y compañía in

Tríptico #2

[Meter los Pies/Nondedéu/Silencios]


Mon. June 24 at 6:00pm



Rodey Theatre

Ticket Packages

Individual Tickets

$48, $63, $78, $93, $108

Tríptico #2 [Meter los Pies/Nondedéu/Silencios]


Trípticos is a numbered series of programs comprising short to medium-length choreographies lacking an apparent thread. Dancers support each other with voice, light, bodies, presence, and small instruments.

Tríptico #2 includes the choreographies “METER LOS PIES,” “NONDEDÉU,” and “SILENCIOS” … a kind of experimental and synesthetic trinity about footwork, singing, flamenco dance, dance, and silence.

“METER LOS PIES”: Dancers who present themselves as rhythm machines, sequencers of polyrhythms to transmit and transmute the legacy of those historical dancers who were patriarchs, apostles and prophets of zapateado and their disciples, prodigious zapateadoras and brave women, undisputed queens of flamenco dance.

Following the ancient concept of dance to the guitar, we will transcribe to zapateado historical flamenco scores, music and touches that will intertwine to create a random and surprising polyrhythm that in turn will be the structure, the accent, the texture and the order.

A rhythmic support provided by the zapateado itself, but that we will also look for in the experiences, testimonies and concepts of our ancestors and ourselves and that we will find along a journey that will lead us to break the straight line that produces the metronome to perform the exact measurement of the pulse. A journey that incites us to look for textures and sounds with bare feet so that others dance on a tectonic fault feeling the vibration of an earthquake, to sing the zapateado with the onomatopoeic language that only dancers understand or to place ourselves vertical and static in a bullring, where the ferocity of the charging bull and the courage of the man who faces him intertwine in a two-step of life and death, a superposition of rhythmic metrics that represents the struggle of modern man and machine, of improvisation and premeditation and that will make us dance and stomp inspired by the sound of the machines of a printing press, the noise of the railroad, of electric motors of different intensity, of a printer, of metronomes or the machinery of the ICU of a hospital.

To arrive at the fall or the tropezón [typical step of the zapateado], to zapateado kneeling like a penitent or looking at the sky. Soft zapateado, energetic zapateado; like a wild person, like in the Nijinskyan ritual of spring, like an American tap dancer, a jarocho, or a possessed person… like a flamenco.

What does flamenco singing evoke in the human body? Is dance the bodily expression prompted by the singer’s effort while singing?

These two questions are the starting point for the investigation of “NONDEDÉU”, a contemporary flamenco dance piece that sometimes serves as a dialogue between flamenco dance and regular dance, flamenco singing, the bodily expression of singers, a danced response or replica to the statements and testimonies of an ancestral singer… It is Alberto Sellés, a dancer/singer/choreographer with whom we explore this path that diverges in the flamenco contexts of Alberto himself and his great-great-granduncle Aurelio Sellés Nondedéu [1887-1974], a legendary master of flamenco singing.

From the singer, we draw inspiration and documentary from some unpublished recordings over which Alberto Sellés dances and sings, thus converging with his ancestor in an encounter, dialogue, and celebration of the union of tradition and avant-garde, of the orthodox and the experimental, of singing and dancing, of dance and non-dance, of bodily expression and expression of the soul, extraversion and intimacy, yes and no, temperament, vibration, past, and present.

“SILENCIOS” takes as one of its starting points a text from the book A year from monday by John Cage. It will be the first time, since we began our creative work and artistic journey as a tandem in 2003, that we find ourselves face to face on a stage, on a street, or in a unique space, without company, without dancers, or musicians; just the two of us facing each other, in our essence, building a conversation from the rawness of silence, complementing each other from our different dance, conceptual, and vital languages ​​that over time have become one and that allows us to naturally place ourselves in each other’s shoes; Estévez in the sharp silence of Paños’s nervous system understanding the short circuits of a body that works to exhaustion if necessary, in search of beauty, definition, and the perfection of infinite, harmonious, sensitive, and stylized movement… Paños in the deep silence of Estévez, that of the paths of the mass of his blood that slows down dense like honey, loaded with ancestors from unimaginable origins and with an intuition and affinity with past times, that by age he has not experienced, but that are the basis of his dance language.

Both from stillness and from dance, from sound and silence, from the past and the present… from ourselves.

-Rafael Estévez and Valeriano Paños

An utterly incredible show. – Paco Sánchez Múgica, El País 

Tríptico #2

Cast & Credits

Rafael Estévez
Dance, Choreography, Original Concepts
Valeriano Paños
Dance, Choreography, Original Concepts
Manuel Montes
Jorge Morera

Alberto Sellés
Dance, Cante [in Nondedéu]
Ángel Olalla

Learn More About


In 2001, Rafael Estévez and Valeriano Paños decided to form an artistic duo after discovering that they shared many common points regarding artistic concepts and visions of dance. In the middle of that year, they began an arduous research effort that led them to define the profile that characterizes their duo: a fusion of tradition and avant-garde. From the start of this artistic and creative journey, they explored movement by experimenting with contemporary forms and the unique aspects of Spanish dances and flamenco, thereby creating a distinctive language and concept of dance and choreography.
Together, they choreographed CÓRDOBA for Lola Greco (2004) and VIEJOS AIRES DE LA VIEJA ESPAÑA, which premiered on European Music Day (2007) in collaboration with the Madrid Municipal Symphonic Band, directed by Enrique García Asensio. Estévez and Paños have choreographed and danced for the Dance Galas at the Teatro Real in Madrid (2004), Spanish Dance Gala at the Tokyo Forum Hall EXPO AICHI (2005), and Dance Gala EXPO Zaragoza (2008), dancing alongside Lola Greco, Mayte Bajo, Gala Vivancos, Kira Gimeno, and María Vivó, and sharing the stage with artists such as Tamara Rojo, José Martínez, Mats Ek, Ana Laguna, Ángel Corella, and Nacho Duato, among others.
They choreographed and performed several pieces in the show GOYESCA at the Suma Flamenca Festival (2008), dancing with the singing of Carmen Linares and sharing the cast with artists like Miguel Poveda, Israel Galván, Rocío Molina, and Terremoto. They were invited by Carlos Saura to participate in the film FLAMENCO, FLAMENCO (2009), performing “Guajiras” with the singer Arcángel and the dancer Patricia Guerrero.
They collaborated with experimental musician Artomático, sharing stages with artists like BandaÈria, Jorge Pardo, and José Manuel León, among others (2008-2011). They created DANZA 220v in collaboration with choreographer Antonio Ruz and musician Artomático, with a special collaboration from singer Sandra Carrasco (2010), and the show EL SALÓN DE BAILE for the Joven Compañía NOSOLODANZA (2012). They were invited to collaborate as dancers and choreographers in the show OJO by Antonio Ruz in 2011 and artistically directed RECICLARTE by Ana Morales, also choreographing some pieces in 2013. They artistically directed and choreographed ESPIRAL by David Coria (2014), and collaborated as choreographers in LA CASA DE BERNARDA ALBA by 300 Pistolas Compañía de Teatro de Álvaro Morte and À L’ESPAGNOLE by Compañía Antonio Ruz and Accademia del Piacere (2015).
Between 2016 and 2022, they participated as guest teachers at the University of New Mexico and the National Institute of Flamenco in Albuquerque, New Mexico, teaching Spanish Dance and Flamenco. They created the choreographies ÇIERTAS DANÇAS (2016), HIERRO(2021), and SUITE No19 (2022) for Yjastros: The American Flamenco Repertory Company.
From 2016 to 2018, they assumed the artistic direction and choreography of the Ballet Flamenco de Andalucía. They created the EL DOLOR for Olga Pericet’s UN CUERPO INFINITO (2019), and participated in the seminar convened by the Flamencology Chair of the University of Seville on Antonio “El Bailarín” titled “Antonio Ruiz Soler: His Legacy”, being part of the round table Antonio’s Dance: Spanish Style, Choreographies, and Great Works. Present and Future, and in 2021, they were invited to the Congress on the centenary of Antonio “El Bailarín” participating in the round table “Antonio, Choreographer” with masters Manolo Marín and José Antonio.
They received the National Dance Prize (2019) in the creation category, awarded by the Ministry of Culture and Sports of the Government of Spain. They created EP2020 [Choreographic Caprice for Two Dancing Men and Two Video Cameras], which premiered at the online edition of the Flamenco Festival in Albuquerque, New Mexico – USA. In 2021, they created and artistically directed FLAMENCO: ESPACIO CREATIVO for Alfonso Losa. In 2022, they directed and created some choreographies for the show INSACIABLE by Lucía Álvarez “La Piñona”.


The trajectory of Estévez / Paños and Company began in 2003 with the pieces MARTINETE andTRES POR MEDIO, which they performed as guest artists at the 2003 Choreographic Contest of Flamenco and Spanish Dance in Madrid.
In 2005, the company premiered its first show, TIEMPO (Suite of Spanish Dance). A year later, at the Madrid dance cycle Distrito Danza, they premiered MUÑECAS (Walking Version) and …A PIANO with pianist Edith Peña. In 2007, they revisited MUÑECAS to adapt it to a theatrical format, debuting at the Festival de Jerez to great acclaim. That same year, the Málaga Flamenco Biennial awarded the project FLAMENCO XXI: ÓPERA, CAFÉ Y PURO, a show that received the critics’ Revelation Prize for performance at the Festival de Jerez. In 2008, within the Flamenco Thursdays cycle in Sevilla, they premiered SONATA, with music by Padre Antonio Soler.
From 2009 to 2014, Estévez and Paños were part of the show FLAMENCO HOY by Carlos Saura, as principal choreographers and dancers. For this occasion, they included dancers from Estévez / Paños and Company as the cast of this show.
In 2011, they created PREFLAMENCOS, a show featuring music by Artomático, Rosana Romero as the principal dancer, dancer Jesús Perona, and composer Luis Prado, who arranged “Playera o Caña” (1866) by Manuel Fernández Grajal. In 2012, they co-created the choreography with Juan Kruz Díaz de Garaio Esnaola for the show ROMANCES, co-produced by the Bienal de Sevilla and El Mercat de les Flors, which was then included in the Company’s repertory. It premiered at the XVI Bienal de Sevilla and won the Giraldillo Prize for Best Stage Direction by Juan Kruz Díaz de Garaio Esnaola. At this same festival, they also premiered LA CONSAGRACIÓN, a Spanish dance and flamenco version of “The Rite of Spring” by Igor Stravinsky. For this occasion, they collaborated with Antonio Ruz in dance and choreography and Antonio Canales as a guest artist. The show won the Giraldillo for Best Choreography.
In 2016, they premiered the shows BAILABLES and SILENCIOS, with the latter featuring artistic collaboration by Juan Kruz Díaz de Garaio Esnaola. SILENCIOS was created during an artistic residency at the University of New Mexico, and between the cities of Madrid and Berlin.
In 2019, after a two-year hiatus, Estévez/Paños and Company inaugurated their new phase by participating in the cycle “EL BAILE” (Choreography, Direction, Creation) of the Flamencology Chair at the University of Córdoba, directed by singer Arcángel, with the presentation titled [Choreographic Creation, Reconstruction, and Fantasy], and created a new version of BAILABLES that premiered internationally at the 25th Flamenco Days Festival in Tel Aviv.
They participated in the Ibérica Contemporánea Festival in Querétaro – Mexico, as guest teachers and performed SILENCIOS at the Contemporary Art Museum of Querétaro with the collaboration of the Bulos Arquitectos team (Francisco Bulos), who created a stage for the occasion.
In 2019, they created EL SOMBRERO, a choreographic fantasy about the creative process of “Le Tricorne”. For this production, Estévez and Paños conducted thorough research that resulted in a series of 100 video-dance-performance episodes about the creative process and the lecture [FLAMENCO DANCES IN THE YEARS OF CREATION OF LE TRICORNE], which premiered as part of the Flamenco Festival program in Nîmes (France) in 2020. This project also included the small-format piece EL CUADERNO, which premiered in 2021. Both EL SOMBRERO and EL CUADERNO were supported by the Ministry of Culture of the Community of Madrid.
In 2020/21, in collaboration with GNP Producciones and with the support of INAEM, Ministry of Culture, they carried out the EPCANTERA project, a training project for young talents in Spanish dance and flamenco, selecting dancers for the company’s cast.
Between 2021 and 2022, they produced the LA CONFLUENCIA in co-production with the Canal Choreographic Center – Teatros del Canal, as a resident company at the Canal Choreographic Center, and also created FLAMENCA391, both creations supported by the Andalusian Institute of Flamenco and the Andalusian Agency of Cultural Institutions of the Ministry of Culture of the Andalusian Government.
Since 2021, they have been configuring a series of numbered programs DÍPTICOS and TRÍPTICOS, including alongside SILENCIOS (2016), short and medium-length pieces like CAMPANILLERO (2021), NONDEDÉU (2023), created in artistic residency in the research modality at the Canal Choreographic Center, Teatros del Canal of Madrid, and METER LOS PIES, selected to be part of the IN PROGRESS artistic residencies of the Flamenco Festival and the Torrox City Council of Málaga.
In 2023, they premiered DANZA PARA GUITARRA, performed by Valeriano Paños and Miguel Trápaga (guitar), and directed by Rafael Estévez. It is a production of Estévez / Paños and Company and GNP Producciones, supported by the Ministry of Culture of the Community of Madrid.
With this repertoire of works created between 2003 and 2022, they have performed on stages and festivals in cities such as Madrid, Barcelona, Seville, Jerez, Córdoba, Zaragoza, Logroño, New York (USA), Festival Mercat de les Flors (Barcelona), Suma Flamenca (Madrid), Paris Quartier d’été Festival, Paris (France), Flamenco Festival London (UK), International Festival of Music and Dance of Granada, Adelaide Festival, Adelaide (Australia), Chile, Uruguay, Istanbul, International Bodrum Ballet, Bodrum (Turkey), Montreal Jazz Festival, Montreal (Canada), or Katowice (Poland), Flamenco Days Festival Tel Aviv (Israel), Coetáni Experimental Flamenco Festival Athens (Greece), Ibérica Contemporánea Festival Querétaro (Mexico), Platform Berlin Festival (Germany), Flamenco Festival Alburquerque (New Mexico – USA), UNESCO Heritage Night Festival, Flamenco On Fire Pamplona, Madrid en Danza Festival, Flamenco Biënnale Netherlands, Sibiu International Theatre Festival (Romania), Córdoba Guitar Festival, Flamenco Festival Huelva City, Flamenco Festival – London, Dantzaldia Bilbao, Danza Xixón (Gijón) or Lisbon (Portugal), among many others.

Photo: Beatrix Mexi Molnar

Study with
Rafael Estévez and Valeriano Paños

during festival flamenco 37