emphasis on the sharp, tormented movements of her upper body and
arms. The work could be seen as a synthesis of her identities as a dance theater artist — and admirer of
Pina Bausch — and a flamenca.

The second work, “Lluvia“ (March 9), is more theatrical, and darker still. With an ensemble of four,
set against a crumbling street scene, Ms. Yerbabuena creates a grief-stricken Lorquian ambience. The
dancers fall to the ground or open their mouths as if to cry out in anguish; emotional isolation is the
theme. Midway, though, the atmosphere changes, and suddenly we are in an old-time flamenco club; the
women wear batas de cola and flowers in their hair, and the men don high-waisted pants and bolero
jackets.

Mr. Galván’s “La Curva” and Ms. Molina’s “Afectos” are more free form. In “La Curva,” Mr. Galván’s
partner in crime is the pianist Sylvie Courvoisier, who does Cagean tricks with a prepared piano, banging
on the strings and punching out angular, hard sounds with the keys. At a table sit the fantastic cantaora
Inés Bacán and the palmero (hand percussionist) El Bobote. Between them, Mr. Galván launches into
bursts of furious footwork — on a table, in a mound of white powder, on the floor — and knocks over tall
columns of chairs, or twists and folds his body into sharp angles. The show’s surreal style is inspired in
part by the flamenco avant-gardist Vicente Escudero, who, in the 1920s and ‘30s, performed all manner of
crazy tricks, accompanying himself with the snapping of his fingers and tongue-clicks or the sound of
machines.

“Afectos” is more intimate, a three-way conversation among Ms. Molina, the singer Rosario La
Tremendita and a double bassist (Pablo Martín). Ms. Molina reacts to each song or jazz improvisation with
a different riff of movement, turning her small, powerful, pliant frame into an instrument. As Alastair
Macaulay wrote in The New York Times in 2010, “She’s wonderfully free in her conception of what
flamenco may include.”

The diversification of flamenco is also good business. By embracing jazz, conceptual art and
contemporary dance, flamenco opens itself to new audiences and ensures itself a future in the always-
tenuous marketplace for dance. So, what is flamenco today? Asked this question, Mr. Galván answered,

14/04/14 13:41

Flamenco Festival at GW Lisner | Social DC PR Blog http://socialdcpr.wordpress.com/2014/03/06/flamenco-festival-at-gw-lisner/

Flamenco Festival at GW Lisner

GW Lisner and Jaleo are presenting a Flamenco Festival week froAmbMouatrcthhe4stehatdosM(hatrtcph:/1/8etnf.ewatourrdipnrgefsosu.croamm/aazbionugt-etvheenstes-aadnsd/)
over 60 artists. You can get individual tickets for each event or you can get a 15% discount when you get tickets for at least 3
shows. You also have the option to add dinner as part of your evening package and Chef José Andrés will delight you with his
menu at the famous Jaleo restaurant.

Tuesday night we attended the Gala Flamenca where they displayed a word wide presentation of the greatest flamenco dancers
and performers that Spain could offer. The dramatic and powerful show directed by Ángel Rojas made everyone in the audience
feel that they had the passionate Spanish blood wanting to leave their seats and dance to the beat of the music. The fascination for
this modem Spanish flamenco dance that Antonio Canales, Karime Amaya, Jesus Caroma and Carlos Rodriguez left on the stage
was breathtaking.

They gave the spectators a whole new perspective of a culture that never stops to amaze people around the world. The sound of
traditional Spanish guitar and violin throughout the performance were also key elements of flamenco making the show as a
whole harmonious and vibrant.

Here is the link for the rest of the flamenco events at the Lisner Auditorium in Georgetown. We highly recommended!
http://lisner.gwu.edu/events (http://lisner.gwu.edu/events)

(http://socialdcpr.files.wordpress.com/2014/03/flamenco.jpg)

GW Lisner y Jaleo estará presentando Festivales de Flamenco del 4 de
Marzo al 18 de Marzo exhibiendo cuatro eventos sorprendentes y más
de 60 artistas. Se pueden conseguir las entradas individuales para cada
uno de los eventos o se puede obtener un 15% de descuento cuando se
compra las entradas de tres eventos a la misma vez. También el público
tiene la opción de añadir la cena como parte de su paquete de esa tarde
y el chef José Andrés los deleitará con su menú en el famoso restaurante
Jaleo.

El Martes por la noche asistimos a la Gala Flamenca donde se mostró una
producción internacional de los más grandes bailarines de flamenco y
artistas que España puede ofrecer. El espectáculo dramático y
apasionado dirigido por Ángel Rojas hizo que todos los espectadores en
la audiencia sintieran que tenían sangre española queriendo levantarse
de sus asientos y bailar al ritmo de la música. La fascinación por este
baile moderno de flamenco español que Antonio Canales, Karime
Amaya, Jesús Caroma y Carlos Rodríguez dejaron en el escenario fue
extraordinario.

Le dieron al público una nueva perspectiva de una cultura que nunca
deja de sorprender a la gente de todo el mundo. El sonido de la guitarra
española tradicional y del violín durante toda la actuación fueron también los elementos clave del espectáculo de flamenco
haciéndolo muy armonioso y vibrante.

Aquí está el enlace para el resto de los eventos flamencos en el auditorio Lisner en Georgetown. Lo recomendamos altamente!
http://lisner.gwu.edu/events (http://lisner.gwu.edu/events)

Viva España!

Victoria

1 de 2 15/04/14 10:46

Flamenco Festival at Cleveland Museum of Art aims to provide fresh, contemporary... http://blog.cleveland.com/musicdance_impact/print.html?entry=/2014/03/flamenco_f...

Flamenco Festival at Cleveland Museum of Art aims to provide fresh, contemporary
experiences

Zachary Lewis, The Plain Dealer By Zachary Lewis, The Plain Dealer
Email the author
on March 04, 2014 at 9:59 AM, updated March 07, 2014 at 10:00 AM
"We'ÂÂre talking about a whole different experience, one that almost goes beyond the art form."

Don’t come to the Cleveland Museum of Art this week or next expecting to
see Flamenco the way you’ve always seen it.

Expect instead to have your preconceptions challenged, your very notions
of what constitutes Flamenco shaken and expanded.

“Come with totally open ideas,” said Miguel Marin, founder and director of
Spain’s Flamenco Festival, a portion of which the museum is hosting with
three events this Wednesday through next Friday.

“We’re talking about a whole different experience, one that almost goes A scene from the film "Flamenco, Flamenco," which features all three
beyond the art form.” stars of the Cleveland Museum of Art's upcoming Flamenco Festival.

The difference lies in what the three artists coming here seek to Courtesy of the Cleveland Museum of Art
accomplish. For their goals run almost directly opposite to those of their
forebears.

Where Flamenco performers of, say, 20 years ago strove for authenticity, PREVIEW
to re-create the original as closely as possible, dancer Eva Yerbabuena,
singer Estrella Morente and guitarist Tomatito aim to provide a much more Flamenco Festival Cleveland
contemporary, personal experience.
What: Ballet Flamenco Eva Yerbabuena, Estrella Morente and
“The motivation for these artists has totally changed,” Marin said. “We want Tomatito.
to show what is happening today with the art form in Spain.
When: 7:30 p.m. March 5, 12 and 14, respectively.
“The aesthetic is different. It’s a bit more risky, in that it’s not a stereotype,
but it really connects with people.” Where: The Cleveland Museum of Art, 11150 East Blvd.,
Cleveland.
Marin’s organization, based in Spain, is a collection of dozens of Flamenco
artists whose shows can be mixed and matched to form programs and Tickets: $44-$76. Go to clevelandart.org or call
series of boundless variety. 216-421-7340.

In Cleveland, one of 24 stops on a large U.S. tour, the festival consists of three acts, one apiece representing each of the three Flamenco
arts: dance, singing and guitar.

“You’re really only going to see the best, those artists who will be in the books, in the history of Flamenco,” Marin said. “When you see these
artists, you will know they are the cream of the cream.”

Dancer Yerbabuena, known to Clevelanders from an appearance here several years ago, is up first. She’ll team up with a group of musicians
in a series of solo pieces collectively titled “Ay!”

Next Friday, at the end of the festival, comes Tomatito. A decorated performer known for infusing Flamenco with jazz and gypsy elements,
he’ll appear with an ensemble of singers, clappers, instrumentalists, and dancer Paloma Fantova.

In between: cantora (“singer”) Morente, in her Cleveland debut. A noted artist touring the U.S. for the first time and the daughter of noted
Flamenco musicians, she’ll present a program called “Autoretrato,” or “Self-Portrait.”

1 de 2 10/04/14 14:04

Flamenco Festival at Cleveland Museum of Art aims to provide fresh, contemporary... http://blog.cleveland.com/musicdance_impact/print.html?entry=/2014/03/flamenco_f...

“You will see her and realize it’s something totally new,” Marin explained. She’s one of those people who has the power to express so much.

“With her, there’s no big show. Just her individual talents and approaches. But through that we will be able to see Flamenco in a really pure
expression.”

An international presenter of Flamenco artists, Marin has a broader perspective than most on how the art form is received around the world.
And what he sees is encouraging. Aficionados are fiercely loyal and newcomers typically don’t stay novices long.

But even after 18 years of watching and sharing Flamenco culture in the U.S., one thing continues to surprise him: the power of the art on
audiences far removed from its source.

“For me, it’s quite amazing how people can be moved by an art that to them is foreign,” he said. Flamenco as his troupe presents it is
“something beyond Spain and the culture. It touches the hearts of the people.”

© 2014 cleveland.com. All rights reserved.

2 de 2 10/04/14 14:04

Flamenco Festival 2014 to Run 3/6-9 at New York City Center http://www.broadwayworld.com/article/Flamenco-Festival-2014-to-Run-36-9-at-N...

Flamenco Festival 2014 to Run 3/6-9 at New York City Center

by BWW News DeskJanuary 14 http://www.broadwayworld.com/article/Flamenco-Festival-2014-to-Run-36-9-at-New-
York-City-Center-20140114#.U0vI7scR1Qw

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.

The opening gala on March 6 and 7 will star some of flamenco ìs 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 ìs 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.

The schedule: Thursday, March 6 - Saturday, March 8 at 8 pm and Sunday, March 9 at 7 pm. Tickets start at $25 and can be
purchased online at www.NYCityCenter.org, by calling CityTix at (212) 581-1212, or at the City Center Box Office at 131 W. 55th
St. (btwn 6th & 7th Aves). For more information, please visit www.NYCityCenter.org.

Page 2 »

© 2014 Copyright Wisdom Digital Media. All Rights reserved.

1 de 1 14/04/14 13:39

Flamenco Festival 2014 stars Eva Yerbabuena | The Dance Enthusiast http://www.dance-enthusiast.com/community/events/date-2014-03-01/view/Flamenc...

Community News > Events Advertise With Us
Make an impression - place an ad on The
SHARFE lamenco Festival 2014 stars Eva Yerbabuena Dance Enthusiast. Learn more.

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Company: Dates:
New York City Center & Flamenco Festival Thursday, March 6, 2014 - 8:00pm
Friday, March 7, 2014 - 8:00pm
Location: Saturday, March 8, 2014 - 8:00pm
New York City Center Sunday, March 9, 2014 - 7:00pm

Tickets:
www.NYCityCenter.org

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.

The opening gala on March 6 and 7 will star some of flamenco IAs 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 IAs 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 de 4 10/04/14 15:40