A rare and dynamic art form that encompasses all aspects of the fine arts. Fabulous costuming, impassioned dancing, backed up with the highest caliber musicians, present music both ancient and innovative. All come together to paint a theatrical image, often over-looked, but not easily forgotten.
JULIA ALCÁNTARA - director/performer - flamencologist
Julia Alcántara has been bringing the best of Flamenco music and dance to North Texas since 1998. She’s a native Texan who began studying the art of Flamenco after graduating from High School. After studying for three years with Dallas Flamenco Matriarch Conte De Loyo, she moved to New York to study with Antonio Del Castillo and Raquel Heredia. She finished her education at UNM in Albuquerque, the heart of flamenco in the US, where her curriculum included classes in Flamenco History, choreography, improvisation, singing, and classical Spanish dance with Eva Encinias and Pablo Rodarte. There she was able to perfect her technique and study with some of the greatest dancers in the world including: Eva ‘La Yerba Buena’, Antonio Canales, Juana Amaya, Alejandro Granados, Carmela Greco, Omayra Amaya, Belen Maya, and Florencio Campos among others.
miguel infante -
is a flamenco dancer, choreographer, and teacher from Málaga, Spain, located on the southern tip and Mediterranean coast of Andalucía.
He began his professional career with mentors of the stature of Merche Esmeralda, José Ruíz, Manuel Reyes, Antonio Reyes, Paco Romero, Rafael del Carmen, Fran Espinos, and Andrés Peña.
He was most recently principal dancer of legendary Spanish guitarist Juan Martín’s Flamenco Dance Ensemble and has toured internationally all over Europe and North America.
Other credits include: • Principal dancer in the show, The Three-Cornered Hat, in the Cervantes Theater in Málaga. • Principal dancer in Paco Mora’s Carmen ballet, which toured all over Spain • Soloist in numerous flamenco night clubs around the world • Soloist at numerous flamenco festivals • Shared the bill with famous flamenco figures, such as Terremoto, Rancapino, and Chocolate.
Mr. Infante is described as, “...a festero to the core: part percussionist, part singer, part dancer, and all artist, integrated and inseparable. He is spontaneous and full of charisma, communicating passion through his music and dance wherever he finds himself, be it at a local bar, in the kitchen, at a private party, or on stage.”
Cantaor - Senen Sentio
Born in Huelva, Andalucia in 1977, Senen began exploring Cante Jondo 30 years ago (traditional flamenco singing). This takes him to the Academy of flamenco singer Esperanza Fernandez. With her, he began to become fond of the sociocultural, gypsy and Andalusian expression. In each style of cante, there is an introduction, an explanation of the purpose for them. This happens through personal anecdotes and stories and other expressions, which is intended to be a journey of the soul from where we can feel free from the social realities that affect us.
A fan of great latin american singers like Silvio Rivera, Pablo Milanes, Chavela Vargas, Mercedes Sosa and Victor Jara. Esperanza Fernandez guides him into the passionate universe of the Cante Flamenco with the compas and ritmo (beat and rhythm). In the process of making flamenco ‘his’, He studied history of flamenco. His knowledge makes him great for workshops, teaching flamenco, as a historical and cultural legacy from Andalucia and the gypsies.
During his 7 year residency in Barcelona, he had the opportunity to continue to learn and internalize the melody and the flamenco beat with Maestro Juan Miguel Cerro in Taller de Musica y del Esmuc. He is presently on tour, which began last February in California, later taking him to Mexico and Guatemala.
Senen has created several flamenco recitals with various artists (Ricardo Diaz, Juan Moro, Victor Rosell, Jose Juan Trespalacios, Alfredo Millan, Joselillo Campos, Phillip Adie, Anoush Saadat, Paul Boudauder, Steve Bertelli, Juanma “El Churrero”, etc). In other shows he has been accompanied by bailaoras (flamenco dancers) such as Rakel de Luna, Vanesa Galvez “La Lirio”, Ruth Quesada, etc. These flamenco recitals and shows aim to take the audience in a voyage where the music and the diverse expression that comes from the innermost place of our being
JOSE SATORRE -Born in Malaga in 1967, “perchelero” (from the Perchel neighborhood in Malaga) and a disciple of Maestros Angel Luis Canete and Pedro Blanco. Jose is Professor of guitar in Ateneo de Musica de Malaga and creator of flamenco productions such as ‘Triptico Flamenco’, ‘Rondando a Lorca’, ‘Picasso Fantasy’, and ‘Cancionero’. He has traveled throughout the world spreading the flamenco culture spreading flamenco all the way to Rome and beyond.
He belongs to the Peña Flamenca Juan Breva, which is Spain’s oldest flamenco institution (Museum of Flamenco Art). He shares the stage with famous artists and had the great opportunity of performing with Maestro Juan Solano in a recital of Andalusian music, accompanying him in the guitar. He founded the Compania Flamenca Diquela. Currently, he is working on a new artistic Andalusian masterpiece. Not only is he a flamenco guitarist, but also an accompanist of flamenco cante (song), baile (dance) and as a soloist.
EL ABEJORRO - CAJON & STAGE MANAGER
(Carlos) El Abejorro is an integral part of the Ida y Vuelta team. He is not only a versatile musician, dabbling in electric and acoustic guitar, bass and African percussion, but he is our sound tech and stage manager at show time. In between set up and tear down, he sits in as our cajon player, carefully following both dancers and musicians through dozens of calls, breaks, crescendos, the complicated 12 count rhythms and multiple time signatures that make up the endless diversity of the Flamenco Musical Genre.
A cajón (Spanish pronunciation: [kaˈxon] ka-hon, "box", "crate" or "drawer") is nominally a six sided, box-shaped percussion instrument originally from Peru, played by slapping the front or rear faces (generally thin plywood) with the hands, fingers, or sometimes various implements such as brushes, mallets, or sticks. Cajones are primarily played in Afro-Peruvian music, as well as contemporary styles of flamenco and jazz among other genres. The term cajón is also applied to other unrelated box drums used in Latin American music such as the cajón de rumba used in Cuban rumba, and the cajón de tapeo used in Mexican folk music