When Cristina Hoyos speaks, she vibrates with energy and molds her words so spectacularly that the dialogue seems to be moving; the sounds transform into images that fly around us. One can even feel this force that comes from the bottom of the heart. No doubt of it, she is the soul of flamenco…

Born in Seville, Spain, one of the most internationally renowned flamenco dancers and choreographers visited Havana, where she was awarded the Josefina Méndez International Award. She has improved the occasion to meet with friends, give talks and tour this island that has a special place in her heart, an island where dance has life, according to her. “That is why I’m so happy to be here.”

Her many activities in Havana included a visit to the headquarters of Cuba’s Spanish Ballet Company in Santos Suárez neighborhood, where she was interesting in learning about the work of the company run by Eduardo Veitía, sharing experiences and talking with the young dancers, professors and some figures of dance in Cuba.

In nearly thwo hours, she could enjoy the artistic work of the company’s young and happy members. Excited and overcame with emotion, Cristina Hoyos commented about the fruitful visit: “what you have to convey is the emotion you feel when dancing. You have to put your heart into every step you make, and work hard to master the technique and feel that you are making things right. You’ve achieved a lot and it is evident that you train very hard under the supervision of that great hard-working man that is Eduardo Veitía, as well as the company’s maitres. I love coming to Cuba, where I want to come back to do some things, to spread flamenco dance, twhich allows opening so many doors!,¨ she noted.

Gades, it’s an honor to dance with him

Cristina danced for the first time when she was a little girl; right after her father bought her a radio. The die was cast, and even though her family did not have resources, they made everything possible for her to make her dream come true. She received her first lessons at the Adelita Domingo Academy in Seville. “In our first lessons we learned about dancers such as Rosario, Carmen Amaya, the Argentinean, Pilar López… I wanted to be like them, to perform at theaters, travel all over the world and luckily, I’ve been able to do so.”

Many important professors would later on influence and guide the artist. At the age of 16, she was already dancing like a professional. She was in New York and then returned to Madrid. “It was there that I realized that I still had a lot to learn. I learned the technique; I had been dancing flamenco my own way…¨ One day, while performing at El Duende, Antonio Gades saw her and gave her some advices: to polish the technique and movements, enhance the posture. The dancer was highly receptive to his advices and improved so much that in 1969, he chose her to be the lead dancer for his company…

“Having danced with him was something extraordinary, an honor. I was scared at first but was very happy for having being chosen as his dance partner. I danced with him for 20 years; I learned a lot. There is no doubt that he was the best dancer of the 20^th century; not only the best flamenco dancer but the best Spanish dance dancer, because he provided it with modern elements through his peculiar way of dancing.”

It was a period of great success worldwide, when the artistic quality of flamenco was adapted both for the big and small screens as well, thus contributing to its spreading and recognition all over the world. Carlos Saura’s excellent film trilogy belongs to this period: Bodas de Sangre (1981), Carmen (1983) and El Amor Brujo (1985). Gades’s company performed in all three films.

After that first successful moment, Cristina wanted to go back to the roots of flamenco, she said. The dancer then returned to Seville and Andalusia, to her beginning… and founded, together with her husband, the talented dancer Juan Antonio Jiménez, her own company. Between 2004 and 2011, she directed the Flamenco Ballet Company of Andalusia, with choreographies of incalculable aesthetic and artistic value such as Romancero gitano, Poema del cante jondo  and Viaje al Sur.

A tour of Flamenco

In 2007, Cristina Hoyos came to Havana with the Flamenco Ballet Company of Andalusia and the show Viaje al Sur. As record of those days there is a critic published by Granma daily and written by this journalist. Here are some of the remarks praising the marvelous work done by the choreographer:

“Divided into three parts: Happiness, Tragedy and Passion, the show Viaje al sur, choreographed by Cristina Hoyos and with original idea jointly developed with stage director Ramón Oller, presents a contemporary dramatic language typical of the complex nature of flamenco dancing, a tradition that remains alive.

“That was largely demonstrated both by the dancers, musicians and flamenco singers of the Andalusia Company, because the feelings conveyed in every performance as well as the movements, clearly show how much dance can influence human nature and the idiosyncrasy of peoples.

“Everything that vibrates deep inside her, in that philosophy of life represented by flamenco, comes to light in this work, with the dancer offering a lecture on perfection and lyricism in dance; her movements showing that she is a great artist, while accompanied by such excellent dancers as is Daniel Navarro.

 “Her choreographic work was responsible for half of the show’s success, featuring news forms of Spanish dance in which flamenco prevails… The cast and the team spirit contributed the other half. Enjoying this show is quite an honor.”

New times for the artist

When it comes to being creative in flamenco –the outstanding dancer noted- other musical genres and forms of dancing can be added, but the flamenco root must be preserved. The term fusion cannot be misunderstood…Instruments from other cultures may well be added and it will continue to be flamenco, if it is well done.

Referring to the talent of dancers, Cristina said: ¨one has to love dance above all and also have something special that some people call ´gift´ or ´ability on stage.´ That ´something´ is what makes you stand out among the others, even when sharing the stage with many other dancers… Then come the techniques, lot of discipline and doing your best on stage.

Winner of many awards including the National Dance Award (1991), The Gold Medal of Merits in the Fine Arts (1992) and of France’s Order of Arts and Literature (1997), Cristina Hoyos retired five years ago, but it does not mean she has given up, the artist clarified. “I produce and choreograph operas and traditional Spanish operettas and teach flamenco dance in Andalusia; I continue to have a busy life.¨

She is also involved in one of her most cherished projects: the Museum of Flamenco Dance. Its objective is to spread the artistic manifestations that represent the cultural asset of her birthplace, which was designated by UNESCO as Intangible Cultural Heritage of Humanity. Regarding this, she wanted to stress something that has always concerned her: “not to lose the way of dancing in Seville. I dance the Seville way. Times change and new forms appear, but one cannot forget those elements that identify a city and a type of dance.”

Her legacy is connected with the museum’s goal, she noted, and went on by saying: ¨I wanted to provide dance with everything it has afforded me in my life. It has not been easy or free. This continuing battle has bore fruits, happiness, maybe more than what I have deserved, and I thank life for it. My magic stick told me one day: Cristina you were born to dance (she laughed). My body is flexible; I was always paying attention to dancers to be better each day.¨

“One has to look for one’s own personality and make little steps, one after the other. When dancing in couples, the woman has to be very feminine and the man must show strength, always with the right technique,” she told the young dancers.

Time flew to the rhythm of her words. She wove a melody translated into experiences, ranging from the tradition of one of the greatest Andalusian dancers to contemporary elements that undoubtedly enhance all artistic manifestations alike. She represents energy; so she has corroborated once more through flamenco.

Translation: Dayamí Interián

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