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María Pagés was born in Sevilla. She is internationally renowned for her personal concept of the aesthetics of Flamenco art. She understands art as being unlimited and has justly conquered her own place in the world dance panorama.

Whilst making use of the conventional codes in the language of Flamenco, and investigating its insides and outs, Pagés has proved to be a real pioneer in conceiving Flamenco as an Art that is in constant evolution, modern and alive. She has gone beyond cultural differences in her choreographies, convinced that artistic interaction favors understanding between human beings. As she herself
says, Flamenco is a clear example of how the uniting of cultures, race and religions can create an echo that is common to all.

In 2002 she was awarded the National Prize f or Dance (for Creation), and the ADE Choreography Award in 1996. She was distinguished with the Leonide Massine Art of Dance Award, (“Al Valore” section), in 2004, eight “Giraldillo” awards in the Art of Flamenco biennial in Seville and the prize for Culture from the Community of Madrid in 2007, amongst many other acknowledgements and awards. In 2014 she is awarded with the Gold Medal for Merit in Fine Arts.

She began her career in Flamenco with the Antonio Gades Dance Company. Amongst her incursions in movies one should highlight her participation in Carmen, El Amor Brujo and Flamenco, all directed by Carlos Saura.

In 1990 she creates the María Pagés Dance Company and, since then, has produced the following choreographies: Sol y Sombra (1990), De la luna al viento (1994), El Perro Andaluz. Burlerías (1996), La Tirana (1998), Flamenco Republic (2001), Canciones antes de una Guerra (2004), Sevilla (2006), Autorretrato (2008), Flamenco y Poesia (2008), Mirada (2010) and Utopía (2011). In 2002 she created a choreography for the National Ballet Company of Spain, Ilusiones FM.

Throughout these years the Company has been present on the world’s best and most prestigious stages, and has also propelled tours with social objectives in countries such as India, Mozambique, Mexico and Honduras. In October 2005, the Company was honored with being chosen to perform at the inauguration of the IberoAmerican Summit, which took place in Salamanca. The inaugural act included the premiere of the choreography created to illustrate José Saramago’s poem: Ergo uma rosa.

Mikhail Baryshnikov invited María to dance at the BAC (Baryshnikov Arts Center) in New York, in 2007; a project that was completed with a choreographic creation created by Maria whilst in residence at the BAC. In 2008, Autorretrato was premiered at the Tokyo International Forum. This piece displays a moment of vindication and artistic plenitude, expressed with the complicity of the Nobel Prize Winner, José Saramago, who gave his ownvoice to his poem Ergo Uma Rosa.

In October 2009, the Teatro Real de Madrid (Madrid Royal Opera Theater) included the Maria Pagés Company in their season dedicated to Dance. The Company has also worked in collaboration with Placido Domingo, in Placido y la copla. This same year the show Dunas was premiered, created together with the choreographer Sidi Larbi Cherkaoui, where the two artists fuse Flamenco and Modern dance, establishing a dialogue full of poetic content. In January 2010, she is responsible for the conception and direction of the Gala that marked the beginning of the Spanish Presidency of the European Union, that took place in the Teatro Real, Madrid. In this Gala, Maria shared the stage with Tamara Rojo and created a special choreography which they both performed accompanied by the Spanish National Choir. This year also saw the successful premiere of Soleá pas de deux, in the New York City Center, a choreography specially written by María Pagés for Ángel Corella.
In June 2010, Mirada was premiered in Seville, closing the season at the Teatro de la Maestranza, being unanimously acknowledged by both public and critics. Pagés’ latest project, Utopía, premiered at the Niemeyer Center in Avilés, Spain, in October 2011, is a declaration of principles in the form of Flamenco dance born of the admiration the choreographer holds for the architect and humanists Oscar Niemeyer (1907-2012), who transmited to Pagés, during their encounters in Copacabana, his message of integrity, commitment and solidarity.