{"id":23067,"date":"2023-07-23T14:24:59","date_gmt":"2023-07-23T12:24:59","guid":{"rendered":"https:\/\/tablaoflamenco1911.com\/es\/?p=23067"},"modified":"2026-03-02T17:36:18","modified_gmt":"2026-03-02T16:36:18","slug":"claudia-ruiz-caro-fotografia-flamenca","status":"publish","type":"post","link":"https:\/\/tablaoflamenco1911.com\/en\/claudia-ruiz-caro-flamenco-photography\/","title":{"rendered":"Claudia Ruiz Caro, flamenco photography"},"content":{"rendered":"

<\/p>\n

We interview Claudia Ruiz Caro, official photographer of the Bienal de Flamenco de Sevilla<\/strong> in its 21st edition, whose work focuses on the more anthropological and documentary side of flamenco. Originally from Barcelona, she now lives in Jerez de la Frontera, a city that has allowed her to approach flamenco from an intimate and local perspective.<\/p>\n

When did your connection to flamenco begin?<\/strong><\/h5>\n

I started at the end of 2015 because I had come from Barcelona, after doing a master\u2019s degree in performance photography and, of course, in Jerez what you find is flamenco<\/strong>. Little by little, I got into the world of concerts, and eventually I ended up doing album covers, working for festivals, covering events\u2026 At home, flamenco had always been heard as a music genre, but my real contact with it through photography started in 2015.<\/p>\n

Let\u2019s talk about your style\u2026 Who are your influences and why do you identify with them?<\/strong><\/h5>\n

My references are Pepe Lamarca, Colita, Jacques L\u00e9onard\u2026 especially Pepe, who is the closest to me. I also have a relationship with Colita; they\u2019re kind of my pillars.<\/p>\n

\n

\u201cPepe is my mentor, the one I ask everything.\u201d<\/em><\/strong><\/p>\n<\/blockquote>\n

I identify with them because they observe flamenco without taking part in it<\/strong>, simply watching and letting it flow naturally \u2014 and that\u2019s how I work too.<\/p>\n

\"\"

Claudia at her exhibition “Adocamele” with Pepe Lamarca. Photo: Antonio Benamargo<\/p><\/div>\n

About your experience in photography\u2026 How do you experience the tablaos<\/strong> differently from the theaters<\/strong>?<\/h5>\n

I particularly like the tablao<\/strong> because it seems to me that it is halfway between a more private and carefree flamenco party and the theater<\/strong>, which feels colder towards the audience. The tablao<\/strong>, I think, has that perfect point of connection.<\/p>\n

\"\"<\/b><\/h5>\n
How do you integrate the Gypsy community into your photographs?<\/h5>\n

I focused my work mainly on the world of cante<\/strong> and guitar<\/strong>, and from Jerez, what we have here is definitely connected to the Gypsy community. They are the protagonists of my work and, in addition to that, I owe them everything. They have opened the doors to their art and their home.<\/p>\n

\n

“The Gypsy community is the foundation of my work”<\/em><\/h4>\n<\/blockquote>\n

\"\"<\/p>\n

Do you plan to exhibit in Madrid?<\/h5>\n

Yes, I plan to exhibit in Madrid, the last time was at Casa Patas in 2019. The next one is in Barcelona, in November.<\/p>\n

Is this your first time at Tablao Flamenco 1911 (formerly Villa Rosa)?<\/h5>\n

Yes, it is my first time. When it was Villa Rosa, I still lived in Madrid and was deeply involved in the C\u00edrculo Flamenco de Madrid, and due to scheduling, I could never come to see you. Honestly, I\u2019m happy to see you so lively. The show felt dynamic; it has the perfect balance to engage the audience without overwhelming them.<\/p>\n

<\/p>","protected":false},"excerpt":{"rendered":"We interview Claudia Ruiz Caro, official photographer of the Bienal de Flamenco de Sevilla in its 21st edition, whose work focuses on the more anthropological and documentary side of flamenco. 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