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Sara Baras
Suite Flamenca
Among the most renowned and versatile flamenco stars, Sara Baras, originally from Cadiz, the capital of Andalusia, is world-renowned for her incredible energy and stage presence. She has a career spanning more than two decades and has received numerous awards, including the National Prize for Dance in 2003.
With the show Voces, a flamenco suite, of which she is both royal performer and passionate choreographer, together with her company, she pays tribute, with a journey through the history of flamenco, to the wonderful artists who have made this art known, and loved by the whole world, and who have exerted great influence on her path as a woman, choreographer and dancer: Paco de Lucia, Camarón de La Isla, Antonio Gades, Enrique Morente, Moraìto and Carmen Amaya.
_"From the freedom of a flamenco heart comes "Voces." _
_From a heart that dances its music, that beats to its rhythm, that prays for the wind to hear it beyond all places and beyond all imaginations. _
_It is a voice that struggles to be the echo, the echo of those voices that moved us, that inspired us, clear and limpid springs from which we still continue to to drink to nourish our roots. _
It is the voice that emerges from our dancing, from our singing, from our touching, the voice that caresses the floorboards with the heels of our shoes, that strikes with the unrelenting force of our souls; it is a voice that with deep respect and infinite admiration, knows only how to say ... olé and thank you."
Santana De Yepes
artistic direction and choreography **Sara Baras **
Keko Baldomero musical compositions
lighting design **Oscar Gómez de los Reyes **
Ras Artesanos scenes
Torres-Cosano costumes
With the special collaboration of Carlos Herrera, **J. Jiménez "Chaboli" and Sergio Monroy **
dancers
**Sara Baras**
José Serrano guest artist and choreographer of his performances
corps de ballet **María Jesús García Oviedo, Charo Pedraja, Cristina Aldón, Daniel Saltares, David Martín, Alejandro Rodríguez, María Jesús García **
musicians
music director Keko Baldomero
guitars **Keko Baldomero, Andrés Martínez **
singers **Rubio de Pruna, Miguel Rosendo, Israel Fernández **
percussion **Antonio Suárez, Manuel Muñoz "Pájaro" **
technical staff
technical director Sergio Sarmiento
stage director Sergio Olivero
lighting technician Oscar Gómez de los Reyes
sound in the room Sergio Sarmiento
sound technician Andrés Prieto
tailor **Adolfo Martínez **
répétitueur María José García
Gallardo shoes
communication office Webea Estudio
assistant directors Patricia Pereyra Baras, José Aguilera
road manager **José Reyes Garrido **.
press office **Ricardo Ladrón de Guevara **
general coordination and management José Luis Pereyra Baras
production Saba Dance SL
program
1. THE LLAMA
music Canción de Amor - **Paco de Lucía **
2. BULERÍA DE CHABO
Sara Baras - Corps de Ballet
choreography **Sara Baras **
music **J. Jiménez "Chaboli" **
"The sea has always been and continues to be very important to me. I cannot exist without the sea, I need the sea like someone who seeks a drug or medicine....
Since from very young I had understood that flamenco was a language, a language that could be expressed with a vocabulary of ten words, and I had a theory, according to which this vocabulary could expand and so, instead of using only ten words, thousands could be used. Why not after all?... to as long as the spirit and essence of flamenco, its idiosyncrasies, its personality, its character... remained intact.
It is easier to satiate the hunger rather than the burning desire to become a good guitarist, possibly the best one... this yes, it is really difficult, because the spirit is insatiable, impossible from to satisfy..."
Paco de Lucía
3. FOLLOWING
**Sara Baras - José Serrano **.
choreography **Sara Baras - José Serrano **
music **Keko Baldomero **
words **Rubio de Pruna**
"Flamenco is flamenco; it is always sad, do you understand? Even love, even love yes, in its essence, is sad; everything is composed of sorrow and joy, you know? I think it all depends from on how each of us embraces these feelings and from how we handle them, don't you think? It's like with everything, exactly like with everything; you have to be born with that feeling, with that awareness, or with that wisdom, so to speak, to be able to to understand and see things, and the difference is that you have to be an artist to go and sing on a stage, and you have to have, I don't know, a kind of respect for the audience, like for the bull
... I think flamenco will continue to exist, at least as long as I'm alive, don't you think? And therefore I will be there ... When I make a record, I don't think to what people will say, you know? Because I know that in the moment it will not be understood, it will take some time for that to happen... That does not take away from the fact that you are never satisfied with what you do, you always believe you can do better, don't you think?... In the long run, you know, that good or bad it went, it still went....
... Flamenco contains within it a kind of school ethic, nothing more: you can succeed to communicate or not ... be promoted or not ..."
Camarón de la Isla
**4. TARANTA **
**Sara Baras**
choreography **Sara Baras **
music **Keko Baldomero **
words **Rubio de Pruna, Keko Baldomero **.
"Technique certainly plays an important role that requires a lot of study, but it is like driving; what to we aim for is that technique should not be reduced to a head action, but rather that it should become an unconditional reflex, so from that we can best express feelings...
... I will not give up on my colleagues: when I ask them for something, it is because I know they can do it. I never ask more of them than I believe they can give; I also demand a lot from from myself, certainly much more than from others. I believe that man, that all human beings, should, with dignity, make full use of all the abilities they have. This is not a profession that makes you rich or more beautiful, or for which you will be commended. It is a profession that represents a culture, intense work, and that it is also art, then we will see....
... And more and more people are forgetting the reason why human beings dance flamenco; man has always danced it by virtue of a disposition of the soul, because he was sad, because he was happy, out of a desire to struggle and toil, that's why he danced..."
Antonio Gades
**5. LAS CÁRMENES **
Dance troupe
choreography **Sara Baras **
music **Keko Baldomero **
**6. ROMANCE DEL NEGRO DEL PUERTO **
Rubio de Pruna
**7. FARRUCA **
**Sara Baras**
choreography **Sara Baras **
music** Keko Baldomero **
"In flamenco there are no masters, there are only disciples. And I belong to to a generation where there were no masters....
The best music that was to come from the school of flamenco has already been written; it has already been created, and it is different from from the flamenco that is composed today. Of course, the artist has to live in his own reality, in the world that belongs to him....
... I don't think art should be subjected to to restrictions; art should be left free. Anything is possible, and what matters is the result.... The more flamenco is universally recognized, the greater it becomes. We must not be pessimistic, but optimistic and encourage the younger generation....
... I would much rather be free than exaggeratedly squeezed into a label that neither tells nor conveys anything ...
Enrique Morente
**8. TIENTOS **
Dance troupe
choreography **Sara Baras **
music **Keko Baldomero **
words **Keko Baldomero**
**9. SOLEÁ **
**José Serrano **
choreography **José Serrano **
music **Keko Baldomero **
words **Rubio de Pruna, Keko Baldomero **.
"to times this pain pleases the soul; its spirit gives pleasure because to times pain is necessary for the soul. Not everything is joy. Pain fortifies and, as Anica la Piriñaca said, 'when I sing, my mouth tastes like blood'...
... The gypsy people, with all the suffering they carry within, probably find relief through flamenco singing; I think flamenco is really the expression of the feelings of these people finally getting rid of the anger they have accumulated over the years.
I don't think I'm too old; I'm not too old to talk about all that; I'm talking about what I really know; that's why I speak with such confidence. It is what I have heard, I have seen and I have experienced in the short space of time that I have lived in the flamenco world, in my family, in my country. I talk about what I know and what I have experienced, what I know and what I have listened to..."
Moraíto
**10. SOLEÁ POR BULERÍA **
**Sara Baras**
choreography** Sara Baras **
music** Keko Baldomero **
words **Rubio de Pruna, Keko Baldomero **.
**11. BULERÍA **
Sara Baras - José Serrano - Corps de Ballet
choreography **Sara Baras **
music **Keko Baldomero **
words **Rubio de Pruna, Keko Baldomero **.
E.T.C. light adjustment. Italy www.etcconnect.com
More than twenty years ago Sara Baras began her journey to the stages of the world. Her beginnings, to Cadiz, her homeland, are part of her story and the first link in the chain of her career is represented from by the one who was her first teacher and who most influenced her professional path: her mother Concha Baras. He also studied with renowned masters such as Ciro, Manolete, El Güito, and Dania Gonzalez. Between 1988 and 1998 he is a guest artist at the companies: Antonio Canales, taking part in the shows Gitano, Torero, to Cuerda y Tacón, Raíces and Romancero Gitano; Eduardo Serrano "El Güito" in Raíces Flamencas; Rancapino and Family in Poniente de la Bahía; Merche Esmeralda in Mujeres; Javier Barón in Mira que flamenco; Paco Peña in Flamenco Fire; Paco Moyano in Rayo de Luna; Manuel Morao in Esa forma de vivir. In 1998 she formed her company Ballet Flamenco Sara Baras, and created numerous productions: Sensaciones first performed in 1998 at the Auditorio de Murcia; Cádiz-La Isla in 1998 at Teatro de la Maestranza de Sevilla (X Bienal de Flamenco); _Sueños _in 1999 at Teatro Villamarta de Jerez (Flamenco Festival); Juana La loca in 2000 at Teatro de la Maestranza de Sevilla (XI Bienal de Flamenco); Mariana Pineda in 2002 at Teatro de la Maestranza de Sevilla (XII Bienal de Flamenco); Sabores in 2005 at Theatre des Champs-Elysées de París; Baras-Carreras in 2006 at Festival de Els Jardins de Cap Roig; _Carmen _in 2007 at Gran Teatre Liceu de Barcelona; Esencia in 2009 at Theatre des Champs-Elysées de París. In cinema, she takes part in the films _Flamenco, Flamenco _(2010) and Iberia (2005) by Carlos Saura and is the main character in the film Flamenco Woman by Mike Figgis (1997). For television she presents the program Algo más que flamenco on TVE2 (1998). In advertising she has been the image of: Freixent (2011); _Kinder _(2008); _Carbonell _(2004); Centenario Cruzcampo together with Paco de Lucía (2004); El Corte Inglés (2003); _Filodoro, Segretissimo _(2003) campaign; La Cara de Andalucía for Turismo de Andalucía (2002); Forest fire prevention campaign for Junta de Andalucía (2002); Magno with Fernando Schwartz and Liberto Rabal (2001); Cartier for a jewelry catalog (1999); Triumph (1998). He also collaborates for: two video clips of Luz Casal - Historia de un amor and Con mil desengaños, with José Serrano (2009); with Tim Ries on his latest album, Rolling Stones Project II (2008); with Chavela Vargas in numerous concerts - International Festival of Guanajuato Theatre (Mexico), Iberoamericano Festival at Teatro de Bogotá, in Luna Park in Buenos Aires, at Federico García Lorca's birthplace to Granada, and at Teatro Falla in Cádiz (2003/2004); dances for the "Premios Protagonistas" award ceremony (2003) with Luis del Olmo and presents the award for Julio Iglesias; for Alejandro Sanz's concert on the last leg of the _El alma al aire _tour at Vicente Calderón Stadium, Madrid (2001); with Celia Cruz, Lucrecia and Paquito de Rivera in a concert to La Riviera (2001); with Ainoa Arteta at Teatro de la Zarzuela in Madrid (2000); with Isabel Rey and Rosa Torres Pardo at the I Festival del Milleni in Barcelona (1999); dances at Amaya Arzuaga's fashion show during London Fashion Week (1999); performs with the great cellist Rostropovich at the Evian Festival (1998); at Francis Montesinos' fashion show on the runways of Cibeles, Madrid and Lisbon (1997). He has received numerous awards and honors in his career.