Antonio Hidalgo Paz

Antonio Hidalgo Paz began his professional career at the flamenco festivals in Córdoba, Spain, where he grew up. In 1984, he became a member of the Spanish Ballet of Carmen Mota, which toured Italy, France, Monte Carlo, South America and the United States. The company also performed frequently throughout Spain.  In 1990, Antonio became an independent solo dancer. Since that time, he has performed with various dance companies in the Costa del Sol and in flamenco tablaos. He has directed and choreographed many flamenco productions including, among many others, "Fiesta de Andalucía" in Spain and "Palais des Beux Arts" in Brussels. He has performed with the ballet of Antonio Gades, the ballet of Jose Greco, the "Tablao El Flamenco" in Japan, and Maria Benitez' "Estampa Flamenca.” He has made frequent appearances on international television and has performed, with his own dance company, in Japan and in many venues in Spain. Antonio began working with "Flamenco Vivo Carlotta Santana" in 1998, where he has been the choreographer and principal dancer. His choreographies and performances were premiered to great acclaim in "Flamenco Vivo Carlotta Santana" at The Joyce Theater in New York City in 2001 and 2002. Most recently, Antonio is producing work for La Compania de Jorge Navarro and has co-produced and performed in "Los Hombres" in New York and "El Cristo de Los Flamenco" in Albuquerque, New Mexico.

From his interview about his collaboration with Kathak dancing and Flamenco: "I'm a flamenco artist and my majority of my work is based in flamenco, which is an art form from Andalucía, Spain. It is principally a mixture of cultures, which has influence from Hindustani music. Coming from Andalucía it's always been important for me to communicate across the language of flamenco, which is based in emotions. The dancer bases what he/she dances depending on what the music tells them, based in the emotions which originate from the songs. The majority of the songs tend to have a faster tempo, and there are also songs that are slower and sweeter. The majority of flamenco songs are based in poetry and they incorporate the theme of the 'palo,' the flamenco style and rhythmic pattern of the song. I have one show that is based on miners. If you think about miners, you think about darkness, pain, a family that has been left behind waiting to see that they come out of the mine. If you are born into this life, it's hard to get out of it. This is how I do it, I take a theme and a song and inside of this I look for the emotion in each song. This is how I generally work."


Carlos Lomas "El Chipi"

Drawing inspiration from years spent in Malaga, and in Madrid where he worked with the finest of Spain's singers, dancers and musicians, Carlos' superlative technical skill combined with an exquisite musical temperament have earned him the respect and admiration of flamenco guitarists and aficionados around the world.

A superb presenter of flamenco, Carlos employs a precision of technique combined with the fresh harmonies and complex syncopations of the traditional Spanish structures. This artistic relationship is the vital key in Carlos' playing.  He has exceptional expertise and is a dynamic, inventive musician whose artistry and magnetism have an astounding impact on his listeners. In addition to his remarkable creativity, Carlos Lomas always plays with an inherent respect for the emotional and cultural heritage of traditional flamenco forms.

Vicente Griego "El Cartucho"

From Dixon/Embudo, New Mexico, Vicente devotes his life to the study of cante flamenco, the art of flamenco singing. In 1992 Vicente began touring the US, Canada and Latin America with the Jose Greco II Flamenco Dance Company, in which he was mentored by Caño Roto and Alfonso "Veneno" of Madrid, Spain.  He remains a pupil of acclaimed guitarist Chuscales. Vicente has performed with Encinas Yjastros National Flamenco Company for the past eight years and continues to tour the US as a "singer for hire."

Designed for singers, guitarists and dancers, his cante classes focus on the fundamentals of interpretation of flamenco song. In his class we learn to understand the structure of the various palos, communication among the singer, dancer and guitarist, and the intricate balance of improvisation and structure. The classes also offer opportunities to apply these principles in an informal cuadro setting. Whether dancer, guitarist, singer, percussionist or aficionado, we will gain a deeper understanding of the essential components of flamenco.