The second fortnight of April we again have a group of artists of great artistic quality, among which are, as guest dancers, two collaborators of Tablao Las Carboneras for years and both a sure value on our stage.
Either Guadalupe Torres and Adrián Santana are old acquaintances of our tablao, who always come with pleasure to share with cantaores, musicians and our usual bailaoras in order to learn and continue to grow together in flamenco. His humility, talent and expertise cross the tables and that is something that the audience notice and enjoy.
Guadalupe Torres was born in Madrid in 1983 and is a rising value of the current flamenco. She is graduated in Spanish dance and flamenco by the Real Professional Conservatory of Dance of Madrid and in her formation emphasizes important masters of flamenco.
Her professional career began at Compañía Andaluza de Danza and then went on to other companies such as Maria Pagés or Marco Flores in “De flamencas” awarded the best show at the Festival de Jerez. That was followed by different solo projects highlighting “Acuérdate cuando entonces”, taken to the Biennial of Holland, Helsinki Festival or Festival de Jerez, and her latest proposal, “Roble” , with great acceptance, that has passed through the Milano Flamenco Festival, Jornadas Flamencas, Red de Teatros or the Flamenco Festival Madrid. Her personality makes artists of different generations like Marco Flores, El Güito or Montse Cortés count on her in different collaborations for her versatility and freshness.
She combines her professional career with teaching classes and courses in Spain and countries like Japan, Brazil, Argentina, Italy or China. And being invited as teacher and choreographer in the Superior Conservatory of Dance of Madrid.
“The tablao is like eating,” says the Madrid artist
As for my training, one of the things that has given my dance openness and versatility is the fact of coming from a training in conservatory where I have studied classical and Spanish dance. All this, combined with the classes I took also in Amor de Dios with people from flamenco has been a base to give a little more amplitude to my dance. Also, having studied with teachers in Madrid and Seville has also defined my style, studying with many different teachers and different styles.
From the professional side, I also emphasize that I started working very young at companies such as Compañía Andaluza de Danza, María Pagés, Marco Flores and Manuel Liñán, and that path for me has been very important, working in companies and in teams, where there is a work of continuity and daily work.
“That also gave me the ability to then be able to perform my shows and my solo projects, which I currently have two: “Acuérdate cuando entonces” , which is a format of flamenco recital, a more traditional flamenco, say, and then we are also working with “Roble” , which is a more aesthetic proposal and theatrical, and it is still the flamenco that I do and that is already defining me. I have these two proposals, which are very different, apart from the first show I did with Jonathan Miró and David Coria, which was our first experiment as a company and with which we learned a lot and acquired maturity and gave us another vision of doing things and carry out the projects.
“De los rincones”, in which I took Marco Flores as a guest artist, was the first experiment I did in solo. And the two productions we have now are more powerful and have gone to important festivals such as the Biennale of Holland, the Festival de Jerez and the Helsinki Festival, etc.
“This I combine with the faculty, which is an increasingly important facet in my career with many courses outside, or as a guest teacher at the Conservatoire Superior, which I have been to recently.. ”
And then, the part of the tablao, which for me is totally imperative. It’s the part I don’t like the most, say, but it’s a necessary thing in my life. Just as the shows is something you do more sporadically, it takes a process to get to that day and make a bolo, tablao is like eating. The tablao is where I have learned the most, where the real language of flamenco arises between singing, guitar and dance, where improvisation arises, not knowing never what is going to happen and the appearance of wonderful evenings. Or not, too. For me it is the fundamental school of flamenco, if you really want to learn that language, which for me is what it is, and then have more freedom to do other things.
For me the tablao is enjoyment, it is daily learning because every day you learn more, even the worst day you have, too. And the best, enjoy it. In this case, in your house, in el Tablao Las Carboneras , and not for making the ball, is one of the places where perhaps I have learned more because of the concept that you have, by the musicians so good that there are always, like the treasure that you have there of Angel Gabarre, for example. And then, for your concept of how tablao is, how you do the palms, things that make us learn a lot, how you have to sing a jaleo, how you carry your dance and make it more round. And above all, the good atmosphere that there is always in that house. Of course there are also other incredible tablaos.
But to this I have a special affection because I have been going a long time, it was one of the first ones that I went to, but for me it was a wonderful school in the sense that I have learned a lot and I continue learning because every day is an adventure. I highlight the good mood that there is, that makes it possible to work much better, that people have freedom, within an order there is freedom, which for me is one of the most important things for dance, flamenco and music ‘.
“El tablao es una escuela en la que se disfruta muchísimo”, dice el malagueño
Adrián Santana begins his training with his uncle the great dancer Pepito Vargas and continues his studies at the Professional Dance Conservatory of Malaga, his hometown. In 2010 he received the second prize in the Certamen Coreográfico of Spanish Dance and Flamenco in Madrid with his piece“Siempre me pasa lo mismo” ,which would be released afterwords in the Sala Pradillo of Madrid with great success.
He has joined some of the best dance companies in the country, such as Aída Gómez, Carlos Saura, Manuel Liñán-Daniel Doña, Margaret Jova Producciones, Carlos Chamorro and Rocío Molina, and he has shared the stage with artists such as María Pagés, Lola Greco, Javier Latorre , Belén Maya, Pastora Galván, Nani Paños, Concha Jareño or Rafael Estévez in stages and festivals such as the Seville Biennial, the Jerez Festival, Flamenco Festival London / New York and the Acropolis of Greece, among many others. He has been directed in different productions by artists of great prestige like maestro Granero and Antonio Canales and has been programmed by the tablaos Casa Patas, Villa Rosa, Las Carboneras and Corral de la Morería. In addition to his experience as a dancer, he teaches courses in different cities and higher conservatories in Spain and abroad.
«Mis comienzos fueron con mi tío Pepito Vargas, que fue mi maestro y el que me enseñó todo sobre el flamenco, todos los palos y a bailar por derecho. A la vez lo combinaba, desde los nueve años, con la carrera en el Conservatorio Superior de Danza en Málaga, que fue donde estudié todas las disciplinas: clásico, clásico español, flamenco, folclore, etc.»
“My beginnings were with my uncle Pepito Vargas, who was my teacher and who taught me everything about flamenco, all the palos and to dance by right. From the age of nine, I combined with my studies at the Conservatorio Superior de Danza in Malaga, where I studied all the disciplines: classical, classical Spanish, flamenco, folklore, etc.
»As for the artistic trajectory, note that I have been soloist of the company of Aida Gómez and that I have danced with her in festivals as important as Jerez or in the Acropolis of Greece. I have also performed with Rocío Molina in different festivals, highlighting the City Center of New York within the program of Flamenco Festival. In solo projects, as a professional, I took the second prize at the Madrid Certamen Coreográfico in 2010 with the piece “Siempre me pasa lo mismo” and with that same piece I did my first show that premiered in the “La otra mirada del flamenco” in Sala Pradillo and took it abroad. It was my first and most special set up. I had the opportunity to choreograph a show along with two Asian girls, entitled “La partida” which premiered in Hong Kong and was performed in Japan.
»With my own company, the last show “Simbiosis” , premiered in Granada in the Veranos del Corral, was performed at the Málaga Festival and with it I travel to the Festival of Alburquerque for its 30th anniversary. In February of this year I made a residence in Albuquerque and I have created a piece for the company Hijastros.
Within my training, el tablao is a super important part and it is very necessary for any artist who engages in flamenco, it is a school that must be passed and where the artist really does as a professional and where he or she forms as an artist. It is a school where you enjoy a lot and for me it is necessary not to stop being there and maybe it is one of the places where I enjoy the most and where I learn most from the colleagues with whom I share».