Auditorium of the Hospital of Santiago
(side entrance)
Two showings: 20:30 p.m. and 22:00 p.m.
Duration: 50 minutes approx.
PREMIERE. 

Free entry until complete seats

Photographs ©Marcelo Góngora / ©Román

BIOGRAPHY

Marita Martínez-Rey and Juan Ramírez Pedroche, after a long career as performers as dancers, with various roles as soloists and choreographing their own pieces, decided to produce their shows from Úbeda (Jaén) where they have established their artistic headquarters. 

Juan studied in Valencia under teachers such as Martín Vargas, later redirecting his artistic career, training as a flamenco dancer at the Amor de Dios Studios in Madrid. Among others, he has worked under the direction of choreographers such as Rubén Olmo in "Pinocchio," Rafael Amargo in "DQ Passenger in Transit" and "Poet in New York," and with the Rafael Aguilar Company and Antonio Najarro for seven years. He teaches classes and workshops, creating choreographic projects for events and festivals. With Dancem Espectáculos, he performs at private, national, and international events, promoting Spanish and flamenco culture. In Madrid, he worked for eight years as a featured artist at Tablao La Quimera, as well as at other venues such as Alandalus, Café de Chinitas, and Casa Patas; El Pimiento (Mojácar); and the Alhambra Palace and Los Tarantos in Granada. 

Marita is known for her versatility and passion both on stage and in teaching. She has worked with the Ballet Gallego Rey de Viana, Cia Luisillo, Cia El Greco, Cia Rafael Aguilar, and Cia Adrián Galia, among others. She spent over four years with the Antonio Gades Foundation Company, performing in ballets such as "Carmen," "Bodas de Sangre," "Fuenteovejuna," and "El amor Brujo." As a soloist with the Riverdance Company, she spent ten years, participating in extended tours. She holds a Master's degree in Cultural Project Management and Entrepreneurship from the International University of La Rioja and a Bachelor's degree in History and Musicology from the Complutense University of Madrid. In Córdoba, she completed a course in Flamencology and a professional degree in Spanish and Classical Dance. She works with diverse groups and those at risk of social exclusion. To date, he has worked as a teacher in the different professional dance conservatories of Andalusia, having taught at the Pepa Flores Professional Dance Conservatories of Malaga, Antonio Ruiz Soler of Seville, Maribel Gallardo of Cadiz, Kina Jimenez of Almeria and Reina Sofia of Granada.

SYNOPSIS:

“A Hungarian in Andalusia” is a Spanish dance performance created specifically to commemorate Heritage Day in the city of Úbeda, with a special focus on its interaction with tangible heritage, specifically the Auditorium of the Hospital de Santiago (Úbeda), and intangible heritage, such as the dances and costumes of the province of Jaén. The performance highlights and revives the 19th-century Spanish musical repertoire of composer Óscar de la Cinna, which serves as the basis for the interpretation and hybridization of characteristic styles of this discipline, including stylized dance, flamenco, the bolero school, and folklore. It offers a contemporary perspective befitting the 21st century.

The 19th century represented for Spain a period of integral metamorphosis, marked by political turbulence and social changes that, paradoxically, fostered a cultural and musical renaissance of enormous depth.

This period was crucial for the formation of a national identity in dance, with the fusion of Spanish and French styles. From this point onward, Spanish dance began to consolidate itself as a distinct genre, giving rise to what would later become established styles within the repertoire of the Escuela Bolera, Flamenco, and other folk traditions. This phenomenon was not a blind adherence to European trends; on the contrary, Spanish music of the time acted as a filter that absorbed and reinterpreted external currents—such as musical idealism and Central European piano technique—to fuse them with the roots and rhythms of local folklore. This creative synthesis, exemplified by composers like Óscar de la Cinna by applying the rigor of the Viennese school to the expressiveness of Andalusian songs, constituted the "missing link" and the fundamental language upon which the great figures of 20th-century musical nationalism, such as Albéniz, Falla, and Turina, would build their careers. For the Almazarte Danza Company, it represents a creative vitality to employ the musicality of Óscar de la Cinna on this stage proposal that brings together stylized, folkloric and bolero dance, responding to the sounds that made them germinate.

ARTISTIC CREDITS, SPONSORSHIPS, COLLABORATORS:

Artistic direction: Almazarte Dance
Choreography and performance: Marita Martínez-Rey and Juan Ramírez Pedroche
Pianist and performance: Ramón Grau
Script: Faustino Nunez
Stage Direction: Paca López
Illumination design: Antonio Jesús Villacañas
Mapping and Audiovisuals: Rubén del Castillo
Music: Bach, Chopin, Beethoven, OSCAR DE LA CINNA, Martinete and Jota (Popular).
Collaboration:  Rondalla del Coro Los Cerros de Úbeda, whose members are: Diego de la Cruz, Juani García, Manuel Ruiz Montilla, Francisco Gil and Paco Rodríguez.
Costume: Almazarte Danza S.Coop.And, Nazaret Moreno illustration
Fixes: Paco Benavides 
Esparto: Cristina Garrido-Ubedíes-Nazareth Moreno. Nazareth Moreno Illustration

ACKNOWLEDGEMENTS for the use of rehearsal spaces by the "María de Molina" Professional Music Conservatory and the Ramoni Dance School of Úbeda. And to the Baeza Sports Board.

Special thanks to Javier García and the Provincial Association of Choirs and Dances Lola Torres of Jaén for their advice on Folklore.