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La Moneta GRANADA SOLO TIENE SALIDA POR LAS ESTRELLAS Sep. Thu 27 | 23:00 | 25,00€ | BUY

Juana Amaya

Juana Amaya: dance

Nazaret Reyes: dance

Juan Campallo: guitar

David Sanchez “El Galli”: cante

Paco Vega: percussion

Remedios Amaya

Remedios Amaya: flamenco singing We know that flamenco is not born but is recreated through the times, through voices, through men. Who is who or what is where, it matters little if the presence speaks to us in truth, if the echo is torn, if the cante leaves the entrails.

Granada lives in itself so imprisoned, sang Carlos Cano, who only has an outlet for the stars.

Granada is an intimate and closed land, where the sea is far away, but the water is of heaven and earth and of men. In search of this water, the inhabitants of the desert came to find Paradise, where they spent eight centuries (and some more time of coexistence). Thus, Granada was the last bastion of Al-Ándalus. So Granada looks inward, with one eye red and one green, one eye of strength and one of hope.

In Granada there is no industry. Granada is a land of individuals and talent. From Granada it was Federico and now it is from the world, from Granada it was Enrique and now it is from the world, from Granada it was Mario and now it is from the world, from Granada it was Carlos Cano and now it is from the world. Because Granada lives in itself but has open windows so that the air enters between curtains and lattices.

That’s why the zambra is of the Arabs, the granaína is from Jerez and the soleá is from Triana; that’s why the temporary one is from the mountains, the tangos are from the land and the habanera is impossible.

Granada has exit by the stars is an eminently Granada work.


Habanera Imposible by Carlos Cano

The Pearl: guitar

Carmen Amaya: palms

Samara: palms

Rosario: palms

Ana Mari González: palms

Isidro Suárez: percussion

Photography: J. María Mena. The Camera Obscura

Aunt Juana la del Pipa

The Pearl: guitar

Fabián Moreno, Fabián el del Pipa: palmas

Tomás de los Reyes, Tomás el del Pipa: palmas

Photo: Marta Vila Aguilá



DANCING | Fuensanta La Moneta, Raimundo Benítez, José Cortés The Indian

GUITARS | Álvaro Martinete, Víctor Tomate


CANTE | Mercedes Cortés, Ismael de la Rosa El Bola, Tomás García.

RHYTHM AND PALMS | Raimundo Benítez, José Cortés The Indian

ADDRESS | Fuensanta La Moneta

CHOREOGRAPHY | La Moneta and Raimundo Benítez


LITERARY ADVISERS | Mercedes Elorza and Jorge Fernández Bustos

SCENOGRAPHY | José Ángel Arias

MUSIC | Álvaro Martinete, Víctor Tomate, David Carmona and Carlos Cano

SCRIPT | Teresa Vílchez

CLOTHING | José Tarriño

LIGHTING DESIGN | Diego Padín Torres

SOUND DESIGN | Antonio Pérez Carmona



PRODUCTION | Fuensanta La Moneta

La Moneta

Dancer and choreographer. Granada 1984.
Fuensanta “La Moneta” is the case of an artist with an early vocation. His desire for flamenco dancing wakes him up in childhood. Such is her dedication to the dance and her innate conditions, that being still a girl, she is disputed by the most famous zambras of Sacromonte and tablaos from Granada. At this stage it is required to perform in galas organized by radio and TV channels. obtaining some important awards.
La Moneta combines his studies, with work in the zambras and tablaos to pay for his dance training in courses with the best teachers: Javier Latorre, Mario Maya, Carmen Cortes, Juan Andres Maya, Juana Amaya, Matilde Coral, Israel Galván and others.

When she danced for the first time in Madrid – at the age of 16 – in the Sala Suristan, how many fans and critics saw her, they came to the conclusion that they were contemplating someone who had all the qualities to be a flamenco dance figure. On the occasion of... +

Teatro Central + info and programming
how to arrive:


Calle de José de Gálvez, s/n. Sevilla

Medio: bus

Indicación: c1 & c2 lines / José de Gálvez (Teatro Central) bus stop