One of the themes of José Granero's show at the 6th Festival de Jerez in which you took part, is the absence of barriers between different schools of dance.

Dance is dance. The aesthetic co-ordination of movements of the body is applicable to all different schools of dance, whether it's classical, contemporary, flamenco, folk... to be influenced by or to have an influence on other styles of dance... I think it's a social consequence, everybody has a need to communicate because these days we travel more, have more things in common than before, because now the world's getting smaller. There are mobile phones, there are aeroplanes... we travel all the time, faraway places aren't so faraway anymore. And there's a social necessity to share.

During the Israel experience I deepened my friendship with a contemporary Israeli dancer and choreographer who adores flamenco, and who is constantly drawing on flamenco influences in his work, which is from the contemporary school. You can see it in his choreography. I think in the same way you can sometimes spot a foreign element in flamenco. That isn't contamination. I think that's always happened, the way we live these days and the times in which we're living mean there's a need to take influences on board, to influence others... that's what communication is at the end of the day.

María Pagés (Photos: Daniel Muñoz)

It isn't a new phenomenon. If you look at a classical composer like Bizet, he took on board influences when he wrote the opera 'Carmen', which is one of the most popular in Spain, but he was French, and a classical composer. Or Falla... in 'El Amor Brujo' there are great flamenco moments, in the sense that he uses flamenco time signatures and applies them to his composition. It's always happened, although dance was always a little more insulated, and flamenco's been more insulated. In other artforms that hasn't been the case, and now flamenco's becoming like any other artform, it's open to those kind of influences. And I think that makes flamenco a greater artform than it could be before, because it was so insular. That doesn't mean anything goes, that whatever element we want to include is valid. The criteria inherent to flamenco have to prevail above all else... and there's the problem, in defining them.

Your love of dabbling in other kinds of music, explorations into different musical territories, make you a somewhat atypical 'bailaora'...

I like everything, I'm curious by nature. If I like something, it excites me, it makes an impression on me... and I feel like dancing, then I probably will if it fits in. But I'm also curious about flamenco. There's the confrontation between, say, 'La Tirana' and 'El Perro Andaluz' on the one hand, and 'Flamenco Republic' on the other, the total opposite. I look inside, rummage around a little, listen again to those old songs by La Niña de los Peines, by Rosalía de Triana, by Vallejo... Because I like that too, I'm not trying to say that I only like listening to Tom Waits, I love the other stuff too. Keeping an open mind is all-important.

And I like to research, too, I mean to study... There's something I've always been curious about: we can listen to the 'cantaores' of yesteryear and how they sang because we have old 78 records, but we can't see how the 'bailaoras' of yesteryear danced. And besides, I'm convinced the little that we've seen in movies has been distorted - I don't believe they danced like that. And I wonder... there's some cinema footage of La Argentinita - a short clip, so short you don't even have time to see one choreographed piece. Since I was a little girl I've always been told, "Look at María, that girl's got arms like La Macarrona". And I said to myself, "But who's seen La Macarrona dance to be able to tell me that I've got arms like hers?" What's happened is that folklore tells us that La Macarrona was famous for her arms, but I'd like to know how she danced, to know at least whether it's true I dance like her. I'd like to do some research to satisfy that curiosity.

I'd also like to research other kinds of dancers though, like Isadora Duncan. Now that I've done Víctor Ullate's version of the death of the swan Paulova did, I've been investigating using photos... art in general excites me. I think flamenco, flamenco dance, flamenco choreography, can be very much enriched by the art we have all around us. And I think all artists throughout all of time have done the same thing - succumb to influences. Anyone who doesn't know about classical art wouldn't really be able to develop a technique. How can we ignore other artforms if we're artists, just because we're flamenco? I think we can't, just the opposite. There was a period when La Argentinita or La Argentina had a strong relationship with other artists of their time, such as Falla or Lorca. And those artists and intellectuals were also influenced by flamenco. There was a very fluid relationship. It was a relationship based on friendship, sharing artistic convictions and uncertainties. Picasso did the sketches and designed the set for El Amor Brujo... that kind of tradition should continue.

In your opinion, what stage has 'baile flamenco' reached?

I think we're going through a great period because there is a good deal of creativity. I think it's good to see plenty because the more there is the more will survive. The proportion should be maintained. It's true that not everything will work, and history will tell us who stands the test of time. I think there are a good number of artists at all levels. The fact that the music is now chalking up disc sales reflects that. Probably, in a way, we've lost something, but we've gained some new things - there's something to make up for it. And that's helped to promote flamenco, which I think was badly needed. I think it's also a good moment for dance. The fact that there's a lot around implies a recognition of those of us who have been out there working.

And what stage has the María Pagés Company reached?

We're at a high point. We've been working really hard for three years. Since the opening of 'La Tirana' we've been working flat out and now we're reaping the rewards. This year we'll be on a world tour, with big shows in the States, in Japan (where we've already danced in eleven cities, three last year), we'll come to Madrid for two weeks, we'll open the Seville Biennial festival, we'll tour Italy for the first time... This year all our previous work has been rewarded. The project of setting up as a resident company is coming to fruition. And as a result of the success of the project, Madrid regional council has decided to support other companies. We're at the forefront of a project that's a success, and which is going to benefit our profession in general. Signing an agreement to be a resident dance company, with the financial and logistical backing of an official body, is a first for dance in Spain - it could never have happened before in such a clear-cut way. We've opened a door that was previously closed. And having our own theatre to set up and put on our own shows, one that we can call home, is a giant step. And I feel responsible for having achieved that...

And what about María Pagés?

On a personal level, as a performer, I'm at a moment of great artistic maturity. On a creative level, last year I did 'Flamenco Republic', I brought back 'El Perro Andaluz' for the company, I'm opening the Seville Biennial flamenco festival, the Ballet Nacional de España has asked me to do the flamenco choreography for the current season... I can only say I'm working flat out.

revista@flamenco-world.com

More information: María Pagés' dance company begins a tour of Europe, America and Asia Dance section: interviews, features, photo galleries, online videos...