Impossible. Can you believe it? As if I were going to a wedding. At times I've put something together based on his compositions. And at times I've created a choreography then he later put music to it. It depends on the show and it depends upon what we want in that moment.ĭo you have any rituals? Is there anything you do before going on stage? Really I'm very superstitious. So I always have the same things in the dressing room. You know? The same photos from years ago, and there's one thing it's that I can't go on stage without having brushed my teeth. It's like he is my right hand and he understands me perfectly on stage. So it's super easy.ĭo you listen to one of his compositions first or does he compose based on your dancing or do you do it together? It depends. It depends on the choreography. It depends upon what we want. I can't say otherwise. And I'm used to it, and if he weren't here it would be so hard for me. What is it like collaborating with your husband? The truth is it's great because we began working together before becoming a couple. And we've always spoken the same language. For him, it's music and for me dance. But both of us had the same language. So really it's completely easy working together. She is truly what makes me dance, what really causes me to enjoy everything a little bit more. Afterward everything is reflected on stage. It is reflected in the individual. It is reflected when dancing because one thing is what you dance, one is what is. There's no cheating. So, it changed everything for me I think. Now my main motivation is her. How did your dancing change after becoming a mother? First it changes your life completely. They like it now that I do it, but had I not started dancing I don't think you would ever have heard flamenco in my house. So your parents don't like flamenco either? No, of course. And now I am trying to give back to them all that they have offered me. They never prohibited me from doing anything. When I was little they both supported me in whatever I wanted. My parents really are the ones who have helped me so much. How is that possible? And does this bother you? Well, I have to respect that. I don't think they have any idea of the level. In other words I think that they think I dance sevillanas or something. I have four brothers, and they don't. They don't like it at all. ❽oes anyone in your family dance or do anything related to flamenco? No and on top of things none of my siblings like flamenco dancing.īut do they like flamenco? No, not at all.īut they come to see your shows, right? Just my sister. Things happen as they're meant to happen. I am a person who does her own thing, and I haven't tried to be accepted. If I am, great and if not, What am I going to do? Things in life cannot be forced. but I believe artistic work is a bit worse. It is very closed. It takes a lot of effort to get accepted into places, and this has a big effect on your everyday life because artists have a lot of aspirations, and they want to improve everyday, and if you don't feel good about yourself it's horrible. I have been faced with many obstacles, and I continue to encounter them, but you overcome them through daily work and without paying attention to others. What are some of the problems and how did you overcome them? Was it hard for you being a flamenco dancer in Jerez coming from a non-flamenco family? Did you have a hard time being accepted? The truth is that all work has its issues. From Adrian Galia, from Yerbabuena, from Andrés Marin. I learned so much. But really I wanted to be a soloist. But I was very clear, I wanted to be a soloist. I encountered lots of obstacles, lots of problems. But it was truly what I wanted. What happens first it that you have to start by learning, right? And being in companies I learned so much. I started at the tablao, and this was the beginning.ĭid you always want to have your own company? Of course. Honestly I knew this very clearly from the time I was twelve or thirteen years old and I said that I wanted to dedicate myself to this. She really opened my mind. And through her I got in contact with El Cordobés, a flamenco tablao in Barcelona, the best tablao in Spain. I was there four or five years. And from there I also studied with a teacher Cadiz who is wonderful named Charo Crúz. Then when I was twelve I went to the conservatory in Seville. And who did you study with in Jerez? I began with Ana María López.
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