The creation "paso por paso" - Step by Step - relies on proven, traditional step and sound material from the art of flamenco. At the same time, it makes rapid progress and courageously steps onto the stage of a new generation of dancers, one dedicated to performing the art of dance at the highest level of virtuosity.

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Esslinger Zeitung

Every Solo a Work of Art
Another Outstanding Event: Flamencos en route's Guest Performance at the Stuttgarter Theaterhaus
Stuttgart - No guitars, no castanets, and no clacking heels: This evening starts very quietly and on naked feet. A female dancer carefully feels her way onto the stage, her foot and toes extended in classical ballet fashion, and puts on one of the numerous flamenco shoes dangling from hooks at the back of the stage. Right foot - flamenco, left foot - ballet, her approach looks as beautiful as it looks schizophrenic. Soon, the entire ensemble follows her lead with the same devilish handicap of one clacking foot, calling out the title of the evening's performance: "Paso por paso" or "Step by Step."
Dance steps, Tension, Music
By abstaining from any dance theater concepts and stage sets the Flamencos en route dance company limits its performance of this artful Spanish dance to its essence: dance steps, tension, music. The language of the flamenco is no less complex than the language of classical ballet. With its vocabulary of comparable size, elaborate structures, and dancers performing at a highly virtuosic level, flamenco - just like classical ballet - consists of many individual, complicated steps. This seems to be the message Brigitta Luisa Merki, the ensemble's choreographer, wants to impart on the audience at the start of the evening.
In her last guest performance, entitled "Orpheus," the Swiss ensemble director from Baden presented a veritable dance theater production. This time, she is showing pure flamenco with clear, unadulterated forms and structures, Balanchine instead of Cranko, so to speak. The elegant, aesthetic aspect provided by the black and white costumes with their delicate leitmotifs and the unadorned stage illuminated by atmospheric light provide a perfect backdrop for the performance. Framed by two appearances of the entire ensemble, each of the five dancers performs a major solo, which sometimes turns into a duo if a colleague joins the performance. Together with her outstanding musicians and performers, Choreographer Brigitta Luisa Merki explores the gamut of flamenco and demonstrates the fascinating ability of the rather formalized dance to showcase each individual dancer's personality. Ricardo Moro's soleá, for example, portrays sternness and pride and shows a stylized quality; his large, slow movements tremble from tension.
More intellectual and strong-willed is Eloy Aguilar's performance, who repeatedly throws his expressive hands into the air in a proud gesture - a Che Guevara of the flamenco with the elegance of Apollo. A surprising instrumental sound accompanies Raquel Lamadrid's dance: while the flute is not really common in flamenco music, it does add a note of lonely-sounding melancholy to the flowing and mysterious Arabic solo.
Carmen Iglesias, light as a feather, leads us back to the traditional folklore. She uses her fan and castanets as sparingly as she uses them expertly and increases the intensity of her dance with intoxicating energy. Clever percussion sounds emanating from the big tambourine introduce José Moro's solo; his virtuosity is the cheerful expression of his joie de vivre. Once again, Brigitta Luisa Merki deserves nothing but great admiration for her gift to control the dynamics and structure of the acts, which - after a breathtaking crescendo - often quietly fade away in the dark. In this production, every solo is a work of art.

Angela Reinhardt, Esslinger Zeitung, 20.02.2014

Stuttgarter Zeitung

Passion - Step by Step
Dance, Flamencos en route's German Premiere of „paso por paso" at the Theaterhaus
Dangling from the ceiling they sparkle mysteriously, like big jewels: Heeled shoes are among the flamenco dancer's most prized possessions, although modern flamenco can do without the heeled shoes just as easily if need be. Barefoot, Raquel Lamadrid sneaks onto the stage of the Theaterhaus, where percussion instruments such as a cajon box drum await their turn. The dancer gently tries to use her toes and heels, combines flamenco turns with ballet poses and jumps. Reminiscent of Cinderella, she tries on a women's shoe and keeps it on. Instantly, the remaining members of the Swiss ensemble Flamencos en route step onto the stage. Two women and three men, all wearing one shoe only, try to elicit new sounds from the Spanish dance - step by step. "Paso por paso" is also the name Brigitta Luisa Merki, the founder of the dance company, has given this - her latest - production, which is enjoying its German premiere here in Stuttgart. The production marks the 30th anniversary of the dance company; the anniversary tour entitled "... y que mas!" ("What else!") begins in the fall.
This motto seems to be defining the current evening already. The Swiss choreographer, always searching for forms of expression that transcend different genres and cultures, focuses on a few essential elements in her current production: flamenco, pure and authentic, performed in simple black and white costumes, and artists who enjoy the freedom to add their own interpretation to the dance. After all, a flamenco dancer's uniqueness lies in his or her footwork - the zapateados - as well as in the accompanying movements. This is why Merki allowed her dancers so much room for interpretation.
Merki's production, meticulously created with a focus on details, sweeps the audience away. Ricardo Moro's interpretation of the solea is not only highly virtuosic, but also full of pure passion. Somewhat more reserved, but no less emotional, is Eloy Aguilar's performance of the siguiriya, a complex sequence of rhythmic steps, with which he challenges the musicians to a dialogue. While light-footed Carmen Iglesias uses castanets and a fan to portray a woman who is well aware of her charms, José Moro integrates elements of jazz and modern dance into his "Veridales". This time, the interaction is not limited to the percussion, the guitar and the singing, but includes Maria Toro's flute as well. Every aspect of the performance shows the essence of the flamenco, i.e. the communication between dance and music. The singers (Rocio Soto and Pedro Obregon, who delivered strong performances) react with every note to the dancers' movements and vice versa. As always, the eternal game between male and female plays a prominent part: The man reacts to the woman, glances are exchanged, and bodies pass each other in close proximity, so that the intense energy can be felt as far as the last row of seats. The Spaniards in the audience show their appreciation with shouts of "Vale!" and "Olé!". The audience's reaction is understandable. After all, on the occasion of its anniversary, Flamencos en route has once more proven that flamenco, this enigmatic contribution to the world cultural heritage, offers more than enough substance for the future.

Petra Mostbacher Dix, Stuttgarter Zeitung, 20.02.2014

Berner Zeitung

30 Years en Route with Flamenco
CITY OF BERNE With its prologue "Paso por paso", Step by Step, Flamencos en route enters its 30th year of performing. The Bernese premiere took place the day before yesterday at the Tojo. "Paso por paso" distinguishes itself through its backbone and character.
A strong beginning. A strong ending. And in between plenty of free space for the artists to showcase their individual styles and the broad spectrum of flamenco, free of kitsch. Seemingly without effort, Brigitta Luisa Merki, Director and Choreographer of Flamencos en route, leads her 11 dancers, musicians, and singers "paso por paso" - step by step - through the complex art of flamenco. Four years ago, this art form was officially declared part of the "Intangible Cultural Heritage" by the UNESCO. "Paso por paso" is a prologue to the anniversary production "... y que mas!" ("What else!"), which Flamencos en route will take on tour in the fall of 2014.
Back to the Origins
Being en route for 30 years, one acquires many valuable things, both in one's luggage and in one's spirit. Having had such rich experiences and knowing so much about the world and about art might almost make it easy to revert to the origins. And that is precisely what Merki does in her latest production: She returns to traditional step and sound material. The purity of the art of flamenco combined with the high artistic level of the five dancers (three male and two female) creates a magical effect. The various palos (flamenco themes), from serious to light, underscore the personalities of the respective performers. Merki knows exactly how to satisfy the audience by "serving it just the right dose": Her dramaturgy runs the gamut from solo dances performed by dancers with great stage presence to visually charming, impressive group appearances to erotic, playful interpretations featuring a man and a woman. Communication occurs between dance and music or dance and song. The technically perfect feet could actually count for a musical instrument: flamenco as a world language without words.
Simple, intense, playful
The intensity and complexity of the production, the seriousness of the art and the playfulness of some of the interpretations, combined with the simple black and white costumes designed by
Carmen Perez, moved the audience of the sold-out Tojo theater to enthusiastic shouts of "Bravo" and sustained applause. This proves that quality art speaks for itself - independent from the contemporary mainstream.

Sonja L. Bauer, Berner Zeitung, 14.02.2014

Wynentaler Blatt

The dance company Flamencos en route performed its latest production, „paso por paso," in a guest performance at the TaB (Theater am Bahnhof (Theater at the Train Station)) in Reinach. People appeared in great numbers and were not disappointed. Directed by Brigitta Luisa Merki, the dancers and musicians presented a firework of terrific dances and wonderful music - emotional and expressive.
hg. Large crowds showed up for the performance by Flamencos en route at the TaB in Reinach. The spectators filled the TaB, the most beautiful small theater in the Canton of Aargau according to Clo Bisaz, to the last seat. And they were not disappointed; if anything, the performance exceeded their expectations. Total silence fell over the room instantly, and the dancers immediately put the audience under their spell. Like fireworks, the dance company unleashed on the audience a series of fascinating, highly expressive dance performances and wonderful music. The energetic spectacle featured mainly traditional flamenco, but left room for new ideas. It touched the audience and made it difficult for the spectators to sit still. Not surprisingly, the audience was utterly thrilled at the conclusion of the performance, clapped enthusiastically and honored the dancers and musicians with several standing ovations.
Step by Step
"Paso por paso" is the latest production by the dance company Flamencos en route. In it, both the dance elements as well as the music revert back to the traditional flamenco. Nevertheless, the artists enjoy a considerable amount of interpretational freedom. The expressive movements and sounds of the production left the audience spell-bound. Whether the dancers performed very quietly, barefoot, or loudly clacking, accompanied by the rhythms of the percussion instruments and the typical flamenco singing, the audience was fascinated and enthralled.
30 Years on Stage
"Paso por paso" opens the dance company's 30th season. Since 1984, Choreographer Brigitta Luisa Merki has continously infused the art of flamenco with new creative impulses. Again and again, the dance company, consisting of two female dancers, three male dancers, one female and one male singer, two guitarists, a percussionist and a flautist, sets out to explore new territory. "Exploring new territory without ever arriving at a destination" is the dance company's motto. The goal is to create independent, contemporary dance and music productions, which are based on the spirit and the essence of the flamenco, but emanate their own, unmistakable charisma. This recipe has worked well both at home and abroad and has allowed Flamencos en route to create a name for itself.

hg, Wynentaler Blatt, 11.02.2014

Der Bund

"Flamenco is much more"
30 years of Flamencos en route: How come the award-winning Swiss dance company hardly ever participates at contemporary festivals? A conversation with Artistic Director Brigitta Luisa Merki
When hearing the term "flamenco" the layman pictures clacking heels, pathos, and arms gesturing wildly. What does flamenco mean to you?
I have never been interested in these stereotypes. Flamenco is a very complex form of art, which - at the professional level - keeps up with the zeitgeist. Apart from solid dance skills flamenco requires individual expressiveness and musicality.
What is this art form all about?
The most important aspect is the dialogue between dancers and musicians. Flamenco dancers are musicians as much as they are dancers. Their step sequences add percussion patterns to the music, thus making them part of the musical composition process. The rhythmic structure has developed tremendously over the course of the past 30 years and keeps becoming more and more complex.
Does that mean that authentic flamenco no longer exists?
Not at all. To me, "authentic" means true, alive and evolving with the zeitgeist. The art of flamenco takes many forms and acts as a catalyst. It adopts influences from African and Arabic rhythms as well as from street dance. Since the musical rhythms always correspond with the dancer's inner rhythms, the individual interpretations of the dance vary. In 2010, the flamenco was declared part of the intangible cultural heritage, which, by definition, is constantly changing.
But there is such a thing as "flamenco kitsch," isn't there?
The Spaniards brought that onto themselves. During Franco's reign everything that was Spanish was sold as flamenco. However, the flouncy dresses and the flowers are actually part of Andalusian folklore. They are very popular and frequently seen at festivals, such as the Feria de Abril in Sevilla. That event is a perfect venue for this kind of gaudiness, but it has nothing to do with flamenco. Often, these colorful images make people forget that flamenco has humble roots.
Have commercialism and tourism ruined the original art form?
Yes, they have damaged its image. Susana, the legendary Bernese dancer and co-founder of Flamencos en route, who passed away in 2010, knew exactly how to emancipate the flamenco as a stagecraft and how to free it from the kitsch. We keep walking on Susana's path.
How so?
In my choreographed productions I have collaborated with German-language authors, classical singers, musicians performing contemporary and Arabic music, and visual artists. The contact of these art forms with the flamenco has helped me explore new forms of expression.
For 30 years your dance company has been rooted in Baden. Are there people in Spain who are aware of your work?
Yes, we are well-known in flamenco circles. A number of critics from Spanish dance magazines have traveled from Spain to see our performances here and have written in their publications. And I keep receiving applications from Spanish dancers who would like to work with us. It is currently very difficult to get invited to festivals; Spain does not spend a lot of money on culture these days. There are many good dance companies in Spain itself who struggle to survive.
Your dance company receives a lot of praise both from the public and the experts. Yet, Flamencos en route seldom performs at contemporary dance festivals in Switzerland. Why is that?
Flamenco is not classified as a dance language in the way classical ballet or contemporary dance are. To me this is inexplicable! Dance is a universal means of expression; the only difference is that our form of dance is based on a different grammar. From the point of view of skills involved and artistic value the flamenco is equal to these other dance forms.
What is the problem?
Many festival organizers do not seem to care about the quality aspect. They say flamenco does not fit the concept. The artistic directors usually refer to the contemporary nature of their festival. In reality the dance performances strongly resemble each other, are single-faceted and appeal to a very small audience. I find the directors' restrictiveness problematic and their thinking not very contemporary. Theaters should branch out more in their dance performance offerings. It has become very difficult to have an artistic dialogue away from trends and business aspects.
Nevertheless, Flamencos en route has managed to build a solid artistic foundation. What does the financial situation look like?
We receive subsidies from the Curatorship of the Canton of Aargau, the Canton itself and the city of Baden as well as production-specific subsidies. The artists' salaries are based on the Swiss guidelines for dancers performing independently. However, the situation has not been easy for free lancers in all these years. Salaries are still more or less at the level they were 30 years ago.
Is that the reason you are showing "paso por paso" at a small venue, i.e. at the Tojo at the Reitschule instead of at the Dampfzentrale?
No, this program is perfect for the Tojo since it can be performed on small stages as well. We have not been able to show our large productions at the Dampfzentrale for years, however. The Gessnerallee in Zurich does not let us perform, either, and at the Roxy in Basel, where we had worked for years to build up a large following, we are now on a waiting list. The reason given is the same: artistic redirection.
What can you do?
Hope that certain people will realize that human beings are not single-faceted, that they are inspired by varying artistic creations, and that diversity in the arts stimulates the dialogue. There is nothing I can do personally, except concentrate even more on what is important in my work. I am an artist and a choreographer, and as the director of my dance company I am responsible for its success. That is why I concentrate on my principal duties, i.e. creating new works and finding venues to perform them - no matter where.
Where do you rehearse?
Since 1987, our group consisting of 12 artists has been renting a former factory site in Baden, without which we could not survive. It is a modest locale in which I can be creative. We keep the overhead and the infrastructure to a minimum. For the past 30 years, one other person and I have been responsible for most of the administrative duties, the technology, personnel support and artistic concerns.
Your musicians and dancers come from all over the world. Where do they live during the rehearsal period?
We all live in one house, which we rent from the city of Baden. It used to be the homeless shelter. Using modest means, we try to make the stay in Switzerland as comfortable as possible for the visiting artists.
The works Flamencos en route has performed are stored in your head and in your body. Do you sometimes wonder about the future with regards to the repertoire and the dance company in general?
No. I live entirely in the present. However, I will admit that I have had nights where thoughts about the future kept me awake.
What is the basic idea for your latest creation, "paso por paso"?
It is a prologue to Flamencos en route's 30th-anniversary production. We return to the original flamenco, to traditional step patterns and sounds. "Paso por paso," - Step by Step - is also the leitmotif for the way Flamencos en route works.
What can you tell me about the anniversary season?
The anniversary season entitled "... y que mas!" ("What else!") encompasses various productions. We will start in the Canton of Aargau; after that, we will go on tour. In 2015, we will start work on a new production in Düsseldorf, at the Ballett am Rhein.

Marianne Mühlemann, Der Bund, 07.02.2014

Aargauer Zeitung

For the time being, the highly polished, perfectly arranged pairs of shoes still hang on the wall. Suddenly, the naked feet of dancer Raquel Lamadrid appear in the dim light of the stage and carefully explore the stage floor - step by step, forward and backward. A foot makes itself comfortable on the floor, pushes off of it, then caresses it. As soon as her feet have finished exploring their territory Lamadrid snatches one of the shoes from the wall. Just one shoe; the other dancers follow her lead, shouting "Paso por paso!" while naked and shoed feet drum up a mad rhythm.

Playfully and unostentatiously the dance company - approaching its 30-year anniversary one step at a time - introduced its latest production to the audience at the Theater im Kornhaus Baden on Friday night. In anticipation of the big celebration in 2014 the artists have prepared a wonderfully simple program for this year. They chose to avoid opulence such as that shown in "babel.torre viva", performed at the monastery church of Königsfelden. Instead, they created a program based on the origins of the art of flamenco, with the stage serving as the main performance space, and the costumes (designed by Carmen Perez Mateos) limited to simple black and white. The artists presented the "Palos" - the traditional flamenco elements - in individual solo performances.

A fiery start

Apart from the authenticity of the dance elements the temperaments of the dancers and musicians in particular filled the evening with rhythm. Ricardo Moro's Soleá got the performance off to a fiery start. His movements were so powerful that his rib cage shook under his shirt. The audience broke into enthusiastic applause. Fellow dancer Eloy Aguilar, on the other hand, performed his "Siguiriya" with delicate, agile steps, while Carmen Iglesias hid in playful, girlish fashion behind her fan while dancing the South American form of the "Gualira" and clacking her castanets.

Since music and dance are both elements of a single art form in flamenco, the musicians positioned at the edge of the stage kept engaging the dancers in conversation. Charismatic singer Rocio Soto urged, pushed and challenged the dancers with her gruff voice. Both she and fellow singer Pedro Obregon kept leaving the edge of the stage. However, the dancers sought their own interaction with the musicians as well: José Moro, for example, flirted with flutist Maria Toro, who discreetly joined in with the traditional sounds of the guitar and percussion instruments. Just as fascinating were the parts without music: Lovers Raquel Lamadrid and José Moro took several brief opportunities to step out of the rigid form of the flamenco and to freeze in intimate gestures before resuming their dance.

Despite Merki's intention to showcase the basic elements of the flamenco, this evening offered much more. Merki knew how to create wonderful moments of comic relief with simple means, such as when Raquel Lamadrid climbed into an enormous men's shoe or when Ricardo Moro let his arm dangle lifelessly for an instant during a moment of utmost tension. It is these small gestures that made the evening unforgettable.

Julia Stephan, Aargauer Zeitung, 16.09.2013