Born in Berlin, the life of Catalina Mora Everything changed forever when, at age 15, the flamenco She crossed his path. She made her career as a flamenco dancer, and married the flamenco dancer. Miguel Ángel Espino and both of them promoted the Festival Flamenco from StuttgartThe festival, now a leading event in Europe, is about to celebrate its sixteenth edition. The artist and cultural manager wanted to reflect on the journey so far. ExpoFlamenco, who will be present at this event.
– Many people in Spain are still unaware of the Stuttgart Film Festival, despite its sixteen-year history, which is a long time. How would you define it?
– Yes. I've been doing it for sixteen years now, purely out of passion and because I'm a dancer. I learned flamenco in Madrid and Seville, in the eighties and nineties. After that, I created my own theater and my own plays, until I realized that in Germany there was the Düsseldorf Festival, a very prestigious event that, sadly, no longer exists. I managed to convince the politicians here, which was almost a miracle, because Stuttgart is a city of Mercedes, Porsche, Siemens, Bosch… Very industrial, but with a lot of money and politicians genuinely interested in culture. Thanks to industry, many people from elsewhere live here, and the politicians know that a single culture wouldn't be enough for such a diverse society. That's how I managed to get the festival of flamenco It became an institution. I no longer have to tremble every year wondering if there will be money or not. I have a fixed grant, and that allows me to make plans, although right now they're cutting back quite a bit too.
– How do you defend yourself against these cuts?
– I always say that we have to invite the best artists to maintain the level and show the public the beauty of flamencoWe need to show them what this art really is, because many people have only known the flamenco He only sees it in a hotel in Mallorca or at a tourist show and still thinks it's just something fun. At the festival, I try to show the seriousness and depth of it. flamenco.
– How did you discover the flamencoHow did he get to him?
– At 15 years old I attended a class of flamenco And I felt it was my calling, even though I was already deeply rooted in classical ballet. After finishing my classical dance studies in Vienna, I told my parents I wanted to study flamenco Really. I went to Seville and learned for years with Loli Flores, who was the lead dancer of Los Gallos. For months she taught me with immense patience. Back then there were no cameras or videos: just dancing, feeling, and memorizing. One day she asked me, "Why do you want to learn?" flamenco"?" I couldn't explain it. I only knew it was a very deep love for this art. I learned to make a flamenco dress with a train from her, and I still have one of hers. Then I started working and, by chance, I ended up in Stuttgart. Carlos Saura, after his film CarmenHe performed the opera here. CarmenGarcía Navarro conducted the orchestra. I auditioned in Madrid, was chosen, and so, almost by chance, I ended up living here.
– And at what point did you think, "I think I can get off the stage and create a festival"?
– It wasn't something that was difficult for me. I had already created a play about Lorca with two actors, then I did The Petenerawith a film shot in Seville, and later wanted to set up a Don Juan Modern with a great stage director. At that moment, I realized I had so many ideas for the stage. I thought it was much easier to replace a dancer like me than to replace me as a director. From then on, I knew I wanted to direct, cast, and produce. I'm very comfortable in that role and have never suffered from giving up dancing. When I see dancers, I immediately spot flaws because I know what dancing is like. I also know when someone is truly excellent, when a piece is well-constructed, when the lighting works, when the narrative thread has value. All of that interests me much more. I stepped off the stage, and that other stage is enough for me. Now I talk to people, present shows, and work from a different perspective, but always taking a step back to let the artists shine.
– How was that first edition in 2010? Difficult?
– I was terrified. I didn't really know how it was going to turn out. I remember Oliver Farke, who was the editor of the magazine WALK And someone I trusted a lot told me, "A festival has to be a festival." He explained that I also had to invite other people besides the artists. For example, I invited the film director Peter Zempel, who had made the film Flamenco my lifeHe's an incredible person. I came very prepared to speak, let's put it that way. Luckily, I had people around me who advised me, and I understood that a festival isn't just about producing shows or giving courses. Today, the festival has several pillars. On one hand, there are the great professionals and companies, like Manuel Liñán this year and all the guest artists. But there's also the Flamenquitos© pillar, a name I trademarked. There, amateurs can dance for ten minutes on a professional stage. Many amateurs invest a lot of money in classes and costumes, but they never have the opportunity to perform. That opened the festival up to a much wider audience. I also founded Flamenquitos Go Europe. Every year I invite a group of children from a different country. I find funding for it; they have to be under eighteen; they dance on Flamenquitos© night; they receive a scholarship during the festival; and, at the end, a certificate. It might seem like a small idea, but when I see the effect it has on the younger generations, it always gives me the strength to keep inviting children. In addition, we always organize parallel activities. This year, for example, we'll have the film Red Carnation, by Manuel Liñán, as part of that complementary program.
"I lived in a time when tourism didn't yet exist." flamencoToday, for example, in Jerez I see that most of the students are Japanese and people from many other countries. When I studied with Loli Flores, I was the only foreign student. That has its good and bad points. The bad thing is that nowadays anyone, without solid training or real dance discipline, can open a dance school. flamencoThe good thing is that the flamenco has reached people all over the world."
– This is the third time Manuel Liñán has come to the festival…
– Yes. I had already brought Signature Dance and last year VIVA!! Two years ago I saw Dead of Love I saw it at the Maestranza in Seville and thought, "This is so big, it has to come to the festival." Of course, the following year we also have to take a break and invite other artists, like José Manuel Álvarez, for example. There are so many great artists, and I always have to find a balance. That's why I also organize the Gala of Female Dancers. The audience sometimes gets tired of seeing so many men on stage, and I don't want to reach a point where they say, "We've seen enough." That's why on August 2nd we hold the Gala of Female Dancers, where only women dance, and the audience loves it.
– I also wanted to ask if the festival has not only increased the number of fans in Stuttgart, but also if it has led to the emergence of musicians, dancers, or people who have decided to dedicate themselves to it. flamenco and not just be a spectator.
– I would say so. Besides, it's not just people from Stuttgart who come anymore: they come from Austria, the Netherlands, and many other places. It's now a festival for all of Germany, because right now it's the only festival of its kind in Germany. flamenco that remains in the country. Berlin does nothing, neither does Hamburg, and Düsseldorf no longer exists. I've seen many amateur dancers go to live in Spain for a while to become professionals. I've seen that many times. Students who were already very good dancers and decided to continue learning there. Whether they then continue to dedicate themselves professionally to it is another matter. flamencoI lived in a time when tourism didn't yet exist. flamencoToday, for example, in Jerez I see that most of the students are Japanese and people from many other countries. When I studied with Loli Flores, I was the only foreign student. That has its good and bad points. The bad thing is that nowadays anyone, without solid training or real dance discipline, can open a dance school. flamencoThe good thing is that the flamenco It has reached people all over the world.
– What is the profile of a typical Stuttgart Festival attendee?
“We have a wide range of people. You can’t say that only intellectuals or academics come just because the festival has a high standard. Many young people come too, thanks to the Flamenquitos program. Families participate, and that helps the audience grow. We have people from all professions and from many different nationalities. That makes me very happy. There are people who barely speak German and yet they still feel comfortable at the festival. Furthermore, I think there’s an important difference compared to other festivals: the Stuttgart Festival is active all year round. It doesn’t just exist during the summer week when we hold the main program. Throughout the year I organize activities: online, teaching a choreography, proposing meetups… People send me videos from Trieste, Stockholm, and many other places. I try to make sure they’re never bored. Sometimes I think I no longer have the strength to constantly motivate so many people, but that’s my role, and I have to accept it.”
– Is there any activity that never fails at the festival? Something you know will always work…
– Besides artists like Manuel Liñán, the gala is always a success. Since the first year, we've had a gala: a flamenco gala, a gala featuring female dancers… always a gala. The public wants to see different styles. This year, Laura Fúnez will be performing, and she's a true phenomenon. The way she dances, the way she jumps… She's an extraordinary dancer. Those kinds of artists always win over the audience.
– Is there anything, however, that you think might fit in other festivals, but not in Stuttgart?
– No. There's room for everything here. If you see the space where the festival is held, you'll understand. It's a very old building with enormous windows. It has a very special, almost bohemian atmosphere. There's a large dance hall, an outdoor bar, and plenty of space for people to linger after the shows, having a drink and chatting. It's not a place you just go to see a performance and leave. The theater is right next door, and everything invites you to stay. I think people really fall in love with the place.
– In these sixteen years, what have been the most important moments you have experienced with the festival?
– For me, the greatest achievement has been turning it into an institution. The entity that manages it is a non-profit organization. That means the festival has a solid foundation. It no longer depends on chance or whether it exists one year and disappears the next. It has an economic and political basis, and I think that's essential for the artists and for being able to continue growing. Another very exciting moment is when the audience arrives at the theater. I always think, "It can't be that so many people have come." It all started as just an idea, and suddenly you see the theater full. This year, for example, Dead of Love It brought together a thousand people. Those moments make all the effort worthwhile. And also when I see that the artists are truly happy with the treatment they receive. I have a great team, and I have to mention my husband, Miguel Ángel Espino, who is also a flamenco dancer. Without him, it would be impossible. He is my best advisor, my constant support. We both share the same love for this project. I'm the one who communicates, organizes, and plans, but we make all the important decisions together.
"A truly exciting moment is when the audience arrives at the theater. I always think: I can't believe so many people came. It all started as just an idea, and suddenly you see the theater full. This year, for example, 'Muerta de Amor' drew a thousand people. Those moments make all the effort worthwhile. And also when I see that the artists are genuinely happy with the way they're treated."
– Have there been any bad moments? Any situations where you've had a really hard time?
Yes, although right now what I fear most are the flights. The suitcases don't arrive, the schedules change… You can no longer buy a ticket thinking the artists will arrive three days early and you'll have time to react. I've done absolutely crazy things to get artists out of an airport and make sure they arrived on time for the performance. And it wasn't my fault. I never buy the cheapest flights, but even so, schedules change, connections are canceled, luggage gets lost… I remember Alicia Márquez arrived for the gala without her shoes and her outfit. I spent the whole afternoon calling so many people to ask if they could lend me clothes for her. Those are the things that drive you crazy. You try calling Lufthansa and nobody answers the phone. Those are the moments when you think, "I'm never doing this again."
– I know him a little. I don't organize festivals of flamencoBut I know something always happens: a lost suitcase, someone missing their train, a delay… But you were saying that the festival has institutional support. Who are the main sponsors?
– The main one is the Stuttgart government. The city funds cultural institutions like the Stuttgart Opera, and the festival receives support as part of that cultural policy.
– And is there also private support?
– Yes. During the pandemic I wrote a book with photographs and texts about the first ten years of the Festival Flamenco From Stuttgart. We gathered all the images from that first decade, and it resulted in a beautiful volume. It was published by a very important art company in Leipzig, and thanks to that book, I was able to open many doors and secure new sponsors. I use it to present the festival and explain that supporting this project doesn't just mean contributing money, but becoming part of something that already has a history. You can never stand still. You have to keep moving. The pandemic was a very difficult time, but I thought, "If I can't have a stage now, my stage will be a book."
– What figure of the flamenco Hasn't been to Stuttgart yet and would like to go?
– To Miguel Poveda. I would also like to bring the National Ballet of Spain, the Ballet Flamenco Patricia Guerrero from Andalusia. I love her. She's already invited, and this year one of her dancers, Araceli Muñoz, is coming. Besides, I have a theater big enough to host companies of that caliber.
– And the most difficult question: if you could resurrect a figure from flamenco To invite her to the festival, who would you choose?
– To Loli Flores. I owe her so much. Just like my father, without her none of this would have been possible. I once went to a flamenco venue in Tokyo. It had already closed when I went, but the plaque with the names of all the artists who had performed there was still there, and hers was the first one listed. She told me that she had to go to Japan for six months to work. She didn't want to leave Seville, but at that time it was the only way to earn money. I'm sure it was one of the greatest sacrifices of her life. She was a very important artist in Seville in those years and will always hold a very special place in my heart.
– To conclude, what would you say to anyone reading this interview to encourage them to visit Stuttgart and the festival?
– I would say that Stuttgart is in the heart of Europe and that there is a castle there. flamenco Built by hand, step by step. Sure, there are bigger festivals, but ours is made with so much heart. It's a place where artists feel very welcome and where everything is designed so that the flamenco to truly live. ♦
