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Rafaela Carrasco, Tamara López, Javier Barón, Rubén Olmo y David Coria EL SALÓN DE BAILE Sep. Wed 26 | 20:30 | De 22,00€ a 40,00€ | BUY

Today we talk about Flamenco, knowing that it is one of the hallmarks of Andalusian artistic identity and expression with greater world recognition, a great cultural and festive treasure that UNESCO, in November 2010, cataloged as Intangible Cultural Heritage of Humanity.

But the historical evolution of flamenco went through its beginnings on unpaved roads. Born of the people, and with an evident folkloric root, it was delivered to the public in different places and with different formats, still far from the recognition of the noble palatial stays. Since the mid-nineteenth century, when the repertoire was still being prepared and by then the name of Flamenco had not been formalized, fans of this type of new music and dance were often called fans of Jaleo and Gypsy Juerga.

During the fusion between the Bolero and the Flamenco, the Jaleo was the point of union between the two Andalusian expressions of different artistic mood. The old Bolero was implemented with essences of Jaleo, and the Salones de Baile served as a meeting point for the different styles, where they erroneously received feedback from each other.

Today, Rafaela Carrasco presents a new show that evokes the places and formats that historically followed the public presentations that, as an exhibition, especially for a foreign audience, were made at the Dance Academies of the great masters of The time; but now under the name of ‘Dance Salons’.

The first of the Salones de Baile that is remembered dates back to 1850 and talks about the businessman Miguel de la Barrera *, who published essays open to the public in the Sevillan hotels in his Ballroom Academy.

* An announcement published on August 3, 1850 in the newspaper ‘El Porvenir’, indicated that “in the accredited academy run by Mr. Manuel de la Barrera, Passion Street next to the Amphitheater, there are extraordinary public trials of national dances on Saturday, that will attend all the disciples of the director and also the best bowling alleys of this city, dancing the Malagueña, the Redova, the Vito and jaleos de Cádiz “.

Rehearsal venues open to the public, where different genres and styles and different music and instrumentation coexisted, contributing to the creation and development of flamenco singing and dancing: Dance Academies, Dance Salons and Cante or Cafés Cafes Singers, they met by the hand of Silverio Franconetti and Aguilar, Miguel de la Barrera, La Campanera, Otero, Antonio the Painter …, many of those who stood out among the first ones who presented boleros dances and stylized flamenco … They were dancing of man and woman, with chopsticks, shawls and gowns.

In those “Salones de baile” you could see, El Jaleo de Jerez, El vito, La maja and el Torero, El Jaleo de Sevilla, La soleá de Arcas, El Polo, El Garrotín, Dances for alegre, Soledades, American Tango, Farruca … And as artífices, to the most outstanding stars of the flamenco firmament of the time.

It was there, in these places precursors of the diffusion of Flamenco Art, where it helped to forge the aesthetics of the gypsy genre and its steps and changes, where the masters taught their art contributing to its expansion and international recognition, before the attentive look of national tourists and mainly foreigners who appreciated it singularly. There, where the sneaker coexisted with the chapín and the flamenco shoe, in those original places that saw boleros danced, where the first flamenco dancers were stylized and academized with the professionalization of their artists: cantaores and cantaoras, guitarists, bailaores and bailaores , with his cantes toque and dances, which for his talent and value already stood out in the professional artistic field, showing himself to an increasingly avid audience of Flamenco Art.

The show, which the Rafaela Carrasco Company presents, shares the musical space of a flamenco formation, of “tocadores y guillabaores”, with a chamber orchestra. The orchestra will have a formation of eleven musicians plus its director. It is an exceptional occasion, with a world premiere at LA BIENAL DE FLAMENCO DE SEVILLA, which will show the music of the first bolero dances from the perspective of flamenco, and its interaction with contemporary dance. A space without definite time, reminiscent of that Flamenco Art in the different years that covered that symbolic period of around 1840 and 1930, in which THE DANCE SALON turned out to be a precursor spring of the most current flamenco. The musical creation will be composed of pieces from the late nineteenth and early twentieth centuries, works of the period revised and modified – although recognizable in their original creation, in which they have sought to capture a more fresh and current look.
At the time, foot will be created completely unpublished, inspired by music and scores of the most outstanding authors of the time. The dance group will have five “dancers” of different dance specialties: Bolero School, Stylized Dance, Stylized Flamenco and Sevillan Dances, of men and women. The choreography will offer solos of the five soloists, as well as duos, trios and group pieces. A new creation, both choreographic, musical and scenographic, that oscillate between past and present. Inspired by the context of those past years, but enriching the staging from the most current methodology and technique. The quality and recognition of the artists gathered here, as well as the variety offered by the different personal styles of each of them, will offer us a plastic, visual and sound richness, which together will be an attractive show, very particular, presented in our peculiar tribute to «THE DANCE SALON».


Artistic director and choreography: Rafaela Carrasco

Musical Director / Composer: Jesús Torres

Conductor / Composer: Manuel Busto

Bética Chamber Orchestra

Musical composer: Juan Campallo

Assistant director and choreography: David Coria

Soloists: Javier Barón – Rubén Olmo – David Coria – Tamara López – Rafaela Carrasco


Guitar: Jesús Torres – Juan Campallo

Cantaores: Antonio Campos – Miguel Ortega – Jonatan Reyes

Lighting design and stage space: Gloria Montesinos (A.a.i)

Audiovisuals: Tama Visuals

Dressing Advice: Blanco and Belmonte

Sound space: Ángel Olalla

Machinery and management: Óscar Alonso “Rusti”

Special collaboration: Roberto Garrudo

Production Director: Alejandro Salade

A production by Rafaela Carrasco

Distribution: Emilia Yagüe Producciones S.L.U

Special thanks: National Ballet of Spain, Ballet Flamenco de Andalucía, Andalusian Dance Center (CAD), Professional Conservatory of Dance “Antonio Ruíz Soler”.

Rafaela Carrasco

The choreographer and dancer Rafaela Carrasco is an outstanding figure of flamenco since she created her own company in 2002, marked by fruitful artistic collaborations, after winning the main prizes in the 11th Spanish Dance and Flamenco Choreography Contest that same year.
In her career, she highlights her profile as a dancer and, above all, as a choreographer. Since its inception, he has wanted to rethink, investigate and personalize flamenco. To venture. His professional objective has been to create a vision of dance: warm, elaborate, conceptual, and conceived for a dance body in a scenic space.
Elaborate flamenco. Update it For this, he has absorbed knowledge of other dance disciplines, without abandoning the flamenco root, making a personal journey back and forth in his experience and expression of dance.
Carrasco is a great connoisseur of Spanish dance and flamenco, thanks to her two great masters: Matilde Coral, with whom she learned the discipline, technique and passion for dance, and Mario Maya, who offered her her first professional opportunity and with... +

Tamara López

Montilla (Córdoba) 1978. He began his studies in dance with six years in various disciplines, obtaining honors from the Royal
Academy Of Dance. In 1998, a degree in Spanish and Classical Dance in the conservatories of Seville and Malaga. Expands his studies, with the teacher Manolo Marín. He works with teachers Javier Latorre, Manolete, Merche Esmeralda, Belén Maya, Víctor Ullate and Ramón Oller among others. In 2000 directed by Aida Gómez, twelve years in the National Ballet of Spain, highlighting: “Danza y Tronio” by Marienma, “Concierto de Aranjuez” by Pilar López, “Cambalache” by Antonio Canales or “La Leyenda” by José Antonio as soloist. First dancer in “Medea” by José Granero, “Fuenteovejuna” by Antonio Gades, “Claro de Luna” by José Antonio, the “Loco” by Javier Latorre. In the National Ballet works with illustrious teachers as: Teresa Nieto, Juanjo Linares, Alberto Lorca, Pilar Lopez, José Granero and Antonio Gades.

In 2004 she intervenes as a guest artist in the “Adelaide Dance Festival” of Australia.
In 2009 she is invited by Shoji Kojima to... +

Javier Barón

National Dance Award 2008. Born in Alcalá de Guadaíra and began his professional career in the companies of Luisillo, Rafael de Córdova, Ciro and Rafael Aguilar, until his entry -1981- into the National Ballet of Spain.
In 1980 he won the Young People Award from RTVE, and in 1988 the Giraldillo Baile Award at the Seville Biennial.
He participates in different projects collaborating with outstanding flamenco artists and participates in the discographic works ‘Cantaora’ by Carmen Linares and ‘Flamencos en Nueva York’ by Gerardo Núñez. After obtaining the Giraldillo he affirms himself in his position as the first figure of contemporary flamenco dance.
In 1996 she directed the first Creation workshop at the Andalusian Dance Center (CAD). The following year the company that bears his name forms and premieres – with the special collaboration of Ramón Oller – the show El Pájaro Negro at the Central Theater of Seville. Since then his creative capacity has not stopped flourishing and the premiere in the Seville capital has been followed by the... +

Rubén Olmo

Seville, 1980. National Dance Award 2015. Bachelor in Spanish and classical dance at the Conservatory of Seville. Rubén Olmo is currently a choreographer, director and reference interpreter of Spanish dance. As an interpreter, at the age of fourteen, she joined the first choreographic workshop of the Compañía Andaluza de Danza, directed by María Pagés. In 1996 he joined the Javier Barón Company and moved to Madrid to study with Rosa Naranjo, Carmina Ocaña and Aída Gómez. With the show we are alone, he becomes part of the Aída Gómez Spanish Dance Company as a solo dancer. And in 1998 he participated in the production of the Teatro de la Zarzuela, El barberillo de Lavapiés, choreographed by Ramón Oller. In March of 1998 he joined the National Ballet of Spain (BNE), directed by Aída Gómez, with which he premiered, at the Teatro Real, Luz de Alma, with choreography by Javier Latorre, and La Celestina -in the role of Callisto- choreographed by Ramón Oller, stage direction by Adolfo Marsillach. The following year... +

David Coria

Seville in 1983. Formed with teachers such as Paco Fabra, Lola Mesa, Aurora Bosh, José Granero, Juana Amaya, Aída Gómez, José Antonio, Carlos Robles, Ana María Bueno, Eva La Yerbabuena, Belén Fernández. Training at the Professional Dance Conservatory of Seville. Selected in 1998 for the “Taller Flamenco” of the Compañía Andaluza de Danza de José Antonio. In 1999, he performed in the show “Puntales” by Antonio “el Pipa”, with Juana “la del Pipa”, Milagros Mengíbar and María del Mar Moreno. In 2000 the company of Aída Gómez, and participates in the film of
Carlos Saura “Salomé”. In 2001, National Ballet of Spain under the direction of Elvira Andrés, and later of José Antonio: “Medea” by José Granero, “Danza y Tronío” by Marienma, “Fuenteovejuna” by Antonio Gades, “Concierto de Aranjuez” by Pilar López , and soloist roles in “Ilusiones FM” by María Pagès, “La Leyenda” and “Café de Chinitas” by José Antonio. He has collaborated with the companies “Dos por medio” Estévez & Paños, Cía. Rubén Olmo, in the flamenco company... +

Teatro de la Maestranza + info and programming
how to arrive:


Paseo de Cristóbal Colón, 22 (Casco Antiguo).

Medio: Bus: Line 3 [Stop Paseo Colón-Teatro de la Maestranza], Line 21 [Stop Paseo Colón-Teatro de la Maestranza], Line C4 [Stop Paseo Colón-Teatro de la Maestranza], Line 40 [Stop Paseo Colón-Teatro de La Maestranza], Line 41 [Stop Paseo Colón-Teatro de la Maestranza] and Line C5 [Stop Paseo Colón-Teatro de la Maestranza].

Indicación: It is the work of the architects Aurelio del Pozo and Luis Marín. It was inaugurated in 1991. The main hall has a cylindrical shape with a capacity for 1800 spectators. It is distributed in stalls, two terraces, a balcony and paradise. In the year 2007 a reform was made that doubled the size of the stage, which went from 800 square meters to 1600. Thanks to its variable acoustics, different shows can be performed, from operas to classical concerts and recitals, including flamenco, ballet and zarzuelas. In addition to the main hall, the complex contains experimental theater rooms, exhibitions, conferences and a cultural research center. Of particular note is the Manuel García room, in which chamber operas and small format are represented. Likewise, the Teatro de la Maestranza is the headquarters of the Royal Symphony Orchestra of Seville (ROSS), which not only regularly participates in opera performances, but also has an intense concert season throughout the season. In the 2007 reform, an exclusive testing room was incorporated for ROSS.