María Pagés

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María Pagés receives the Andalusian Medal of Honor from the Andalusian President José Antonio Griñán, February 2011

María Jesús Pagés Madrigal (born July 28, 1963 in Triana ) is a Spanish flamenco dancer and choreographer .

Artistic importance

José Luis Navarro García sees María Pagés as one of the defining personalities of flamenco dance. With La Tirana she created one of the masterpieces of contemporary flamenco. In addition, she has opened up new avenues for flamenco and shown that there are no limits for danza jonda , the classic, serious flamenco dance. She gave the Taranto her own ideas, for example by dancing him to an aria by Vincenzo Bellini or a song by Tom Waits . With her creativity she has opened new paths for the dance of tomorrow, with her dancing ability and her creative courage she proves the high level of contemporary flamenco internationally.

life and work

Beginnings and early careers

According to her own words, she started dancing when she was four. She memorized the rhythm with castanets and the soles of her shoes. She learned her first dance steps from Manolo Valdivia. Her parents then enrolled her in Adelita Domingo's academy. With Matilde Coral , María Magdalena, Antonio Gades , Cristina Hoyos , Manolo Marín , El Güito and Manolete, she perfected her skills in terms of expression, dance technique and stage presence. At the same time she studied at the Conservatorio Superior de Música y Escuela de Arte Dramático in Córdoba .

Her professional career began at the age of 15. She performed with the Jueves Flamencos on Radio Sevilla and in the Corral de la Morería in Madrid. In 1979 she became a member of María Rosa's ballet . With this company she traveled to Japan, France, Russia, Germany and Italy. In 1981 she danced at the Madrid Theater Festival. One year later she represented Spain at the Semana Internacional Española ('International Spanish Week'), which the Ministry of Foreign Affairs and the Ministry of Tourism jointly staged in Paris, London, Copenhagen, Zagreb, Jerusalem, Tel Aviv and Istanbul. In 1983 she appeared in the Italian television film La Bella Otero , directed by her future husband José María Sánchez.

A year later she joined Antonio Gades' company. With her she appeared in supporting roles in Carmen , El amor brujo and Bodas del Sangre . In 1986 she switched to the ballet of Rafael Aguilar. There she took part in the performances of his play Diquela de la Alhambra . The innovative piece won the prize for best show performance at the Venice Festival. In 1987 she danced at the Encuentro Cultural de Otoño ('Cultural Autumn Meeting') in Córdoba. In the same year she appeared in the Italian-French-Spanish television production Hemingway, fiesta y muerte . In 1988 she danced her way to the finals of the youth competition of the Flamenco Biennale in Seville , but won no prize. In 1988 she toured the places in her home province of Andalusia with the cycle Conocer el Flamenco .

Ballet María Pagés

In 1990 she dared to found her own company: the Ballet María Pagés . It initially consisted of four young dancers and three young dancers, with a changing musical line-up. Manolo Marín supported the group; with his choreographies she brought her first piece Sol y Sombra to the stage.

In the following years, solo appearances alternated with appearances in her ballet ensemble. At the Seville Biennale in 1990, she impressed with a taranto. She traveled to Italy with her company. In the TV series Arte y Artistas Flamencas on TVE , she appeared in the program La puerta del cante . As an invited artist, she performed at the 1992 arts and culture festival in Macau, China . In Mario Maya's company she danced in El Amor Brujo and in Tres movimientos flamencos . She worked with Manolo Marín on the choreography of Azabache by Gerardo Vera . However, her choreography Tango and her appearance in the Suite Seville had the greatest publicity and the greatest significance for her future career .

Tango was María Pagés' first own major choreography. The piece includes all of the palos of flamenco with a straight rhythm. It incorporates Latin American styles of music in a stimulating way. For the first time in it flamenco steps were danced to tangos by Astor Piazzolla . Directed by José Luis Ortiz Nuevo , Tango premiered at the Seville Biennale in 1992.

The Seville Suite by Irish composer Bill Whelan was the Irish contribution to the 1992 Expo in Seville. It premiered in March 1992 at the National Concert Hall in Dublin. On October 4th, the suite was performed at the Teatro de la Maestranza in celebration of Ireland Day at the Expo. María Pagés danced flamenco to music of Celtic origin and performed with Michael Murphy. Three years later, this performance would give her access to Riverdance, the commitment that would make her known worldwide.

As a contribution to the Seville Biennale in 1994, she and her company brought De la luna al viento to the stage. The piece offered a musical and dance portrait of Andalusia, an Andalusia that is open to outside influences across the Mediterranean. She used verses by the Andalusian poet Federico García Lorca and music by Rafel Riqueni and José María Gallardo , but also incorporated melodies and rhythms by the Florentine artist Mario Castelnuovo-Tedesco . Manola Marín helped her with the choreography; José María Sánchez directed again. José María Gallardo and Rafael Riqueni played the guitar, Manuel Soler provided the rhythm, Adrián Rodríguez played the cello and Carmen Linares and the Cámara Santa Cecilia choir sang. María Pagés danced along with all the numbers - from the exemplary Taranto at the beginning to the Sevillanas at the end of the performance.

José Luis Navarro García sees the piece as a splendid synthesis of creativity and sensuality on the one hand and form and style on the other. The critics and the public were also generally enthusiastic. To the general disappointment, the piece was only performed a few times.

Riverdance

In 1995 she accepted the invitation to join the Riverdance group as the first solo dancer . In contrast to the group dancers, who jump synchronously "with the precision of a Swiss watch" and drum their feet on the floor, she contributed to the company's program with her own solo dances - a program that exemplifies globalization in art. Riverdance carefree adds other folklore styles and foot techniques with a completely different aesthetic tradition to the traditional Irish basics, for example the Russian ballet by Igor Moissejew , the Afro-American tap and flamenco by María Pagés. In the Fire Dance she danced in the backlight in a tight red dress - sensual and provocatively physical, in sharp contrast to the strict row dances of the rest of the company.

María Pagés has performed hundreds of times with Riverdance, including in Dublin, London, New York, Chicago, Los Angeles, Boston, Toronto and Osaka. As she herself admits, she owes her worldwide fame to Riverdance. According to her own words, it pains her a little that she is better known abroad than in her own home country.

In 1995 she performed in Galway and Germany with the show María Pagés en Concierto . In Berlin and at the Flamenco Festival in Madrid she danced Por Tarantos , and in the film Flamenco by Carlos Saura she can be seen in the backlight behind a translucent white surface in artistically stylized movements of a patenera .

El Perro andaluz. Burlerías

In 1996 Juan Antonio Maesso commissioned her to choreograph her for the Compañia Andaluza de Danza . He gave her a free hand to shape it according to her own ideas and to express her own personality in dance. This is how El perro andaluz was born. Burlerías (sic) based on the film of the same name by Luis Buñuel and Salvador Dalí . The piece premiered in Cordoba in May 1996. Like Luis Buñuel before with his film, María Pagés broke with the schemes and ties of the past with her choreography:

"Mi intención es demostrar que la expresividad de la danza flamenca no tiene limites y debe superar esquemas, tópicos y, sobre todo, prejudicios."

“My intention is to show that the expressiveness of flamenco dance knows no bounds; that it has to overcome schemes, themes and, above all, prejudices. "

- María Pagés

With this staging, María Pagés also brought a dash of humor into the otherwise serious flamenco, which is already evident in the deliberately misspelled subtitle Burlerías (instead of Bulerías). To the music of Tom Waits , the piece sometimes creates the mood of a happy fiesta.

With music by Sonia Wierder-Atherton , Daria Honora , Peter Gabriel , Astor Piazzolla and Tom Waits, a rhythmic and dance-like collage, heterogeneous and radiant, was created under the direction of José María Sánchez. Sketches and technical elements from jazz and modern ballet flowed into the flamenco dance. In the year of its premiere, it received the Spanish Premio Nacional de Coreografía . The Compañia Andaluza de Danza and María Pagés' own company performed the play many times around the world in the years that followed.

La Tirana. El fantasma del museo

Notable personal appearances by María Pagés include her dance in Noche de seis temblores in 1996, directed by José Luis Ortiz Nuevo, and her Taranto in Estrellas de la Bienal II . In 1997, María Pagés created the choreography for Yerma under the direction of Miguel Narros . To the music of José Antonio Rodriguez, she choreographed a Farruca , a Garrotín and a series of Jaleos , which exemplify the historical development of the Jaleo from Jaleo de Jerez to today's Jaleos of Extremadura .

She was also appointed director of the Compañia Andaluza de Danza. However, she resigned this post a few months later, as she had the impression that the company was not being provided with the resources it needed to maintain its high artistic level.

In front of 2,000 spectators in September 1998, at the Flamenco Biennale in Seville, she staged a highlight in the recent history of flamenco: La Tirana. El fantasma del museo (German: The tyrant. The phantom of the museum ). As the curtain rose, the performance began with the rhythms of Bill Whelan with a dance reminiscent of Riverdance. This was followed by dance interpretations of paintings by Francisco de Goya . Were staged The shooting of the insurgents , two Majas on a Balcony , The Colossus , The Family of Charles IV. , The Burial of the Sardine , the umbrella and the blind chicken .

The interpretation asks about the stories behind the pictures. What happens when the museum portals close when the visitors have disappeared? What do the royal families, the rulers, the beauties, the villagers, their donkeys and horses, the clergy, the crazy, the pale village children do in the midst of drunkards? Are they doomed to immobility at night as well as during the day? The music spanned an immense temporal and cultural spectrum, from the baroque to the modern, from America to Europe to the Far East. Pieces by Johann Pachelbel , Vincenzo Bellini , Franz Schubert , Joseph Kosma , Johnny Mercer , Astor Piazzolla, Gene Kelly , Bill Whelan, Kiko Veneno , Juan Manuel Cañizares and Eileen Ivers were played .

If she hears any music that moves her to tears, then she feels the need to dance to it, and she simply can't dance anything other than flamenco, says María Pagés, describing her motivation. From this follows her urge to expand the limits of flamenco:

"Siempre he tenido una inquietud por confrontar el flamenco con otras artes."

"I always felt a restlessness to confront flamenco with other arts."

- María Pagés

José Luis Navarro García praises the strong emotionality of the performance: It was beguiling, warm-hearted, sometimes moving to tears, but also humorous. María Pagés herself emphasized her playful and humorous working principle:

«Podemos jugar y podemos reírnos también con el flamenco; el flamenco no es sólo el drama, o la pesadumbre, o la tragedia; (...) no estamos toda la vida llorando, sufriendo o lamentándonos. »

“We can play and we can laugh to flamenco; flamenco is not just drama, melancholy or tragedy; (...) we are not crying, suffering and lamenting all our lives. "

- María Pagés

Some Orthodox flamenco fans called La Tirana ludicrous nonsense. However, the majority of the critics praised it as a sensual pleasure, as a breath of fresh air of vitality and renewal. After the world premiere in Seville, the play was performed on the major stages and festivals in Spain. Then it traveled around the world; with performances in Washington DC, Munich, New York, Boston, Tokyo, Osaka, Nagoya, Paris and London, in China, Italy and Israel.

Flamenco Republic

In 1999 the Madrid Teatro Bulevar de Torrelodones signed María Pagés' company as a compañia residente . This firm commitment meant a long-awaited secure basis for further work - and for their next daring project: Flamenco Republic .

With Flamenco Republic , María Pagés turned back to Jondo ( jondo , 'intimate, serious'), the classic, serious roots. The piece pays homage to the great voices of flamenco, to Rosalía de Triana , to Manuel Vallejo and to Pastora Pavón . Nevertheless, there are also humorous elements in this piece, for example in the Sevillanas, which are integrated in many scenes. In a scene called Percusiones , a stiff, ill-tempered teacher who wants to teach her students how to use the fan is parodied - followed by a sparkling dance argument with Manuel Soler ; she with Palillos and he with a stick and Zapateados .

Flamenco Republic premiered at the New York Flamenco Festival in February 2001. The piece is conceived in an open manner, so that different artists can appear in different performances and have the freedom to contribute their own interpretations. So it evolved from performance to performance. As highlights, José Luis Navarro García highlights the Garrotín, which Maria Pagés danced herself, the Farruca, danced by the company, María Pagés' interpretation of the Alegrías with virtuoso leadership of her Mantón de Manila as well as her straightforward, authentic Seguiriya .

Canciones para antes de una guerra

In the years from 2000 onwards, María Pagés undertook major tours around the world, namely to North America, Japan and Italy, and thus strengthened her reputation as a representative of innovative flamenco. On the occasion of the inauguration of George W. Bush as President of the USA, she appeared in the White House . Time and again, La Tirana and El perro andaluz played an important role on her travels . In 2002 she received the Premio Nacional de Danza “for her contemporary, dynamic and cinematographic innovative choreographic conception of flamenco”.

She closed the year with the piece Ilusiones FM in the Teatro de la Zarzuela in Madrid in 2002 . Based on Charles Perrault's fairy tale Cendrillon , the play shows the parody of a stately wedding: servants re-enact the scenes bit by bit that they heard about on the radio.

The wars in Afghanistan and Iraq motivated María Pagés to create Canciones para antes de una guerra ('Songs to sing before a war'). In their view, the war aims were dubious and the US invasions nonsensical. The piece, also known as El bazar de las ideas , is a call against war and institutional violence. The title refers to a 1971 film by Basilio Martín Patino , Canciones para después de una guerra ('Songs to sing after a war'), which characterizes post-war Spain. María Pagés drew further ideas for the piece from Manuel Vázquez Montalbán's collections Cancionero general del franquismo and Cien años de canción y music hall .

María Pagés feels it is her duty to stand in her time with her art and to exert influence:

«(…) Creo que no podemos vivir en una nube del arte, fuera de lo que pasa en el mundo. Tenemos la misión de reflejar un sentimiento, una situación. Era una auténtica necesidad, no podia resistirme a no decir nada sobre lo que está ocurriendo en el mundo. »

“(…) I believe that we cannot live in a cloud of art, outside of world events. Our task is to reflect a feeling, a situation. It's a real necessity; I couldn't stand to be silent about what was going on in the world. "

- María Pagés

In December 2003 she staged the premiere under the direction of José María Sánchez on the home stage of her company, at the Teatro Bulevar de Torrelodones in Madrid. The South African Tsidii Le Loka and Concha Piquer sang to verses by Antonio Machado and Miguel Hernández . María Pagés dedicated the song Nanas de la Cebolla ('Lullabies of the Onion') to her son Pancho.

Canciones para antes de una guerra received several awards at the Flamenco Biennale in Seville. It received the prizes for the best choreography, the best artistic direction and the best dance group.

Life and Work 2006–2014

The play Sevilla , premiered in Tokyo in 2006, is a dedication to the city of her birth:

"In Seville hablo de lo trágico y lo cómico, de lo irónico, de las ceremonias religiosas y paganas, de las academias de baile, de mi visión de la danza flamenca como danza universal, de todos esos símbolos que conformaron mi personalidad; recurriendo con orgullo a sus poetas, sus cantaores, a sus grandes artistas de una cultura milenaria, conocidos o anónimos de un pueblo con un sentido estético rico y particular, profundamente barroco. "

“In Seville, I speak of the tragic and the comic, the ironic, the religious and pagan ceremonies, the dance academies, my vision of the universal flamenco dance, of all those symbols that make up my personality. With delight I refer to Seville's poets, their singers, their great artists of an ancient culture, famous and anonymous people of a people with a rich, special aesthetic sense of deeply baroque essence. "

- María Pagés

Seville is rich in contrasts: music by Dmitri Shostakovich enters into dialogue with Bulerías, Carmen by Georges Bizet for Debla by Tomás Pavón , La Saeta by Joan Manuel Serrat for Amargura by Font de Anta , Puerta de Triana by Rafael Riqueni for Banderillas de tinieblas by José María Gallardo.

In June 2006 her husband José María Sánchez died, who had accompanied her as a director in her productions since 1994. An only child, Pancho, had been born from the marriage.

In 2007, Mikhail Baryshnikov asked her to do a choreographic self-portrait for performance at the Baryshnikov Arts Center in New York. María Pagés accepted, and Self Portrait premiered in November 2007. The work developed further and was eventually renamed the Autorretrato “Soy lo que bailo” . It was performed in Tokyo in May 2008 and at the Seville Biennale in September 2008. In February 2008, in Seville, María Pagés presented Divinas palabras , a tribute to popular poetry, with dances to verses by José Saramago , Miguel Hernández , Antonio Machado, Atahualpa Yupanqui and to popular poems. In September of the same year she received the Premio de la Cultura 2007 from the city of Madrid.

With Utopía she created a choreographic homage to the architect Oscar Niemeyer in 2012 . For the first time she described her thoughts and her work in a book. The book Utopía was initially sold in print at the screenings and is now available for download on the María Pagés website. In 2013 she went on a six-month world tour with her works Sevilla, Autorretrato and Utopía .

With Siete golpes y un camino she offered a retrospective of her work over the past seven years at the 2014 Flamenco Biennale. Once again, she referred to the Spanish and international literary tradition in her choice of music and choreography. In addition to verses by Antonio Machado, those by Miguel de Cervantes , Marguerite Yourcenar , María Zambrano , Charles Baudelaire and Pablo Neruda determined the rhythm and character of the dances.

Yo Carmen

In August 2015 she staged her personal version of a topic that has been interpreted many times with Yo Carmen . She remarked:

«Now he creído que Carmen for a una mujer libre, it is un invento de los hombres, su historia la escribió un hombre ya lo largo de la historia has sido un manipulado por el sexo masculino. With Carmen es diferente, es una mujer poliédrica, fuerte, débil, valiente, cobarde, mi heroína tiene la cara de todas las mujeres. "

“I have never believed that Carmen was a free woman, she is an invention of men, her story was written by a man and a myth has run through history that has been manipulated by the male sex. My Carmen is different, a woman with many facets, strong, weak, bold, cowardly, my Carmen has the face of all women. "

- María Pagés

She added that there was no José and no torero in Yo Carmen ; her heroine is a woman, a human being and not the object of male passions. As role models she had women in mind who impressed her in her life: a Russian actress in the Stalin era, the owner of a geisha house in Tokyo, a Nigerian woman and the daughter of an activist from Australian Aborigines . She also got in touch with aid organizations for abused women. In ten scenes, the story of Yo Carmen develops into the music of Georges Bizet and into music composed especially for the piece by Rubén Levaniegos . The lyrics are based on poems by María Zambrano , Akiko Yosano , Margarite Yourcenar and Forug Farrojzad , among others .

Óyeme con los ojos

In December 2016, the premiere of Óyeme con los ojos took place in the Mercat de les Flors in Barcelona . The title refers to the poem Sentimientos de ausente by Juana Inés de la Cruz . Other mystical poems by Luis de León , José Agustín Goytisolo , Rabindranath Tagore and by her husband and dramaturge El Arbi El Harti form the theme of the play. For the first time in almost three decades, María Pagés danced solo again, unaccompanied by a ballet company, to the singing of Ana Ramón and Juan de Mairena. The instrumental accompaniment was provided by Rubén Levaniegos with the guitar, Sergio Menem with the violoncello and David Móñiz with the violin.

The piece begins with an a cappella singing Martinete . Dressed all in black, the soloist dances, dominating the center of the stage, with expressive arm movements that are more typical of modern dance theater than flamenco. A Seguiriya follows , in which the dancer appears in a dark red and coral red flamenco dress. She herself quoted verses, Palabras para Julia by José Agustín Goytisolo once during the evening . For the finale she appears in gray-greenish clothes; with their movements reminiscent of a sprawling tree. The audience gave standing applause after the premiere.

Una oda al tiempo

In April 2018, María Pagés presented her work Una oda al tiempo at the Teatro del Canal in Madrid . After her last works had more of a chamber music character, she turned back to medium-sized ballet: she herself as the first dancer and four other dancers and seven musicians were present on the stage. Oda al tiempo was again created in collaboration with her husband El Arbi El Harti. The critic Rosalía Gómez and the critic Roger Salas saw it as a cycle that depicts the 12 months of the year from spring to spring in twelve scenes. A powerful performance with a Seguiriya, in a red flamenco dress and danced with castanets , usher in spring. Roger Salas boasted also their expressive dance with the silk scarf, the Manton , in the stamping of Pablo Neruda would find its expression. María Pagés herself said that Oda al tiempo represents the chronology of a day from morning to sunset, and also the chronicle of a human life from birth to death. The music by Rubén Levaniegos let some themes by Antonio Vivaldi and George Frideric Handel shimmer through. Quotations from Maurice Béjart could be recognized in some places in the dance .

María Pagés also performed the festivals of Peralada , Santander , the Biennale of Lyon and the Biennale of Seville in September 2018 with this piece.

The price of perfection

In Le Monde , Rosita Boisseau described the price that María Pagés paid for her pursuit of perfection: After intensive training and performances, her toes were often black in the evening. More than once, her big toenail had failed.

Web links

María Pagés. Retrieved on February 26, 2016 (Spanish, website of the artist).

References and comments

  1. ↑ José Luis Navarro García: Historia del Baile Flamenco . Volume IV.Signatura Ediciones de Andalucía, Sevilla 2010, ISBN 978-84-96210-73-8 , pp. 103 .
  2. ↑ José Luis Navarro García: Historia del Baile Flamenco . Volume IV, p. 103-104 .
  3. ^ A b M. Carrasco: Fallce el director de cine José M a Sánchez, esposo de la bailaora María Pagés. In: ABC de Sevilla. June 14, 2006, Retrieved February 26, 2016 (Spanish).
  4. ↑ a b José Luis Navarro García: Historia del Baile Flamenco . Volume IV, p. 104 .
  5. ↑ José Luis Navarro García: Historia del Baile Flamenco . Volume IV, p. 104-105 .
  6. ↑ a b c José Luis Navarro García: Historia del Baile Flamenco . Volume IV, p. 105 .
  7. ↑ José Luis Navarro García: Historia del Baile Flamenco . Volume IV, p. 105-106 .
  8. ↑ José Luis Navarro García: Historia del Baile Flamenco . Volume IV, p. 106 .
  9. ↑ José Luis Navarro García: Historia del Baile Flamenco . Volume IV, p. 106-107 .
  10. ↑ José Luis Navarro García: Historia del Baile Flamenco . Volume IV, p. 107 .
  11. ↑ a b José Luis Navarro García: Historia del Baile Flamenco . Volume IV, p. 108 .
  12. ^ Maria Pages Firedance. (Video) In: Youtube . Retrieved February 26, 2016 (uploaded November 2, 2007).
  13. ↑ José Luis Navarro García: Historia del Baile Flamenco . Volume IV, p. 107-108 .
  14. ^ Flamenco (Carlos Saura). (Video) In: Youtube. Retrieved February 26, 2016 (Spanish, uploaded November 2, 2007. Patenera with María Pagés minute 37:36 - 41:19).
  15. ↑ a b José Luis Navarro García: Historia del Baile Flamenco . Volume IV, p. 108-109 .
  16. ↑ José Luis Navarro García: Historia del Baile Flamenco . Volume IV, p. 109 .
  17. ↑ a b José Luis Navarro García: Historia del Baile Flamenco . Volume IV, p. 110 .
  18. ↑ José Luis Navarro García: Historia del Baile Flamenco . Volume IV, p. 111 .
  19. ↑ a b José Luis Navarro García: Historia del Baile Flamenco . Volume IV, p. 112 .
  20. ↑ Probably not painted by Goya himself, see Elizabeth Nash: It's official: 'Goya work' was painted by his pupil . ( Memento of April 7, 2009 in the Internet Archive ) In: The Independent , June 27, 2008.
  21. ↑ a b c José Luis Navarro García: Historia del Baile Flamenco . Volume IV, p. 114 .
  22. ↑ a b c d e José Luis Navarro García: Historia del Baile Flamenco . Volume IV, p. 113 .
  23. ↑ José Luis Navarro García: Historia del Baile Flamenco . Volume IV, p. 117 .
  24. ↑ a b c José Luis Navarro García: Historia del Baile Flamenco . Volume IV, p. 118 .
  25. ↑ José Luis Navarro García: Historia del Baile Flamenco . Volume IV, p. 119 .
  26. ↑ José Luis Navarro García: Historia del Baile Flamenco . Volume IV, p. 120 .
  27. ↑ a kind of silk cloak, which the dancer wears around her body and twirls it in some flamenco dances
  28. ↑ José Luis Navarro García: Historia del Baile Flamenco . Volume IV, p. 121 .
  29. ↑ "Por su concepción coreográfica actual, dinámica y cinematográfica, renovadora del flamenco."
  30. ↑ a b José Luis Navarro García: Historia del Baile Flamenco . Volume IV, p. 122 .
  31. ^ Songbook of Franquism
  32. ^ Manuel Vázquez Montalbán: Cancionero general del franquismo . Critica, Barcelona 2000, ISBN 978-84-8432-076-0 .
  33. ↑ Manuel Vázquez Montalbán: Cien años de canción y music hall . Nortesur, Sant Cugat del Vallès 1974, ISBN 978-84-938778-1-1 .
  34. ↑ José Luis Navarro García: Historia del Baile Flamenco . Volume IV, p. 123-124 .
  35. ↑ a b José Luis Navarro García: Historia del Baile Flamenco . Volume IV, p. 124 .
  36. ↑ José Luis Navarro García: Historia del Baile Flamenco . Volume IV, p. 124-125 .
  37. ↑ a b José Luis Navarro García: Historia del Baile Flamenco . Volume IV, p. 125 .
  38. ↑ a b José Luis Navarro García: Historia del Baile Flamenco . Volume IV, p. 126 .
  39. ↑ José Luis Navarro García: Historia del Baile Flamenco . Volume IV, p. 126-127 .
  40. ↑ José Luis Navarro García: Historia del Baile Flamenco . Volume IV, p. 127 .
  41. ↑ Manuel Martín Martín: La rebeldía creadora de María Pagés. In: El Mundo . March 10, 2012, Retrieved February 26, 2016 (Spanish).
  42. ↑ Manuel Cuéllar: María Pagés escribe la danza. In: El País . October 24, 2012, accessed February 26, 2016 (Spanish).
  43. ↑ María Pagés: Utopia. (PDF) (No longer available online.) Archived from the original on July 14, 2015 ; Retrieved February 26, 2016 (Spanish, with English translation). Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / www.mariapages.com
  44. ^ R. Salas: La vuelta al mundo con María Pagés. In: El País. January 31, 2013, accessed February 26, 2016 (Spanish).
  45. ↑ Miguel Pérez Martín: María Pagés repasa siete años de su vida en el Teatro de la Maestranza. In: El País. September 17, 2014, accessed February 26, 2016 (Spanish).
  46. ↑ a b c Carmen del Val: María Pagés acaba con el “mito manipulado” de 'Carmen'. In: El País. August 14, 2015, Retrieved February 26, 2016 (Spanish).
  47. ↑ Juana Inés de la Cruz: Sentimientos de ausente. In: Poetaspoemas.com. Retrieved February 16, 2018 (Spanish).
  48. ↑ a b Carmen del Val: María Pagés embruja con su nuevo espectáculo . 'Óyerme con los ojos' entusiasma al público en el Mercat de les Flors. In: El País . October 31, 2016, ISSN  1134-6582 (Spanish, elpais.com [accessed February 16, 2018]).
  49. ↑ Julia Martín: El braceo orbital que la ensalza . In: El Mundo . (Spanish, elmundo.es [accessed February 16, 2018]).
  50. ↑ José Agustín Goytisolo: Palabras para Julia. In: www.poemas-del-alma.com. Retrieved February 16, 2018 (Spanish).
  51. ^ Rosalía Gómez: María Pagés vence al tiempo . In: Diario de Sevilla . Seville September 22, 2018 (Spanish, diariodesevilla.es [accessed October 28, 2018]).
  52. ↑ a b c Roger Salas: Crítica | Vivaldi y el mantón . In: El País . April 13, 2018, ISSN  1134-6582 (Spanish, elpais.com [accessed October 28, 2018]).
  53. ^ A b Marta Carrasco: "Una oda al tiempo", el regreso a Seville de María Pagés . In: ABC . Seville September 21, 2018 (Spanish, abc.es [accessed October 28, 2018]).
  54. ↑ Rosita Boisseau: Sur quels pieds danser . In: Le Monde . Part of Culture & Idées. November 14, 2015, p. 2 (French).
personal data
SURNAME Pagés, María
ALTERNATIVE NAMES Pagés Madrigal, María Jesús
BRIEF DESCRIPTION Spanish flamenco dancer and choreographer
DATE OF BIRTH July 28, 1963
PLACE OF BIRTH Triana