Maja y Bastarda EP / SOLALA

Maja y Bastarda EP
Because of its promiscuous nature, being a bastard opens up to other times and places, updating the identity of what is traditional. It is in these mechanisms of fermenting the past that Laila Tafur produces her own bastard cante jondo, a "Frankenstein folklore", as she says, that can travel from the tablao [Flamenco stage] to the theatre, from the disco to the cave, from the guild to the hobby or from professionalism to the festival. She has come up with a flamenco full of questions that appeal to miscegenation.
Laila Tafur was born and raised in Granada, studied choreography in Reykjavik and Lisbon, graduated from the Institut del Teatre [Theatre Institute of Barcelona] and furthered her training at the MPECV of the Reina Sofía and the PEI of the MACBA. As a creator, she has signed the works Mi arma, Monstruo, Cobalto, Carne de Canción and currently Maja y Bastarda.

SOLALA
Three pieces, which are independent of each other, but which have been created to be seen one after the other, so that connections can be established and there is space for subjectivity and even for the personal biography of each spectator. The pieces are Familia [Family], created after the death of the artist's father; Bailar el problema [Dancing the problem], a documentary film about Cuba, an island that presents itself through salsa and the memory archives of Cubans; and, finally, Caja de cuadraditos-Square, a reflection on the power of everything that seems useless.
Amalia Fernández has been working independently since 2005, creating pieces for the stage, with choreographic, theatrical, musical and performative elements, both as a group and solo (Marioshka 2005, Kratimosha 2009, among others). Her aesthetic and format are simple, handmade and analogue, and her way of composing, even in the pieces in which there is no dance, is often a sophisticated choreographic, almost mathematical writing of things, actions, objects and trajectories.