Born in Barcelona in 1987, she is formed in the city of Barcelona in different disciplines, focusing finally on flamenco by masters as Antonio Canales, La Chana, Rafaela Carrasco, Eva Yerbabuena, Manuela Carrasco, among others.
She has been part of Rafael Amargo’s company since 2013, participating in the shows “Suite Flamenca”, “Ecléctic” and “Tiempo Muerto 2”. In 2016, she is part of the show “Carne y hueso” by Eva Yerbabuena.
She participates in festivals like Flamenco Festival of Nou Barris, the Cycle Catalunya Flamenco Art, Mas i Mas Festival in the Palau of the Music, and the Cycle Nights of Duende in the Pedrera. As well as the Festival of Béziers (France), the Flamenco Cycle of the BBK Room (Bilbao) and the Flamenco Festival of the Amphitheater of El Hatillo (Caracas, Venezuela).
She forms part of the shows Gran Gala Flamenco and Ópera Flamenco as bailaora soloist in the Palau de la Música and the Poliorama Theater.
Winner of the “Juana la Faraona” award in the Young Values Contest, 2009. First prize for choreography. Barcelona, 2014.
She works as a solo dancer in Tablao del Carmen, El Cordobés, Tarantos, Palau Dalmases, Flamenco Ramblas and Teatro Principal, in Barcelona. Also in Tablao Villarosa and Las Carboneras, in Madrid.
She has taught in different schools in Barcelona and also as an assistant professor in the music career that takes place at the Taller de Músics in Barcelona. At the same time she combines courses in different cities of the world.
«I feel very identified with the concept of Las Carboneras»,
says the bailaora from Barcelona
«I feel very fortunate to be part of this tablao, Las Carboneras, because the truth is that I have always worked with colleagues of my taste that have made me enjoy up and down the stage always. I feel very identified with the concept and the way of working that is here, the way that Ana and Tacha have to work and enjoy on stage and, furthermore, I feel that I can always develop and experience new things to continue learning and advancing. So what more could you ask for? Just give thanks and be able to continue enjoying this site every time I get on the boards».
(Cádiz, 1982). He started his career from a very young age in his hometown always linked to flamenco peñas and Andalusian circuits. His artistic development grows already in Madrid where he is required by all the national tablaos.
He has collaborated in different productions such as Pepa Molina’s “Ni aquí ni allí”, “Tierra cantaora” by Manuel Morao, “El burlao de Sevilla” by Rafaela Carrasco, “Rew”, by Liñán and Doña, Olga Pericet’s “Rosa, metal y ceniza”, and he is invited as choreographer and first dancer by the Dutch national theater company The Nederlands Toonel in his work “Medea” He has directed the show “Tablao”, an order from the Association of Tablaos Madrileños, displayed in Suma Flamenca 2013 in the Teatros del Canal.
“Ataduras” is his first show of own production presented at various festivals like Jerez, Milan, Mexico.
He obtains in 2010 the prize the Desplante granted by the International Festival de las Minas.
HPe receives the prize to the best outstanding dancer in 2014 within the Contest of Choreography of Spanish Dance and Flamenco of the Community of Madrid. And in 2014 he launches his new proposal, “Gaditaneando, a tribute to Cadiz”, under the direction of Flamenco Edition UK, which completes a tour of different cities in the UK in May 2015.
«The tablao is essential in all aspects»
, says the bailaor from Cádiz
«I think tablao tablao is a key key to the evolution and development of any artist in relation to flamenco, not only in dance, but also In the toque or in the cante. For me the tablao is as if it were a laboratory, in the sense that it is the place where I put into practice all my knowledge, my own formulas and structures, and my foot mechanisms, etc. That is why I refer to tablao as a laboratory. It is also a place where you can accept your mistakes and learn from them to, little by little, give yourself time and perform for the benefit of oneself, in continuous search for your own identity. Being daily working gives you a great experience and, above all, a knowledge of your dance, a very important awareness of your dance. The fact of being with the public so close obviously is an enriching and very positive experience. There is no fourth wall that can exist in certain large theaters, tablao is a small place and that approach with the public is quite important. In short, I think it is a very important school for all the flamenco artists we have to go through. I think it is essential in all respects».