María Moreno
The dance of María Moreno (Cádiz, 1986) is the result of pure evolution. Her body movements are nothing more than a reflection of her unquestionable freedom, characterised by the value she places on flamenco tradition using updated codes.
Meanwhile, her essence is poured out in theatres such as Sadler’s Wells in London, Paris La Villette, the Tchaikovsky Academic Theatre of Opera and Ballet and Russkaya Pesnya in Russia, and the New York City Center.
And so it goes from its beginnings, winning the Revelation Prize at the Jerez Festival in 2017, with Alas del recuerdo, confirming itself as a household name in flamenco dance in 2018 with De la Concepción, which won it the Giraldillo Revelation Award at the Seville Biennial. The consecration arrives in 2020 with More(No)More, with which she wins a second Giraldillo.
In 2020, Yo bailo was published, a book co-authored with the photographer Susana Girón in which María wrote the texts.
María Moreno has known how to absorb, drawing inspiration from the ideas and direction of Rafael Villalobos or the groundbreaking fashion concept of Palomo Spain.
o../o../.o/o./o. (soleá) is premiered in 2022 at the XXII Bienal de Flamenco de Sevilla, and presented at Dansa Metropolitana in Barcelona, at Italica in Seville, at the Muziekgebouw aan ‘t IJ in Amsterdam (Biënnale Netherlands) and in Nimes in France, among others. In this production, we perceive the new perspective of the artist from Cadiz, who reconnects with the fantasy and the limitless.
Since 2022, María has shared her research and her desire to invest unconventional sites with the public with her flamenco happening Verso Libre, which she presented in the kitchens of La Laboral in Gijón, in the Contemporary Art Museum in Valladolid, in the market of Cádiz as part of the FIT Festival or in the Andalusian Centre of Contemporary Art at the Seville Biennial.
On 4 June 2025, she premiere Magnificat at the Matadero Dance Centre as part of the Madrid Biennial.
- Magnificat -
María Moreno speaks in flamenco. It is her mother tongue and the vehicle through which she carries out her poetic and theatrical research. On this occasion, the ‘Visitation’ serves as a means of investigating bodies traversed by joy, what happens when we come together to celebrate, when we meet our loved ones and joy bursts forth like an uncontrollable force. Fiesta is nothing more than the manifestation of a shared wisdom that is constantly being renewed and passed on from body to body, from generation to generation. That is why, María Moreno approaches the fiesta as a stage production, as a carnal state, as a way of questioning the joy that springs from the bodies and of making the theatre a place of encounter and shared celebration.
- Verso Libre -
Verso libre is the fever to dance, to dance anywhere, to dance for pleasure, with or without reasons, without ambiguity, looking for new stimuli to find new forms. On this occasion the dancer dwells on sound. All the places sound in a genuine way, evoking memory and contributing to the reading and interpretation of the space itself. Verso libre is a place where we hear what we do not perceive and see what we do not hear. With the kind collaboration of Silencio Sonoro.
- o../o../.o/o./o. (soleá) -
María goes a step further in her vital and artistic search by exploring the limits of the Soleá. "o../o../.o/o./o. (soleá)" proposes a twist on the parameters that define this palo, delving into concepts such as the dictatorship of rhythm, tonal freedom and chromaticism, relating them to other cosmological concepts such as the perception of time through the use of linear instruments that defy them, such as the hurdy-gurdy, or the superimposition of parallel sound universes. Thus, after an initial explosion of compressed matter - Big Bang - the elementary particles that make it up appear until they form a single solea that connects with the origin of time and is projected into the future, dragging it along.