February 2025 at Seville

 

January 2024 at Seville

 

Upcoming with Choni

 

Online with Ana Morales

 

Upcoming at Prague

A workshop with Adrian Santana, August 2018

Adrian Santana came back to Israel. I wish I could give on time the full information about the workshops and shows at Tel Aviv. Long story, I didn't receive the information in a way that could help me to inform here. So only for the workshop at Haifa I could bring. I did go to one of his workshops at Tel Aviv. I've been at workshops of him before, it was enough for me to know that I want it again. At Tel Aviv meant to be three levels workshops. I took the middle level workshop - caña with manton. The beginners levels has been cancel. Probably not enough at this level knows what's good for them. So, three crazy days. How was it?
First day

I came on time. The advanced level with bata de cola was on. It was difficult to find a place to put my things. The area for it was crowded and not all with a good reason. There was a man sitting there. I didn't know him. I was sure that he's a father of someone there or just came with someone and stayed to look. Yeah, one level with bata (and a fan!), another level with mantom - the teacher is a man. I did find a way to put my things and change. I took my manton and got to the dancing part at the studio. I saw some familiar faces. I was amazed amused that after a moment I found out that Adrian remembers me. He smiled and waved me. OK, I'm done here. Already happy. When the bata class has finished I was talking with one of the girls from this class. I know her for years and haven't seen her for a long time. At this class she was the only one with an ordinary skirt. I asked her why doesn't she wear a bata. She decided to make it easier for herself. I took a place for dancing. A crazy woman that I know from the studio came. She meant to come to the beginners, but as far it has been cancel - she came to try the medium level. To see her face when she found out it's with mantons was priceless. So, she's crazy and needed to shout "Orna, do you know how to dance with manton?". Yeah, and I know what I came for. She didn't know cause it isn't the level she wanted and she never danced with manton. Anyway she never really dance without... She's been given a manton that has been at the studio for her first trial. A man from Mijal's group came. I won't say his name cause he behaved weird. He also received a manton of the group that has been at the studio. The man that I thought that came to look found a way at the studio. He came with a manton, but the shoes.... The shoes doesn't fit flamenco. 

The class has started with some late. Three girls who I know took both classed. Three more girls that I don't know came to the manton class. Many women and two men. Too crowded. We started with a lot of working on technique of the manton. Although I was dancing with manton before - I learned something new about the movement that makes it much more comfortable. A simlpe thing that made me wonder why didn't I think of it before. Twice has been accidents for women that I don't know. Once the manton got stuck hard at the hair of a woman. Adrian helped her to release it. A manton got stuck hard at the glasses of someone else. Adrian helped to release it. A moment after - this women kinda sent her manton to Adrian's face. The man from Mijal's company started to ask questions. At Hebrew. Now I know that he doesn't know Spanish, but... Adrian don't have a reason to understand Herew. And then we had for a while to practice workout with the manton at trios from one side to another side of the studio.

A little brake. The crazy woman started to ask me about next classes at the studio, the ordinary classes we take together - when she dare to come. She wanted to change the hours of the workshop because the last third class will be on the time of the ordinary class. Do you want to tell everyone to come at another hour for you could come to an ordinary class? Oh, no... At this moment or a little bit after I started to wonder why didn't I see Mijal yet for that day. 

We started to learn a dance. It felt like the man that I don't know use his manton as a weapon - against me. I found out that I try a lot to run away from his manton. The class has finished after the time it meant to finish.


Now there was a problem. The studio meant to be closed. Mijal wasn't there at all. Keren who works for her was suppose to close it, but she went away a bit after this class has started. The crazy woman called someone. I said "thanks and goodbye" to Adrian. I went to at before coming back home. 

Second day

Friday morning... Still not awake, but I came on time.

The bata class was with all women who came at the day before. Mijal was there and was a student like all the women who took this class. The unknown man was there and waiting. 

Again - the class of the manton has started after time. Between classes I was talking with people that I know. The crazy woman didn't come. Many others didn't come. Some came at the last moment like the man from the group of Mijal. Mijal was wondering how come that many didn't come. I was telling her about the trial and first time of the crazy woman. She asked me if the crazy woman felt it was too difficult for her. It could be.... The three woman who took both classes at the day before did it again. The men came. Mijal joined this class as well. Still less crowded at the second day. 

We started again with technique of the manton. Probably the hour and the fact that I'm NOT a professional dancer - I missed once. It was on a beat and once I missed the beat. Adrian saw it, but signed me a thing which is easy to understand as "it's OK". And once again - from side to side. This time at couples. I was at the first couple and it took a moment that one hand missed catching the manton. So embarrassing... Adrian signed me again. Still I needed some time to get over it.

A little brake and we got back dancing. A work on the dance. It meant to be a caña. At first day our first steps were without music. This time Adrian let us hear the music during our dancing. He told one of the girls what is the difference between caña and polo. So, there is a little difference and we danced with music of polo. We learned some more steps for the dance. And Mijal who didn't hear the explain asked if it's polo. Yeah, it was. There were some questions brakes. Someone asked for how long men dance with batas and mantons. A girl told about a man dancer who gave a workshop with a fan and didn't accept anyone will take photos of him with the fan. The man from Mijal's group went on with questions at Hebrew, but it was more about the technique.  At the dance itself it was easier for me than it was at the technique part. 

At the end of class came musicians and some more dancers from the group for a rehearsal. The class has finished after time. Before Adrian started talking with the musicians - I asked him if I would be able to take a video at the end of the dance. He accepted, but it doesn't mean that I will upload it to here. 

Third day

After one day off because of a show. I didn't go, I'm about to go to another show of Adrian after the full workshops ends. I came earlier. I saw the end of the bata class. Took videos at groups. Adrian took a video of all of them for the end. Mijal asked me and another girl to take photos of all group with Adrian. I found out who's the strange man. From the people I didn't know before - only him and the woman with glasses has stayed. All those who came to the bata class stayed to the end. At the manton class.... Some more has gone. I can't understand how could they decided to miss it, but I had some more space to move at.

This time we didn't spend time on technique. Right from the start - learning some new steps for the polo and mix it with the old steps. One of the girls who took both classes has been giving up after 15-20 minutes of manton class. She took off her manton, changed clothes. almost went away. She stayed at the studio till the end of class, but was sitting and looking from the side. The man from Mijal's group did the opposite thing. He came when the class almost finished, changed shoes and made a try to blend in. 

We received one chance to take a video. Only 4 were dancing, all were busy at taking videos. The man from Mijal's group got into my video twice for a moment... Then all of us danced for the end together. 3 minutes dance at 3 classes. 

For the end - Adrian made a selfie with all of us from the manton class. I still don't have it... But he accepted to have photos with each one who wanted alone with him. I got mine with my mobile phone

Summer party at the studio of Mijal Natan

Most of flamenco studios at Israel start the year at September, near to the start of the Jewish year. Most of flamenco studios at Israel has end of year shows at June or July and go out for summer vacation. At the last few years I learn at the studio of Mijal Natan, a studio that became my flamenco home with time (with Suzanne Dellal, the place where I watch most of flamenco shows). The studio of Mijal works a little different than the other studios. At the studio of Mijal there are no summer vacations. The only vacations that the students have are those the students takes for their owns or nights that Compas Company (the flamenco group of Mijal Natan) has shows. At the past, before I started at this studio were some end of year shows, but Mijal decided it doesn't fit. She wants to teach instead of telling the students where do they have to stand on stage. There for since I started at this studio has been few "open classes", almost ordinary classes that the biggest difference that we could bring our families to see us. And one party for the studio students and families at the studio itself. Now we had a party with non official show at the studio.  So, it went this way:
All of us could invite few people for a show that doesn't cost them money. At noon. All of the students needed to come early  with something to eat or drink. I brought some chocolates (how typical) and some cups. We needed to help organize the chairs for the guests sit. I had four official guests: my sister and her daughter, my friend Maya and her husband. Ilan learn at the same studio even longer time that I am, but recently he can't come to the studio. He's a pro dancer and soon he will take a part at a production of the Israeli opera. And he still have a day job that recently he needs to be there for a longer time. He probably will be back after that opera production. He was a a gust of the studio, but it wasn't enough for me. I asked him to come even before. All came. Sadly my sister and her daughter couldn't stay till the end (my niece didn't feel well or something like that). Ilan came at the last moment. My friend Maya and her husband came when Mijal started to tell the guests what will gonna happen at the show and why do we do it this way. At fin la fiesta Maya and her husband needed to go. They stayed one more moment for photo. 

I came even earlier than needed. I had on mind like coming for a class and be sure that I come relaxed on time, so it came out too early. I saw the end of a rehearsal of the company. At the start I was watching. After few more came - I changed to my flamenco dress and shoes. I went to help with the chairs. Although I take over than one class a week - I wasn't sure how much would I dance. I knew that I will have for sure a caña that we finished recently. We have some new stuff that we only started recently, improvisation over martinete and a new dance with castanets - a palo that I didn't know before and I still not sure that I call it correct. I still brought my castanets just in case. Mijal said that we are about to have the show by the list, but maybe will be some changes. What list????? I didn't have any! One of the girls sent me the list at WhatsApp, Ayelet gave me the list at her hand's write for I will take a photo of it with my phone. Mijal said that the caña that I knew that I'm about to have will be third instead of a colombiana. I took this list up to the second floor, my stuff were there. I was looking for a place with a good light for the photo. It was on another chair. At the moment that I finished it and anted to take back the things - came behind me a grown up woman who was angry that she can't get into the place with this chair. I said that she doesn't have to be angry. She found out who am I and started to call my name. Only then I understood who she is. I won't say her name, but she's a flamenco teacher from another city. Between her studio and Mijal's studio there is some collaboration. She's a Facebook friend, but it's something like first time that I see her live. Now Enough for me to figure out that I don't like her. She wanted a program. I said that we have a list, but it's for the dancers. She wanted to know when is the colombiana. It meant to be third, but it changed, don't know. I came down and told Mijal that the other teacher is there and want to know when is the colombiana. They talked. I started to be busy with my guests. One of the girls asked me to take videos of her dances that she have without me. She gave me her camera for it.

Our show has started a little late. At the end it worked out well for half of my guests. At the studio there are also shows of the company in a tablao style from time to time. We used the lights of those shows. I was running between the floors. So the colombiana stayed a third dance. Gurau from Compas Company was teaching it at the studio of the other teacher's studio. Thenwas the caña. One of the girls who meant to dance with us couldn't come. Moran from the company learned this dance but wasn't suppose to dance it at the show took the place of the other girl. And Moran is pregnant, almost at the end of it. The caña itself - there was a moment that I made a mistake but moved on like nothing happened. This dance including two circles in a row that I used to do in front of a mirror till this week. For me it's my favorite circle which is very easy for me. Last class of the caña was first time that I tried it without a mirror. I lost the focus and it became harder. I wasn't sure how would I do it on show. Luckily I was too afraid to mess it up and found the way to think like I do it in a front of a mirror. That moment went smooth. Maya and her husband sat on the second floor to watch. Maya took those photos with her fone at the caña:

Two more dances. I was busy to look for my stuff. The other teacher and her students moved it the floor and one even sat on it. It was difficult to take it. The camera of the other girl was there and my castanets. Because of the mess, the stress and dark - some things fell down. One of the girls who learn with me once a week helped me to find out all the thing. My time to come back to stage with the  castanets. I noticed that my sister and her daughter were missing. I didn't have a time take care for it. It's only a start of dance. I was sure that I was the only one who has a problem to remember it. I've been told before the show it will be fine. we Were 4-5 girls (can't remember from stress). After a short while all of us stopped and looked one at another.... Ayelet was one of the girls. That was weird. She's a professional dancer and she have a great memory for those things, even for a dancer. Mijal stopped the music and said that it's luck it isn't a real show. We will start again. Not ALL the show, only this dance. We started again. We made it for few more steps. One of the girls made it look like we finished and started to go out proud. All of us went out after her. Oh no.....

I came up. I was putting my castanets at their bag. My phone was on silent. I was checking out if there is a message. My sister sent me a message that it was difficult for her daughter, my niece doesn't feel well so they went. OK, breath.... You have here some other people who came just for you.

My last part was improvisation over martinete. All the group was together on stage and each one of us made anything she wanted by rules and some steps we learned. Some new materials and lots of stress. I hardly remember a thing. I found myself just o something without being sure what did I do.
One of the girls from this group uploaded Facebook couple of phone photos from this moment:

The show has finished a bit after that. I hoped to have a photo with Maya and Ilan together. I couldn't find Ilan, Maya was hurry, so I hgot a fast phone photo with Maya alone:

 I changed to days clothes. I stayed a bit longer. I ate, drank and was talking with some people I know. I found Ilan. He was talking with someone who dance in another studio and I know a bit. The man from the other studio asked me if I still have this group at Facebook. Yeah, I still have. Oh, not the group. He meant to La Reina De LA Luna. Yeah, I still have it, no, it isn't a group at Facebook. I asked Ilan to have a photo with him. He asked to get in also the other man. Not sure which photos is better:

When I was about to go - I was talking with Ayelet and another girl from the studio. Ayelet also had the martinete, the other girl watched from the side. I told them it was difficult for me cause I wasn't sure. The girl that watched said that she was looking at me and I looked that I'm very sure in anything I did at the martinete. I didn't feel this way.... They both said at least I looked sure at myself. That's the most important thing

Upcoming with Pepa Molina

This April with La Moneta

טופס הגשת מועמדות לתחרות "קרן עדי"- מרץ 2017

יש להגיש עם תמונת פספורט

After watching Flamenco Women

Well, I didn't make a proper publicity for this show and just uploaded some wonderful photos by Natasha Shakhnes from couple of rehearsals for it. I didn't do the proper publicity from few reasons, one of them that I didn't receive the information in a way which makes it easy for me. I hate to admit that until almost the last moment I wasn't sure if I will go to see it because I'm short out of money. I missed few more shows lately because of it. I hate to admit that the only good place that I found was far from the stage more than I used to, or to get at the first row. As far as it was at the large hall of Suzanne Dellal - I knew it won't be a good idea to be at the first ow as I love to be in over places at shows. I hate to admit that although I didn't make the proper publicity - the show was sold out. I still see it as a good sign. Sold out for a flamenco show in a decent hall.... And it included some talented people on stage. I'm not sure yet if it was a premier for upcoming tour, or just for one evening on stage. At the publicity of Suzanne Dellal they called it a premier, but Natasha told me that she was there because it was for one evening only. No one of the people on stage told me which side is correct, although most of them knows me.  It was mostly a good show, but not perfect.  


The musicians were Shuky Shveiky and Yael Horwitz as singer. Hagai Leshem on cajon and some other percussions. El Fyty and Ilai Burla on guitars. About Ilai Burla I heard only recently and it was the first time that I heard him play. 
But the important part that made the subject and title of the show was the dancers. The dancers were Silvia Duran, Mijal Nata, Sharon Saguy and Keren Pesach. Each one of them was choosing another flamenco dancer from Spain, all women. The special about each Spanish dancer is the fact she gives inspiration on the movement and the way that the Israeli dancers on stage dances. 
Silvia Duran was choosing Pilar Lopez.
Mijal Natan was choosing Milagros Mengíbar.
Sharon Saguy was choosing Manuela Carrasco.
Keren Pesach was choosing La Farruca. 

About Keren Pesach - it was so clear that it will be her choice. I think that La Farruca is amazing dancer, but I don't have much sympathy to Keren Pesach. There is a line between have influence and inspiration from another person and being a copycat. I think that Keren Pesach has crossed this line and became a copycat. It isn't the only reason that I dislike her, but it's the main reason. So, although I do adore the talent of La Farruca - I think that the thing that made this show less than perfect was taking Keren Pesach to be there on stage. I guess it's pretty cruel to write those words, but if I write about this show - all truth must be told. Well, at least when it have a connection to the show.

I didn't meet many people that I know outside. It was a little surprise for me. I was sure that it will be easier to meet some people from Mijal's studio. Inside the hall Natasha called me. She was inside, but not as a former watcher. Sharon Saguy was demanding to take her as a photographer at this show. Natasha told me it was difficult because of the rules of the place. I can understand why did she came as the photographer. She has a lot of  experience with flamenco photography, more than I have. And she has a lot of talent for it. The only problem was it made me jealous. I'm a photographer myself. I took a part at so many art exhibitions with photos that I took with a simple camera. A bit over than a year I have professional camera. By this year and a bit I took three dance photography workshops that only the last one included only one dance company, I took photos at a rehearsal of a show of Compas Company with Miguel Angel, I took photos at few flamenco shows, I got into a team of an Israeli music magazine that goes only at the internet, I took photos at a bit over than 20 music shows (most for the magazine, but few without a connection), and I still need to have a fight to be the photographer. There are not many who would fight fir me, and even then it would me mostly for free entrance for shows and receive the credits. 

So, the show itself:
It has started with thee musicians sitting at the center. Lights on them only while they have started. For a moment behind them were photos over a screen of the dancers that for them is the tribute. When the photos has gone - the lights were all over the stage. Mijal Natan, Sharon Saguy and Keren Pesach were sitting next to them and made palmas. After a while joined the sinning as well. A moment after - they got up and danced. It looked THAT good that I even could bare Keren Pesach that I usually don't like. Most of time they made the same movements, but for few moments they made it each in her way for the same idea. I mean - Mijal Natan and Sharon Saguy made it in their ways. Keren Pesach made it as a try to look like Los Farrucos..... For the end - they took their chairs and were putting at the side of the stage and went out from the stage. The musicians took their chairs to the same spot. It didn't take too long till El Fyty stayed alone on his chair for a solo. The start of it was a little weak for what he can, but after a short time he showed that his real talent of playing on the guitar.

The other musicians got back. Ilai Burla sat next to El Fyty, the others stood behind. Hagai Leshem became a palmero at this part. Sharon Saguy and Keren Pesach got back too. Keren Pesach sat at the other side of El Fyty and Sharon stood behind her as a palmera. Music on. After a while - a photo of La Farruca on the screen. The fans of Keren Pesach applauded. Again - I think that La Farruca is a wonderful dancer. Still - it was difficult for me to cheer. I was too afraid from the moment after. Well, I had a good reason. Keren Pesach stood up and made her part. For a while it looked to me more like a cheap copycat for La Farruca. And it became worse. At a legs' part she was pulling her hands to her hair, but not as a dance part. Something disturbed her and it looked like she's trying to order her hair. She pulled out something from there, hell knows what and pulled it aggressively to backstage. After a moment her tongue pulled out many times and something disturbed her there. It finished while she wiped her mouth aggressively with her hand. I prefer to think that I didn't see it. No elegance and no behavior of a dancer on stage in a show. I wished her part will over and move to the real dancers. It looked like forever, but it did finish a bit after. She and Sharon Saguy went out of stage. The musicians got back with their chairs to the center of the stage.


Next part was of Silvia Duran. That was a big difference. I'm use to that usually the most talented flamencos are the nicest people. There are few that destroy this theory. I'm a bit afraid of Silvia when it comes to meet her as a person, but when it comes to stage - this change was a good thing. Silvia is already old, she's fat and as far as I know - she's crazy. One of the things that I love in flamenco that you don't have to be young and thin. You can be fat and still be a great dancer and get old into the flamenco. Silvia Duran is a good example to it. Even that she's old and fat, even that her style is old fashion style - her short part looked so elegant. She hardly moved from her place, her legs work is like women used to do before Carmen Amaya changed it. Even though it's flamenco. Silvia is very famous at her hands' work and castanets' work. At this part she was dancing without castanets. And all you would hear about the beauty of her hands moves - it's true. Gentle and elegant. I needed to see it after the part before her. 

The next dancing part was of was belong to the younger dancer. Three of them dressed in white and flowers at their hairs. This time  Keren Pesach didn't need to touch a thing. Her flower flew down to almost backstage after few steps. A short dancing part. Mijal Natan and Sharon Saguy had their flowers till end of this dance.

The next part was a musical part. It was mostly for letting Sharon Saguy to change her clothes. When she got back to stage she was with a manton over her shoulders. She danced with it most of this dance. Only for a short moment she was putting aside the manton. One more elegant part at this show. It was very impressive part, mostly because of her control at the manton. Few moments it was possible to see her tribute to Manuela Carrasco. I didn't notice it before that Sharon has this influence, now I could see it and loved it.

Next part was a solo of Mijal Natan. The only musicians that stayed on stage at this moment were El Fyty and Shuky Shveiky. Mijal was dancing a caña with bata de cola. I think that I saw this dress at one of the shows, but the dance was new to me. And Mijal's dance? Maybe I'm bribed, but Mijal was amazing. No less. That was one of the moments that reminded me why do I love her as a dancer. Elegance at each movement. And the bata de cola dress and the way she used it made her look glamorous. She also a dancer who isn't young. Another proof that flamenco has no age. As someone told me recently - age can be even a good thing in flamenco and make dancers better and more mature. The next problem has started at the end of her dance, but not because of what happened on stage. Somehow all the crazy people find their way to me. So the people behind me at the audience are so "smart" and think that flamenco is nothing more than castanets. They started to talk loud about where are the castanets. Why doesn't she have castanets or anyone else had? I started to look back to them with murder with my eyes. Still didn't make them shut up.

So next. Silvia Duran came back to stage. She stage alone on stage and danced with recorded music. It was a short Clasico Español. With castanets. I thought it will relax the stupid people behind me. No, it didn't. Then it became to say loud "Castanets! Look! She's holding castanets! She's holding castanets". And few more details that I didn't need to hear about what is going on stage. I looked them again with some more murder at my eyes. That made them finally shut up. I could enjoy looking at Silvia dance Clasico Español. With castanets. And recorded music. 

And fin la fiesta. After this part Mijal, Sharon and Keren came back to stage dressed in red with all the musicians. They made a buleria for the end. At the start Mijal, Sharon and Keren danced together one letra. After that each one of dancer came out for a solo. From the musicians El Fyty, Yael and Shuky came out as well. And then Silvia joined them. She was dancing while all around her. They received flowers after the bow down. Women received red roses, men got white lilies. They were putting it on stage for making their salida.

After the show I got into the backstage, but not alone. I was saying hellos to some, but after I was saying hello to Mijal I ran out. I didn't want to meet Silvia. Although she was good - she is still the only person at the Israeli flamenco community that I'm afraid of. Oitside I met Keren who work for Mijal and Hadas from the flamenco company of Mijal (Compas Company). By the way I found out some details that maybe I should write here.....

A photo from the fin la fiesta at the show

A photo by Natasha Shakhnes

This September at Seville

informaciones: cursosflamenco@hotmail.com

nivel básico: Caña con mantón con Charo Espino Delgado
Viernes 16/9: 16.00 - 17.15
Sábado 17/9: 13.00 - 14.15
Domingo 18/9: 13.00 - 14.15

nivel intermedio: Soleá por bulería con Miguel Ángel Espino
Viernes 16/9: 17.30 - 18.45
Sábado 17/9: 14.30 - 15.45
Domingo 18/9: 14.30 - 15.45

Curso de Cante con Miguel Ortega: Marianas/Tangos
Viernes 16/9: 18.55 - 19.55
Sábado 17/9: 15.55 - 16.55
Domingo 18/9: 15.55 - 16.55

nivel intermedio/avanzado: Marianas/Tangos con Angel Muñoz
Viernes 16/9: 20.00 - 21.15
Sábado 17/9: 17.00 - 18.15
Domingo 18/9: 17.00 - 18.15

This December with Ursula Lopez

Úrsula López - a workshop by Adi Foundation

Eduardo Guerrero at Q-Factory Amsterdam

OPTREDEN EDUARDO GUERRERO' - 'LAS MINAS' 15 OKT 2015 -TOLHUISTUIN, Paradiso noord Amsterdam

WORKSHOP FLAMENCODANS EDUARDO GUERRERO ZA 17 & ZO 18 OKT 2015 
INTERMEDIO NIVEAU - TANGOS | GEVORDERD NIVEAU - CAÑA
Locatie workshop: Q-Factory Amsterdam www.terremoto.nl info@terremoto.nl

The memory of yesterday make us live today to succeed tomorrow... And among my earliest flamenco memories, it is inevitable to remember the flamenco dances when I started to move me in this amazing dance world that it is theFlamenco, this is the main reason because today they compose my first spectacle.
Really they don`t have a clear storyline they are memories and the memories more than storylines are feelings, And these feelings move us back until my earliest flamenco memories. Even more inevitable, it is to remember the person who raised me, who introduced me into the Art, who gave me my first flamencoboots, who followed me everywhere and who trusted me.
The summary all of this, it is the memory of Dolores, my Grandmother, the “Return” to her...

Eduardo Guerrero started to dance when he was six years old in Carmen Guerrero Flamenco Dance School in Cádiz. He continued his flamenco learnings with the most important “bailaores” at the time: Antonio Canales, Manolo Marín, Mario Maya, Chiqui de Jerez.... He extended his Spanish Dance training at Cadiz conservatory,
contemporary Dance Knowledge with David Greenall and classic dance with Montserrat Marín.
In 2002 he started to collaborate in the spectacles of the most important spanish flamencodancers like:
- “Bernarda Alba” and “Flamenco Directo” by Antonio Canales.
- “Eva”, “5 Mujeres 5”, “A cuatro voces”, “Santo y Seña”, “ Lluvia”, “Cuando yo era” and “Federico según Lorca” by Eva Yerbabuena.
- “Salomé”, “Carmen”, “Suite Flamenca” and “Adalí” by Aida Gómez.
- Eduardo collaborated with Rocío Molina, Ursula López and Amador Rojas in their spectacles “Oro Viejo”, “La otra Piel” and “Kahlo Caló” .
- The singer Pasión Vega relied on him in her spectacles “Sin Compasión” and “Dos pianos con Pasión”.
In all these collaborations Eduardo gave his hallmark, with his re-newal, transgressive and exciting form to doing Flamenco dance. His dancing is so impressive that Vladimir Vasilev, after seeing his performance in the Suzanne Dellal Center of Tel Aviv, invited him to participate in posthumous tribute that he was organizing in the Bolshoi Theatre in honor of his wife Ekaterina Maximova. In 2013 he won the prestigious Award “Desplante” (Flamenco dance prize) in the International Minas Festival in La Unión (Murcia), with this prize Eduardo is recognized by his
maturity and mastery in spite of his youth. Nowadays Eduardo Guerrero is moving his new spectacle “Re-torno” in some of the most important Spanish theaters and he is achieving a great success

Carmen La Talegona's workshops at Argentina

♫♪♫PRIMAVERA FLAMENCA♫♪♫ Nos perfuma con su arte heart emoticon
CARMEN RIVAS "LA TALEGONA"
smile emoticon SEPTIEMBRE en BUENOS AIRES smile emoticonIMPERDIBLE CURSO + PRESENTACIÓN
CURSOS INTENSIVOS - 4 DIAS DE CURSO- 2HS CADA DÍA
>>LUNES 14 AL JUEVES 17 SEPTIEMBRE 
ABIERTA LA INSCRIPCIÓN
••NIVEL AVANZADO•• SEGUIRIYA // CAÑA - HORARIO : 12 A 14 HS
••NIVEL INTERMEDIO•• TANGOS -HORARIO : 14 A 16 HS
::: ARANCELES
►ARANCEL 1 CURSO $1200 Euros 70
►ARANCEL 2 CURSOS $2000 Euros 120
HORARIOS DE INSCRIPCIÓN:
LUNES A SÁBADOS DE 9 a 22 hs-
-Consultar Domingos-
INFO E INSCRIPCIÓN:
LA HUELLA -Arte en Movimiento-
BULNES 892 -ALMAGRO
Tels. 20661153 -156167490
https://vimeo.com/87192614

This September with Carmen La Talegona

♫♪♫PRIMAVERA FLAMENCA♫♪♫ Nos perfuma con su arte heart emoticon
CARMEN RIVAS "LA TALEGONA"
smile emoticon SEPTIEMBRE en BUENOS AIRES smile emoticonIMPERDIBLE CURSO + PRESENTACIÓN
CURSOS INTENSIVOS - 4 DÍAS DE CURSO- 2HS CADA DÍA
>>LUNES 14 AL JUEVES 17 SEPTIEMBRE 
ABIERTA LA INSCRIPCIÓN
••NIVEL AVANZADO•• SEGUIRIYA // CAÑA - HORARIO : 12 A 14 HS
••NIVEL INTERMEDIO•• TANGOS -HORARIO : 14 A 16 HS
::: ARANCELES
►ARANCEL 1 CURSO $1200 Euros 70
►ARANCEL 2 CURSOS $2000 Euros 120
HORARIOS DE INSCRIPCIÓN:
LUNES A SÁBADOS DE 9 a 22 hs-
-Consultar Domingos-
INFO E INSCRIPCIÓN:
LA HUELLA -Arte en Movimiento-
BULNES 892 -ALMAGRO
Tels. 20661153 -156167490

This August-September with Carmen La Talegona

-CARMEN RIVAS - heart emoticon "LA TALEGONA" ♫♪♫ PRIMAVERA FLAMENCA ♫♪♫
smile emoticon SEPTIEMBRE en BUENOS AIRES smile emoticon
CURSOS INTENSIVOS - 4 DIAS DE CURSO- 2HS CADA DÍA
>>LUNES 14 AL JUEVES 17 SEPTIEMBRE
// -CUPOS LIMITADOS -// ABIERTA LA INSCRIPCIÓN
••NIVEL AVANZADO•• SEGUIRIYA // CAÑA - HORARIO : 12 A 14 HS
••NIVEL INTERMEDIO•• TANGOS -HORARIO : 14 A 16 HS
::: ARANCELES con DESCUENTO Hasta el 22 AGOSTO:::
►ARANCEL 1 CURSO $1800 Euros 120
►ARANCEL 2 CURSOS $3300 Euros 220
:: LUEGO DEL 22 AGOSTO HASTA EL 14 DE SEPTIEMBRE::
►ARANCEL 1 CURSO $2000 Euros 140
►ARANCEL 2 CURSOS $3500 Euros 240
FORMAS DE PAGO DE LOS CURSOS:
1-PAGO EN EFECTIVO EN PESOS ARGENTINOS O EN EUROS, DIRIJIENDOSÉ AL ESTUDIO.
2-ENVIO DEL DINERO POR CORREO PRIVADO
3-DEPÓSITO BANCARIO COSTEANDO ADEMÁS EL GASTO POR LA TRANSFERENCIA BANCARIA QUE SON $100 EXTRA.
DATOS DE LA CUENTA:
BANCO CITIBANK
CUENTA CORRIENTE EN PESOS Nº 0-224386-117
CBU 0167777-1 0000224386117-8
A Nombre de SANTIAGO PIRIZ
4-PAGO POR PAYPAL
EN TODOS LOS CASOS LOS DATOS NECESARIOS PARA INSCRIBIRSE A UN CURSO SON:
►NOMBRE Y APELLIDO
►CURSO o CURSOS EN EL QUE ESTÁS INTERESADO/A
►MAIL Y TEL. DE CONTACTO
HORARIOS DE INSCRIPCIÓN de LUNES A SABADOS DE 9 a 22 hs-
-Consultar Domingos-
INFO E INSCRIPCIÓN:
LA HUELLA -Arte en Movimiento-
BULNES 892 -ALMAGRO
Tels. 20661153 -1561674900
lahuelladelarte@yahoo.com.ar

El baile por Caña

This January with Adva Yermiyahu