The Festival de Jerez is the foremost Flamenco and Spanish Dance Festival in the world. In 2021, it celebrates its 25th edition, making it one of the longest-running festivals of its kind. Every year, thousands of flamenco dance students descend on Jerez de la Frontera, Spain, to attend festival masterclasses taught by the most sought-after masters of flamenco.

This May, the US-based streaming company Third Row Live partners with the Festival de Jerez to broadcast a selection of its 25th edition’s lineup for a global audience. Both the Festival de Jerez and Third Row’s parent company, Laudable, have restructured their operations in 2020-21 in order to cope with the COVID-19 pandemic and to continue to support artists and the performing arts industry.

If flamenco and Spanish dance students and fans can’t come to the historic Villamarta Theatre, Third Row will bring the performances at the Villamarta to a global audience through a collection of festival live streams. Because of the pandemic, many of the performances that have been selected for streaming likely will not be able to tour as widely as they deserve, but this collaboration between the Festival de Jerez and Third Row presents a once in a lifetime opportunity to see some of Spain’s finest and most lauded performers and their newest masterworks from the comfort and safety of home, no matter where on Earth that home is located.
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Join us for all five magnificent performances as they are debuted live onstage at the Festival de Jerez, and then watch them on-demand for two-weeks after the broadcast.
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6:30 PM ET

“De lo flamenco” and ‘Réquiem,’ which premiered November 12, 1994 at the Maestranza Theatre in Seville, marked a before and after in the development of Spanish dance and flamenco in Andalucía. That historic premiere was the first step in founding the Compañía Andaluza de Danza, now known as the Ballet Flamenco de Andalucía.

To celebrate the 25th anniversary of the Ballet Flamenco de Andalucía, a special show has been prepared, selecting, under the artistic direction of Úrsula López, several of the most representative choreographies and creations that have defined the company’s history.

The program is comprised of pieces created by several Ballet generations. Choreographies by Mario Maya, Javier Latorre, José Antonio Ruiz, Cristina Hoyos, Rubén Olmo, Álvaro Paños and Úrsula López give life to a commemorative show that, thanks to its holistic vision, takes the audience on an engrossing journey through the company’s history.

The different directors who have contributed their talent to the Ballet Flamenco de Andalucía are part of Spain’s dance history. They, along with many other artists and choreographers, have, in these 25 years, made the company a true flamenco reference.  We invite you to take this journey with us to explore the 25 years of creativity that this commemorative show celebrates.

Ballet Flamenco de Andalucía

The Ballet Flamenco de Andalucía is one the foremost institutional representatives of flamenco, acting as the art form’s ambassador since the company’s founding in 1994. The Ballet has since performed on stages across the globe and at such important international events as the Aichi Exposition in Japan or the large-scale flamenco festivals in New York and London.

Throughout the Ballet’s history, it has received not only public and critical acclaim but also that of performing arts specialists. As such, it has been the recipient of the National Prize for Choreography awarded by ‘El perro andaluz,’ led by María Pagés, and several of choreographies by Cristina Hoyos, created during her directorship, have been nominated for Max Theatre Prizes. Among them is “Yerma,” for which Hoyos received the Max Prize for Best Female Dancer, and “Romancero gitano,” which was the most viewed show of 2006. “Imágenes: 20 años del Ballet Flamenco de Andalucía” was awarded the Giraldillo Prize for Best Show at the XVIII Seville Flamenco Biennial, and “Tierra-Lorca, cancionero popular” received the XIX edition’s Giraldillo for the work of the company’s corps de ballet.

The company has been an inexhaustible source of talent, that has produced such important dancers as Israel Galván, Isabel Bayón, Juan José Jaén ‘El Junco,’ Patricia Guerrero and Rafaela Carrasco, among others.

All of this has made the Ballet Flamenco de Andalucía the company of reference for flamenco, triumphing with national and international audiences, fomenting a growing interest in flamenco across the world.

6:30 PM ET

The beginning, the arrival, the journey… transformation so as to once again be possible. Allowing oneself to create a path of transiting states and emotions to which one must inevitably say goodbye. Dare to jump and dream of being the saviors of the blue, the fishermen of the black and, if we still can, also save the silver to make sense of what is to come.


Ya no seremos [We Will No Longer Be] is a work by Ángel Rojas born out of the necessity to delve into the concept of creation in a clear contemporary flamenco style that supersedes barriers and stereotypes.

A creation that has matured over years and with a principal theme of evolution as imperative to our destiny. What we must no longer be in order to transform ourselves into something new and unknown.

For this project, Rojas has brought together a large creative team under his artistic direction, as well as a versatile ensemble, capable of navigating an abstract landscape without sacrificing the depth of flamenco, capped off with a staging defined by the symbology of the central theme.

About Ángel Rojas

Flamenco dancer and choreographer. Madrid, 1974. Makes his professional debut at 16-years-old, touring with the Ballet Teatro Español de Luisillo and Rafael Aguilar’s Ballet Teatro Español, later joining the Ballet Español de Madrid under the direction of José Granero.  In 1992, he joins the Ballet Flamenco Antonio Canales, participating in the show A ti, Carmen Amaya.  Between 1992 and 1994, he participates in numerous prestigious galas, as guest dancer in the Víctor Ullate Company and working on choreographies for the Compañía Teatro de la Danza and the Compañía de José Antonio y los Ballets Españoles, also performing as a soloist in the latter.

In 1995, Rojas co-founds the Nuevo Ballet Español with Carlos Rodríguez, which would be renamed Rojas & Rodríguez in 2008. Among the company’s most noteworthy productions are: Infierno, S.L. (1995), Canela y Fuego (1996), Sangre Flamenca (1997), Flamenco Directo (1998), Gallo de Pelea (1999), Furia (2000), Romeo y Julieta (2003), Tierra (2004), En Carne Viva (2005), Alma (2006), Sangre (2008), Baile de Máscaras (2008), commissioned by the Autonomous Community of Madrid for the Bicentennial of the Spanish War of Independence, Cambio de Tercio (2009), Homenaje a los Clásicos (2012), Amor Brujo (2012) and Titanium (2013), which fused flamenco and urban dance.

Throughout his career, Ángel Rojas has received numerous awards.  The most noteworthy include First Prize for Best Dancer at the National Choreography Competition, shared with Carlos Rodríguez (1994), the UP Dance Prize awarded to the Nuevo Ballet Español for Best Spanish Dance & Flamenco Company (2000), the Villa de Madrid Pilar López Prize for Best Dancer (2005) and the Medal of Arts from the Autonomous Community of Madrid with Carlos Rodríguez (2006).

Ángel Rojas has taught courses and workshops at numerous schools around the world. Since 2010, he has co-directed the Escuela de Danza Rojas y Rodríguez Ciudad de Móstoles with Carlos Rodríguez and worked as consultant on projects such as Flamenco del Sol in Orlando, where he assists with student training and educational planning.

As a guest choreographer it’s important to mention Dualia, created for the National Ballet of Spain in 2007; Don Juan, a Canadian musical created in 2004 and staged again in 2012; Pálpito, for the Ángel Corella Foundation, which premiered in New York in 2012; and Falla fuera de la caja, created for Chicago’s Ensemble Español in 2016.

In 2015, he is asked by the City of Madrid to direct the Festival Flamenco Madrid.  He is named Artistic Director through 2018.  In 2018, Ángel Rojas becomes the Artistic Director of the new Flamenco Madrid Theatre.

6:30 PM ET

With Debajo de los pies [Under Your Feet], Eduardo Guerrero invites you to participate in his universe.  All of the fundamental preoccupations that we contemplate comprise the imagination of this project.  From a personal point of view, he attempts to construct a universal narrative in constant dialog with his team. 

In Debajo de los pies, a world exists in which tradition and innovation go hand in hand. On the stage, there’s a subtle landscape filled with innumerable nuances that connect that which is nearby to that which is farthest away. The audience is invited to rest its eyes on a vast scale of shapes, volumes, bodies full of foreboding. 

Without a doubt, this is a piece that marks a new phase in Eduardo Guerrero’s career.

Eduardo Guerrero

Eduardo Guerrero González (1983, Cádiz) began dancing at just six-years-old.   It is in Cádiz that he lays the foundations of his dance and later continues his training further afoot with teachers that include Mario Maya, Antonio Canales, Manolo Marín and Chiqui de Jerez.  He studies Spanish dance at the Cádiz Conservatory of Dance and continues his studies in contemporary dance with David Greenall and classical dance with Montserrat Marín.

In 2002, he begins working with such important national companies as those of Aida Gómez, Eva La Yerbabuena and Rocío Molina. It’s in 2011 when Guerrero wins First Prize at the Professional Conservatories’ Choreography Competition and begins his solo career.  Since then, he has created the following productions: Suite Flamenca (2011); De Dolores (2012); Las Minas (2013); Re-torno (2014); El Callejón de los Pecados (2014); Desplante (2015); A Solo Piece for a Flamenco Dancer (2016); Guerrero (2017); Faro (2017); and Sombra Efímera (2018).

Among the many awards that endorse his fruitful career, it is important to mention First Prize for Dance at the prestigious Festival de Las Minas de la Unión in 2013, which consecrates his success as a flamenco dancer and choreographer. In 2017, his show Guerrero wins the Audience Prize at the Festival de Jerez. 

Currently, Eduardo combines touring with the creation of new production with artistic director Mateo Feijoo (current director of the Matadero de Madrid). It involves a long process of artistic research that has resulted in a trilogy of performances that begin with A Solo Piece for a Flamenco Dancer, 2016 in Amsterdam, then Sombra Efímera, which premieres at the Seville Flamenco Biennial in 2018 and which will conclude with the presentation of the third and most ambitious work Debajo de los Pies.

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4:30 PM ET

Fernando Jiménez presents the world premiere of his second solo show Transiciones [Transitions] accompanied by some of Jerez’s finest musicians and two flamenco titans: dancer Pastora Galván and singer and guitarist José Gálvez.

Jiménez drinks from the fountain of tradition, performing the natural and authentic flamenco dance that lives in the patios of the historic neighborhood of Santiago in Jerez. In his latest work, Transiciones [Transitions], Jimenez explored the movement that defines flamenco, reflecting on how each stage of life signifies a change. This is where one finds growth, both personal and professional. During life’s most difficult moments, one learns from a place of resilience. 

Fernando Jiménez

Fernando Jiménez is a flamenco dancer from Jerez de la Frontera, born in 1988 to a gypsy family from the historic neighborhood of Santiago. He is a direct descendent of Tía Anica la Piriñaca and José Vargas “El Mono.”  He begins dancing flamenco naturally and spontaneously at family parties.

Fernando soon realizes that he wants to dedicate himself professionally to flamenco dance and joins the artistic ensemble at the tablao La Taberna Flamenca, where he performs until its sudden closure. His particularly masculine style with a focus on footwork and hand movement takes him across Spain to perform and makes him a regular in Japan thanks to the popularity of his classes and performances.  He performs on a tour of the United States with Pedro Garrido “Niño de la Fragua” and Ismael Heredia. And he dances numerous times at Jerez’s historic Villamarta Theatre since his debut there in 2002 as a member of the ensemble cast of “Enamorarse en Jerez.”  He also performs around the world with artists such as Pansequito, Aurora Vargas, Rancapino Chico, La Macanita and Tía Juana la del Pipa. 

In 2019, he performs his first solo work at the Festival de Jerez, sharing the evening with another dancer from Jerez, Yessica Brea. In 2020, he participates in the ‘de Peña en Peña’ series of the Festival de Jerez, for which he is awarded the Breakout Artist Prize and asked to premiere his second solo work Transiciones at the 2021 edition of the festival.

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6:30 PM ET

“Frente al Silencio” [In Front of Silence] is an attempt to break the complicit silence that underpins the barbarity human beings are capable of inflicting on one another.  Félix Grande was able to break this silence with his poem “La Cabellera de la Shoá” [Shoah’s Hair].  This work lays bare the horror of Auschwitz – the poet’s fragmented language revealing his truth.

Elimination, dehumanization, contempt, and terror – but also reflection, condemnation, and the search for a language capable of narrating the turmoil – all of these elements are an attempt to be one yet more echo of Grande’s poem.

Fuensanta La Moneta

Dancer and choreographer. Granada 1984. She began her dance training as a child at the schools of Carmen Mari and Mariquilla in Granada.  She made her professional debut in Madrid with the guitarist Juan Marote, resulting in the magazine Alma 100 publishing an extensive cover story dubbing her the most important flamenco dancer born in the 1980’s.

In 2003, she won the “El Desplante” Prize at the National Competition La Unión. From then on Fuensanta la Moneta has danced in the most prestigious flamenco festivals and theatres in Europe, Asia and America.

While dancing in Javier Latorre’s company, she participated in the performances “Triana, en el nombre de la Rosa” and “Rinconete y Cortadillo,” and she performed in the film by Álvaro Begines “Por qué se frotan las patitas.”

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