She is the most important embassador of Spanish and flamenco dance in the United States. She knew how to learn and how to teach. Over thirty years bringing our most genuine culture to the stages of all America and Europe have made her worthy of one of the most important awards the Spanish government can present. This is Marí­a Benitez' self-portrait...

Round-trip ticket: the first leg of the journey

I was born in Taos, a little town in the north of New Mexico. Having Spanish roots and with an interest in Spanish dance, I began to study with a teacher who had studied with the famous Cansino family (of Rita Hayworth). I was just a young girl then, but later, when I was a little older, I decided to go to Spain to study more intensely and I looked for the best teachers at Amor de Dios: Victoria Eugenia for classic (one of the directors of the Ballet Nacional long ago), Pedro Azorí­n for jota, Mercedes and Albano for flamenco, and years later I studied a great deal with Ciro in Madrid. Also Mario Maya who set some dances and a choreography for our company. I spent many years in Spain and worked as soloist with Paquita Rico's company as well as with Marí­a Rosa. With this company my husband and I returned to the US and settled here: in those days there was little flamenco and lots of work.

Good sources

In Los Angeles I was with Carmen Amaya, Luisa Triana and her father Antonio Triana, her uncle Maestro Matos and many more people than I could possibly name. I heard and met guitarists like Sabicas, Mario Escudero, Paco de Lucí­a, Chuscales, Andrés Heredia, Carlos Sánchez and Manolo Sanlúcar. And also singers like El Niño de las Cabezas (Miguel Gálvez), Domingo Alvarado, Silverio Heredia, El Falo, El Chocolate, Enrique Morente and many others.

"If you want to make a career out of Spanish dance, including flamenco, you have to be as versatile as possible"?

First stops on the trip

My main learning was with Victoria Eugenia who gave a strong foundation in classic: arms, castanets, placement, body movement to combine all the rest. In my opinion, most foreigners (especially Americans, because that's the group I know best) jump right into flamenco without having a preparation in Spanish dance. I think if you want to make a career out of Spanish dance, including flamenco, you have to be as versatile as possible. For me, playing castanets is an integral part of Spanish dance. If you get a job in the opera "Carmen"? (I've done a lot of opera) and the director wants castanets but the dancer can't play them, that's one lost job. The dancer doesn't need to use castanets in his or her own dances, but must know how to play them. After Victoria Eugenia (Betty), I spent a long time with Mercedes and Albano who are of the flamenco style, but also have great knowledge of classic dance.

"I admire something well-rehearsed, but at times I miss the risk-taking"?

Discipline and inspiration

My dance is closely related to my physical appearance and in a certain sense is a somewhat savage: I’m not a completely rigid dancer. I very much admire something well-rehearsed, but at times I miss the risk-taking, I mean like throwing yourself into a movement without knowing what's going to happen. It's also very dangerous!

By doing that, I've discovered some very interesting things, but I've also made a lot of mistakes. I like the surprise element, and not only in dance, also in music in general. I don't want to know what's coming up.

The sources keep flowing

As a result of this dedication to dance, I founded the Instituto del Arte Español, a non-profit organization whose objective is to give continuity to the new generation interested in this art-form and perpetuate it in this part of the world where there is great interest in all things Spanish. I feel fulfilled when the students show discipline, energy and concentration for learning the first steps, the exercises which are so important. When they have it, then they can move up to the next level, which is always more difficult. You have to consider that Spaniards are born with flamenco and have it around them all the time. Not here. That's why we have to begin with the first steps, that's the foundation.

"Being a member of this company, the pride they take in their culture is obvious"

The seed

At the Institute I have a group of young people (10-18 years old) called Próxima Generación de Flamenco and they perform at schools, community events, private parties, as well as our Gala and other occasions that arise. Although most of them won't go professional, this experience teaches them important concepts like cooperation, the quest for excellence and discipline. And of course, they learn how to study, to rehearse dances, to prepare for a show, to learn the rhythms, to dance with guitar, etc. Some of these dancers teach children at the Institute, and others give classes in small towns near Santa Fe. I like it that most of them are Hispanic and being a member of this company, the pride they take in their culture is obvious. When they start giving classes, they see the economic compensation that comes after having devoted their time, energy and resources to studying this art.

In summer when we do the workshop we get between 200 and 250 students from all parts of the country and from other countries as well. Some teachers we've brought are Ciro, Mario Maya, Javier Latorre, Joaquí­n Ruiz, Domingo Ortega, Luis Ortega, Ã?ngel Muñoz, Antonio Granjero, Rafaela Carrasco, Alejandro Granados, etc. When the course is over, there's a Student Recital in the theater where everyone participates, from the children to the professionals, doing what they learned during the course including dance, guitar and cante. It's a tremendously popular event and always fills the theater.

"It's hard when the greatest challenge is getting to the theater on time instead of concentrating and preparing what has to be down in the show"?

The long haul

My company has been going strong for 33 years and some of the best artists of our time have performed in it. I had the good fortune to bring choreographers from Spain to mount works and ballets that we eventually took throughout the country including many performances at the Joyce Theater in New York. We've had people like Ciro (El Muro), Joaquín Ruiz (Aires de Silencio), Mario Maya (Flamencos de la Trina and other works by Hector Zaraspe), José Greco (he did two tours with us), José Molina, Luis and Juan Ortega, Antonio Granjero, Ã?ngel Muñoz, La Tania, Adela Clara, Roberto Lorca, Manolo Rivera, Orlando Romero, Rosita Segovia, Eduardo Montero, Alejandro Granados, Victorio Korjhan and many others.

Round-trip ticket: the return

After more than 30 years traveling around the US, Canada and Europe, I'm a little tired of so much traveling. It's hard when the greatest challenge is getting to the theater on time instead of concentrating and preparing what has to be down in the show. So much touring burns you out. But this summer, without a doubt, I've set myself a new challenge. I've spent two seasons without dancing in order to manage the organization's office, but during this time I've learned that the little time I have, I want to give it to what I've been doing all these years, and not to office administration, there's plenty of time for that! I've decided I want to return to the stage with a completely different show that's never been done. It's going to be like a retrospective of my long career combining film, video, photos, etc. A retrospectivce not only of me, but also of the many great artists who have passed through my company.

"To continue to give opportunities to artists to create and present original works of high quality, provocative, but always respectful of tradition"?

The best of company

And certainly, I cannot forget to mention the most important person in all this, my husband Cecilio Bení­tez, who has been the moving force, always encouraging me in my career. I wouldn't be where I am had it not been for him, his support, his tireless work and keen vision. So it's a big project which is going to incorporate everything I said, combined with dance and live music. But since it all has to do with cinema, it's very expensive, now I have to seek the funding to carry it out...another great challenge!

The pay-off

I'm very proud that Spain has awarded me the honor of the Cruz of Isabel la Católica for all the years I've devoted to this art. I've very motivated.

Dreams that are possible

My is to see the Instituto del Arte Español continue to move forward with economic support, with the collaboration of the general public and of the large foundations that have power and means. If we had this, we could continue - at a higher level - to give opportunities to artists to create and present original works of high quality, provocative, but always respectful of tradition. These artists will take the voice of Spanish Arts to the whole world via their knowledge, their affection and their keen interest.