Isabel Bayón

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Isabel Bayón Gamero (born May 13, 1969 in Seville ) is a Spanish flamenco dancer, choreographer and teacher.

Childhood and youth

Isabel Bayón started dancing at an early age. At the age of five, she entered Matilde Coral's academy . At the age of six she made her first appearance in front of a large audience at the Teatro Lope de Vega in Seville: as partner of Antonio Ruiz Soler , she danced Sevillanas . At the age of ten she danced flamenco at a professional level. In the Alcázar of Seville she performed a homage for Antonio Mairena .

When she was thirteen she took part in the Seville Flamenco Biennale for the first time . At the age of 16 she obtained a diploma in Spanish dance from the Conservatories of Seville and Cordoba . In those years, according to her own words, she danced at all the festivals in Andalusia, and there were many. Mention should be made of the Andaluz Festival in Bordeaux in 1986 and, in the same year, the homage to Pepa Montes in Seville and her appearance in the Flamenco Vivo show alongside Milagros Mengíbar and Manolo Marín . She also taught flamenco at Matilde Coral's school. She gave up this position in 1988. That year she was a finalist for the Giraldillo del Baile , which the city of Seville awards at the Biennale.

With the establishment of the Cooperativa Andaluza Fuente Flamenco , she started her first commercial venture in 1988 at the age of 19. Other members of the cooperative were the guitarists Paco Arriaga and Romerito Hijo , the singer Antonio Saavedra and the dancer Juan Ortega .

Performances until 2004

As a soloist and invited guest artist, Isabel Bayón has appeared in:

Fuente Flamenco made their debut in 1988 at the Albacete International Theater Festival . They called their piece Fuente Flamenca . It combined flamenco and drama. Eight other people joined the Fuente Flamenco ensemble during the performance. Then they went on tour to Italy and in the following years to various other countries. She choreographed a guajira for the 1999 performance of Oripandó by the Ballet Nacional de España in Fukuoka . For the Compañía Andaluza de Danza in 2001 she choreographed some tangos and a Bulería por Soleá for their show Encuentros . She also participated in the latter as a dancer.

Major stage works by 2010

Since 2002, the Seville Biennale has always been the occasion for her to create full-length performances and bring them to the stage. The first of these works was Del Alma . She herself characterized the piece as follows:

«(...) en él no se cuenta ninguna historia personal ni hay un guión que interpretar (...) Es algo íntimo, profundo, lo que quiero mostrar con mi baile (...)»

"(...) I am not telling a personal story in it, and there is no script that is interpreted (...) There is something intimate, deep, what I want to show with my dance (...)"

Jesús Torres and Paco Arriaga composed the music for the dance evening; both played the guitars together with Manuel Pérez . Music by Antonio Vivaldi was also played. Isabel Bayón invited Fernando Romero as a guest dancer and choreographer . In the pas de deux with him she danced rondeñas and Romances . She danced some Jaleos and Mariana solo.

Two years later, for the 2004 Biennale, she created another ballet: La mujer y el pelele . It is based on the story La femme et le pantin by Pierre Louÿs . Isabel Bayón danced the main character, the seductive Conchita Pérez, who fooled the tragicomic antihero Don Matéo Díaz at will. She also performed small vocal pieces herself. She danced bambera , polo , seguiriya , sevillanas, tangos and tanguillos . As an invited guest dancer, Tomasito stood by her side. Jesús Torres and Paco Arriaga played the guitars again. Juan José Amador and Miguel Ortega sang . Antonio Álamo wrote the text; the actor Juan Motilla performed it.

At the 2006 Biennale she presented La puerta abierta . A piece, according to her words, dedicated to openness: “An open door for inspiration, fantasies, feelings. (...) An open door to freedom. ”They danced flamenco, danced to the Goldberg Variations by Johann Sebastian Bach, and danced a paso doble . Tía Anica la Piriñaca , Manuel Agujetas and Miguel Poveda sang to the music of Jesús Torres . The piece was awarded the Giraldillo for best stage performance.

At the 2008 Biennale she performed Tórtola Valencia , a homage to the dancer Carmen Tórtola Valencia from Seville. This had enchanted its audience in the first half of the 20th century and helped to free dance from the conventions of the time. Film documents from Tórtola and her time were shown in a projection. Based on Tórtola's style, Isabel Bayón mixed oriental elements in her flamenco dance. A characteristic example was the number El serpiente . Isabel Bayón started with figures from Hindu dance, modulated into flamenco, switched to tangos and finally returned to the starting point. After this piece she danced guajira, garrotín and farruca and graduated with a soleá . Miguel Poveda sang as an invited artist. Matilde Coral ended the evening with a Soleá and a personal dedication to Mario Maya, who had just passed away. Matilde Coral's dance to song by Miguel Poveda was awarded the Girardillo for the Biennale's Momento Mágico .

Her piece for the 2010 Biennale, En la horma de sus zapatos , combines the works of three other choreographers with her own choreography. The work is based on a sonnet by Miguel Hernández , Por tu pie, blancura más bailable . The invited choreographers for the first part were Florencio Campo , Fernando Romero and Rubén Olmo . She dedicated the second part, her own choreography, to her teacher Matilde Coral and her teacher Mario Maya. She presented the same piece at the 2011 Jerez Festival.

Recent past

Isabel Bayón presented Caprichos del tiempo in 2013 on the occasion of the Jerez Festival. The piece reflects the time and how it influences our work and deals with the tension between fashion innovations and what is worth preserving. In a kind of suite, Isabel Bayón danced classical dances in a contemporary style in a coral red dress: the malagueña, the guajira, the farruca, the tango, a long seguiriya that turned into a toná . It sang Manuel Vallejo and El Londro .

In the same year she was awarded two important prizes:

  • The Premio Nacional de Danza ; this is awarded by the Spanish Ministry of Education, Culture and Sport and is endowed with € 30,000.
  • The Premio de la Crítica de la Cátedra de Flamencología de Jerez.

At the 2014 Seville Biennale she again performed Caprichos del tiempo . She then went on tour of Asia with the piece.

At the 2016 Biennale, she performed a joint project: In DJU-DJU , she danced with her company, directed by Israel Galván . The piece deals with the superstition that is inherent in the Gitano culture; with fears and frenzy. Isabel Bayón herself admits to be superstitious: she stands up with her right foot and has certain quirks on stage. Alicia Márquez and Nieves Casablanca danced with her on stage, Jesús Torres played the guitar, David Lagos sang and Alejandro Rojas-Marcos accompanied on the clavichord and the organ.

She presented her most recent work at the 2018 Biennale: Yo soy . She designed the dramaturgy together with Carmen Fernández, Jesús Torres took over the musical direction of this mostly cheerful, colorful series of flamenco dances. Jesús Torres and Paco Arriaga played the guitars, David Carpio and Juan de Mairena sang, José Carrasco accompanied the percussion .

Teaching

In 2006 she founded the ADOS flamenco school in Seville with the dancer Ángel Atienza. Currently (2018) she teaches as a professor at the Conservatorio Superior de Danza María de Ávila in Madrid.

style

Isabel Bayón dances a feminine, elegant flamenco. With deep respect and knowledge of the classic forms, her style is varied and creative. It has a rich repertoire that also includes palos such as the Rondeña and the Mariana, which are little shown these days.

Web links

References and comments

  1. ↑ a b Isabel Bayón. In: El arte de vivir el flamenco. Retrieved October 17, 2018 (Spanish).
  2. ↑ José Luis Navarro García: Historia del Baile Flamenco . Volume IV.Signatura Ediciones de Andalucía, Sevilla 2010, ISBN 978-84-96210-73-8 , pp. 153 .
  3. ↑ a b c d José Luis Navarro García: Historia del Baile Flamenco . tape IV , 2010, p. 154 .
  4. ↑ José Luis Navarro García: Historia del Baile Flamenco . Volume IV, 2010, p. 155 .
  5. ↑ a b c José Luis Navarro García: Historia del Baile Flamenco . Volume IV, 2010, p. 156 .
  6. ↑ Both the Spanish and the French title mean: The woman and the jumping jack .
  7. ↑ The material has also been filmed several times, including in The Devil is a Woman and This Obscure Object of Desire .
  8. ↑ Estela Zatania (text), Manny Rocca (photos) XIII Bienal de Flamenco de Sevilla. 'La mujer y el pelele' - Isabel Bayón . In: Revista DeFlamenco.com . October 1, 2004 (Spanish, deflamenco.com [accessed October 18, 2018]).
  9. ↑ The open door
  10. ↑ José Luis Navarro García: Historia del Baile Flamenco . Volume IV, 2010, p. 157 .
  11. ↑ EP: 'La puerta abierta', de Isabel Bayón, se reestrena hoy en la Bienal . In: El País . September 19, 2006, ISSN  1134-6582 (Spanish, elpais.com [accessed October 19, 2018]).
  12. ↑ a b José Luis Navarro García: Historia del Baile Flamenco . Volume IV, 2010, p. 158 .
  13. ↑ Estela Zatania: XV BIENAL DE FLAMENCO 'TORTOLA VALENCIA' Isabel Bayón colaboración Matilde Coral y Miguel Poveda . In: Revista DeFlamenco.com . September 29, 2008 (Spanish, deflamenco.com [accessed October 19, 2018]).
  14. ^ Miguel Hernández: Por tu pie, la blancura más available. In: Poesia en Español. Retrieved October 19, 2018 (Spanish).
  15. ^ Efe: Isabel Bayón interpreta tres coreografías basadas en un soneto de Hernández. In: El Mundo. October 2, 2010, accessed October 19, 2018 (Spanish).
  16. ↑ Isabel Bayón se mira a través de los ojos de tres coreógrafos en 'En la horma de sus zapatos' . In: Revista DeFlamenco.com . March 3, 2011 (Spanish, deflamenco.com [accessed October 19, 2018]).
  17. ↑ Caprichos del Tiempo. In: website of the artist. Retrieved October 19, 2018 (European Spanish).
  18. ↑ Fermín Lobatón: Una escuela de baile creativa . In: El País . March 1, 2013, ISSN  1134-6582 (Spanish, elpais.com [accessed October 19, 2018]).
  19. ↑ Manuel Martín Martín: El presente supera al pasado . In: El Mundo . Jerez February 28, 2013 (Spanish, elmundo.es [accessed October 19, 2018]).
  20. ↑ Isabel Bayón y Marcos Morau, premio Nacional de Danza 2013 . In: El País . November 20, 2013, ISSN  1134-6582 (Spanish, elpais.com [accessed October 19, 2018]).
  21. ↑ a b Isabel Bayón . In: Conservatorio Superior de Danza "María de Ávila" . 2018 (Spanish, csdma.es [accessed October 21, 2018]).
  22. ↑ Manuel Martín Martín: Triunfar reajustando conceptos . In: El Mundo . September 24, 2014 (Spanish, elmundo.es [accessed October 21, 2018]).
  23. ↑ Isabel Bayón gira por Asia with "Caprichos del tiempo". Retrieved October 21, 2018 (European Spanish).
  24. ↑ Pedro Romero: Dju-Dju. In: website of the artist. Retrieved October 19, 2018 (European Spanish).
  25. ^ Javier Martín-Arroyo: El baile rabioso y las supersticiones de Isabel Bayón . In: El País . August 17, 2016, ISSN  1134-6582 (Spanish, elpais.com [accessed October 19, 2018]).
  26. ^ Fermín Lobatón: Un universo lúdico y particular . In: El País . September 30, 2018, ISSN  1134-6582 (Spanish, elpais.com [accessed October 21, 2018]).
  27. ↑ Rosalía Gómez: Una jubilosa velada con Isabel Bayón . In: Diario de Sevilla . October 30, 2018 (Spanish, diariodesevilla.es [accessed October 21, 2018]).
  28. ↑ Isabel Bayón . In: Revista DeFlamenco.com . August 3, 2012 (Spanish, deflamenco.com [accessed October 21, 2018]).
personal data
SURNAME Bayón, Isabel
ALTERNATIVE NAMES Bayón Gamero, Isabel (full name)
BRIEF DESCRIPTION Spanish dancer and choreographer
DATE OF BIRTH May 13, 1969
PLACE OF BIRTH Seville