"Between tradition and the future, we are what we dance"

Within that universe which is the Spanish Dance, the art of Flamenco has its place, landmark, important, defining and influential. If the twentieth century was the enthronement of theatrical flamenco, XXI will also confront these powerful traditions for the future. And the challenge is to keep them as much as they are re-created with the vision of our age and our current tastes. That is the fate of a dialectical full of mysteries more dancing.

The aesthetics of flamenco, ballet and modern in itself since its inception, has adapted to the speed and radicality in contemporary art. And the Flamenco dancing is modern art in the making. At the time it was associated with the avant-garde artists and more pointers and that is its strength and its main value of transcendence. The wheel of the experiment and renewal must be assumed as a necessary process.

Adalí (is`s own name and also means Madrid in gipsy language) is a journey into the past but not flamenco. Music and choreography want bind facing forward, and that exemplify what the prologue and dialogue between the ancestral and the art). It is an invitation to travel a path of such essences with the viewer. Our travelogue begins with a nod to the greats.

Our symbols are our heritage and are both plastic ingredients and figures as sound marks, bats and structures endowed with his own poetry, and his life entails, will become language danced and dance theater. Rondeña, Farruca, Cheers, Tangos, Seguidilla, Solea ... have been treated with the seriousness they impose only mention. Dances are granting the initial drawing for the new choreography and music has inspired a series of harmonic locking and classical references in the instrumentation feed our rich symphonic bitter. Dance dance solo or choral, instrumental and even some delicate gift, intend to enjoy putting together an important announcement: we are what we dance

Direction and Composition

Art Direction
Aída Gómez
Musical composition
Juan Parrilla
Aída Gómez
Christian Lozano
Eduardo Guerrero
Lighting Design
Nicolás Fischtel
Alfonso Barajas


Aída Gómez
Christian Lozano
Eduardo Guerrero
Eduardo Guerrero
José Manuel Benitez
Moisés Navarro
Bandolero (Percussion)
Batio (Cello)
Carmina Cortés (Singer)
Cuco Pérez (Piano / Accordion)
Fernando Soto (Sing)
Juan Parrilla (Flute)
Loreto de Diego (Sing)
Manu Masaedo (Percussion)
Mario Montoya (Guitar)

Figures Talent

Tuesday, June 12 2012

El País - Roger Salas Madrid

 One of the most anticipated shows of the Suma Flamenca was this creation of Aida Gomez, input must be said, had a birthday yesterday and is in full swing. Not only seamless best Spanish dancer three generations view but unites creation, rigor, inventiveness and greater coréutica essence, who teaches gender, which guarantees its transcendence beyond both banal experiment we are surrounded . Her dancing is clean, shelled simplicity of exposition and complexity of execution; Musically prevails and gives shine.

Gomez has risked much in Adalí, but has come through the front door. The squad members have responded: splendid music, from melodic orchestrations wealth and place Juan Parrilla finally rightful place in two very different dancers together to accompany this Madrid princess dance. Christian Lozano, Barcelona school dancer, refined, precise and Eduardo Guerrero, with its vernacular dregs, blood way to address the serious part of the dance tradition.

Adalí Because there are well understood and similar traditions, aesthetic current carried restrained, tasteful, with subtle references to the cabaret of the thirties or geometric contemporary theatrical showmanship and sharp. Everything fits because it has become thoroughly.

Aida castanets are a separate story and an essential part of his virtuosity, its peculiarity and excellence; handles sticks in the manner of a score, in the most careful and detailed sound, giving a master class records.

Aída Gómez, with elf uploaded

Thursday, January 1 1970

La Razón - C. David Carrón

 Precisely because Aida Gomez is not flamenco dancer and program captures the interest in an event as Suma Flamenca. The choreographer, who has gone through the Spanish dancing and bowling school near in compass, but far in flamenco technique addresses from their perspective different sticks jondo "Adalí". Aida Gomez has commanded you "tune" the Ronda, the string, tangos, joys ... Juan Parrilla, but she-dresses, no heeling two thousand times per minute, no need to. Flamenco with its technique can lose spontaneity, but ganaen turns, jumps and arms. The castanets, the former director of the National Ballet of Spain is rung as anyone fail as spectacular as the sound effect heel, the bata de cola cheerfully meanders through such forged legs off the bar ... "Adalí" is fortunate in addition to a dancer in grace, Eduardo Guerrero, as provided for flamenco dance without shoes, with such arms as his jonda elegant figure. There were passages show that he only managed to evoke the figure of Gades its privileged art without fanfare. The voice was the only thing that did not seem to be up to an assembly pampered every detail from the Red Sea fabric enveloping the protagonist from the first moment. If something can reproach Gomez is outlining ruptures did not dare to consummate, but still have time to squeeze flamenco as it has with other genders.