THE HOLISTIC CONCEPT OF FLAMENCO
Reflection and communication
Art can be understood as the result of a system of forces, processes and relations whose complexity depends on the level of the artist’s consciousness of art; on the kind of commitment that arises within the process of creation when carrying out their profession.
From the beginning, Belén Maya has pursued her career out of the continuous need to explore and study in depth all the active elements of this network: music, theatre, narration, performance, drama, language, etc., up to the last and principal key of that creative thinking and communication building stone: the human who’s building it. Herself.
Belén, addicted to literature and a militant of yoga, meditation, organic culture, Eastern mysticism and the harmony between her essences: between her body, her mind and her spirit. Her concept of flamenco feeds on the mixture of all of this.
Belén Maya at her time showed that a different flamenco was possible, moving away from the accessory to focus on the essence of this art, to which she contributed with her constant investigation of drama. Belén Maya has possibly been the first artist to have propelled the flamenco dance codes at the turn of the century, not by adding new rules but by liberating the limits, by enabling the coexistence of flamenco with other languages and, ultimately, by opening wide the floodgates of lexical, syntactic and semantic freedom within the dance and on stage.
“Flamenco dance is not the outfit, not even the music. It’s a feeling, a type of movement that moves an emotion”
Create and Share
Belén Maya’s interest to delve into the creative process not only feeds her internal movement but also generates a centrifugal dimension from the moment she expresses and shares her thoughts with other artists. Hence her interest in generating and accepting collaborations, in inviting other artists to her performances, in adding items to her own system.
“We are islands; Islands of people who have already created a very personal language, isolated and very complex worlds, each one of them.”.
An added result of this need to draw and share conclusions are the tutorials and lectures, with which she enriches her academic activities, as well as the meetings with the audience that she holds after her performances. The objective is always the same: creation, which is ultimately the essence and justification of the artwork.
It’s easy to enjoy Belén Maya’s performances. Her research materializes in clean, clear conclusions, without noise and always integrating the aesthetic beauty in her presentation as her most effective expressive tool. But the real dimension is appreciated when we, in addition, are able to contextualize her work by placing it in the centre of this complex system of elements and relationships from which the artist makes us participants in her holistic concept of flamenco.
“In art, when you’ve done it… it’s over”