Who said you can't dance bulerías on pointe and break? stela alonso (Madrid, 1991) demonstrated this this Tuesday, at the closing of the premiere of his work Those who live in me, in the Black Room of the Teatros del Canal from Madrid within the cycle of residencies dance channelIt's strange, and so different, to attend a performance where you hear a soleá, a guajira, or a farruca and not hear feet pounding the beat on the floor. But in this piece, there's no zapateado, and Alonso dances mostly on pointe.
The old ones say that ballet is made of air and flamenco of land; that ballet seeks to elevate the dancer to heaven and fight against the force of gravity, while the flamenco It seeks to break the earth, to cross it and to let out the fire hidden in its center.Spanish dance, along with Estela Alonso, must fall somewhere in the middle. The dancer and choreographer is capable of appearing light and graceful in her movements, yet profound—though not so dark—in the flamenco style.
She has plenty of technique – not in vain is she a soloist of the National Ballet of Spain– but watching her dance is also thrilling. She's precise, doesn't overdo the effects—chaining turns, for example—but she knows where to place them. The work flows, though it could be condensed even further: if you try dancing it without the recitations, however well executed they are (because they are), you'll realize they're not essential.
The new proposal of this dancer, who has been making her way with her own name for some time now on the channels of flamenco With a proposal that breaks away from traditional channels, it traverses different stages of life: the innocence of childhood, a youth eager to conquer the world, the necessary shadows, a mature woman facing obstacles, and an undefeated woman who raises her voice. An inward journey through Spanish dance.
It starts off like a doll placed in the middle of the stage and dances as if inside a music box. It is followed by a lullaby choreographed by Mar Aguilo in which cante de Gem Knight He lifts her up and envelops her in the trance that the scene requires. He then performs a folklore piece that gives way to a guajira signed by Valerian Cloths. In this palo of sensuality par excellence, she opens her hips, has fun and is playful, but does not end up breaking.
"Estela Alonso has plenty of technique—she's a soloist with the Spanish National Ballet, after all—but watching her dance is also thrilling. She's precise; she doesn't overdo the effects—chaining turns, for example—but she knows exactly where to place them."
She makes a Manila shawl fly, hiding behind it at times, and gives rise to a stomach-churning soleá in Caballero's voice. Later, dressed in trousers and a wide-brimmed hat, she plays with her arms in the work's most powerful scene, a dance that leads to a farruca of air and earth at the same time, stirring without losing its lightness: the moment of greatest dramatic intensity.
It closes with an intense and exciting bulería with sticks that draws cheers from the audience. There's the answer: yes, you can dance bulerías on pointe and break your legs.
The music, directed by Jose Almarcha –who also plays guitar– is more than well-chosen, and the musicians are virtuoso. They all stand out: Ivan Mellen to percussion, Bruno Duque to the winds, Victor Guadiana in the sound space. But how can we not mention the cante de Caballero, who constantly supports the proposal and generates the necessary atmosphere for that counterweight of earth that Alonso's dance demands.
This is Alonso's first major creation, and it clearly shows the need to unleash his own voice. His career is particularly interesting: he's one of the emerging names trying to renew Spanish dance with a more personal, contemporary approach, with works that aren't necessarily grand choreographies or grand ballets. A generation that embraces the intimate and the authentic.
The sold-out crowd and a devoted audience that cheered and shouted "oles" throughout the performance confirmed that there is a hunger for performances like this. Estela Alonso, who also regularly collaborates in tablaos Villa Rosa y Corral de la Morería from Madrid, is looking for his own territory between heaven and earth. Those who live in me It invites us to reflect on authenticity and the search for our own voice, to explore the duality between what we project and what truly inhabits us. And in this difficult balance, it demonstrates that the important thing isn't choosing a side, but finding a way for everyone to coexist in the same body.
Credits
Those who live in me, by Estela Alonso
Black Room, Canal Theaters, Madrid
30 September 2025
Dance: Estela Alonso
Guitar: Jose Almarcha
Cante: Gema Caballero
Percussion: Ivan Mellen
Winds: Bruno Duque
Sound space: Víctor Guadiana
Guest choreographers: Valeriano Paños (Guajira) and Mar Aguiló (Nana)
