Rocío Molina

from Wikipedia, the free encyclopedia

Rocío Molina Cruz (* 1984 in Málaga ) is a Spanish flamenco dancer and choreographer .

Life

Education and early awards

Rocío Molina was enthusiastic about dance from an early age. So she took early lessons with La Trini and then in the dance school of La Lupi . On the weekends she used to go to Granada to take courses with Mariquilla . In 1991 she entered the Malaga Conservatory of Dance and from 1997 continued her studies at the Madrid Conservatory . In 2002 she graduated from there with distinction.

As a child and throughout her training, she performed at social events and competitions. At the age of eleven she won the Ubrique Dance Prize and that of La Línea at thirteen . In 1997 she made her debut at the Teatro Goya in Barcelona . In 2001 she was accepted into the company of María Pagés . Among other things, she took part in the Gala de Andalucía in the New York City Center . A year later she was awarded as the best graduate at the Certamen de Coreografía y Danza Española y Flamenco in Madrid.

Young career

In 2003 she performed at the Circuito Flamenco in Madrid and at the Tablao Las Carboneras . At the Flamenco Festival USA she danced with Israel Galván . She also performed in Korea.

In 2004 she danced at the Don Quijote theater festival in Paris and at the Gala Flamenca in Santander . At the Seville Biennale she appeared in Lo que el tiempo da, lo que el tiempo quita ... directed by José Luis Ortiz Nuevo . She also took part in the + Jóvenes + Flamenco cycle at this biennial .

In 2005 she performed at the Tokyo Flamenco Festival in Las cuatro estaciones by Carmen Cortés . In the same year, at the age of 20, she founded her own company. In Vitoria she presented her first own choreographic work, which she had created jointly with Carlos Chamorro : With Tangos , Guajira and Soleá , Entre paredes contained some of the dances that had played important roles in Rocío Molina's career so far.

In the same year she caused a sensation with audiences and critics with El eterno retorno , performed in Vélez-Málaga as part of the Málaga en Flamenco Festival . The piece is based on an idea by Juan Carlos Romero , who also composed the music. It deals with the times and especially with Friedrich Nietzsche's idea of ​​the return of all that has happened and expresses this in dances and songs:

In 2006 she was an invited dancer on Antonio Canales ' show Bohemio . In Madrid she performed Turquesa como el limón . The piece is a humorous examination of the tradition and modernity of flamenco and the diversity of its aesthetic forms and ideas. Rocío Molina embodied the modern, her partner Laura Rozalén embodied the classic elegance in the style of Juana la Macarrona and Magdalena la Malena . Rocío Molina opened the 2006 Biennale in Seville with Andalucía, el flamenco y la humanidad .

2007 was a particularly eventful year for her:

  • She brought Almario to the stage for the Jerez Festival . The piece is a game with shapes, colors and patterns. She combined the traditional dances Taranto , Seguiriya, Garrotín and Soleá with modern forms.
  • She showed Por el decir de la gente at the Málaga Biennale . It is based on an idea by José Luis Ortiz Nuevo and herself: she dances to romantic song stories by El Negro del Puerto , performed by the singers José Valencia and Juan Requena .
  • She participated in the show Mujeres by Mario Maya part.
  • She danced as an invited guest star at the performance of Miguel Poveda's CD Tierra de calma .
  • She danced during the homage to Cano Lobato at the Teatro de la Maestranza in Seville.

At the 2008 Biennale in Seville, she and her company presented Oro viejo . The piece is again a personal examination of the passage of time:

«Cada uno tiene un reloj personal que mide el tiempo, y unos van más despacio que otros. Me ha dado cuenta de que mi reloj personal está acelerado, me lo he comido y me he adelantado a muchas cosas. Ahora me he parado, me he sentado en un banco y me he puesto a mirar a los que pasan. "

“Everyone has a personal clock that keeps track of time, and some walk more slowly than others. I noticed that my personal clock was running faster, I was wasting time and anticipating many things. Now I stopped, sat down on a bench and watched the people passing by. "

- Rocío Molina

Again she danced this confrontation between the present and the past with Laura Rozalén as her partner.

Life and work from 2009

In 2009 in Madrid and a year later at the Biennale in Seville, she presented Cuando las piedras vuelen . With the piece, she set a turning point: away from staging with a large ensemble to simpler, smaller forms.

Danzaora y vinática from 2010 represents Rocío Molina's claim to have developed from a bailaora , the flamenco dancer, to the danzaora , the universal dancer. Danzaora y vinática is a semi-abstract piece in which Rocío Molina, thanks to her perfect body control, impressed the audience with speed and surprising twists. Elements from flamenco, expressive dance echoing Martha Graham , hip-hop and other forms of dance combine with one another.

According to her own statements, Rocío Molina worked for two years on Bosque Ardora , which was performed at the 2014 Biennale in Seville. The piece takes place in a mystical forest. Enter a dancer, Rocío Molina, and six dancers. She is alternately the hunter and the hunted, the rider who is pursued by the hunters and their dogs. Real trees stand on the semi-dark stage. A large background noise caused by drums, trombones, chants, deliberate dissonances, as well as audiovisual effects reinforce the dramatic impression.

Afectos from 2014 is an emotional encounter between Rocío Molina and the singer Rosario la Tremendita . Compositions by Pablo Martín combine the most varied of music and dance styles with one another, from flamenco to jazz and baroque music to hip-hop and butoh .

In 2015 she danced in Felahikum , a synthesis of flamenco and hip-hop . In cooperation with her partner Honji Wang , the two dance styles confront and intertwine with each other. The piece is rich in form, but kept geometrically sober. The dancers are dressed entirely in black and white. In an imaginative scene they play with a black tulle cloth that is lifted into the air by the fans on the stage. Since 2015 she has been an associated artist at the Théâtre Chaillot in Paris .

At the Seville Biennale in 2016, she impressed with a four-hour improvisation.

She developed Caída del Cielo from 2017 in collaboration with Carlos Marqueríe for the Théâtre Chaillot. The power of the piece is based in her ovaries , her uterus , she described drastically its intention:

"Esta obra es el viaje o descenso o tránsito de una mujer desde un cuerpo en equilibrio a un cuerpo que celebra ser mujer."

"This work is a woman's journey or descent or transition from a body in equilibrium to a body that celebrates being a woman."

The piece is full of literary allusions, from the Song of Songs to Francisco de Goya's Caprichos , from grotesque art to Teresa of Ávila . She also performed the piece at the Berliner Tanz in August in 2017 .

At the Avignon Festival in July 2018, she presented herself pregnant on stage in Grito Pelao . In the piece, she dealt personally with her wish, the wish of a lesbian woman and dancer for motherhood, and the difficult path to get there. Her partners on stage were Pérez Cruz and Rocío Molina's mother Lola Cruz, a housewife who had the first stage appearance of her life. On the threshold of the seventh month of pregnancy, she appeared again in Grito Pelao at the Seville Biennale in September 2018 . Towards the end of 2018, she gave birth to their daughter Juana. After her maternity leave, she took to the stage again in March 2019.

In April 2019 she performed with Caída del Cielo in Düsseldorf .

reception

At the age of mid-20s, Rocío Molina was recognized as a technically perfect dancer of great creativity and originality:

«Paso a paso, espectáculo tras espectáculo, ha ido ganando en riqueza y complejidad. Ahora hace un baile técnicamente impecable, imaginativo, sorprendente en forma y figuras. (...) Un baile ambicioso, sofisticado y de una creatividad deslumbrante, con el (...) ha llegado a sus veintipocos años a la élite del baile flamenco. »

“Step by step, show by show, it has grown in richness and complexity. Today she shows technically perfect dance, imaginative and surprising in shape and figures. (...) An ambitious, refined dance of radiant creativity, with which she, (...) hardly older than 20 years, rose to the elite of flamenco. "

- José Luis Navarro García

With her later work she developed into an avant-garde . This manifests itself in the clothing, in the musical forms, and in the movements, for example in the breaking of the vertical flamenco typical by falls. Followers of traditional flamenco criticize this, while it is recognized in Spanish and international criticism:

"Para acordarse del pasado, Rocío Molina está haciendo el flamenco más contemporáneo."

"To remember the past, Rocío Molina makes flamenco more contemporary."

- Ángeles Castellano

"Para muchos amantes del flamenco innovador Rocío Molina es el equivalente femenino del aplaudido bailaor vanguardista, Israel Galván."

"For many who love flamenco, the innovator Rocío Molina is the female counterpart to the celebrated avant-garde Israel Galván."

- Carmen del Val

“Rocio Molina is nothing less than a chameleon. One minute exquisite flamenco interpreter, the next a puppet, a doll, a Hindu deity, a hoofer, a bone breaker, a hip-swaying woman, a stone statue. (...) While Molina is a virtuosic technician, she is not your typical flamenco dancer. Some traditionalists have criticized her conceptual, multi-disciplined approach to flamenco, but Molina has earned the right to break the rules as only a master can. "

“Rocío Molina is a perfect chameleon. An exquisite flamenco performer for a minute, then a puppet, a doll, a Hindu deity, a tap dancer, a bone breaker, a woman swinging her hips, a stone statue. (....) Molina is a virtuoso technician, but she is not your typical flamenco dancer. Some traditionalists have criticized her conceptual, multidisciplinary approach to flamenco, but Molina has earned the right to break the rules as only a master can. "

- Lauren Gallagher

“Convention does not suit Molina, who has managed to create a choreographic language entirely her own. She's famous for restricting her clean footwork to smaller and smaller spaces, most recently dancing on a single floor tile. She at times seems to deconstruct her body and reconstruct it in beautifully disjointed ways: a pointed foot, a lifted knee touching a bent elbow, a limp hand swinging on a smoothly rotating arm. She's done away with colorful traditional flamenco clothing, opting to wear black spandex leggings and tops, a choice inspired by her enjoyment of watching flesh move. "

“Convention does not suit Molina, who has created her own choreographic language. She is famous for limiting her flawless foot technique to smaller and smaller areas until she recently danced on a single floor tile. Sometimes she seems to deconstruct her body and reconstruct it in a gracefully disassembled manner: a pointed foot, a raised knee touching a bent elbow, a limp hand rocking on a gently rotating arm. She disdains the colorful traditional flamenco clothing and opted for black elastic leggings and tops because she likes to see the meat in motion. "

- Justine Bayod Espoz

The daily El Mundo listed her as one of the 15 most influential lesbians in Spain in the list Orgullo Gay .

Awards

Rocío Molina has received a number of honors throughout her career:

  • 2002 best graduate of the Certamen de Coreografía y Danza Española y Flamenco in Madrid.
  • 2007 Premio Revelación El Público by Canal Sur Radio for the best show Turquesa como el Limón.
  • 2007 Deflamenco.com Award for Best Dancer 2007.
  • 2008 Giraldillo von Sevilla for the best choreography for Oro viejo .
  • 2009 Prize of the Cátedra de Flamencología de Jerez for Oro viejo .
  • 2010 Premio Nacional de Danza .
  • 2011 Gold Medal from the Province of Málaga .
  • 2015 Premio Max for Bosque Ardora .
  • 2016 Giraldillo of Seville for the best dancer.
  • 2017 Premio Max for the best dancer, best choreography and best lighting for Caída del Cielo.
  • 2019 UK National Dance Award for Outstanding Modern Dancer in Caída del Cielo .
  • 2019 Premio Max for Grit Pelao .

Web links

Individual evidence

  1. ↑ a b c d e f g José Luis Navarro García: Historia del Baile Flamenco . Volume V. Signatura Ediciones de Andalucía, Sevilla 2010, ISBN 978-84-96210-88-2 , p. 284 .
  2. ↑ a b c Ángeles Castellano Gutierrez: 'Yo sólo me dejo llevar' . In: El País . September 18, 2010, ISSN  1134-6582 (Spanish, elpais.com [accessed May 21, 2019]).
  3. ↑ José Luis Navarro García: Historia del Baile Flamenco . Volume V, S. 285-286 .
  4. ↑ José Luis Navarro García: Historia del Baile Flamenco . Volume V, S. 286 .
  5. ↑ José Luis Navarro García: Historia del Baile Flamenco . Volume V, S. 287 .
  6. ^ El Negro del Puerto. In: El Arte de Vivir el Flamenco. José María Ruiz Fuentes, accessed on May 21, 2019 (Spanish).
  7. ↑ José Luis Navarro García: Historia del Baile Flamenco . Volume V, S. 287-288 .
  8. ↑ a b c d e José Luis Navarro García: Historia del Baile Flamenco . Volume V, S. 289 .
  9. ^ Ángeles Castellano G .: Batas de cola y danza contemporánea . In: El País . July 18, 2008, ISSN  1134-6582 (Spanish, elpais.com [accessed May 22, 2019]).
  10. ↑ a b Ángeles Castellano G .: 'Oro viejo', baile nuevo . In: El País . May 26, 2009, ISSN  1134-6582 (Spanish, elpais.com [accessed May 21, 2019]).
  11. ↑ a b Susanne Kellermann: Rocío Molina - The Unwavering. In: Magazine in August. January 5, 2017, accessed May 22, 2019 .
  12. ↑ Danzaora y Vinática. In: Rocío Molina. Retrieved May 22, 2019 (Spanish, description on Rocío Molina website).
  13. ^ A b Lauren Gallagher: Compania Rocio Molina - Danzaora & Vinática - New York. In: Dancetabs.com. March 20, 2016, Retrieved May 21, 2019 (American English).
  14. ↑ Bosque Ardora. In: Rocío Molina. Retrieved May 22, 2019 (Spanish, description of the piece on Rocío Molina's website).
  15. ↑ Pedro Madroñal: Rocio Molina. La oscuridad del bosque ardora. In: Revista La Flamenca. September 30, 2014, accessed May 22, 2019 (Spanish).
  16. ↑ Judith Mackrell: Rocío Molina: Bosque Ardora review - a flamenco chameleon defies stereotypes . In: The Guardian . October 17, 2014, ISSN  0261-3077 (English, theguardian.com [accessed May 22, 2019]).
  17. ↑ Rocio de la Villa: 'Afectos', de Rocio Molina y Rosario 'La Tremendita', llega a Bilbao. In: Revista La Flamenca. November 4, 2014, Retrieved May 22, 2019 (Spanish).
  18. ↑ Thomas Hahn: "Afectos" de Rocío Molina. March 25, 2015, accessed on May 22, 2019 (French).
  19. ↑ Ginette Lavell: De danscommunicatie van Rocio Molina Afectos. April 3, 2015, accessed May 22, 2019 (Dutch).
  20. ^ A b Carmen del Val: Princesas modernas . In: El País . March 8, 2015, ISSN  1134-6582 (Spanish, elpais.com [accessed May 21, 2019]).
  21. ↑ Rocío Molina. In: Théâtre Chaillot. Retrieved May 22, 2019 (French).
  22. ↑ Ángeles Castellano: En los límites del baile . In: El País . September 30, 2016, ISSN  1134-6582 (Spanish, elpais.com [accessed May 22, 2019]).
  23. ↑ a b Julio Bravo: Rocío Molina se echa al suelo en "Caída del cielo" . In: ABC . February 17, 2017 (Spanish, abc.es [accessed May 22, 2019]).
  24. ↑ Caída del Cielo. In: Rocío Molina. Retrieved May 22, 2019 (Spanish, description of the piece on the artist's website).
  25. ↑ Sandra Luzina: The Metamorphosis . In: Der Tagesspiegel . Berlin August 28, 2017 ( tagesspiegel.de [accessed May 21, 2019]).
  26. ↑ Álex Vicente: Rocío Molina y Sílvia Pérez Cruz levantan una ovación en Aviñón . In: El País . July 7, 2018, ISSN  1134-6582 (Spanish, elpais.com [accessed May 22, 2019]).
  27. ↑ Grito Pelao. In: Paris Art. October 2018, accessed on May 21, 2019 (French).
  28. ↑ Tatjana Michel: Joyful event. In: Cult newspaper. Retrieved May 21, 2019 .
  29. ↑ Grito Pelao. In: Rocío Molina. Retrieved May 21, 2019 (Spanish).
  30. ↑ Silvia Cruz Lapeña: Rocío Molina y un embarazo por soleá. In: El Mundo. July 12, 2018, Retrieved May 22, 2019 (Spanish).
  31. ↑ Charo Ramos: La revolución femenina de Rocío Molina. In: Diario de Sevilla. September 17, 2018, Retrieved May 21, 2019 (Spanish).
  32. ^ Rosalía Gómez: Rocío Molina, la maternidad de una bailaora. In: Diario de Sevilla. September 19, 2018, Retrieved May 21, 2019 (Spanish).
  33. ↑ Amalia Bulnes: El renacer de Rocío Molina . In: El País . February 27, 2019, ISSN  1134-6582 (Spanish, elpais.com [accessed May 21, 2019]).
  34. ↑ Susanne Zellinger: Flamenco Festival Düsseldorf: Rocío Molina - All that and much more - Flamenco Divino. In: Flamenco Divino. April 22, 2019, accessed May 21, 2019 .
  35. ↑ José Luis Navarro García: Historia del Baile Flamenco . Volume V, S. 293 .
  36. ↑ Justine Bayod Espoz: Defying tradition. In: Dance Magazine. October 31, 2016, accessed May 21, 2019 .
  37. ↑ Orgullo Spanish = pride
  38. ↑ Rocío Molina. In: El Mundo. April 26, 2018, Retrieved May 21, 2019 (Spanish).
  39. ↑ a b Rocío Molina. In: El Arte de Vivir el Flamenco. Retrieved May 21, 2019 (Spanish).
  40. ^ A b Rocío Molina, Premio Nacional de Danza. In: Noticias de baile y danza. December 1, 2010, accessed May 21, 2019 (Spanish).
  41. ↑ Rocío Molina Cruz. In: Diputación de Málaga. November 26, 2004, Retrieved May 21, 2019 (Spanish).
  42. ↑ Rocío Molina. In: Danza.es. Ministerio de Cultura y Deporte, accessed on May 21, 2019 (Spanish).
  43. ↑ La XIX Bienal de Flamenco otorga sus reconocimientos con los Giraldillos 2016. In: Norteflamenco.com. October 20, 2016, Retrieved May 21, 2019 (Spanish).
  44. ↑ 'Oskara' and 'Caída del cielo' se reparten los Premios Max en una gala feminista. In: El Español. June 6, 2017, Retrieved May 21, 2019 (Spanish).
  45. ^ National Dance Awards - the winners. In: Londondance.com. February 19, 2019, accessed May 21, 2019 .
  46. ↑ Regina Sotorrío: Rocío Molina se corona en la danza con el Max a su 'Grito pelao'. In: Diario Sur. May 20, 2019, accessed May 21, 2019 (Spanish).
personal data
SURNAME Molina, Rocío
ALTERNATIVE NAMES Molina Cruz, Rocío
BRIEF DESCRIPTION Spanish flamenco dancer and choreographer
DATE OF BIRTH 1984
PLACE OF BIRTH Málaga