If there is something that defines María Pagés’ multi-facetted creativity, it is her deeply rooted sense of the ethics of culture. She creates because she is convinced that Art – in its essence and the emotion that produces it – is a deep commitment to life and memory, in an organic sense.
Modernity, for this Sevillian artiste -a natural iconoclast that has made Flamenco her own poetic homeland- is Tradition in movement and the dynamics of our languages and ideas. Her creative and aesthetic contribution resides in her serenity, her ability to converse without complex in other languages, opening the door to the acceptance of Flamenco’s mythical hospitality. Making use of the fundamental codes of the Flamenco language and doing research within herself and without, Pagés has proved to be a pioneer in the understanding of Flamenco as an art in evolution, contemporary and alive.
Her choreographies have overcome cultural differences, convinced, as she is, that the dialogue between different artistic languages can only favor a better comprehension of the organic truths that are to be found in art and life.
But there comes María Pagés: jacking heels in tradition, raises her arms, calls on the scene to freedom, miscegenation and humor and a dazzling light takes from the darkness the fresh and inexhaustible flow of the flamenco river
Rafael Azcona (Critic)
"All forms of art need a Pagés"
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)
Flamenco y poesía (2008)
Casi divina, leve (2012)
La alegría de los niños (2013)
Siete golpes y un camino (2014)
Yo, Carmen (2014)
Óyeme con los ojos (2014)
No dejes que termine el día (2015)
Does María Pagés dance? Planted, just as any other human being, on the earth we tread, she differs from us in that the ground - where her feet start to draw out questions and answers - is not just the essential base that assures that the movement will not be interrupted with each forward movement or withdrawal.
With María Pagés, the floor mysteriously acquires a power of levitation, just as one could imagine the ground being able to detach itself from the Earth and dissolve into the air, to follow the roads her arms lead her along. It is known that the genius of Dance lives in María Pagés, we all know this and we proclaim it. But there is more to this woman; she dances and by doing that, she moves everything that surrounds her.
Neither the sky nor the earth rest unchanged after María Pagés has danced.
José Saramago (Nobel Prize for Literature)