Andrés Marín, bailaor (november, 2004)
“I'm never going to perform a kind of music the same because I'm not a doll, I'm a person”

Andrés Marín (May, 2001)
"I don't see any obstacles, what I find is closed minds"

Ángel Muñoz, bailaor (December, 2002)
"I like each student to leave happy for having found himself"

Antonia Mercé ‘La Argentina’, bailaora (1931)
“You don’t dance with your feet, but with your head and heart”

Antonio Canales, bailaor (December, 2002)
"Failure is what makes life wonderful; I don't ever want to forego that pleasure"

Antonio el Pipa, bailaor (February, 2006)
“I love preserving the artform”

Antonio el Pipa, dancer (March, 2002)
"These days there's a lack of charisma out there, so flamenco 'bailaores' have to make up for it using gimmicks"

Antonio el Pipa (1999)
"My goal is to dance; my goal is to sell out theaters and my goal is to bring down the house."

Belén Maya, bailaora and choreographer (February, 2005)
“I want to know if I could be driven to dance by happiness”

Blanca del Rey, bailaora (September, 2006)
“You have to set aside your mind to dance; it’s your soul that has to be expressed”

Carmen Cortés, dancer and choreographer (May, 2003)
"Maturity leads you to behave in a more sensible way and to feel more self-assured"

Chano Lobato, Matilde Coral and Juan Habichuela (September, 2003)
While they're with us

Concha Vargas (2001)
"Flamenco dance is something else... they should dance... dance and feel"

Cristina Hoyos, bailaora and choreographer: (September, 2003)
"My dream is to make the flamenco movie that I feel still hasn't been made"

Cristina Hoyos (January, 2002)
"Talent is a scarce commodity in flamenco"

Cristina Hoyos (1999)
"I try to dance as well as I can, and I enjoy doing it..."

El Güito (July, 2001)
"I started when I was four. At that time a type of cinema was fashionable that you might call 'folkloric' and that began to attract my attention"

Eva Yerbabuena, bailaora (July, 2006)
“A show doesn’t depend on a baile por soleá”

Eva Yerbabuena, bailaora. (September, 2004)
“A poem can be pure dance”

Eva la Yerbabuena, bailaora and choreographer (December, 2003)
"Latin American audiences are hungry for flamenco"

Eva la Yerbabuena (June, 2002)
"I think that we artists are always in a sort of coma"

Eva Yerbabuena (2001)
"I don't consider the prize to be mine"

Eva la Yerbabuena (September, 2000)
"I have always said that whatever you do, one has to do what they feel in the moment. I am flamenca and whatever I do, I can't forget who I am."

Flamenco x 3. Farru, José Maya & Barullo, bailaores. Interview
“It isn’t about being a baile percussionist, but knowing how to understand the password”

Farruca, bailaora (October, 2005)
“I think people understand what's happening in my life in my baile”

Farruquito, bailaor (November, 2003)
"I know this is just the beginning"

Farruquito, dancer (January, 2003)
"I'm more interested in where I came from than where I'm going"

Fuensanta la Moneta, bailaora (June, 2006)
“Every detail is important in baile flamenco, right down to the last eyelash”

Hiniesta Cortés, bailaora (October, 2002)
"I have to take baile flamenco forward, to take the plunge, even if it means making mistakes"

Isabel Bayón, bailaora (April, 2008)
“The most subtle art is the most complicated to do”

Isabel Bayón (February, 2001)
"To innovate doing things that are different is easy"

Israel Galván, bailaor (October, 2006)
“If I didn’t keep on telling a truth of mine, I couldn’t dance anymore”

Israel Galván and Alfredo Lagos, bailaor and guitarist (October, 2005)
“We're not pressured to make a good impression on the audience or be a hit”

Israel Galván, dancer (March, 2002)
"I like people to see me as a piece of rubbish on stage"

Javier Barón, dancer (December, 2006)
“Flamenco’s evolution has to be dealt with really tactfully”

Javier Latorre: Dancer and choreographer (July, 2002)
"The language of art is a kind of Esperanto among artists. We understand each other through ideas"

Javier Latorre, bailaor and choreographer (october, 2004)
“Flamenco's successful no matter what you doand that makes creators drop anchor”

Javier Latorre (1999)
"What and how things are created is important, as well as the conviction of the creator.."

Joaquín Cortés, bailaor. Interview
“I think flamenco, like dance in general, is going through a rough patch, and there's a lack of quality around”

Joaquín Cortés (May, 2001)
"In classical ballet they still dance with a nude torso. Why not in flamenco?"

Joaquín Cortés (November, 1998)
"I am anti-critic, one shouldn't dance for the critics but for the people and for oneself."

Joaquín Grilo, bailaor and choreographer (September, 2003)
"We bailaores should start taking a little more interest in cante"

Joaquín Grilo (2001)
"I always want to show the audience the things I discover when I'm alone in my studio"

Joaquín Grilo (April, 2000)
"The technique must be depured with the rehearsal, and there's where the inspiration arrives."

José Serrano and Luis Ortega, bailaores (April, 2006)
“We’re aware of how lucky we are in our careers as bailaores”

Juan de Juan (February, 2001)
"Antonio has been, and is, maestro, father, and brother..."

Luisa Triana (June, 2001)
"Flamenco has to make you feel, not just surprise you"

Manolete, dancer (October, 2002)
"The fact that young guys still see me as modern makes me feel I have the right to do new stuff"

Manolo Marín, dancer, choreographer and teacher (May, 2002)
"Some of the bigger names -and the smaller ones- think that they've invented what they're doing, and that nothing existed before they came along"

FLAMENCO X 2. Manuel Liñán & Marcos Flores, bailaores (September, 2005)
“If you really feel it, why limit art?”

Flamenco x 2. Chloé Brûle-Dauphin & Marco Vargas, (August, 2007)
“I like playing to the beat the same as freely. I’ve studied it all”

Manuela Carrasco, dancer (July, 2002)
"You're your own best critic"

Manuela Carrasco (2001)
"They respect flamenco more in Japan than right here"

María del Mar Moreno, bailaora (April, 2004)
"Flamenco dance is evolving in terms of form, but not in terms of the foundations"

María del Mar Moreno, dancer (March, 2002)
"Offstage I don't know how to act like an artist"

María José Franco, bailaora (August, 2006)
"Todos los bailaores vamos a optar por ser aún más flamencos"

María Pagés, bailaora and choreographer (April, 2007)
“Seville is full of contrasts, just like life, just like flamenco”

María Pagés, bailaora and choreographer, (June, 2004)
"Flamenco has to command the highest level of recognition; it has nothing to prove anymore"

María Pagés, bailaora and choreographer (August, 2003)
"I don't like to feel under pressure to bring out new productions"

María Pagés, bailaora (April, 2002)
"Flamenco is one of the clear examples that uniting cultures, races or religions we can create common ground, a shared community"

Mario Maya, director of the Center for Flamenco Performance Studies (April, 2002)
"Flamenco has a special musical beauty and taste that makes it much more than just a series of incoherent steps"

Matilde Coral, flamenco bailaora and maestra (July, 2006)
“I’m going to have to close my school”

Matilde Coral (2001)
"I don't like cheapness"

Mercedes Ruiz, bailaora (May, 2006)
“Eva Yerbabuena taught me you have to love the artform above all else”

Merche Esmeralda, bailaora (March, 2006)
“People who dance old-style have merit,
but those who dance old-fashioned don’t, since they’re out-dated”

Paco Mora, bailaor and choreographer (August, 2005)
“Málaga is capable of singing, dancing and playing any flamenco style”

Pastora Galván, bailaora (April, 2006)
“I don't want people to pigeonhole me along with my brother Israel, nor as a Yerbabuena”

Historic interview with Pastora Imperio, bailaora
“I’d like to be always roving, following my gypsy caravan”

Rafael Amargo, bailaor (May, 2004)
"Flamenco has plenty of talent and lacks perseverance"

Rafael Campallo (2001)
"The hard thing is working in a peña, anyone can bring a theater audience to its feet"

Historic flamenco interview. Rafael Ortega, bailaor (1933)
“My triumph has been two things: my baile and Encarna la Argentinita”

Rafaela Carrasco, bailaora. Interview (June, 2004)
“The experience don't make your dancing change, but make you yourself change inside, and that has to be noticed on the outside”

Rocío Molina, bailaora (January, 2006)
“I'm someone very convinced of what I do”

Salvador Távora (September, 2001)
"I've always been more concerned with why people sang than how they sang"

Sara Baras, bailaora (March, 2006)
“I want to flee from all that is material and get directly down to the feelings”

Sara Baras, bailaora (September, 2004)
“Respect for the greats can't be forgotten, but nor that they've given us the freedom to move ahead”

Sara Baras (January, 2001)
"There must be risk in art, also in your personal life, if not, you don't get anywhere".

Shoji Kojima, dancer (June, 2003)
"Flamenco is a combination of all races"

Toni el Pelao & Uchi, bailaores (March, 2003)
A dynasty's last link