The term Spanish Dance includes the four main dance forms from Spain: Regional, Escuela Bolera (18th century/school dances), Classical and Flamenco. This rich legacy is revealed in the complex history and culture of Spain, as many other world cultures have contributed to the development of this dance tradition. French and Italian ballet influenced the Escuela Bolera and Classical dances, as these combine ballet technique with Spanish footwork and styling. Flamenco developed from the interaction of Gypsy, Arabic, Jewish and Christian populations present in Spain from the 9th to 17th centuries. Gypsy (Roma) ancestors are theorized to have migrated from northern India into Eastern Europe and Spain, and the story of their hardships is often reflected in the Flamenco cante (singing); the Flamenco body and arm movements also reflect Indian and Arabic influences. Latin American rhythms influenced some Flamenco music and dance traditions when explorers returned from the New World to Spain. The fan (abanico) and shawl (manton) were brought back from Cuba, Manila and the Philippines respectively and were taken up by the Gypsies. The castanets (rudimentary form) were first seen over 1000 years ago in Northern India. The Regional or folkloric dances are indigenous to various regions of Spain and are reflective of the populations that settled there, such as the Celtic population in Northern Spain, which also boast of its Gaitas (bagpipes).

The Company has developed a breadth of repertoire that demonstrates this diversity of Spanish dance and its relationship to cultures in all parts of the world. Programs by Alborada Spanish Dance Theater focus on the common ground we share, emphasizing cultural relationships over cultural differences.

Fuego, or “the fire within” is the essence of Flamenco fire and soul. With the principal and featured dancers of the Company, we bring in special guest artists from the Flamenco community. FUEGO explores the traditions of Flamenco dance and music as well as bringing some new avant garde Flamenco music and dance. The resident musicians of the Company are joined by another guitarist and a flutist/singer. The setting is sparse with lighting as its main embodiment. The Flamenco dances most performed are the Alegrias, Farruca, Solea, Solea por Bulerias, Tarantos, Bamberas, Tientos, Tangos and Bulerias.

OLÉ!, one of Alborada's most well-loved productions, re-creates the passionate sights and sounds of a typical cueva (cave-tavern) of Sacromonte (as depicted in our set), where the local Gypsies entertained tourists, as remembered by Artistic Director Eva Lucena, who grew up in Granada, Spain and embarked on her Flamenco career there with the Gypsies of Sacromonte. In a traditional intimate tablao setting, Flamenco dances such as Farruca, Siguiriyas, Rumba, and many others are performed by the Alborada principal artists including Lisa Botalico, Gisele Revollar, Chavela and Eva Lucena, singer David Castellano and principal guitarist Carlos Revollar in “An impromptu happening - Gypsy style”.

Sephardic Jewish families were already found in Spain when the Romans settled the Iberian Peninsula in the 2nd Century. In the 9th Century the Moors (Moroccan Arabs) conquered Southern Spain, and for the next 500 years their culture dominated this region. Many of the Sephardim thrived during this time because their abilities in medicine, languages and international trading were valued, especially in Toledo and Cordoba. In 1492, the Sephardim were forced to leave Spain due to cultural and religious strife. However today in Southern Spain, even in the aftermath of the Jewish expulsion in 1492, one can still observe the inter-relationships of Islamic, Jewish and Christian art, language and music. The Sephardic Connection explores the complex cultural connections of the history of the Sephardim through music and dance. Our colorful set in the first half reflects the influences of Islamic architecture in Cordoba. In the second half, the set depicts a Sephardic settlement outside of Spain. Alborada is accompanied by a guest Sephardic music ensemble, cantorial singer Laurie Fechter who sings traditional Ladino (Spanish/Hebrew dialect) songs and guest Middle Eastern and Sephardic Jewish dancers. Highlights of the production include Petenera, a Flamenco drama depicting the suffering and exodus of the Sephardim and dance and music pieces fusing Flamenco and Sephardic influences, including the traditional Jewish & Greek dance MIZERLOU. Experience the powerful story of the Sephardim!

The Feast of Sarah re-creates the oldest religious Gypsy festival from Saint Maries de la Mer in southern France, in honor of their Patron Saint Sarah, and explores the cultural similarities in the Gypsy (Roma) populations in Spain and other Eastern European countries, as Roma tribes from Northern India migrated through Bulgaria into Transylvania and Hungary, and also through Egypt into southern Spain. The Alborada principal and company artists are accompanied by Hungarian and Balkan Roma Dance ensembles and a Hungarian Roma band. The Feast opens with a procession of violins, a Hungarian cimbalom and a singer of Spanish religious Saetas. As we enter the encampment, which includes a caravan and camp fire, the festival celebration is continued by an extended Spanish and Hungarian family, with their Balkan cousins, performing a variety of dances and music - the lyrical dances of the Balkan Roma, the high energy Csárdás of the Hungarian Roma, and Spanish dances using tambourines and zills (Arabic finger instruments) which demonstrate their Arabic (Moorish) background. The highlight is a fusion piece, the Ketri Ketri, a spiritual dance honoring nature, which combines the Spanish and Hungarian styles. This production is truly a Feast of dance and music!

Celtic-influenced dance and musical traditions are still practiced in three regions of Northern Spain - Galicia in the far northwest, Asturias and Aragon. Presenting Spanish musical instruments and dances rarely seen in this country, along with examples of Irish music and dance, the strong and surprising cultural connections between Spain and Ireland are observed. For this concert, the Alborada principal and company artists, and resident musicians are accompanied by two guest musicians (on viola and bass guitar) and featured artists from a cultural group performing Northern Spanish dance (accompanied by the gaitas (bagpipes) and drums. Our guest Irish Dance Company is accompanied by the Irish Band, Coolmagort, (whose principal musicians played with the Chieftains).. Dances demonstrating this shared Celtic heritage include the energetic Jotas from Northern Spain, Irish jigs, the Galician Muniera, Irish reels, Classical Spanish and Escuela Bolera (18th century “school” dances), and Irish step dancing.

Embark on a journey back to Havana, Cuba in 1952, when Cuban social life, music and dancing were influenced by other world cultures including Spain and Argentina. On a warm tropical night at “Rick's Nightclub” our program will demonstrate the similarities between the sensuality of the Argentinean Tango and the more restrained, yet fiery Flamenco. The Alborada principal and company artists will entertain our audience with traditional Flamenco dances such as Farruca and Alegrias, along with Flamenco influenced by rhythms of Latin origin such as the lyrical Guajiras, and Classical dances including Zapateado, which were of interest to Cuban aficionados in the 1950's. Guest Argentinean dance artists, accompanied by an Argentinean band, will perform beautiful and sultry Tangos and waltzes.

Featuring a guest Mexican dance company and a Mexican Mariachi Band, this program demonstrates the similarities between Spanish and Mexican dances and music. Since Mexico was the trading post for Spain for several hundred years, many of its dances were influenced by the Spanish and European Court dances of that era, such as the Mexican Polkas, and the footwork of the Mexican dances of Jalisco. The “zapateados” of both countries are fascinating to watch. The costumes are beautiful to behold, and a several fusions dances were created. The guest artist is Yloy Ybarra, a renowned Mexican and Flamenco dancer.

A program that explores the roots of Flamenco in Gypsy (Roma) culture and the origins of Roma culture in India and Egypt. Depicts the journey, the migration of the Gypsies from India, through Egypt into Southern Spain. Guest artist included Bani Ray, an marvelous exponent of Indian dance, Rayhana with her beautiful style of belly dancing and many fusion pieces, also included a tabla player (drum of India)

Choreography and staging: Eva Lucena with Robert Maiorano. The poem of Lorca is about the Civil Guard sacking a Gypsy town and raping a young girl. The “Martinete” accompanied by the striking of an anvil is danced in this drama, as is “Siguiriyas”. The poem has music as a background and initiates with the burning of the town and rape, followed by the capture and thus shooting of Lorca.

Twenty minute drama of Lorca's friend who died in the bullring. Using the drama of Saetas (Gypsy religious singing, which also includes La Nana), Tientos, Siguiriyas, the ghost is brought back by the Gypsies to recreate the bullfight dance, Farruca,, and the famous “Cinco de la Tarde” and “Café de Chinitas” from Lorca's poetry.

The story of Candelas, the Gypsy woman consumed with love for her unfaithful deceased husband, who is tormented by his ghost, the Spector. As Candelas struggles to free herself from her passion, Eva Lucena as the Sorceress and the Alborada dancers as the other Gypsy women attempt to exorcise his spirit from her in the Fire Dance. Principal singer and dancer Lisa Botalico, as Candelas, sings of her husband's faithlessness in the “Cancion del Amor Dolida” and the curse of love in “Cancion de Fuego Fatua”. Principal dancer Peter Suarez, as the Spector of her husband, continues to torment Candelas in his Dance of Terror. As Candelas is freed of her obsession, the Gypsies drive the Spector away. Candelas and the Gypsies celebrate her freedom with joyous dances such as Sevillanas, Alegrias and Caracoles.

The Smugglers Cave (2000) - Usually performed as the second half to El Amor Brujo. This scene depicts a smugglers cave and begins with a fight over a card game, with the gypsy “moll” breaking up the fight by dancing. The scene continues with Gypsy Flamenco dances and smoldering duets are a major attraction of this second half.