How easy it seems to face a show flamencoIn this case, dance, searching in the depths of meaning and being for how to draw, design, and illuminate a historical claim about the real importance of women in the flamencoDozens of proposals throughout history have intelligently and skillfully explored the topic to celebrate something that, in theory, should be the norm: women in the flamenco It has been a product of its society, its culture, its tradition, and the idiosyncrasies of each era. Therefore, it is unfair to fall into anachronism when telling the public that the flamenco It wouldn't be the same without women.
The Granada-born flamenco dancer has been among them. Eva Esquivel, which premiered in the Isabel La Católica Theater (Grenade) TheyA work conceived beyond the vain glorification of women on stage. Because to achieve a totalWe must examine all aspects, move beyond superficiality, and not remain on the surface. Eva has explored the feminine universe beyond mere aesthetics. She has delved into its art, skillfully presenting it through dance and... cante, to all those who were figures, to all those who demonstrated that their need was for a vindication that is in the DNA of flamenco culture.
So much so that I don't recall ever seeing such a well-constructed "female" repertoire, not only in the choice of musical pieces but also in their content. Hence, They may have been a journey through time and memory of the altars of woman as a flamenco goddess.
They, women, the first heartbeat of life, the invisible and eternal center where everything begins, and also the deep root of flamenco... Comb your hair with my combs, for my combs are made of sugar, with my combs you comb, you even lick your fingers […] Thus the curtain rose, with the protagonist's voiceover. In the background, images of The Girl with the Combs, Aunt Anica the Piriñaca, Adela Cubas, The Basin And a few more to give us an idea of what was coming. Dressed in red and wearing a shawl, Eva moved across the stage from side to side, under the watchful eyes of the flamenco singers. Alicia Morales, Fita Heredia y Aroa Palomo through tangos. Among the thousand beauties of the night, the wise choice of lyrics and styles of the canteThey consolidated what was an unprecedented and unambiguous tribute to many of the genre's creators. Hence, we didn't just have to stop and admire how Eva transformed into dance masters. cante She was also a protagonist. From the Repompa a Carmelilla del Monte, and Pastora in tangos, La Peñaranda by malagueñas, fandangos de Lucena and fandangos de Africa Vazquezsung by the triumvirate Aroa-Fita-Alicia, or so many others that I will mention. The colorful touch was provided by Luis MarianoA superb guitarist who carried them along throughout the evening without drawing attention to himself, yet directing the show with his six strings. Masterful, as always.
"She was a flamenco dancer through and through, proving that she is the artistic daughter of the great Mariquilla, who was there, in a frenzy from the audience, because she deserved it. Calm, agitated, energetic, fun and serious at the same time in the brushwork, seasoned in her feet and defined in her arm movements."
De Pastora Pavón They recalled their petenera with a monumental Eva, in mourning black, deathly, a petenera with a flamenco dress, her pain evident in every arm movement, stark, heartfelt, and etched by tragedy, conveying so much with so little, simplicity made dance. Almost without transition, they arrived at the bambera as a grand finale. And from there to the complex world of the soleá, pure solitude. We saw timidly emerge... La Serneta too tempered in Fita's voice, La Andonda rescued by Paca Aguilera, and although he slipped in Pineapple y Beans, They went because they were in the wake of PastoraAnd yes, we must mention the styles because they were one of the pillars that existed within the orbit of TheyThat's why we were also able to hear the taranta of The Antequerana rescued from the version that Carmen Linares She recorded on her anthology. Eva was flamenco, orthodox, without a trace of modernity because paradoxically she was modern in rescuing Carmen amaya, with her black trousers and gold bag, alternating it with Trinidad Huertas la Cuenca whom she recalled in her bullfighting, masculinity, and verticality. Eva intensified the femininity of the masculine as a stage proposition that stood out for its originality and expressive power. Her performance captivated the audience from the very first moment thanks to the combination of elements traditionally associated with the world of bullfighting with sensibility and femininity. This contrast generated a powerful image that broke with stereotypes and contributed a very interesting dimension and symbolic weight. And to top it all off, there appeared María Borricowith her mate. What a paradox!
The voiceover, once again, reminded us how women hid behind men, even despite their genius for creating, poetry, writing, and feeling empowered. Therefore, the voice told us how Maria Lejarraga she was relegated to ostracism in Love, the Magician. Luckily, the flamenco singers 'stole' Luis Mariano's guitar and Alicia sang the Sevillanas My boyfriend is a Carthusian monk, guitar in hand, which one Adela Cubas to get carried away and indulge in the pleasure of singing bulerías. Triumphant throats, those of remembrance to The Paquera, The Pearla, or the Triana woman Carmen.
Before it ended, there was a voiceover. the little argentinian with the piano of García Lorca, The four muleteers, Anda Jaleo and Los Galapaguitos.
Eva couldn't resist dancing to alegrías. The quintessential feminine dance. A special mention to the Juanaca from Malaga, Rosario from Colorao o The MarjoramBut Eva's bold move, because in a ruffled, lavish dress in shades of pink and orange, she soared and sailed across the waves and the bay of Cádiz. From one end of the stage to the other. She was a flamenco dancer through and through, proving that she is the artistic heir of the great MariquillaShe was there, a riot of noise from the stalls, because she deserved it. Calm, agitated, energetic, funny and serious all at once on the broomstick, hardened in her feet and defined in her arm movements.
Everything made sense when you consider that it all revolves around women; she is the patron saint of cante And of dance. The one who commands, the one who exercises the muscle to break free from historical oppression and say loud and clear: I am a woman, I am flamenco.
Credits
They, by Eva Esquivel
Isabel la Católica Theatre, Granada
March 26th 2026
Dance: Eva Esquivel
Guitar: Luis Mariano
CanteAlicia Morales, Fita Heredia, Aroa Palomo
