Method

The dialogue between dancer and singer creates the electricity that defines Flamenco at its best.

At the heart of Flamenco lies a powerful triad: Cante (singing), Toque (guitar)and Baile (dance). To teach Flamenco without a profound understanding of its music and dance is to strip it off its soul.

When the students are taught to respond dynamically to the Cante, they begin to dance with the music rather than over it. They learn to recognize when to mark, when to pause, when to explode with energy or when to yield to the depth of a quejío. The dancer must learn to listen not just to keep time, but truly understand the emotional landscape painted by the singer's voice and the guitarist's phrasing. Each palo (style) carries its own rhythm, mood, and cultural significance and dancer must embody these with authenticity.

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My method offers to discover the ritual and geography of this culture. The "Sevillana School since 1830.

We will discover el Cante of Antonio Mairena, Juan Talega, La Paquera de Jerez, Antonio Chacón, Manuel Vallejo, La Niña de los Peines, Carmen Linares, Manolo Caracol, Enrique Morente...

El Toque from El Niño Ricardo, Sabícas, Paco de Lucía, Manolo Soler, Paco Cepero, Rafael Rodríguez, Vicente Amigo...

El Baile through personalities such as Carmen Amaya, La Chana, Mario Maya, Manuela Carrasco, Los Farruco, El Güito, Antonio Gades, Cristina Hoyos, Eva Yerbabuena, Susana Lupiañez "La Lupi", Manuela Vargas, Matilde Coral, Milagros Menjíbar, José Galván etc...

 

My main focus is to transmit love through this beautiful work with dedication and fun.