If we think about the province of Huelva and the flamencoThe first thing that comes to mind is a land of flamenco singing. Of course, we immediately recall the great guitarists that this westernmost part of Andalusia has produced, from The Boy Miguel a Juan Carlos Romero or someone younger like Manuel de la LuzAnd we think it's only fair to highlight it as a province known for its flamenco guitar. And the dancing? Only in our time have names like Rafael This time –which premiered yesterday at the Villamarta– or Antonio Molina 'The Thief' They are among the best in the scene. As for the women… Well, here we have to talk, without diminishing other names, about Maria Canea.
Trained at the Christina Heeren Foundation, we were able to see her a couple of years ago in the lead role of the show Briolanja. A story of discovery, where he performed covers from the flamenco The story of Christopher Columbus's sister-in-law. Now we had the opportunity to see her on the ever-hospitable stage of The Angel's Lair, within the framework of the Off Festival which is being celebrated these days in the city of wine, with a proposal of naked dance, without the artifices of a plotted show, already at such a close distance that there was no room for trickery or cardboard.
"The dancer from Huelva has reached a state of optimal, sweet maturity, which translates into her confidence on stage, dominating it from beginning to end, a remarkable catalog of technical resources, especially with her feet, and a precision with the timing that allows her to combine strength and sensitivity in the development of her dance."
The artist from San Juan del Puerto was well supported by the strong and powerful voices of Jonathan Reyes y Quini de Jerez, as well as by the reliable and loyal sonanta of Nerd SantiagoA series of fandangos to set the mood led to Canea's entrance onto the stage. There is no doubt that the Huelva native has reached a state of optimal, sweet maturity, which translates into her confidence on stage, dominating it from beginning to end, a remarkable repertoire of technical resources, especially with her feet, and a precision with timing that allows her to combine strength and sensitivity in the development of her dance.
This firmness was also evident in the way she engaged the audience, who thoroughly enjoyed her tangos and soleá, to name just two highlights of the afternoon. At times, María Canea's expressiveness became somewhat excessive, even agonizing, but it seemed clear that she felt comfortable in that register. Moreover, she seemed to think that in such an intimate recital lasting barely an hour, there was no time for hesitation: she had to thrill the audience without faltering. And so it was until the final bulerías, which brought the audience to their feet and elicited her most radiant smile. We would love to see her at the Villamarta Theatre someday, but for now, we can only celebrate this excellent moment in her career, with which she left her mark on Jerez.
Credits
Dance recital by Maria Canea
Jerez Off Festival
The Angel's Lair, Jerez de la Frontera (Cádiz)
February 24th 2026
Dance: María Canea
CanteJonathan Reyes and Quini de Jerez
Guitars: Antonio Santiago, 'Ñoño'
