Carmen Romero She has Andalusian blood, was born in Germany, and lives in Canada. But above all, she's flamenco. From Toronto, she directs the Carmen Romero Company, a benchmark of flamenco in North America. And all because of that day, seeing "those beautiful women in their striking dresses, stomping their feet on the stage."

 

– To begin, introduce yourself to the great flamenco audience of the world. Where are you from, Doña Carmen, with such a Spanish name and now living in Toronto, Canada?
– I live on the other side of the pond. I was born in Langhagen, Germany. My father was from Sabariego, Jaén, in Andalusia. He went to Germany to look for work. While he was there, he met my mother, they got married, and my older brother and I were born there. My parents love the flamencoFor them, the name Carmen was very flamenco And there they sealed my fate. 

– How did he get there? flamenco to your life?
Music was always playing at home. But it was when my parents took me to see a show of flamenco from a group of Canadians and Spaniards. It was the first time I saw such beautiful women in their striking dresses, stomping their feet on the stage. Their strength and beauty captivated me.

– And how did you get to Toronto?
My parents thought Canada could offer more to their family. It was, and still is compared to the rest of the world, a young country. I came to Canada with my family in 1971. I was four years old.

– What compass did you find in Toronto when you arrived, and what can we find now?
– I started dancing in 1976. At that time in Toronto there was only one Spanish dance school. It was run by a woman named Paula Moreno. There were only four places where you could see it performed. flamenco: Café Madrid, The FlamencoThe Don Quijote Restaurant and Tablao. The Don Quijote was the most famous because they brought artists from Spain for six-month contracts. These were artists like Juan Habichuela, La Tati, Manolete Maya, and others. There was also a bar-restaurant called El Embrujo. It was a place where the artists went after the performances at the Don Quijote. It was there that I really did my most important studies, like private lessons with La Tati and Manolete. My parents would take me to the Don Quijote to see the performances, and afterward, we would go to El Embrujo. Many nights we stayed until very late, too late for a girl of eleven or thirteen. But my parents knew that I learned from watching the artists play and dance at the flamenco parties.

 

"Canadians like everything. They love the traditional, with its Spanish flair, but they are also fascinated by the contemporary because they appreciate experimentation and novelty."

 

– In general terms, how is art perceived? flamenco in Canada?
Canada is a country of immigrants and the flamenco It is an art form that celebrates the blending of cultures. That's why the flamenco In Canada, it is highly valued and loved. Almost every cultural festival has some representation of it. flamenco of local artists, and international artists can also be seen in the theaters. In Canada we have seen companies like Antonio Gades's – with the presentation of Carmen– and Cristina Hoyos. Paco de Lucía, Tomatito and Paco Peña They've toured in big theaters. Canadians love the culture and the flamenco It is certainly culture.

– Do professionals in the genre have it easy?
Canada is a very large country with a relatively small population. In total, we are only 38 million inhabitants. There are certain cities with varying levels of activity. However, there is a fairly high level of Canadian professionals. I can proudly say that our country values ​​cultural diversity, and we have a good grant system. Many Canadians, including myself, have benefited from scholarships that allowed us to study in Spain and then return to Canada to establish schools and produce shows. This has created a market for Spanish artists, who are often invited to give workshops or performances.

 

 

– What does the North American English-speaking audience like best? The flamenco traditional or contemporary?
– In Canada, we've seen shows by Israel Galván, Eva la Yerbabuena, Rocío Molina, Joaquín Cortés, and, as I mentioned before, Antonio Gades, to name just a few. Canadians like everything. They love traditional art, with its Spanish flair, but they're also fascinated by contemporary art because they appreciate experimentation and innovation.

– What are you most proud of as a flamenco dancer and teacher? flamenco in Canada?
– It gives me great satisfaction to see my students follow their own paths flamencoI want them to be respected as good artists, both here and in Spain. I have students who started with me in Canada and returned to Spain to continue their training. They've told me that their Spanish teachers complemented their training. That's invaluable to me, because I've also had great teachers, and I want to show my respect for the genre and continue their legacy. I believe my students' success is my reward.

 

"Someone asked me if I would ever take a break from flamencoI thought for a while and then answered that the flamenco It has been a part of my life since childhood.

 

– What is art missing? flamenco to take off even more in Canada and the United States? 
From the outside, the two countries seem the same, but they're not. Starting with the population. For example, the state of California has 38 million inhabitants, the same as the entire population of Canada. So, touring in Canada is difficult because you have to travel a lot between big cities. In the US, it's easier. I think that if Canada and the US could collaborate more by sharing artists, it would be more economical for promoters. There would also be more work for artists, and the public would have more diverse programming. flamenco.

– Do you keep in contact with flamencoSpanish, whether performances or training activities?
– Yes, of course. With the internet, WhatsApp, and so on, we're totally in touch. The distance between us isn't so great anymore. And now with the pandemic, where everyone is teaching or performing on digital platforms, we're more connected than ever. I'd like to tell you something very interesting. Last November, I created a piece with the flamenco dancer Emilio Ochando and the pianist Miriam Méndez. We did it through Zoom, Instagram, Facebook, Messenger, and email. It was incredible. Emilio and I did the choreography, and Miriam recorded the music for us. It was very easy. Then we performed it at a very special place in Toronto called the Aga Khan Museum, which also has a beautiful theater. They host the Duende International Flamenco Festival there every year. FlamencoLast year, Eduarda Guerrero performed, to give you an idea of ​​the artists who perform. Well, this year I had a proposal, but due to the Covid-19 situation, Emilio and Miriam couldn't come. So, thanks to the fantastic team at the Museum, we made a recording as if Emilio had been with me on stage. It was great. The technical team was also amazed. They had never experienced anything like it.

– Is the work of dance teachers valued enough? flamenco at an international level?
– I believe that teachers of flamenco In Canada, they try to reflect the respect and love for the flamenco and the culture of the Spanish. They are aimed at an informed public, impressed by the flamencoCanadians appreciate different cultures, and you see many people from all cultures learning from each other. flamenco.

– We see rhythmic heel tapping in su Youtube channelHow do you explain the feeling of dance to your students in class? flamencoIs it more difficult for them to internalize that emotion because they haven't experienced it in their environment?
– For me, the flamenco It truly has no borders. flamenco It's a genre that expresses the human condition. The tapping of heels, the arm movements, the emotional shouts are all forms of expression. That's how I explain it.

 

«The presentation of the show 'Jacinto' through the flamenco "This has been my way of coming to terms with my father's death."

 

 

– Do the interpreters have flamencoIs there a special stamp from Canada?
– I don't think so. This is a complicated question to answer briefly. I believe that in all art, there are people who are genuinely interested in interpreting the work of others, and that's their claim to fame. Then there are others who have studied the work and the tradition and created their own interpretation. That's why I think those practican el flamenco Outside of the cradle, they either present it as they learned it or as they learned to create their own works. For example, any experienced dancer can look at another dancer and identify their style or technique. You can also detect when someone has done something different with it but retains its DNA, and therefore doesn't lose its authenticity while remaining original.

– What has given him the flamenco to your life?
– Well, a lot. Someone asked me if I had ever taken a break from flamencoOr if I get tired of flamencoI remained thoughtful for a while, and answered by saying that the flamenco It has been a part of my life since childhood. I only understand the world through the lens of flamenco. The cante For me, it's a form of my psychology or philosophy. Dance is my way of moving through the day. It's not something separate, or something I do as a hobby or for recreation. It's part of who I am. So yes, the flamenco It has given me a lot.

– How was that experience in 2010 training Shakira for the choreography of his theme Gipsy on the tour Is the sun coming out? Did the Latin star show signs of flamenco talent?
– It was a total honor to have worked with her. She's a very dedicated and hardworking artist. Shakira loves the flamencoShe has that strong and sensual temperament, two characteristics of flamencoIt was an incredible honor and experience working with Shakira. I already had a choreography by a dancer from Barcelona. Shakira was rehearsing in Toronto and saw me on YouTube. She liked the way I moved and wanted me to help her execute the choreography. While working with her, I realized it would have been better for her to work live with the music instead of recording it. I suggested this to her and explained that it would give her more freedom. I made some changes to add some flourishes and explain some of the rhythmic conventions of the song. flamencoSo I worked with her musicians and told them what to look for and how to accompany her musically. It worked very well and she was happy.

 

"Thank you for opening your doors and your heart so that we can appreciate your art and love for the flamenco without borders

 

– We read that in 2017 you brought the grief of your father's death to the stage. Tell us that story.
My father died of a sudden heart attack on a plane. His death was a shock. At the time he died, I was already working on a play about the tragedy. flamenco, specifically in the cante jondoWhen my father died, we had to take a break from production so I could go with my brother to collect his remains and give him a proper celebration of life. Upon returning to work, it was impossible to deny what I had just experienced. The play Hyacinth It's a tribute to my father. I did it in a very theatrical way, outside of my normal aesthetic. Hyacinth It's a very good example to explain what it is. flamenco For me, it's my way of understanding my life and telling stories. When we did the presentation, I didn't expect to receive letters from the audience thanking me for giving them a way to explore their personal losses. I didn't expect a clairvoyant to come and give me a message of thanks from my father. The presentation of Hyacinth the flamenco It has been my way of coming to terms with my father's death.

– A message for the flamencos of the world.
– I would like to say thank you. Thank you for sharing your art, life, and passion through the flamencoThank you for opening your doors and your heart so that we can appreciate your art and love for it. flamenco without borders.

Photos: Carmen Romero's website