„Analyzing Flamenco with hardware store tools produces dead lizards that will not return to life. The language of the body, of the voice and the memory marking the rhythms of what has been forgotten confront documentation: to dance a document; to sing to a file; follow the beat of the analysis and catch the tone of the speech. All that is fine, but only soap bubbles articles are produced this way. It is imperative to start dreaming. To dream, perhaps, that by proposing a warm and personal narrative of Women's Broken stories we
will be able to breathe life of hope to the dead – Gitanas of capitalism and flamenco from 1749 to 2019.“  (Miguel Angel Vargas Rubio)

Belén Maya probably has been the first artist to advance the codes of flamenco dance around the turn of the century, not by adding new rules, but by liberating it from boundaries, by enabling flamenco to coexist with other languages and, in short, by opening the floodgates of lexical, syntactic and semantic freedom in dance and on stage.
Belén Maya war möglicherweise die erste Künstlerin, die die Codes des Flamencotanzes um die Jahrhundertwende vorantrieb, nicht indem sie neue Regeln hinzufügte, sondern indem sie ihn von Grenzen befreite, indem sie es ihm ermöglichte, mit anderen Sprachen zu koexistieren. Indem sie die Schleusen der lexikalischen, syntaktischen und semantischen Freiheit im Tanz und auf der Bühne weit öffnete.

CONCEPT Belén Maya and Miguel Angel Vargas Rubio DANCE Belén Maya DIRECTION Miguel Angel Vargas Rubio

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