Ana Morales (Barcelona, 1982) is the clock of flamencoPerfect marking, to taste, of course in time. It's the needle of the memory of the canteYes, Sevillanas, Lole y Manuel, Soleá, Saeta, Cádiz… Ana Morales is more than just dance.
And it happens to all of us, but she shows it. It happens that in that search for what we already know and what bores (and terrifies) us; between wanting, being able, and not finding ourselves; in that dissatisfaction, that joy, that spark, on that path… some get lost, and Ana Morales manages to do so. She manages to show that More than dance be a shared confession.
The dancer and choreographer, recognized with the 2022 National Dance Award in the Performance category, engages in dialogue with light, space, the body, language, and opens the doors and counter-doors of flamenco in an intimate conversation with an art in which he constantly searches to find himself.
Each sleeve of the dress she removes reveals a secret discovered by the artist, a rung conquered, one step further. She, the cousin and bass string of the body that is her guitar, guides us through the sobriety of the work and the breadth of her knowledge.
"Ana Morales doesn't want to dance for the canteHe wants to expropriate her soul. And to do so, he uses methodical, rhythmic, and arrhythmic movements to see if he can satisfy the deep quest that has led him to the stage.
Battery Javier Rabadan, the humility of Jesus Corbacho (and his bass), the dreamy high-pitched guitar of Francisco Vinuesa and the loyalty of the dance of Fernando Jiménez They complete that atmosphere, which the guardian of time does not leave unmarked for a single second.
He doesn't want to dance for canteHe wants to expropriate her soul. And to do so, he uses methodical, rhythmic, and arrhythmic movements to see if he can satisfy the deep search that has brought him to the stage.
Ana Morales' academic background, both in contemporary and in flamencoThey spill the difference onto the stage. Two different disciplines that complement each other perfectly and that the discerning eye already recognizes, because we have an audience connected to those other textures of flamenco (for better and for worse). And there the flamenco dancer has found her place. That said, This is not an experiment, it's a spectacle. A work conceived with knowledge and care.with skill and ability, and with much flamenco and depth behind it. Because, although shows are advertised based on new formulas, impulses, and the boredom of some artists, this is not the case here. More than dance That's it. Dance flamencoA dance of ideas, movements, bodies, voices, desires, yearnings, and knowledge. Ana Morales is right to continue presenting this show, which she already performed in Madrid at the 2023 Suma Flamenca festival, to continue exploring its depths. Her sincerity on stage is admirable, and as a fan, I hope she never loses it.
More than danceThe collection of previously unseen and curated pieces that travel “from minimalism and abstraction to corporatism” has opened the tribute organized by the Community of Madrid and Teatros del Canal to the seventies best lived in a Tablao: the one of Corral de la MoreríaA special program of six flamenco dance performances will run until January 31st, showcasing the dance, the passion, and the virtuosity of flamenco artists on the stage of the Sala de Cristal. Belén López, María Moreno, Joaquín Grilo, Marco Flores and David Coria. Happy Birthday.
Credits
More than dance, by Ana Morales
Canal Theaters, Madrid
Tribute to the Corral de la Morería
January 16, 2026
Dance: Ana Morales
Guest dancer: Fernando Jiménez
Guitar: Francisco Vinuesa
Drums: Javier Rabadán
Cante: Jesus Corbacho
