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Christmas 2018 with Juan Andrés Maya

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Juan Andrés in Cardamomo:

Juan Andrés Maya grants an emotional and generous interview with Cardamomo, in a period in which the flamenco Tablao is being enriched by artists coming from all over Spain, with new stage proposals, without abandoning the purity that has always characterized it.

From humility and heart, he lets loose in front  the camera describing the indescribable, the magic of his dance, sharing his perspective on the place that currently occupies the Flamenco in the society.

From Granada to the world:

Actually, the dancer has at his back a professional career recognized worldwide. His professional career does not stop growing, but his never forget his origin.

Juan Andrés Maya was born in 1972 in the emblematic Granada district of Sacromonte, surrounded by an authentic saga of artists, his family and friends. It starts to dance almost at the same time as to walk, and quickly becomes the focus of attention of the cave La Rocío, the family business Gypsy where many people of people come to know Flamenco.

Gipsy Kings:

He has recently participated in a TV program Gipsy Kings with his family, under the nickname “Los Reyes del Sacromonte”, providing a vision on the gypsy people hitherto unknown. In this interview, the dancer talks about the consequences and impressions of this experience, with which they have received flattery and criticism everywhere.

Flamenco is infinite:

In addition, we deal with many other topics related to the Flamenco culture: the evolution and fusion of the musical form, the nationality and preferences of the public that consumes Flamenco, the famous duende and his coexistence with the technique…

“When I am dancing… I feel totally liberated, my true self comes out. “

Juan Andrés Maya acts as a special show in the Flamenco Tablao Cardamomo, performing a magnificent and poignant dance.

 

You can’t miss it!

 

Is it still flamenco if it fuses with other genres?

Mixtures are dangerous if you take them to the limit. If you know how to carry them, you can get
along very well.
I am a guy who has lived a long time in America. And instead of going to see monuments or
anything, I went as a listener to Martha Graham’s school. You understand me? Because well …
That was what interested me.
I’ve seen a lot of contemporary, which I love. I’ve done eight years of Spanish classic.
I want to be different, I do not like to look like anyone else. And I respect all my colleagues.
I am a gypsy, I am flamenco and I come fromthe Mayas.
But not because I’m a gypsy, nor because I’m flamenco, I have to have those characteristics.
Because inside my dance I put many contemporary things, I put many classic brushstrokes.
And then my Flamenco, which runs through my veins, because I’m a gypsy. Because a gypsy
has given birth to me, then of course. But … But…You have to know how far to take it, do you
understand me?
A soleá always has to smell like a soleá, whatever you put into it. I mean an instrument… You
can put a violin, a viola in it… Whatever you want I don’t care! But it always has to smell like a
soleá. An equal seguiriya. That essence…
And is true that there are dances … I go many times to see artists who want to mix so much that
I do not know if they are dancing soleá, seguiriyas … An explosive mixture!
When I dance with my heart, it’s because it comes out of me. That goblin that was hiding inside
of me has flourished”.

El Duende:

El duende (The globin), as my friend La Chunga used to say, with whom I started here in Madrid. The goblin
is under the rocks, is below us. That … you do not get it out, it appears. It is true that artists can
not come as a worker who hammers nails, but … We are not every day the same.
I can have a great day because I am inspired. And another day, when I’m not so inspired, I use
the technique. You understand me? Why? Because the goblin does not always come out. The
goblins are in the air, under the rocks.
I don’t know… The goblin is something very difficult, it is there, but it isn’t there.
I’m dancing and maybe I’m using the technique, because of what we’ve said before, maybe that
day I don ́t have the goblin, I’m not inspired. I use the technique, because that’s why I’m a
dancer. But of course… Then you come out here, listen to your colleagues sing or play the
guitar. And what happens? The spark comes out! Do you understand me? The spark comes out,
if it’s there.
The most important thing in dance is to know how to wait.
A cantaor is singing to you in such a beautiful way. … Like, for example, I have Pepe el
Bocaillos, or Laura Abadía, El Cancu … They all sing like angels! Please!
How can you be giving them a dance, giving them steps…when they’re singing to you so
beautifully? I truly don’t understand , I don’t understand it. Because you have to respect
everything.

How is the relationship with your students?

It’s true that I have had young people in my classes to teach them Flamenco. And there have
been people that I haven’t even charged the fee. Because I saw that they had potential and as
maybe they couldn’t afford it economically, I tried to teach them without receiving anything in
return.
Only because those young people are going to be the ones who will replace us later. And if I can
give a person a chance, even if they don’t have the financial means, I feel proud.
I always tell the students: Do not you ever look like me. Do it on your way. But that little bit, that
thing I have given to them, I would like them to keep it. That air, that smell.
The beautiful is, the worse, the better … With your own stamp!
And today everyone dances the same, cut with the same scissors. And that is a pity because
there are people who dance very well.

Origins:

Since I was little I liked dancing. I have been raised in the Maya family, I am a Maya.
My uncle Mario Maya, Manolete, my mother was a dancer, my father a guitarist. And well, we’ve
always had the caves. The cave of La Rocío, which is a cave where Flamenco has always been
made.
Those days, I was very interested in this world. I got into the dressing rooms as a little boy, I
saw how the gypsies got dressed, how the gypsies put on their shirts, how they talked and what
they talked about … To soak up what Flamenco was.
I have had a very beautiful childhood and very happy, because I have done what I like, which is
dancing.

What do you feel when you dance?:

I am a bit paranoid, like all artists. People say that all artists are a bit paranoid. But it is true that
when I dance I feel totally free, like a dove that flies. I don’t know, it’s like my other self. The
other me that comes out real.


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