Milagros Mengíbar

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Milagros Mengíbar de la Cruz (born May 30, 1952 in Triana ) is a Spanish flamenco dancer and choreographer.

Life

Childhood and youth

Milagros Mengíbar was already enthusiastic about dance and singing as a child. Although her parents had little money to spend, they made it possible for her to take singing lessons from Adelita Domingo . At the age of 13, the Tablao El Zoco in Córdoba hired her as a dancer. Since it was forbidden by law to employ young people of this age in restaurants, their mother used to accompany them and wait in the artist's dressing room while Milagros performed on the stage. During that time she learned mainly from Ana Carillo , known as La Tomata .

This was followed by an engagement in her hometown of Seville in the Tablao El Patio Andaluz . She also took lessons in Matilde Coral's dance school .

Breakthrough to success

In 1974 she won the Premio La Argentinita at the Córdoba competition . This was followed by trips abroad with performances in Japan, Italy, the Netherlands and Germany. In the absence of other engagements, she then worked again in the Patio Andaluz . It was there in 1986 that she discovered Romualdo Molina, an influential critic. This gave her an engagement at the Spanish television station TV2 , where she appeared in the series La Buena Música . He also recommended her to the director of the Flamenco Biennial in Seville, José Luis Ortiz Nuevo . Her appearance at the 1988 Biennale was a triumph. For example, Antonio García Barbeito wrote:

«Milagros bailó esta noche“ entera ”; toda ella era una manifestación de baile. Desde las puntas del pelo hasta los pies. Milagros llenó la noche de formas mágicas hasta acabar de volver locos a los naranjos del patio. »

“Milagros danced this 'whole' night; everything was a manifestation of dance. From the tips of your hair to your feet. Milagros filled the night with magical shapes and even managed to drive the orange trees in the courtyard crazy. "

- Antonio García Barbeito : El Correo de Andalucía, September 8, 1988

Festivals and events until 2000

After this success she was a sought-after artist who was invited to the prestigious festivals and events. She performed:

  • 1989 at the Festival Internacional de la Guitarra in Córdoba.
  • 1990 at the Seville Biennale.
  • 1991 with Estrellas de la Bienal at the Teatro de la Maestranza in Seville.
  • 1992 at the Festival Nacional del Cante de las Minas in La Unión and again at the Seville Biennale.
  • 1993 at the Festival Internacional de la Guitarra in Cordoba and at the Festival of La Puebla de Cazalla .
  • 1994 at the Seville Biennale.
  • 1995 at the gala homage to La Argentinita in Córdoba. For this performance she won the annual criticism award.
  • 1995 at the Mont-de-Marsan Festival .
  • 1996 at the Madrid Festival and at the Seville Biennale.
  • 1997 at the Estudios Flamencos in Málaga and at the Semana Flamenca in Ávila .
  • 1998 at the Concurso Flamenco in Córdoba, the Jerez Festival and the Seville Biennale.
  • 1999 in Salamanca .
  • 2000 at the Festival Nacional del Cante de las Minas in La Unión and at the Seville Biennale.

Later career

Her performance at the Cumbre Flamenca of Murcia earned her the Patriarca del Flamenco Prize in 2001 . In 2002 she performed at the Jerez Festival, at the National Festival of Cante de las Minas in La Unión, at the Seville Biennale and at the Madrid Festival.

  • In 2005 she was awarded the Premio Nacional de Baile of the Cátedra de Flamencología of Jerez.
  • In 2006 she was honored with the Compás del Cante .
  • In the same year she played the opening gala of the Festival del Cante de las Minas in La Unión with choreographies for a Malagueña , a Granaína and a Minera .
  • In 2008 at the Seville Biennale, she danced a caña in her own majestic style in the show De la mar al fuego , with great commitment from the Bata de Cola.
  • In 2012 she played a show at the Seville Flamenco Viene del Sur Festival together with Ángeles Gabaldón and Luisa Palacio . The theme of the evening was a homage to the Sevillian flamenco school and its protagonist Matilde Coral.
  • In 2013 she was seen dancing at the Malaga Festival. In the same year she presented her choreography Lunares de almidón in Seville .
  • In 2014 she danced in Pastora Galván's Show & Dentidades in Seville.
  • In 2015 she danced Flamenco at Septiembre es Flamenco in Seville.
  • In 2016 she performed again at the Seville Biennale.
  • In February 2019 she performed at the Flamenco Festival in Ottobrunn near Munich.

Teaching

Milagros Mengíbar taught flamenco at the Peña Flamenca in Huelva . Since 1997 she has been teaching at the Fundación Cristina Heeren in Seville.

style

Meligros Mengíbar cultivates a distinctly feminine dance style which is shaped by the tradition of her hometown Seville. José Luis Navarro García characterizes him as follows:

“It el baile de mujer por antonomasia, unas veces seductor y coqueto; otras veces apasionado, y siempre airoso y encantador. Y elegant. Sus actitudes son un canon estético. En su baile hay, además, señorío, sabiduría y conocimiento. Se mueve con majestad, llenando y dominando todo el escenario. "

“It's female dance par excellence, sometimes seductive and flirtatious, sometimes passionate, and always graceful and enchanting. And elegant. Your performances are an aesthetic canon. Their dance is full of dignity, wisdom and knowledge. She moves majestically, fills the whole stage and dominates it. "

- José Luis Navarro García

She masters all the palos of flamenco, as well as the escuela bolera , and gives all styles their own character, continues Navarro García. Her technical ability enables her to make every dance appear light and fresh. She used the entire body, moving arms and hands harmoniously and gracefully, and knew how to use the castanets like few others. It is well known that her masterly mastery of the Bata de Cola is exemplary . In addition, she is a master of improvisation, able to perform any dance with a minimum of rehearsals.

Her foot technique is full of musicality and rhythm. She respects the singing and the music and adapts emotionally. She dispenses with noisy zapateados when a verse is sung or when the guitarist plays a cadenza . Instead, she prefers to accompany the music with matching harmonic movements.

reception

Milagros Mengíbar has a high reputation among experts. The flamenco researcher and critic Ángel Álvarez Caballero compared their dance with that of the "former queens of tablaos, majestic with Bata de Cola". In 1996, on the occasion of her appearance at the Madrid Festival, he wrote:

«Milagros Mengíbar alcanzó al fin (…) un rotundo triunfo personal. Lo merece. Es bailaora al viejo estilo, que da al baile un tiempo prioramente lento, lentísimo a veces, casi como ralentizado. Lo vimos en su solemne versión de la caña, hecha con empaque y señorío. Esta forma de bailar, tan infrecuente hoy día, permite a la bailaora recrearse em un desarrollo interiorizado y con mucho temple (…) Fue un deleite contemplar su aire, en que el puro aspecto estético no es atractivo menor, ya que la Mengíbar es una hermosa mujer que sabe crear, en feliz fusión su arte y su imagen, admirables secuencias de enorme belleza visual. "

“For Milagros Mengíbar it was (...) an overwhelming personal triumph. She deserves it. She is an old style dancer who gives time to the dance, slow time, sometimes very slow time, almost as if delayed. We saw it in its solemn version of the caña , measured and performed with dignity. This type of dance, which is so rare today, allows the dancer to reinvent herself in an atmospheric way in an inner development (....) It was a pleasure to look at her grace, where the purely aesthetic aspect is just as appealing as the feminine beauty of the Mengíbar, who knows how to create wonderful sequences of enormous visual beauty in a happy amalgamation of art and appearance. "

- Ángel Álvarez Caballero : El País, March 3, 1996

Francisco Hidalgo paid tribute to them in 1997 with the words:

«Nadie pasea con más gracia y garbo la bata de cola. El tiempo se detiene absorto cuando, estatuaria, sus manos y brazos dibujar filigranas en el aire. Y su cara tan expresiva y esos ojos que hechizan y enamoran al viento. Cada una de sus figuras merecería eternizarse y formar parte del friso del templo de la danza. "

“Nobody moves with more grace and grace in the Bata de Cola. Time stands still when she writes delicate drawings in the air with her hands and arms like a statue. And her face so expressive and those eyes that enchant and that the wind falls in love with. Each of her figures deserves to be immortalized in the frieze of the Temple of Dance. "

- Francisco Hidalgo

The critic Marta Carrasco wrote:

«Hizo su interpretada petenera, en la que son los movimientos los que llevan el compás, más que los pies. Y entonces, me recordó la noche en la que la trianera triunfó en Sevilla allá por las bienales del ochenta (...). »

“She interpreted her petenera , in which it is more her movements than her feet that carry the rhythm. And then I remembered the night when the woman from Triana triumphed at the Seville Biennale in the 1980s (...). "

- Marta Carrasco : ABC , September 6, 2002

Individual evidence

  1. ↑ a b c d José Luis Navarro García: Historia del Baile Flamenco . Volume III. Signatura Ediciones de Andalucía, Sevilla 2010, ISBN 978-84-96210-72-1 , p. 217 .
  2. ↑ Milagros Mengíbar. In: El Arte de Vivir el Flamenco. José María Ruiz Fuentes, accessed May 9, 2019 (Spanish).
  3. ↑ La Tomata. In: El Arte de Vivir el Flamenco. José María Ruiz Fuentes, accessed May 9, 2019 (Spanish).
  4. ^ Romualdo Molina. In: Jondoweb.com. Retrieved May 9, 2019 (Spanish).
  5. ↑ a b José Luis Navarro García: Historia del Baile Flamenco . Volume III, p. 218 .
  6. ↑ a b José Luis Navarro García: Historia del Baile Flamenco . Volume III, p. 219-220 .
  7. ↑ a b José Luis Navarro García: Historia del Baile Flamenco . Volume III, p. 220 .
  8. ↑ a b José Luis Navarro García: Historia del Baile Flamenco . Volume III, p. 224 .
  9. ↑ Ángeles Castellano G .: Estampas de Cádiz a Sevilla . In: El País . October 6, 2008, ISSN  1134-6582 (Spanish, elpais.com [accessed May 9, 2019]).
  10. ↑ La cantaora Mayte Martín abre en Sevilla Flamenco Viene del Sur . In: El País . March 5, 2012, ISSN  1134-6582 (Spanish, elpais.com [accessed May 9, 2019]).
  11. ↑ Sergio Mellado: Málaga reinventa su Bienal de Flamenco . In: El País . February 27, 2013, ISSN  1134-6582 (Spanish, elpais.com [accessed May 9, 2019]).
  12. ^ Seville, no sin flamenco . In: El País . August 8, 2013, ISSN  1134-6582 (Spanish, elpais.com [accessed May 9, 2019]).
  13. ^ Fermín Lobatón: Las metamorfosis de Pastora . In: El País . October 5, 2014, ISSN  1134-6582 (Spanish, elpais.com ).
  14. ^ Pilar Bernal: Septiembre flamenco en Sevilla . In: El País . September 8, 2015, ISSN  1134-6582 (Spanish, elpais.com [accessed May 9, 2019]).
  15. ↑ Domingo Enfoque: Veteranía y magisterio flamenco en el Maestranza . In: ABC . September 11, 2016, p. 10 (Spanish, abc.es [accessed May 9, 2019]).
  16. ↑ Udo Watter: Ottobrunn: Elegance with hands and feet . In: sueddeutsche.de . February 18, 2019, ISSN  0174-4917 ( sueddeutsche.de [accessed on May 9, 2019]).
  17. ↑ Milagros Mengíbar. Dance. In: Flamenco Heeren. Retrieved May 9, 2019 .
  18. ↑ a b c José Luis Navarro García: Historia del Baile Flamenco . Volume III, p. 221 .
  19. ↑ a b José Luis Navarro García: Historia del Baile Flamenco . Volume III, p. 222 .
  20. ↑ a b c José Luis Navarro García: Historia del Baile Flamenco . Volume III, p. 223 .
personal data
SURNAME Mengíbar, Milagros
ALTERNATIVE NAMES Mengíbar de la Cruz, Milagros
BRIEF DESCRIPTION spanish flamenco dancer
DATE OF BIRTH May 30, 1952
PLACE OF BIRTH Triana (Seville)