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The bailaor who takes on the role of choreographer or stage director is often heavily criticized in flamenco...

That's something I don't want to be accused of. It's not that I don't feel ready; most of the production is going to be my work. But we're talking about my first time and I want to be able to count on those maestros I admire, who have more experience and wisdom of age than I do.

Fuensanta la Moneta (Photo: Daniel Muñoz)

Do you have any definite influences?

I don't like to name names. But of course Javier Latorre, Matilde Coral...

There are a lot of people who draw parallels with the temperament of Manuela Carrasco...

Well I've never taken classes with her and I'd love to - let's see when I can get it organized. But of course she's a role model. I see Manuela Carrasco as one of the main exponents of flamenco, you have to stop at her door, you have to draw on her talent. I always name Manuela Carrasco, Eva Yerbabuena and Carmen Amaya. To me those three - and just look how little they have in common - are the maximum exponents of flamenco. Anyone who wants to know a little about baile has to see them, study them, know about them. I also like loads of other people. I mean, take Matilde Coral. And she has nothing in common with the others either. I've always said that variety is the spice of life. You have to be your own person; you have to be yourself on stage. And one day Javier Latorre told me I had to learn from everyone, from every style, that I shouldn't just fit into a certain pigeonhole of just one style, because that’s how you develop your own style, all of your own. If you always keep the same model, you'll end up dancing like that... or rather imitating it, because you're never going to dance like somebody else: that person is unique.

Do you find it difficult to find a style of your own?

No. Since I was really little it's something I've been really clear about, that when I dance I am myself and I dance the way I feel. Not being clear about that is a really serious problem. You can do what others are doing if you feel that way but if not, why bother? Because it's the latest thing? Because it's in fashion? You'd be cheating yourself. You have to do what you feel, or just what you know how to do. A person isn't a machine, you can't do every style. Everyone does some things better than others. It isn't something that's worried me because when you get up there on stage you are yourself and... How do you manage in front of all those people watching you? Well, just by being yourself.

In a recent interview with Pastora Galván on our website, she said that women “should make up for their feet with everything else, because if not you end up getting bored”. Do you agree with her?

I agree. It's also true that nobody likes a woman who's all armwork, all aesthetics. Baile has its moments for breaking out, coming to a halt, pausing for breath, strolling, soaring, wounding oneself... And its moments for furious footwork and for showing what you can do with your body. I think every detail is important in baile flamenco, right down to the last eyelash. Your hair, your head, how you move your hips, you're a woman and you have to be feminine. And when you have to throw yourself headlong into it, well go ahead.

Carmen comes back humming from her soundcheck. La Moneta becomes silent once again and gives a shy smile. The veteran cantaora understands the situation and offers to leave, but the young bailaora continues resolutely. Let's talk about cante, then.

What type of flamenco vocals and guitar inspires you?

	Fuensanta la Moneta (Photo: Daniel Muñoz)

I like to delve into the past. To understand what my cantaores are doing, I need to know where the stuff they're doing today comes from, the well from which they all drink: La Niña de los Peines, Antonio Chacón, Manuel Vallejo... I listen to them because I like vintage material, but you also have to change with the times. I also like to listen to guitar albums; Paco de Lucía drives me crazy, Vicente Amigo too... Later I want the people around me when I dance to be artists whose cante inspires me. The ones that I take with me I know are some of the best there are, I don't just take them because everybody else does. José Valencia, for example, you see his name all over the place. I take them because when they open their mouths and give what they've got, they make an impact. I take them because they make me dance.

Do you ask them to perform what you'd like, or do you go with the flow?

Both things. For example, if I'm dancing a solo por seguiriyas and their heart says follow it with a martinete, who am I to stop them? Ole! That's what true talent is all about. That's where the so-called duende comes into play, weaving its mischief... If a lyric comes to them, well out with it - I'll worry about how to dance to it. They know what they're doing and they're flamenco artists through and through. And they go up on stage and they're giving you their all, they're totally engaged, they're there with you.

And are you curious about other musical styles, other instruments?

I love belly dancing. I can dance a little too. I haven't studied with anybody, I dance my way. Granada has a huge Moorish influence, there are loads of really Arabic places with shows. In fact I've danced at some: I did light-hearted 'flamenquito' when I was little. And every time I find out about something, I go. Once I did an Arabian-flamenco fusion show with two Arabian dancers, and I danced a number where we mixed flamenco and Arabian music. Flamenco is what I like best, but I love world music, not just Arab music but Portuguese, and Brazilian music has a sensitivity... I think I should study more and I should draw more on other artforms, other types of dance, other musical styles. I should study more flamenco too for that matter! I get angry with myself, you get very demanding. This is all about continuous learning because flamenco is evolving, there's always someone appearing on the scene who does things differently from the rest, there are always new things around. And you have to be right there ready for them.

And there we left them in the dressing room, together, Carmen Linares and Fuensanta la Moneta. One, a veteran Dame of cante. The other, a rising star of baile. A few hours later, both brought the audience to their knees.

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