Manuel Liñán

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Manuel Arroyo Liñán (born May 8, 1980 in Granada ) is a Spanish flamenco dancer and choreographer .

Life

Career as a young dancer

Manuel Liñán made his first appearance in the Los Tarantos basement bar in Granada's Sacromonte district. He also appeared at festivals in Andalusia and in a number of tablaos . At the age of 17 he moved to Madrid. There he danced in the Café de Chinitas and joined the company of Carmen Cortés , with whom he performed in Salomé in 1998 . In the same year he also appeared in the company of Adrián Galia at the Festival of Mont-de-Marsan . In the Biennial of Seville in 1998, he joined both in competition for young dancers and in the in the imagination Gitanos del Sacromonte on. He had another appearance in this eventful year in Campanas flamencas at the Jerez Festival .

In 1999 he was seen in the dance play Maya by Juan Andrés Maya and in the cycle Noches flamencas in Seville. In 2000 he made his debut as a master dancer in the companies of Merche Esmeralda and Manolete . He also danced in La casa de Bernarda Alba by La Tati .

This career continued in the following years. He appeared in:

In Germany he was seen at the Expo 2000 in Hanover together with La Tati , Manolete , and Paco Romero . He was also seen in the Madrid tablaos Café de Chinitas , Casa Patas and Las Carboneras .

Further career as a dancer and choreographer

Together with Olga Pericet , Marco Flores and Daniel Doña he founded the company ESS3 Movimiento in 2003 . Her first self-choreography was Un millón de emociones . The following year they performed Olga Pericet's choreography Suite en cámara negra . The piece won first prize for choreography and first prize for music at the XIII Certamen de Coreografía de Danza Española y Flamenco in Madrid.

In 2004 he presented his first own piece, Madame Soledad, at the Certamen competition in Madrid . It is an anthology by Soleares , from the off there were his own verses. For this performance he received the Prize for Solo Choreography and the Prize for Young Dancers. In the same year he was also seen in Los caminos de Lorca , a production by the Centro Andaluz de Danza in the palace of Charles the Fifth on the Alhambra .

In 2005 he took part again in a joint effort with Olga Pericet and Marco Flores: an appearance in the Distrito Danza cycle , a production by the city council of Madrid. On this occasion they changed the name of their company to Compañía Manuel Liñán & Olga Pericet . As such, they staged Cámara negra in Segovia in September of that year .

Independently of these joint projects, Manuel Liñán appeared in a number of other screenings in 2005:

  • in New York at the presentation of the Premio García Lorca de Poesía literary prize ;
  • in Madrid at the Certamen de Danza Española y Flamenco ;
  • together with Marco Flores at the Tío Luis el de la Juliana festival in Madrid with the experimental piece 2 en compañía , which mixed contemporary elements with those of traditional flamenco in both music and dance. They presented the same piece again in 2006 in Jerez.

In 2006 the Compañía Manuel Liñán & Olga Pericet Manuel created the final version of Cámara negra . It was danced on an empty, black stage - everything concentrated on the different choreographies: a modern version of the traditional caña , fandangos , a zapateado and finally a petenera choreographed by Daniel Doña . They performed the piece at the Festival Madrid de Danza , then at the Festival de Música y Danza in Granada and finally on tour in Italy. Manuel Liñán had solo appearances in Madrid with the daring avant-garde piece in 1980 . He danced the alegrías in a brazen manner, wrapped himself in a simple black bata de cola , and then danced the soleá with a bare chest. He also appeared at FLAMENCO JOVENzero'6 in Madrid, at the dance festival in Montpellier and at the Seville Biennale. He choreographed the Raíces for Miguel Fuentes and worked with Belén Maya for Dibujos .

In 2007 he presented En clave at the Flamenco Festival in New York together with Olga Pericet and Marco Flores . They then performed the piece in Jerez and at the Israel Dance Festival . At the Festival Internacional de Danza in Granada, the three of them again brought Cámara negra to the stage together with Daniel Doña . The four of them also performed at the Seville Gala in Australia , Hong Kong and Beijing . Together with Olga Pericet he danced in Teresa Nieto's performance De cabeza . He has also danced at the Nîmes and Kuopio festivals, the Nuevos Flamencos Festival in Stockholm , the La Unión Festival and the Málaga Biennale .

Recent past

With Sinergia , Manuel Liñán produced a work for his company and himself in 2012 that was enthusiastically received by critics. He went on tour with the piece again and again in the following years, for example to St. Petersburg in 2013 and to England in 2018.

The dance play Tauro , which he created for the Jerez Festival in 2012, dealt with the local culture of Granada and its transition from tradition to modernity.

In 2013 he was seen in a couple dance with Fuensanta la Moneta on the Alhambra in Granada in Lorca , another dance-dramatic homage to the famous Spanish poet . At the Certamen de Coreografía de Danza Española y Flamenco he was a member of the competition jury.

In 2014 Manuel Liñán created a choreography for a small dance group with Nómada . In nine tableaus it shows a kind of retrospective of the epochs and styles of flamenco, alternating between group dances in which he was always involved, and solo performances by him, for example in the unconventionally decorated Seguiriya and in the Rondeña . Finally, in the Caracol , he danced in the typical attributes of the female dancer: the Bata de Cola train dress and the Mantón de Manila . He also danced that year as an invited artist at Belén Maya's show Los Invitados in Madrid.

At the Festival of Jerez 2016 he took the stage with the piece Reversible , again with the attributes of the female dancer.

At the Flamenco Festival in the three cities of London, New York and Miami in 2017, he was the choreographic director of the gala flamenca . The piece, with the dancers Juana Amaya and Olga Pericet and the singer Rocío Márquez , spanned a wide range from traditional flamenco to its contemporary forms. That year he also took part in a festival in the Tablao Corral de la Morería , where a large number of well-known flamenco artists could be seen on its stage. He also took part when the meeting was repeated in a similar form in 2018.

In 2018, again for the Jerez Festival, Manuel Liñán created a purist and avant-garde interpretation of flamenco on a stage in plain black: Baile de Autor concentrates on the basic elements of dance, singing and playing the guitar, starting with a dance-rich Soleá , his Parade discipline. Again he danced in a train dress, with a fan and Mantón de Manila.

In 2019 he created with ¡Viva! a travesty staging that is reminiscent of the Trockadero ballets : he and his six dancers embody officials who take on the role of dancers with a nostalgic impression. Unlike the original Trocks , however, he breaks up their cheerful irony, revealing the confrontation with incomprehension, exclusion, ridicule and violence. Travesty is definitely a tradition in flamenco, there were corresponding hiking groups in the 1920s and 1930s and at the end of the 20th century productions with fire and wit. Some of these attempts were received coolly by the audience, for example that of José Antonio Ruiz in his late days with the Ballet Nacional . Manuel Liñán, on the other hand, received frenetic applause at the premiere for his creation. In September 2019 he performed with his six dancers with ¡Viva! at the Hessian State Ballet .

reception

José Luis Navarro García wrote about Manuel Liñán:

"It is un bailaor muy cerebral que posee un dominio técnico impecable, una capacidad interpretativa y expresiva envidiable y una imaginación capaz de inventory las coregrafías más sugerentes."

"He is a very intellectual dancer with immaculate technical ability, an enviable interpretive and expressive ability, and an imagination capable of inventing the most suggestive choreographies."

El País ' critic, Roger Salas, wrote of him:

«Manuel Liñán (Granada, 1980) has demostrado que derrocha talento y vocación creativa. Su paleta se mueve entre la búsqueda formal de carácter contemporáneo y una sed de cultura de su propia especialidad, mirar el pasado, recrearlo y hasta manipularlo en busca de su producto propio.
(...)
Liñán es de lo mejor que nos está pasando en el crítico momento que viven la danza española y el ballet flamenco. »

“Manuel Liñán (Granada, 1980) has shown a great deal of talent and creative calling. His palette ranges between the formal search for the contemporary essence and the thirst for the culture of its own stamp. He looks at the past, recreates it and even reshapes it in search of his own work.
(....)
Liñán is one of the best that happens to us at this critical moment that Spanish dance and flamenco ballet are going through. "

Manuel Martín Martín, critic at El Mundo , described the influence of Manuel Liñán:

«Triunfo sin paliativos de Manuel Liñán, bailaor granadino que ha subido el nivel de los Jueves Flamencos desde el respeto a la identidad autóctona pero ampliando su efectividad, esto es, preservando y desarrollando su propia cultura hasta proyectarla a las nuevas generacoriones coma de enriquecer el flamenco como patrimonio de la humanidad. »

“Unlimited triumph for Manuel Liñán, the dancer from Granada who raised the level of young flamenco, starting from its autochthonous identity, but expanding its impact by preserving and developing its own culture to pass it on to new generations, the best way to enrich flamenco as a legacy of humanity. "

Awards

  • 2004 Prize for solo choreography and the prize for young dancers at the Certamen Internacional de Danza Española y Flamenco de Madrid.
  • 2006 Award for the best young dancer, given by DeFlamenco.com.
  • 2012 Prize for the best new discovery at the Jerez Festival for the piece Tauro .
  • 2013 Premio Max for the performing arts as best male dancer.
  • 2013 Flamenco hoy critics award for the best male dancer.
  • 2016 Critique Prize at the Jerez Festival.
  • 2017 Premio Nacional de Danza for the best interpretation.

Web links

  • Manuel Liñán. In: website of the artist. Retrieved November 29, 2019 (Spanish).
  • Manuel Liñán: “En danza hay un antes y un después de Gades” . In: El País . Madrid November 8, 2017 (Spanish, elpais.com [accessed December 8, 2019] Interview with Manuel Liñán on the occasion of the award of the Premio Nacional de Danza ).

References and comments

  1. ↑ a b c d e José Luis Navarro García: Historia del Baile Flamenco . Volume V. Signatura Ediciones de Andalucía, Sevilla 2010, ISBN 978-84-96210-88-2 , p. 197 .
  2. ↑ a b c Manuel Liñán. In: El Arte de Vivir el Flamenco. Retrieved November 29, 2019 (Spanish).
  3. ↑ a b c d José Luis Navarro García: Historia del Baile Flamenco . S. 198 .
  4. ↑ a b c José Luis Navarro García: Historia del Baile Flamenco . S. 199 .
  5. ↑ a b José Luis Navarro García: Historia del Baile Flamenco . S. 200 .
  6. ↑ a b c José Luis Navarro García: Historia del Baile Flamenco . S. 201 .
  7. ↑ "con descaro" (Navarro García)
  8. ↑ a b José Luis Navarro García: Historia del Baile Flamenco . S. 203 .
  9. ↑ a b c José Luis Navarro García: Historia del Baile Flamenco . S. 204 .
  10. ↑ Sinergia - Prensa. (PDF) Press kit. In: peinetaproducciones.com. Retrieved December 9, 2019 (Spanish).
  11. ↑ Manuel Martín Martín: Manuel Liñán provoca el delirio . In: El Mundo . Seville June 2, 2017 (Spanish, elmundo.es [accessed December 9, 2019]).
  12. ^ Festival Flamenco en Rusia - San Petersburgo 2013. In: Revista DeFlamenco.com. November 27, 2013, accessed December 9, 2019 (Spanish).
  13. ↑ Dancexchange presents Manuel Liñán's company - SINERGIA. In: birminghamhippodrome.com. Retrieved December 9, 2019 .
  14. ↑ Manuel Martín Martín: Manuel Liñán conmueve en Jerez . In: El Mundo . March 8, 2012 (Spanish, elmundo.es [accessed December 9, 2019]).
  15. ↑ Jesús Ruiz Mantilla: Lorca + Alhambra = ¡duende! In: El País . July 25, 2013, ISSN  1134-6582 (Spanish, elpais.com [accessed December 8, 2019]).
  16. ^ Roger Salas: Opinión | La calidad como respuesta . In: El País . December 23, 2013, ISSN  1134-6582 (Spanish, elpais.com [accessed December 8, 2019]).
  17. ^ Fermín Lobatón: El toque de distinción . In: El País . March 7, 2014, ISSN  1134-6582 (Spanish, elpais.com [accessed December 8, 2019]).
  18. ↑ Manuel Martín Martín: Triunfa la visión viajera de Liñán . In: El Mundo . Seville March 7, 2014 (Spanish, elmundo.es [accessed December 9, 2019]).
  19. ^ Fermín Lobatón: Todos fueron bienvenidos a la fiesta . In: El País . February 25, 2014, ISSN  1134-6582 (Spanish, elpais.com [accessed December 8, 2019]).
  20. ↑ Manuel Martín Martín: El baile frente a lo transitorio . In: El Mundo . Seville February 29, 2016 (Spanish, elmundo.es [accessed December 9, 2019]).
  21. ^ Margot Molina: Flamenco Festival hace un repaso de lo tradicional a lo contemporáneo . In: El País . February 10, 2017, ISSN  1134-6582 (Spanish, elpais.com [accessed December 8, 2019]).
  22. ↑ José Manuel Gómez: Ochenta estrellas en el festival del Corral de la Morería . In: El Mundo . Madrid April 5, 2017 (Spanish, elmundo.es [accessed December 9, 2019]).
  23. ^ Margot Molina: Un lugar para el flamenco al desnudo . In: El País . March 30, 2018, ISSN  1134-6582 ( elpais.com [accessed December 8, 2019]).
  24. ↑ Cristina Marinero: Apoteosis del arte jondo en el Corral de la Morería . In: El Mundo . Madrid March 28, 2018 (Spanish, elmundo.es [accessed December 9, 2019]).
  25. ↑ Fermín Lobatón: Intimidades compartidas . In: El País . February 26, 2018, ISSN  1134-6582 (Spanish, elpais.com [accessed December 8, 2019]).
  26. ↑ Manuel Martín Martín: Un sueño imaginado con ideas fijas . In: El Mundo . February 25, 2018 (Spanish, elmundo.es [accessed December 9, 2019]).
  27. ↑ a b Roger Salas: Un 'dryadero' con drama . In: El País . February 9, 2019, ISSN  1134-6582 (Spanish, elpais.com [accessed December 8, 2019]).
  28. ^ Eva-Maria Magel: Flamenco in Darmstadt: Krass feminine . September 26, 2019, ISSN  0174-4909 ( faz.net [accessed November 29, 2019]).
  29. ↑ José Luis Navarro García: Historia del Baile Flamenco . S. 208 .
  30. ↑ Manuel Martín Martín: Un bailaor para entendidos y curiosos . In: El Mundo . November 4, 2011 (Spanish, elmundo.es [accessed December 9, 2019]).
  31. ↑ Manuel Liñán, Premio revelación del XVI festival de Jerez. In: Revista DeFlamenco.com. March 14, 2012, Retrieved December 7, 2019 (Spanish).
  32. ↑ a b Global Flamenco : El bailaor flamenco Manuel Liñán, Premio Nacional de Danza 2017. In: Global Flamenco. September 29, 2017, Retrieved December 9, 2019 (Spanish).
  33. ↑ Manuel Liñán, Premio de la Crítica del Festival de Jerez 2016. In: Revista DeFlamenco.com. March 28, 2016, Retrieved December 7, 2019 (Spanish).
  34. ↑ Rut de las Heras Bretín: Manuel Liñán y la compañía Kukai, Premios Nacionales de Danza 2017 . In: El País . September 30, 2017, ISSN  1134-6582 (Spanish, elpais.com [accessed December 7, 2019]).
personal data
SURNAME Liñán, Manuel
ALTERNATIVE NAMES Arroyo Liñán, Manuel (full name)
BRIEF DESCRIPTION Spanish flamenco dancer and choreographer
DATE OF BIRTH May 8, 1980
PLACE OF BIRTH Granada