Cristina Hoyos. Bailaora. 1999

- Most people know about you from Saura's films. How did that collaboration come about?.

Antonio Gades did the ballet of "Bodas de Sangre." The producer, Emiliano Piedra, and his wife, Emma Penella, saw the show in the theater and thought of making a film. That's what happened. Emiliano took Carlos Saura to a rehearsal and he made a film of what he saw there. That was the first film, and since it was such a success, two years later he made the second film, "Carmen," and then "Amor Brujo." I was Gades' partner in the Ballet and, although I didn't do the main role in "Carmen," I did do it in the theater.

- In the making of the films, what was it like dancing for a camera?

Dancing for a camera is always a little more limited and colder. It's not the same as dancing in the silence of a theater, where you can move about as you like. In cinema there are marks on the floor where you have to turn, raise your arms... You don't dance with the same feeling.

- Are entire dances filmed?

Not usually. They're filmed in pieces. Sometimes the whole dance is filmed and then other takes are done for close-ups. It's part of the film-making process.

- Do you think that modern flamenco deserves the harsh criticism it's receiving?

People make comments, things are said, but the important thing is that flamenco is seen in good theaters, in good dance festivals. Of course not all shows are first class, but that problem isn't limited to flamenco. It happens in all shows of any genre. Not all classic or contemporary dancing is excellent. There are good shows and not-so-good shows.

- Is there more of a public for flamenco in the 90s?

It seems that there's always greater interest, and that there are more and more dance companies and groups; young people that set up companies to do a number of shows, even though it may be a temporary arrangement.

- What's it been like for you, as the creator of a dance company?

It's very hard. If you don't have many engagements one year you worry because people need the work; that's how they make a living. It's hard for people to be faithful to a single company, and that's the most important thing. I try to keep all of my people with me for a period of time, and try to make them all happy. I think I manage to do that. If someone leaves it's because he or she's been here for a long time, or has gotten a contract in Japan, making a lot of money or something like that. I try to help them there, too; I try to advise them. There's a strong sense of harmony here in everything.

- This month your company will have been together for ten years. That was the focus of your show in Jerez.

Yeah, we put together some of my favorites with others that we did a long time ago. We didn't do them exactly the same as back then, but from today's perspective. You always try to improve things. The concepts and ideas are the same, but not the forms.

- Is it hard to maintain the audience's interest for an hour and a half with no plot or story?

When there's no story you focus on the rhythms, the singing, and the forms.

- Do you believe that flamenco dancing doesn't need to be based on a story?

That's right. Flamenco has already got its forms. The bulería has its form; the soleá has its form. Sometimes you put so much work into things, and you end up right back where you started. Everything already has its form. what you try to do is to put a little of yourself into the dance, the lights, the choreography...

- There are a lot of amateurs and professionals in dance that study flamenco with no intention of devoting themselves to it. What do you think they should study?

Flamenco has some beautiful movements. Classical dancers can approach some of the characteristics of flamenco, and we can approach a lot of the techniques in contemporary dance.

- It's often said that younger artists are more athletic, and that they put too much emphasis on strength and physical form to the detriment of other virtues.

I always say that you've got to have great technique. Dancing used to be very anarchic. Technique has developed dancing in many ways, but what you've got to avoid is suppressing your art with too much technique. Your technique has got to be at the service of your feelings, not overshadowing them. More pirouettes don't make you a better dancer. That's just a way of covering up another kind of strength that you've got inside.

- What do you think about when you dance?

I try to dance as well as I can, and I enjoy doing it, but at the same time you worry because it's a great responsibility. You're thinking about your company, about the show, about everything going well. You always want to give all your energy to the audience, but without any mistakes. I want everything to be just right!

- With experience can you learn to enjoy yourself more on stage?

You can't avoid feeling nervous, and the sense of responsibility grows with time. You demand more of yourself. You want to maintain your reputation, your style, and your personality without faltering. New people come along and are very successful, but you have to maintain your same style. All of that can create a lot of nervousness, which is normal. I've got some great people in my company. They help me and I think I help them. I correct some movements and postures, I explain choreography to them, theaters, dancing... But the important thing is for them to be themselves. Everyone learns from everyone. There are a lot of people that want to imitate successful artists. You should never imitate. You have to deal with the things that you learn on your own terms, taking them to your own terrain, to your body, to your form.

- That's a very hard thing to do...

Hard and slow.

Interview: Daniel Muñoz, 1999

Translation: Norman Paul Kliman

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