Rafaela Carrasco

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Rafaela Carrasco Rivero (* 1972 in Tomares , Seville Province ) is a Spanish flamenco dancer and choreographer .

Life

Early career

Rafaela Carrasco was enthusiastic about dance as a child. At the age of eight, she began training in classical Spanish dance at Matilde Coral's academy . For four years she danced in Mario Maya's company . In 1994 she was accepted into the Compañía Andaluza de Danza . Two years later she moved to Madrid to complete her artistic training. She learned from José Palacios , Rosa Naranjo , Ana María Bueno , Merche Esmeralda , Goyo Montero , Pedro Azorín , Juanjo Linares , Ananciación la Toná , Manolo Marín , Manolete , El Güito , Milagros Menjíbar , Rafael el Negro , El Mimbre and Teresa Nieto .

She then appeared in the Tablaos Los Gallos in Seville, Café de Chinitas in Madrid and El Flamenco in Tokyo. In 1996 she danced with Belén Maya in La diosa de nosotros and in 1997 in El pájaro negro by Javier Barón and in Los flamencos cantan y bailan a Lorca by Mario Maya. A number of other appearances followed by 2004:

She made particularly well-known appearances in those years:

  • 2000 in the Gala del Día Internacional de la Danza together with Rafael Amargo;
  • 2001 in Cristina Hoyos ' show El baile flamenco de las nuevas generaciones , which introduced new, modern forms of flamenco to the audience;
  • 2001 in the cycle El flamenco viene del Sur at the Teatro Central in Seville;
  • 2002 together with Manuel Reyes at the Jerez de la Frontera Festival ;
  • In 2003 again at the Gala del Día Internacional de la Danza , where she performed the poem Desde que el alba quiso ser alba by Miguel Hernández as a dance.

2002 was a crucial year in her career. In June of that year she presented A cinco at the Certamen Coreográfico de Danza Española y Flamenco in Madrid. For this performance she was honored with the award for the best choreography, the award for the best musical composition and the award as an outstanding dancer.

La musica del cuerpo

This piece became the basis for the first work with her newly founded company . She was able to win Francisco Suárez as dramaturgical director. As a singer she engaged Manuel Gogo, as a musician she engaged José Luis López on the violoncello , Arcadio Marín and Jesús Torres on the guitars and Pablo Suárez on the piano . The dance formation consisted of Concha Jareño, Olga Pericet , Daniel Doña, Manuel Liñán and Álvaro Paños. She performed with them in March 2003 at the Jerez de la Frontera Festival. According to her, the music in the piece should only serve to bring out and enrich the dance, it should never cover it up - hence the title La música del cuerpo. The instruments symbolized three basic elements of nature: the cello the air, the guitar the sea and the piano the sun. The stage decoration and lighting were designed in the colors yellow, blue and red to match.

The play consisted of three acts:

  • In the first part, A cinco , the dancers were able to express their personality and style without being tied to fixed forms that everyone had to follow.
  • In the second part, Arcángeles , the stage was kept in a cool blue. He began with singing and dancing without instrumental accompaniment, a palo seco , until Rafaela Carrasco opened the doors for the musicians on the stage, who then accompanied the dance.
  • In the third part, Tras el espejo , Rafaela Carrasco danced herself in a train dress, the bata de cola , and with cymbals in her hands.

Festivals and performances until 2007

In 2004, again at the Jerez Festival, she showed her personal version of the Malagueña with Solo un solo , which she interpreted using only her arms and turning her body without giving up contact with the ground. To this Malagueña she tied a fandango by Frasquito Yerbabuena, which she danced in the traditional rhythm and in traditional folk forms. In the same year she worked as a dancer and as a choreographer in the production of Los Caminos de Lorca by the Compañía Andaluza de Danza. She danced her Malagueña there again and interpreted a poem from the cycle Poeta en New York by Federico García Lorca to music by Miles Davis . Together with Belén Maya, she presented Fuera de los límites ( Beyond Borders ). The title refers to the extremely broad musical spectrum of the performance, to which pieces by Craig Armstrong , De La Guarda , the Kapanski Ensemble , Zakir Hussain and Pablo Suárez contributed. She herself danced the Malagueña again.

«It un espectáculo de solos y de dúos. Y es flamenco porque sale de nosotros y nuestro fondo y nuestra formación es flamenca, pero tiene otra visión. Nos ha dirigado Ramón Oller (...) with unas ideas incréimente originales, divertidas y interesantes. (...) Lo maravilloso es que, sin pretensiones, es un modo de mostrar las inquietudenes que tenemos, sin cohibirnos de ninguna manera, sin prejuicios. Queremos que no haya que nos limite y así se llama el espectaculo: ‹Fuera de los límites›. »

“It's a show of solos and duets. And it's flamenco because it grows from us and our foundations, and our education is flamenco. But it contains another vision. Ramón Oller guided us (...) with original, funny and interesting ideas. (....) The wonderful thing is that without presumption it is a way of showing the restlessness that we have, without hindering ourselves in any way, without prejudice. We don't want anything to limit us, so the show is called 'Beyond the Limits'. "

- Rafaela Carrasco

In 2005 she staged Una mirada del flamenco at the Jerez Festival , a combination of flamenco and contemporary dance. She brought innovations to all of the choreographies for that performance. At first she danced the Bulerías a palo seco , without instrumental accompaniment, in a short skirt and long trousers underneath. The men Daniel Doña, Marco Flores and Manuel Liñán danced the Farruca in black train dresses, with a matter of course that it seemed quite natural. The Taranto began to the sound of an Indian tabla . She played with many variations in group dance. She danced the martinete with the seriousness inherent in this palo , and the soleá in her train dress in dialogue with the piano. The music was composed by Jesús Torres, Pablo Suárez, José Luis López and Fernando de la Rúa.

The critic Adolfo Simón wrote of the performance:

«(...) se paso de lo tradicional a lo contemporáneo sin apenas notarlo. Es es el gran hallazo del trabajo de Rafaela, hacer, desde la austeridad, porque es un trabajo casi de cámara, un viaje a lo más puro para transgredirlo de golpe en un detalle, en un gesto, un movimiento. "

“(…) It passed almost imperceptibly from tradition to the present. Rafaela's great achievement is to start with finishing, because it is an almost photographic work, a journey to the purest only to suddenly transcend it in a detail, a gesture, a movement. "

- Adolfo Simón : Por la danza, no. 67, p. 92

In 2006 she took part in the opening show of the Seville Biennale, Andalucía, el flamenco y la humanidad , directed by Mario Maya.

In 2007 she again presented a performance at the Jerez Festival: Del amor y otras cosas . Rafaela Carrasco and Daniel Doña danced the story of a love affair between woman and man, from the first meeting to all the moments and moods of being together, from dependency and daily boredom to separation and finally forgetting. In her dance she put the emphasis on contemporary forms, he on classical flamenco.

A few days later she showed ConCierto Gusto in Seville , a kind of continuation of Una mirada del flamenco with again innovative and original choreographies.

Vamos al tiroteo

For the Seville Biennale in 2008 she staged Vamos al tiroteo , a dance evening for the song cycle Canciones populares españolas , created in 1931 by Federico Garcia Lorca and La Argentinita . During the performance, the musicians had the task of embodying the poet Garcia Lorca in their music, while Rafaela Carrasco played the singer and dancer Argentinita. She described the motif of the piece like this:

«The idea principal es poner en escena un disco que has sido fuente de inspiración para muchas artistas. Trasladar las temas del año 1931 al día de hoy, con un entendimiento musical, escénico y coreográfico que difiere muche del que había en su momento, pero con el mismo espiritu de hacer llegar al público letras y músicas que pertenecen al pueblo, que cuentan la manera de vivir de generaciones pasadas y que forman parte de nosotros. »

“The basic idea is to bring a work on stage that has been a source of inspiration for many artists. To transfer the themes from 1931 to the present, with a musical, scenic and choreographic understanding that differs greatly from that of the past - but with the same intention of bringing texts and music to the public that belong to the people, from the Tell the way of life of past generations and who are part of us. "

- Rafaela Carrasco

Based on this plan, she created a choreography for each of the twelve songs. Their strict, perfectionist conception left the dancers no scope for improvisation. She was awarded both the Critique's Prize and the Girardillo Shared for Best Choreography.

Recent past

In February 2012, Rafaela Carrasco performed at the Flamenco Gala in London's Sadler's Wells . She completed the Seville Biennale in the same year with La punta y la raiz , a homage to great flamenco artists, from José Galván to his daughter Pastora , from Belén Maya to Rafael Campallo .

In 2013 she was appointed director of the Compañia Andaluza de Danza. She convinced the selection committee with her choreography Concurso de cante jondo de 1922. To apply for the position, original projects had to be presented that contained at least two different formats. At least one of them must have references to the poet Federico Garcia Lorca, since the ballet planned to perform in the cycle Lorca y Granada in the gardens of the Generalife .

In 2014, the company was renamed Ballet Flamenco de Andalucía. For the Seville Biennale and on the occasion of its 20th anniversary, Rafaela Carrasco created a retrospective with Imágenes that honored the works of her predecessors in the management: Mario Maya , María Pagés , José Antonio , Cristina Hoyos and Rubén Olmo . The piece won the Giraldillo for best show. It was then performed in London and then went on an international tour.

She had another big international appearance in 2015 at the Biennale d'art flamenco in the Théâtre national de Chaillot in Paris. With En tu huella she created the piece for the opening gala. She danced in it with Antonio Canales and the siblings Rafael and Adela Campallo . The four dancers brought pieces by Matilde Coral , Rosario and her long-time partner Antonio to life on stage. She also gave the final performance of this Paris Biennale with the piece En la memoria del cante, 1922 , another reminiscence of the 1922 singing competition.

With Tierra Lorca she gave her farewell performance as director of the Ballet Flamenco de Andalucía in 2016. Once again she built a bridge to Federico García Lorca's song cycle Canciones populares españolas. She described the intention of the piece as follows:

«Preferí no plasmar la obra del poeta, sino su pasión. Él cogió esas canciones del pueblo, las grabó y las tocó al piano junto a su amiga. Yo crecí con esos temas. Los cantaba mi madre y ahora lo hace mi hijo. Renovar esa música y acercarla a los jóvenes me parece importante. Es un legado del pueblo. "

“I didn't want to capture the poet's work, but rather his passion. He collected these folk songs, recorded them and played them on the piano with his friend. I grew up with these pieces. My mother sang it, and now my son does it. Renewing this music and bringing it closer to young people seems important to me. It is a legacy of the people. "

- Rafaela Carrasco

Photographs of the poet were projected into the set. Mayte Martín took over the role of La Argentinita with her singing voice. Even after she left as director, she remained associated with the Ballet Flamenco de Andalucía as a choreographer.

In 2017, with Nacida Sombra , she created a homage to four women of the Spanish Siglo de Oro : Teresa von Ávila , María de Zayas , María Calderón and Sor Juana Inés de la Cruz . The premiere took place on the stage of the Teatro de la Maestranza in Seville. Then the Compañia Andaluza de Danza toured with the piece to Helsinki , London and Spanish cities such as Jerez and Móstoles . Her contribution to the Biennale d'art flamenco in Paris also consisted of this piece. Instead of a kind of life story of the four women, individual scenes from their lives were presented in music and dance. The staging was accompanied by text lectures by Blanca Portillo . Each of the four women was given a musical style that, according to Rafaela Carrasco, characterized them: Teresa von Ávila stable, calm and relaxed; María de Zayas modern and jazzy , María Calderón fresh, young and folkloric and Sor Juana Mexican, only accompanied by strings and piano. The piece is not a feminist piece, but a feminine piece, said Rafaela Carrasco: The women must continue to advance and fight.

At the 2018 Seville Biennale, she presented Salón de baile, a work that, in its formal rigor, was linked to the work of her teacher Mario Maya. Javier Barón , Rubén Olmo , Tamara López and David Coria presented an outline of the history of flamenco in a varied series of dance styles and pieces of music. It led from the pre-flamenco period and the folkloric forms of the Escuela Bolera to today's flamenco with the strong influences of contemporary dance.

Teaching

Rafaela Carrasco devotes a considerable part of her time to teaching. She started doing it in 1996 in the studios of the Amor de Dios dance school and taught at the Centro Flamenco de Estudios Escénicos in Granada. and repeatedly gave courses at festivals, for example in Jerez and at the guitar festival in Córdoba . At the Conservatorio Superior de Danza 'María de Ávila' she teaches as a professor of flamenco technique, methodology and didactics of its staging and analysis and practice of its repertoire.

In 2016 she was the choreographic director of the Certamen de Coreografía de Danza Española y Flamenco competition . In 2017 she was a juror for the Premio Nacional de Danza .

Web links

References and comments

  1. ↑ a b c José Luis Navarro García: Historia del Baile Flamenco . Volume V. Signatura Ediciones de Andalucía, Sevilla 2010, ISBN 978-84-96210-88-2 , p. 85 .
  2. ↑ José Luis Navarro García: Historia del Baile Flamenco . Volume V, S. 85-86 .
  3. ↑ “When the dawn wanted to be white” is one of the translation options.
  4. ↑ Miguel Hernández: Desde que el alba quiso ser alba. Complete text of the poem. In: Blogpoemas.com. Retrieved January 20, 2019 (Spanish).
  5. ↑ a b José Luis Navarro García: Historia del Baile Flamenco . Volume V, S. 86 .
  6. ↑ a b c José Luis Navarro García: Historia del Baile Flamenco . Volume V, S. 87 .
  7. ↑ Navarro García names the poem Del otro lado . What is probably meant is the poem Poema doble del lago Edem .
  8. ↑ José Luis Navarro García: Historia del Baile Flamenco . Volume V, S. 88 .
  9. ↑ a b c d e José Luis Navarro García: Historia del Baile Flamenco . Volume V, S. 89 .
  10. ↑ a b c d José Luis Navarro García: Historia del Baile Flamenco . Volume V, S. 90 .
  11. ↑ A play on words: Con cierto gusto = with sure taste ; Concierto Gusto = concert pleasure
  12. ^ Charo Ramos: Rafaela Carrasco homenajea a Lorca y La Argentinita. Rafaela Carrasco page , second section. In: El arte de vivir el flamenco. October 6, 2008, accessed January 24, 2019 (Spanish).
  13. ↑ Manuel Zafra Jiménez; Francisco Villaroya Tarrín: Tiempo y música en Federico García Lorca . Ed .: Consejería de Educación y Ciencia, Junta de Andalucía. Granada 1998, ISBN 84-923448-4-9 , pp. 19 (Spanish, juntadeandalucia.es [PDF]).
  14. ↑ a b c José Luis Navarro García: Historia del Baile Flamenco . Volume V, S. 92 .
  15. ↑ A prize that is awarded in different categories at every Seville Biennale, e.g. B. singing, dancing, music, staging
  16. ↑ a b c José Luis Navarro García: Historia del Baile Flamenco . In: volume V . S. 93 .
  17. ↑ Bienal de Flamenco 2008. In: la Bienal de Flamenco de Sevilla. Retrieved January 24, 2019 (Spanish).
  18. ^ Sanjoy Roy: Flamenco Gala - review . In: The Guardian . February 14, 2012, ISSN  0261-3077 (English, theguardian.com [accessed January 31, 2019]).
  19. ↑ La punta y la raíz. Un paseo por el baile de Seville. In: La Bienal de Flamenco de Sevilla. Retrieved January 31, 2019 (Spanish).
  20. ^ Lorca, Falla y la pasión por el flamenco . In: El País . October 7, 2013, ISSN  1134-6582 (Spanish, elpais.com [accessed January 31, 2019]).
  21. ^ Rafaela Carrasco, nueva directora del Ballet Flamenco de Andalucía . In: El País . September 17, 2013, ISSN  1134-6582 (Spanish, elpais.com [accessed January 24, 2019]).
  22. ↑ Manuel Martín Martín: Testimonio de 20 años en danza. In: El Mundo. September 20, 2014, accessed January 31, 2019 (Spanish).
  23. ^ A b Margot Molina: Ballet Flamenco de Andalucía, 20 años a compás . In: El País . April 27, 2015, ISSN  1134-6582 (Spanish, elpais.com [accessed January 31, 2019]).
  24. ↑ a b EFE: Rafaela Carrasco abre en París la II Bienal de Flamenco con un nuevo estreno. In: El Diario. March 11, 2015, accessed January 31, 2019 (Spanish).
  25. ^ Francis Marmande: Festin andalou sur la colline de Chaillot . March 11, 2015, ISSN  1950-6244 (French, lemonde.fr [accessed January 31, 2019]).
  26. ↑ Cristina Marinero: Rafaela Carrasco dice adiós a la dirección del Ballet de Andalucía con 'Tierra-Lorca'. August 11, 2016, accessed January 31, 2019 (Spanish).
  27. ↑ Manuel Martín Martín: El espacio imaginado de Rafaela. September 20, 2016, accessed January 31, 2019 (Spanish).
  28. ↑ a b c Noelia Núñez: Música lorquiana en La Alhambra . In: El País . July 31, 2016, ISSN  1134-6582 (Spanish, elpais.com [accessed January 31, 2019]).
  29. ↑ Ballet Flamenco de Anadalucía. In: Teatro Cervantes de Málaga. Retrieved January 31, 2019 (Spanish).
  30. ↑ a b Ángeles Lucas: Un baile apasionado en honor de cuatro históricas mujeres . In: El País . December 7, 2017, ISSN  1134-6582 (Spanish, elpais.com [accessed January 31, 2019]).
  31. ↑ Bienal de Arte Flamenco de Chaillot 2017. In: DeFlamenco.com. September 29, 2017, Retrieved January 31, 2019 (Spanish).
  32. ↑ Rosita Boisseau: Chaillot chaloupe au son du flamenco . November 13, 2017 (French, lemonde.fr [accessed January 31, 2019]).
  33. ↑ Fermín Lobatón: Una indagación espectacular . In: El País . September 27, 2018, ISSN  1134-6582 (Spanish, elpais.com [accessed January 31, 2019]).
  34. ↑ Manuel Martín Martín: Histórica lección de Rafaela Carrasco. In: El Mundo. September 27, 2018, accessed January 31, 2019 (Spanish).
  35. ↑ El Centro. In: Website of the Amor de Dios dance school . Retrieved January 24, 2019 (Spanish).
  36. ↑ Centro de Estudios Escénicos de Andalucía. In: Website of the City of Granada. Ayuntamieto de Granada, accessed January 24, 2019 (Spanish).
  37. ↑ Manuel J. Albert: Vuelta al mundo en un zapateado . In: El País . July 12, 2012, ISSN  1134-6582 (Spanish, elpais.com [accessed January 24, 2019]).
  38. ↑ Rafaela Carrasco. In: Conservatorio Superior de Danza “María de Ávila”. Retrieved January 24, 2019 (Spanish).
  39. ↑ El Certamen de Coreografía de Danza Española y Flamenco celebra su 25 aniversario. In: Ayuntamiento de Madrid. June 27, 2016, accessed January 31, 2019 (Spanish).
  40. ↑ Cristina Marinero: El bailaor Manuel Liñán y la compañía vasca Kukai Dantza, Premio Nacional de Danza 2017 a la interpretación y coreografía, respectivamente. In: El Mundo. September 29, 2017, Retrieved January 31, 2019 (Spanish).
personal data
SURNAME Carrasco, Rafaela
ALTERNATIVE NAMES Carrasco Rivero, Rafaela
BRIEF DESCRIPTION Spanish flamenco dancer and choreographer
DATE OF BIRTH 1972
PLACE OF BIRTH Tomares