María Reyes

Born in Puerto de Santa María (Cádiz) in 1991. She starts dancing at four years of age with her teacher María Jesús Rosso. She started at the Professional Conservatory of Dance of Cádiz, finishing her flamenco studies with the prize for the best academic record in that specialty at the Andalusian region, while studying in depth with her teacher Miguel Ángel Heredia in Jerez.

In 2011 she joined the Spanish Dance and Flamenco Company Azalea, with the maestros Mercedes Márquez and Javier Marín, touring stages in the Cádiz area, Seville, Huelva and Portugal, or the company of the pianist Manolo Carrasco sharing the stage with artists like María José Franco and Miguel Ángel Corbacho in the show “Vive la Pepa, 1812”. She then began her solo career at the tablao Taberna Flamenca in Jerez.

In 2012, she was selected by the province of Cádiz to participate in the Desencaja Jóvenes Flamencos contest, forming part as a bailaora in the Provincial Circuit of Peñas de Andalucía.

In 2014 she obtains the third prize of dance in the National Contest of Ubrique.

In 2016 she came to Madrid to continue training at the María de Ávila Superior Dance Conservatory, while studying with teachers such as Marco Flores, Pastora Galván, Belén López, Guadalupe Torres, Claudia Cruz, Nino de los Reyes and Pedro Córdoba.

In 2017 she is part of the piece “La rosa de Gerineldo” by Guadalupe Torres, who won the first prize in choreography at the Spanish Dance and Flamenco Contest in Madrid, and is a semifinalist in the Tablao Villa Rosa dance contest.

She currently combines her studies with her solo career in different tablaos in Madrid, including Las Carboneras.

Inmaculada Aranda

(Cordoba, 1983). Achieves medium professional degree title of Spanish Dance at the Conservatory Luis del Río of Córdoba, studying with teachers like Maica Moyano, Inmaculada Calvo, Maria del Carmen del Río, Maria del Carmen Jiménez, Estrella Muñiz, Maria Fernanda Alvarez, and Inmaculada Aguilar. She studied flamenco in Córdoba private schools as in Maria “La Chata”s, 1991-2003. She studies flamenco with dancer and teacher Merche Esmeralda. Bachelor of Pedagogy of Spanish Dance, with teachers like Merche Esmeralda, Elvira Andrés, Rosa Ruiz, Juanjo Linares. Workshops conducted with “El Mimbre”, 1998; Fernando Romero, 2001; Inmaculada Aguilar, 98-99; Paco Mora, 2002; Eva Yerbabuena, 2003; Edu Lozano, 2003; Antonio Márquez, within his own company, 2003; Pepa Montes, 2007; Carlos Chamorro and Alfonso Losa, 2008.

Performance at the commemorative festival of Andalusia in Toulouse, 1998. Participation as a dancer in the charity Alzheimer’s festival, Córdoba.

A soloist since 2000: flamenco festivals around the country sharing the stage with “El Cabrero”, “La Macanita”, Arcángel, “El Pele”, Manolo Franco, Capullo de Jerez, Calixto Sánchez, Jerónimo Maya, José Menese, Miguel Ortega, Tina Pavón, Chano Lobato, Terremoto hijo, Chocolate, among others.

Participation as a dancer in operas and operettas as “Carmen,” “La Traviata,” “La verbena de la Paloma”, Córdoba, 2002.

Performance with the show “Arabian Nights”, Teatro La Latina Madrid, next to Miguel Toleo, in November 2003.

Acting as a dancer in the opera “Carmen” at the Olympic Stadium in Seoul (South Korea), 2004.

Japan tour with the company Domingo Ortega, 2004. She later works in this company participating in the show “Orfeo”.

International Gala released in Morocco in November 2005.

Show at Festival Gorbiu, France, as a soloist in August 2007.

Participation as a soloist in the show “El emigrante” by Manuel Gutiérrez in the flamenco festival in Nimes (France), 2008.

Three-month contract with the company from Paris “Flamenco Flamenk’a” at the Lyric Theatre in London, 2008.

Six-month contract in the tablao “El Flamenco” in Tokyo (Japan) dancing and lecturing (2009).

Part of the show “Moralejas” by José Porcel in 2010.

Third national prize in alegrías in La Perla de Cádiz, 2010.

Semifinalist of the International Festival of Cante de Las Minas, La Unión, 2010.

Award as a finalist for the National Flamenco Art of Córdoba, 2010.

Tour of two and half months by the US as first dancer in the company José Porcel.

Premiere with the company Pepe Flores show “Mi verdad” in Teatro La Latina, Madrid, 2012.

She collaborates as a dancer in the show David Paniagua “Mi alma” in the Netherlands, 2012.

Suma Flamenca Prize in the Contest of Choreography of Spanish and Flamenco Dance in Madrid, 2012.

Collaboration as a soloist in the show “Sinergia” by Manuel Liñán in Atlanta (Georgia, USA), 2013.

Collaboration as a soloist in the show “Depende del momento” by David Paniagua, 2013.

Soloist in the company of José Porcel with the shows “Con la que está cayendo” and “Arte”, 2013.

From 2004 to now she works in tablaos of Madrid as the Corral de la Pacheca, Casa Patas, Las Carboneras, Villarrosa, Corral de la Moreria.

Since early 2013 she teaches at the School of Amor de Dios of Madrid.

Since 2014, she works in the company of Manuel Liñán with the show “Nómada”. She has performed at various events such as the Festival de Jerez, the Bienal of Sevilla, Madrid en Dance, Flamenco Festival London, Flamenco Festival New York and Miami.

Manuel Reyes

Born in Córdoba in a gypsy family in 1974, although since childhood he has resided in Madrid, where he began his training as a dance professional. At an early age, he entered the flamenco academy Amor de Dios, to later also begin his studies of classical dance in the school of the National Ballet of Spain.

With only seven years of age makes his professional debut in the National Dance Company collaborating in the assemblies “Medea” and “Los Tarantos.” This period offers him the great opportunity to nurture himself from the beginning of the experience and discipline of great dancers and choreographers of Spanish dance.

It could be said that since his youth he has built his own formulas to understand and express dance, thus becoming a self-taught artist.

He has collaborated in various artistic productions of different dance companies such as: “Pasión gitana” by the company of Joaquín Cortés; “Torero” of the Antonio Canales company; “Sinfonía española”, of the Merche Esmeralda company; “Jugando con Bach” and “Hamlet”, from the company of José Granero, etc. With his own company he has traveled through a large part of the world performing various shows in which the common denominator is always flamenco and in which he has also been composer of music and lyrics: “Manuel Reyes en vivo”, “Colores”, etc.

In his already extensive career, he has collaborated with various figures of the scene such as Concha Velasco, Blanca del Rey, Merche Esmeralda, Antonio Reyes, Belén Maya and has performed in important theaters such as the Liceo de Barcelona, ​​the Teatro de la Zarzuela or the Albéniz Theater in Madrid, the Concertgebouw in Amsterdam, the New Victory in New York, the Lope de Vega Theater in Seville and the Villa Marta Theater in Jerez, among others.

In 1994 he was awarded, along with his brother Antonio Reyes, with the first prize of choreography awarded by the General Society of Authors in the contest of choreography of Spanish and flamenco dance of Madrid for “Sueños de la fragua”. Later, in a new edition of the aforementioned contest in June 2007, he received the award for a solo choreography “De aquí, de allí, de ayer, de hoy”.

His latest works have been “Ensayos y acuerdos”, an incursion into the world of dance-theater where the theme of social stereotypes and “Tan solo”, in which he tries to give notoriety to the beauty and expressive force it contains. flamenco, devoid of external adornments.

Among other scenarios, he regularly performs at Tablao Las Carboneras, in Madrid.

Ángel Reyes

Born in Córdoba in 1993, he started dancing at the young age of three years at the Tacón y Bordón school, having as a teacher María del Mar Román “La Chata” for ten years. At six years of age, he gets the first prize in the Veo Veo television contest. He has trained with artists such as Edu Lozano, Olga Pericet, Antonio Rios Fernandez “El Pipa”, Mercedes Ruiz, Antonio Canales, La Lupi, Jesús Carmona, Daniel Navarro, Alfonso Losa, among others.

Throughout his career he has participated in numerous performances as a solo dancer throughout the Spanish geography as well as in Switzerland, Jamaica, Brazil… He teaches flamenco dance courses in cities such as Laussanne (Switzerland), Campinas, Piracicabba or Itatiba (Brazil), Albuquerque (New Mexico), etc.

Premieres his own production, “A cada paso”, for the inauguration of the Fosforito Flamenco Center of Córdoba, subsequently taken by all the Andalusian provinces in the circuit of the Junta de Andalucía 8 Provinces, as well as other Spanish cities. Afterwards, he premiered a new show, “A buen entendedor”, which is taken to festivals such as Estival Cuenca.

He has participated as a guest artist in several shows and has performed as a soloist in events such as the Bienal Flamenca of Málaga, with a production of Flamenco Nau under the direction of “La Lupi” and under the name “Mar, tierra y enea”. He has also been part of the cast of bailaor Álvaro Paños for his new production “Romero de Torres”, premiered at the Góngora Theater in the city of Córdoba. Later, he premiered his new production “Ímpetus” at the Teatro Nuevo Apolo in Madrid with the Compañía de Jesús Carmona, with which he participates in festivals such as the Festival de Jerez or Flamenco Festival in numerous cities in the USA.

First Prize of the Andalusian Competition of Young Flamencos Desencaja in the province of Córdoba. Second prize in the same event in Andalusia. Semifinalist of the International Festival of Cante de Las Minas 2017.

He is common in flamenco tablaos of recognized prestige such as Casa Patas, Corral de La Moreria, Las Carboneras, El Cortijo, La estación de los Porches (Madrid), Los Tarantos or Tablao Cordobés (Barcelona), Arte y Sabores, Patio de la Judería or Tablao El Cardenal (Córdoba).

Ana Romero

Ana Romero


Born in Melbourne, Australia, with Andalusian parents, she has trained in flamenco dancing with teachers such as Manolete, “El Güito”, Belén Maya, Manolo Marín, “La China”, Manuel Reyes, Ciro, Paco Fernández, “La Tona”, Milagros Mengíbar, Paco Romero, Rafaela Carrasco, “La Tati”, Manuel Liñán, Marco Flores, Alejandro Granados, Yolanda Heredia, Alfonso Losa or David Paniagua.

Her professional experience includes a great dedication to dance in tablaos such as El Flamenco (Japan), Corral de la Morería, Venta del Gato, Café de Chinitas, Las Carboneras (Madrid) or El Carmen (Barcelona). She is one of the greatest specialists in tablao flamenco dance and stands out for her strength and refined technique.


She has worked in companies such as Manuela Vargas, with which she played Fedra in Spain, Europe and South America; Luisillo, with whom she toured Europe, Asia and South America; Manolete, with which she participated in the International Festival of Music and Dance of Granada, in the Dutch Flamenco Festival, the Caracalla Festival and the Opera House in Rome; “El Güito”, with whom she danced at the Sinaloa Festival (Mexico), the Valencia Festival or the Granada Festival; Paco Peña, with whom she attended the Tall Ships Festival in Liverpool (England) and toured Australia; Andrés Cubos, with whom she performed at Paseíllo Flamenco-Katak in Madrid and Venice; Cristina Hoyos, whose company was part of the show “Arsa y toma” for three years; Antonio Vargas, whose flamenco company integrated and with whom she participated in his adaptation of the theater play “La casa de Bernarda Alba”; Belén Maya, with whom she performed at the Paris Festival, the Grenoble Festival and the Sala Caracol (Madrid); Alfonso Losa, of whose company she was part acting for the Community of Madrid; Joaquin Grilo, in whose company she took part with performances in the Festival of Jerez or the one in Logroño; in Noche Flamenca, a formation of which she was part for four years acting in the United States, Canada and Central America; La Shica, singer who accompanied for three years as a dancer, showgirl and clapper; Arrieritos: in the Sala Pradillo (Madrid) she premiered the flamenco-contemporary production “En tablao”, which also represented in the Festival of Huesca, the Puertollano Festival and the Community of Madrid; he also acted in its award-winning show “13 rosas”, with which the company won two Max awards for the best show and the best choreography in 2007; Company of Manuel Liñán, Olga Pericet, Marco Flores and Daniel Doña: she performed at the New York Flamenco Festival, at the Sydney Opera House, on a tour of Australia and Asia, at the Susan Dalai Festival in Tel Aviv, at the Festival of Jerez or at the Teatro de Madrid; Company of Manuel Liñán: she acted in the show “Mundo y aparte”.

She has also participated in other groups with performances in Madrid, Seville, the Alburquerque Festival, in New York, Washington, etc. With the Company of Marco Flores currently intervenes in “Tránsito” and “De flamencas” with a tour of Europe and the United States.

Since 2000 she is a founding member and dancer of Las Carboneras, one of the most respected flamenco tablaos in Madrid. In addition, she has participated in the films “El día que nací yo” and “Ole!”.

As a flamenco teacher she has taught courses in Brazil (Sao Paulo); Canada (Montreal, Toronto); United States (New York, San Francisco); Australia (Melbourne, Sidney, Adelaide); Spain (Madrid, Ciudad Real); Israel (Jerusalem, Tel Aviv) or Italy (Rome, Milan, Naples).



Ana Romero: “I see young people with increasingly more preparation”

The dancer Ana Romero, born in Australia of Andalusian parents, climbed to a stage for the first time when she was five years old and professionally, at fourteen. Then she came to Spain and, between tours with Manuela Vargas and Cristina Hoyos, among others, she grew as a bailaora in Madrid tablaos to become the race artist she is now. She is one of the three founding dancers of Las Carboneras and she passionately sees the progress of the new generations.

—Explain to us how it has been your experience in flamenco and how you ended up in the world of flamenco tablaos.

—I started dancing at age five in Australia in a Spanish community. My first experience was at fourteen in flamenco tablaos in Melbourne, where there were several tablaos that worked at the time. My teacher introduced me and I started dancing from Thursday to Sunday. Then I came to live in Madrid, at first I was very afraid, I had much respect, with flamenco and I didn’t dare. I spent a year and by chance my first introduction to it was through Tacha and Belén Fernández. In an amazing way because we did not know each other, but Tacha and Belén had seen me in a dance class, they liked my dancing and both were super generous and they said to me why not to go to a tablao and do a test to start working. I actually started because Belén organized it, Tacha was leaving, I took the test and went. Following that I worked in almost every tablao in Madrid. It was part of my training and my work for many years, apart from being integrated in companies. Eventually we decided to open Tablao Las Carboneras in Madrid. Sure, Tacha is my best friend and she has been my companion in the tablao throughout the time.

—Then, at the end, to call it that way, you have become a specialist in flamenco tablao.

—I would not say a specialist. I’m a worker. Besides flamenco tablao format is not easy because it is daily and not everyone likes every day. Well, Ángel Gabarre is an icon and the man works every day with the same intensity and the same desire and is very fond of it. I understand that the diary is really difficult. I identify with it, I need it and it’s my way of working, maybe because I grew up that way and we are creatures of habit. I love to work each day.

—And what is the fundamental difference between dancing every day in a tablao and another thing that you have done (also pretty much) that is acting in shows?

—Dancing in shows is very different to dance in a tablao. In a tablao there is a very direct connection with the public, it becomes more intimate. Personally, that’s what attracts me. Suddenly you find a room full of people and you are surprised of the care and connection that you have with people. In a tablao you work more the moment, what is happening to  each one. Many times it does not work, but many many other it does, and that is rewarding. When you really get to that magic, it can only happen at that time and is unique because the next time it will be otherwise. And in the theater it works well but it is different, it goes with organized labor, you give vent to it more spontaneously, but in a more limited way.

—Would you like to highlight some artists who have particularly influenced you over the years you’ve been in flamenco?

—I think that everyone influences your career and passes through your life for some reason, I think things are not for free, but people who have come to me in a very special way … I was fortunate to work with Manuela Vargas, she had a very special way of working. I’m talking about many years ago and we used to work differently. It was a very special way, the emotion was very important in the work. The technique also, but the emotion was so prevalent in her work. She has influenced me and surely many people have too, though I do not remember many of them, but there is a droplet from each one that sticks to you. I have so much admiration for Ángel Gabarre in particular because I’ve been working with him since we started in Las Carboneras [2000] and the 9 years prior at the Alcazaba. Ángel is someone who comes to me in a very direct way, in a very deep form of expression and because how generous he is. I also enjoyed a lot working with Cristina Hoyos. I learned other flamenco with her. No you could tell a particular person, everyone has contributed with something. Everyone gives you gifts.

—The experience in the tablao has led you in recent years to create a dance contest that has given you the opportunity to know how are the new generations like. Where do you think  flamenco is going now?

—In flamenco I see people with a great desire and really fondo f it with few opportunities to expose. In flamenco tablao, when we have done the contest, I’ve moved a lot. People show up with great enthusiasm and what they lack is experience. Unfortunately there aren’t many possibilities. About 10 years ago there were many companies where you had chances to grow in a format of companies, groups and gigs. All of that is very small now. Now I see people with great enthusiasm, desire and a lot more preparation, everytime more. They also have internet access, everything is exposed. Then it’s up to everyone to find their personality, that is done with the experience. There are few who are touched with the rod, very special people, but others, the hard workers of flamenco, that are everyone, is a long term career, go to work, creating a personality based on your experiences, what you’re like and what you feel.



—Another thing that has characterized you is having worked extensively abroad. Do you think that flamenco is valued outside?

—I think flamenco is super valued abroad, sometimes more than right here. There is a relish and a huge respect among people committed outside Spain’s flamenco. The limits are endless, we must be grateful, there are people who come, spend their time, their hopes, their money here in Spain to continue moving it out. In flamenco, you move or do not move, but leaves no one indifferent. A wonderful flamenco is being made outside Spain, there are super important festivals that are leaving a significant height for the genre.

—And the public increases, much of the public of the tablao is from abroad.

—Yes, most of the audience is from abroad, but that means nothing. When you do your job you do it for yourself and to share it with your peers, and that does not mean sacrificing quality. The quality have to be exposed to everyone. I do not think foreigners are dummy. Just as when you go to a museum and maybe you do not understand what you are seeing, beauty is able to be grasped, the sensitivity is always there. There are all types of people, but usually I see a devoted audience, eager to see and feel.



Isabel Rodríguez

Born in Barcelona in 1987. She began studying dance at the Theatre Institute of Barcelona and flamenco at dance schools as La Tani and Paca García.

She began her career in the Catalan company “Somorrostro” with the show “Andanzas” in 2002, directed by Javier Latorre.

She has participated in several dance festivals highlighting Grec 2003 and Nou Barris 2004.

In 2005 she works in a tablao flamenco in Tokyo and on her return to Spain she acts in different venues and tablaos of Barcelona as El Carmen or Los Tarantos. Since 2006 until today she works with María Pagés company with which toured the best theaters in the world combining it with performances in Madrid tablaos including Las Carboneras or, in Seville, El Arenal, sometimes as guest artist.

In 2010 she participates in the 3rd edition of the Noche Blanca del Flamenco of Córdoba as guest artist in the show “Manolete, arte, pasión y muerte “.

In September that year she presents her show “Parte de mí” in the Alameda de Hércules in Seville, including programming at the XVI Bienal de Flamenco de Sevilla.

In 2012, together with José Jurado, she premiered “Templanza” at the XIII European Cultural Festival in Algeria and, at the end of 2013, with this same show, she toured EEUU as well as participating in festivals such as Les Nuits de Chateauvallon, d’Aubagne and the Palais des Festival de Cannes, all with the Casa Patas Conservatory Foundation. In 2014 she presented the show “Antaño” at the Félix el Grande Chair of Flamencology and at the XXIII Castell de Denia Music Festival.

Graded in pedagogy of flamenco dancing, from 2014 to the present she combines performances in different tablaos such as Casa Patas, Las Carboneras, Villa Rosa, Corral de la Morería, Café de Chinitas, Las Tablas, Los Tarantos, El Arenal and collaborations with various companies that include “Nómada” by Manuel Liñán, “Cuna negra y blanca” by Jesús Carmona or “Momentos”, “Encuentros” by Jose Porcel. Winner of the Vicente Escudero prize 2002 and Juana La Faraona 2004 in the young values ​​competition of Hospitalet and of the first contest Homage to Carmen Amaya of Barcelona 2010.

Víctor Márquez “Tomate”

Cordoba guitarist descendant of a family of flamenco guitarists known as “Los Tomates de Cordoba”, he begins his apprenticeship with nine years under the tutelage of his cousin Juan Manuel Muñoz “El Tomate”. His teaching continues by his uncle Juan “El Tomate”, instructing him in the accompaniment to singing. Professionally, he has worked on numerous shows and companies, highlighting Rafael Amargo, José Porcel, Manuel Liñán, Rafael Martos, Antonio Canales, Guadalupe Torres, Cecilia Gómez, Adrián Santana and Olga Pericet, among others. He usually works in tablaos as Flamenco (Tokyo), and, in Madrid, Las Carboneras, Villa Rosa, El Corral de la Pacheca, Casa Patas, Cardamomo, Las Tablas, among others.

Interview Víctor Márquez “El Tomate”


«Well, from my apprenticeship I highlight Juanma “El Tomate”. He taught me a lot about the flamenco styles and the guitar for dance because from the age of 11 I used to get involved with him at the dance academy every afternoon. With him I learned a lot accompanying the dance, while I spent a year living with my uncle Juan “El Tomate”, with whom I learned a lot from accompanying to sing. My brother was also very much involved, he sang equally and I learned a lot thanks also to him.

»At home, from my childhood, I remember joining the family and it was always a party. My cousins always played the guitar, my parents and my brothers sang.

»About the tablao I highlight everything. It’s what I like the most, every day is different, I really enjoy the improvisation of dancing and singing. There are moments in the tablao that make you feel free, without seting up anything, only what comes out in the moment. There are incredible days».



Born in Elche (Alicante), where she began her studies in classical dance and Spanish dance in the school of her mother, Pilar Sánchez. At the age of 18 she moved to Madrid where she began her professional career in dancing with different companies: Compañía de Carmen Cortés, Manolete, Antonio Canales, El Güito, among others.

During that time she combines her work dancing in the most important tablaos of Madrid (Corral de la Morería, Venta del Gato, Alcazaba, Al Andalus, Café de Chinitas, etc.) and Mexico (Gitanerías, Triana).


Since 2000 she runs her own tablao, one of the most prestigious in Madrid, Las Carboneras, where she currently dances every night.

She is a founding member of the company Arrieritos with whom she has worked in many of its productions, including “13 rosas”, winner of the Max 2007 awards for the best show and the best choreography. The company Arrieritos was created in 1996 and since then has premiered the shows: “Arrieritos somos” (1996), “Ande yo caliente”, “Todos los gatos son pardos”, “Diario de un abrigo”, “Tablaos, fiestas y saraos “, “Despacio y solitos”, “Entablao” and “Oh solo mío”. The company has managed to consolidate a line of work based on the miscegenation of different styles, both musical and choreographic, between the world of flamenco and that of contemporary stage dance.

She has also developed her teaching work in countries such as the United States, England, Italy, Israel, Brazil, as well as in various schools in Spain. In 2017 she taught a flamenco course and participated in the tablao of Albuquerque (New Mexico).

Tacha: “In a tablao is all like more animal”

The artistic co-director and co-founder of the Tablao Las Carboneras, plus dancer, talks about her 28-year career in flamenco, from “El Güito”, Antonio Canales, and Arrieritos; the dream fulfilled which led to her having a tablao, and her vision of contemporary flamenco, that she says it is between the vanguard and the old.

—The Tablao Las Carboneras is the culmination of all your experience, is the result of everything you wanted to do in flamenco when you were 18?

—Well, I had not thought of it as I wanted to have a tablao, but it is true that with time and when I started dancing professionally flamenco and I started to find out that it was flamenco for tablao what I liked as form of expression. I love to dance in companies, theaters and shows, but flamenco for tablao is what fills me. Yes, I did have a dream of having a tablao.

—Everything went to reach that conclusion at the end that was having a tablao.

—And it was a dream that one day I dreamed of and that it suddenly happened. I was lucky: I met Manuela [Vega] and Ana [Romero]. Manuela’s husband [Ernesto Díaz] had already opened a restaurant [Las Mañanitas] and he knew well the hostelry part. When they saw this place, she realized that this was a tablao: “This is a tablao, Ernesto”. She had been mom and was a little off, but we had been long time partners in other tablaos and we knew how to work together. Then she told us to Ana and me (and other people) to be partners of the tablao.

— It could have happened that you created a flamenco company, but you did this, which is something different.

—Of course, because our focus has always been dancing flamenco for tablao farther than for theater. Is our way of seing flamenco, or to feel it, let’s say.

—Because improvisation is important?

—Yes, because when you’re in a tablao everything is improvised and an energy is created that it isn’t created in a scenario when all is assembled. Improvisation makes you free and that’s why is a therapeutic dance. The truth is that the feeling you get when working like that, that you do not know what will happen, between freedom to vertigo, it’s a feeling that the theater is not giving you. In a theater you have to go with an assembled show, rehearsed music, cuts … here you come in and here you go out … In a tablao’s all is very tradicional, like always, respecting the canons and codes and all what surrounds flamenco, but from a more animalistic site. It’s like going to a jam session, there plays the singing, guitar, dancing. It’s like a game, really.

—Besides, you usually vary greatly the group of artists involved in that game.

—Sure, every fortnight the tablao cast changes and people are always very alive, very active, very receptive. Because, of course, we are the ones who are always there, we come in and out, but for those coming from outside always have a day of adaptation of the guitarist with the other guitarist; Ángel Gabarre, which is permanent, which is one of the best singers for dancing in Madrid, and all singers want to work with him because they learn a lot. So is created…  in our tablao professional people go for pleasure, because they enjoy working there because our way of working encourages them, and moves them, they like it a lot, they enjoy it a lot.

—Would you like to mention the people who have influenced you in your time of dancing in tablaos and companies?

—Yes, of course, I have coincided with many people. But what influenced me was being with Antonio Canales, with all the musicians who worked with him, with “El Viejín” with Ramón Jiménez, from whom I learned a lot, but I’ve also been with “El Güito”, although with him it was sporadic. With Antonio I was five years. Also, with my colleagues we created a company, Arrieritos, which still exists, what happens is that I am no longer in the new productions, but that was also a beautiful work that we did because we were investigating with flamenco and contemporary dance; I would not call it fusion because I kept dancing flamenco in Arrieritos, not nothing but dancing flamenco, but let’s say that the concept of the shows was more contemporary and also marked a change for all the flamenco people and their way of building shows: Arrieritos pioneered in that field.

—And after seeing these two aspects of flamenco, what sense do you have of where flamenco is today, both tablao and theater?

—Now? Well, now there’s so much … There are two extremes right now, is what I see. At the end it is Israel Galván, which is not considered flamenco by many people, as purists. And I do see it as flamenco, what happens is that he is on the stratosphere, it’s like dancing flamenco in 3D, he’s from another galaxy. But in my opinion he uses flamenco and he knows how to use it, really. That’s one end … O Rocío Molina, who is also a researcher. And then there is the flamenco among the rest of us mortals, because these are immortal, haha​​, among others there are many people, who dance very well, which are returning to the oldest. It is like fashion, now leads eighties, seventies, sixties, ranging cyclical. Well, in flamenco is a bit the same, it is becoming much looking at the old, to the formerly form of dance, of course with the evolution that has taken apart the dance, guitar and singing. I see young people today focusing on the oldest form of dance.

—Another of the successes you have had with the flamenco tablao is the creation of a dance competition, which is where you see what is being cooked now.

—There it is. There are most of the contests there in flamenco, but not all, where you perform your dance prepared. Actually, this contest is designed for tablao, you get to the tablao not rehearsing with anyone, you raise and dance and everyone know their profession. In that aspect the contest is focused, people come with no rehearsal, to dance with the musicians we give them, and so they are all equal and have to know how to dance all styles: we ask you to tell us at least three palos that do not match and they can be put on a show; while we do a competition, we’re seeing a show, audience come to it and there can not be four alegrías or soleás. The competition is having a really cool effect that has also caught in a moment of crisis and for us is an effort, but on the other hand, we see that people have no goals, no illusion because there is no work and this, of course, motivates them to set a goal or at least enjoy a day of work with a few awesome musicians and a very cool atmosphere is created, all the comrades go, everyone supports everyone, a day in order to enjoy the musicians behind them so that they best express themselves.

—Well thank you.

—’re welcome, haha.

Lorena Franco

She made contact with dance for the first time at age 5 at the Nieves Camacho dance academy in Córdoba, continuing her training at the flamenco dance studio Encarna López and Rafael del Pino “Keko”. In Spanish dance she studied at the Professional Conservatory of Córdoba, Luis del Río.

In the years 2005-2007 she was part of the Andalusian Dance Center under the direction of maestro José Granero. She takes Spanish dance courses with Manuel Carrillo, Paco Mora, Paco Romero or Juanjo Linares. In contemporary dance she studied with Trinidad Sevillano, Genesia Kindelan, Anael Martín, Pilar Pérez Calvete, María Rovira and Miguel Vázquez. In addition, he studies flamenco with Daniel Navarro, Eva Yerbabuena, Javier Latorre, Edu Lozano, Andrés Marín, Isabel Bayón, Matilde Coral, Rafael Estévez “Manzaneque”, Álvaro Paños, Rubén Olmo, Antonio Canales, Nani Paños, Rafael Campallo, Adela Campallo or Andrés Peña.

From 2007 until today, she is a member of the Eva Yerbabuena Flamenco Ballet with the shows “5 Mujeres 5” (2007, 2008); “A cuatro voces” (2007-2009); “The memory spindle” (2007, 2008); “Santo y seña” (2007-2009); Tribute X Anniversary Flamenco Ballet Eva Yerbabuena (2008); “Lluvia” (2010-2016); “Federico según Lorca” (2011-2015); “Apariencias” (2016).

Between 2001-2004 she was a member of the show “Siempre … flamenco” directed by Inmaculada Aguilar and sponsored by Cajasur, which also includes renowned personalities such as cantaor José de la Tomasa.

Participation in the show “Invitación a la danza” organized by the Orchestra of Córdoba.

Participation in the Flamenco Dance Gala (Pro Alzheimer Association “San Rafael”) at the Gran Teatro de Córdoba.


Acts in the XIV Flamenco Biennial, in the Tribute to Maestro Granero (Giraldillo Award for the best choreography) year 2006.

Participation as soloist in the cycle of performances of the singer Manuel Cuevas (winner of the Lámpara Minera award), highlighting thw one at the Cante de las Minas Festival of La Unión.

Member of the II National Dance Congress held in Córdoba.


Member of the Chiqui de Jerez Company with the shows “Carmen” and “Pasión Andalusia”, during a tour in Italy (San Remo, Florence, Milan, Torino, Catania …).

Performance in the “Scalo 76” program of the first Italian channel (RAI)

Dance teacher at Hini Educare S.L.

Dance teacher at the Tempo School (Sevilla).


She is part of the show “Bailando a Camarón”, directed and choreographed by Javier Latorre.

Participates as a soloist in a circuit of clubs and tablaos in the province of Cádiz.

Participates in the XIII Festival de Jerez, with the Company of Andrés Peña and Pilar Ogalla in the show “Cádiz de la Frontera”.

She joined the Company of Daniel Navarro, in the show “Cálida hondura”, premiered in the second “Noche Blanca del Flamenco” in Córdoba, as a soloist.


She works as a soloist in the tablao Los Gallos (Seville), Las Tablas (Madrid), Los Tarantos (Barcelona), Tablao Ramblas (Barcelona), Las Carboneras (Madrid), among others.

She is a soloist of the show organized by the Seville City Council in collaboration with the Eva Yerbabuena Flamenco Ballet “Devoción y persuasión. Santas de Zurbarán “.

She works as a soloist and teacher in Japan for the company Iberia, represented by Teruo Kabaya.

She participates as a teacher in the Flamenco Estudio Danza school directed by Tamara López and Úrsula López.

She is part of the Condarça flamenco company with the show Romero de Torres.

Collaborates as a soloist in the show “Rojo y rosa” by guitarist Agustín Carbonell “El Bola”.

She began the work of repeater at the Flamenco Ballet Eva la Yerbabuena.


She is part of the cast of Tablao Garlochi in Tokyo during the months of February, March and April.

Teacher in schools such as Alicia Márquez and Flamenco Estudio Danza by Úrsula López.

Solo dancer of Tablao Flamenco Los Gallos.

Olga Llorente

Olga Aznar García, better known as Olga Llorente (Sant Adrià de Besós, Barcelona, ​​1990), is a dancer and choreographer. Graduated in Spanish Dance at the Professional Conservatory of Barcelona (Institut del Teatre). Training at the La Tani flamenco school and at the Pilar Domínguez school. Later she received classes from teachers such as Antonio Canales, Javier Latorre, Farruquito, La Chana, Marco Flores, Belén Fernández, Rafael del Carmen, Rafaela Carrasco, Carmen Ledesma, Antonio El Pipa, Eva Yerbabuena, Belén Maya, among many others.

She has collaborated as a dancer in the film “Flamenco” by director Carlos Saura. She has performed in the festival Más y Más in the tablao Los Tarantos (August 2008); in the play “Fedra” directed by Javier Latorre and Miguel Narros sharing the stage with Lola Greco, Alejandro Granados, Amador Rojas, Carmelilla Montoya (2009-10); at the festival in Gorbió (France) in 2013; at the Círculo de Bellas Artes in Madrid with Rafael Amargo (2013); in the show  Ópera y Flamenco at the Poliorama theater and Palau de la Música in Barcelona (2013/14); at the Teatro Real (Madrid) with Ara Malikian in November 2014; in the Generalife gardens at the Granada and Lorca Festival as the first dancer with the show “Poeta en Nueva York” by Rafael Amargo (2015); in the company of Antonio Canales (2015); at the Jazz Festival of AARUS with Perico Sambeat and the Jazz Orchestra of Denmark (2016 and 2017).

She has collaborated as a choreographer in the show of José Agudo (choreographer/ assistant of Akram Kham) in his show “Silk Road“.

She has performed and toured Colombia, Santo Domingo, China, Israel, Turkey, Korea, Russia, Germany, France, Japan, Argentina, Morocco, etc.

She has danced in the following tablaos: Los Tarantos, Tablao de Carmen, El Molino and El Cordobés (Barcelona), Los Gallos, El Arenal and Cristina Hoyos Museum (Seville), Tablao Albaicín (Granada), Tablao Villarosa, Corral de la Morería, Casa Patas, Tablao Cantares, Las Carboneras and La Estación de los Porches (Madrid). She performed in Japan at the tablao El Flamenco in 2010-2011 and in Garlochi in 2017-2018

She has shared the stage with artists such as Pastora Galván, El Farru, José Maya, Marco Flores, Manuel Liñán, La Repompa, Belén Maya, Diego Carrasco, Juan Ogalla, El Junco, Rafael del Carmen, Barullo, etc.

“Vicente Escudero” Award for her dance by seguirilla in 2006 at the VIII Young Values ​​Competition of the city of L’Hospitalet. First prize in Spanish Dance at the Dance Contest of the city of Castellón, 2009. Contest of the Perla de Cádiz, prize for free dance for siguirilla in 2013.