NATIONAL CHOREOGRAPHY AWARD ADE 1996
NATIONAL DANCE AWARD 2002 (Creation)
SEVEN ‘GIRALDILLO’ AWARDS, BIENNALE OF ARTE FLAMENCO
CRITICS’ AWARD FOR BEST SHOW, XV BIENNALE OF ARTE FLAMENCO
LÉONIDE MASSINE AWARD, 2004 ITALY
VI ‘FLAMENCO HOY’ PRIZE, 2005 (Performer and Show)
CULTURA VIVA AWARD 2006 (Dance)
PREMIO CULTURA 2007, from the COMMUNITY of MADRID
AUDIENCE’S AWARD, JEREZ FESTIVAL 2009
MEDAL from the COMMUNITY of ANDALUCIA 2011
INTERNATIONAL TERENCI MOIZ AWARD 2011
‘BUTACA’ PRIZE 2011, for the BEST SPANISH THEATRICAL PRODUCTION
AUDIENCE’S AWARD, JEREZ FESTIVAL 2012
ACTUA AWARD 2012, AISGE
GOLD MEDAL OF MERIT IN THE FINE ARTS 2014, MINISTRY OF EDUCATION, SULTURE AND SPORTS OF SPAIN
Maria Pagés was born in Sevilla. She is internationally renowned for her personal aesthetic concept of the art of flamenco. Comprehending that Art has no limits, she has conquered a place in her own right in the global dance panorama.
Using the fundamental codes of the Flamenco language, researching within and beyond this language, Pagés has proved to be a pioneer in the understanding of Flamenco as an Art in evolution, contemporary and alive. She has overcome cultural differences in her choreographies, convinced that artistic interchange favors better understanding between human beings. In her own words, Flamenco is a clear example of how the union of cultures, races and religions, can create a common echo.
In 2002 she was awarded the National Prize for Dance (Creation) and the ADE Choreography Prize in 1996. She is awarded the 2004 Léonide Massine Prize, for L’Arte della Danza “Al Valore”, eight ‘Giraldillo’ Prizes in the Seville Flamenco Art Biennale and the 2007 prize for Culture from the Community of Madrid, amongst many other distinctions and awards.
She started her professional career in the Antonio Gades Company. Highlights of her movie collaborations are her participation in ‘Carmen’. ‘El Amor Brujo’ and ‘Flamenco’, all directed by Carlos Saura. ‘Burlerias’(1996), ‘La Tirana’ (1998), ‘Flamenco Republic’ (2001), ‘Canciones, Antes de una Guerra’ (2004), ‘Sevilla’ (2006), ‘Autorretrato’ (2008), "Flamenco y Poesía" (2008), ‘Dunas’ (2009) ‘Mirada’ (2010) and "Utopía" (2011) . In 2002 Pagés creates a choreography for the Spanish National Ballet, ‘Ilusiones F.M.’
During those years María Pagés and her company have been present on the best and most prestigious stages around the world and has promoted benefit shows in countries such as India, Mozambique, Mexico and Honduras. In October 2005, the Maria Pagés Company was responsible for the inauguration act of the Ibero-American Summit celebrated in Salamanca. The opening act included the premiere of the choreography created for a poem written by Jose Saramago: Ergo uma rosa.
In 2007 Mikhail Baryshnikov invited Maria to dance at the Baryshnikov Arts Center (BAC) in New York, this project reached completion with a creation by the choreographer, in residence in the BAC.
In 2008, Autorretrato (Self-portrait) was premiered at the Tokyo International Forum. This piece displays a moment of vindication and artistic plenitude, expressed with the complicity of the Nobel Prize Winner, José Saramago, who gave his own voice to his poem 'Ergo Uma Rosa'
In October 2009, the Teatro Real in Madrid included the María Pagés Company in it’s dance season program. Pagés has also collaborated with the tenor, Plácido Domingo, in Plácido y la Copla. This same year sees the premiere of Dunas, created with the choreographer Sidi Larbi Cherkaoui, in which they share Flamenco and Modern Dance, establishing a dialogue full of poetical content.
In 2010, Pagés directs the Inauguration Gala of the Spanish Presidency of the European Union, which took place in the Teatro Real in Madrid. Pagés shares stage with Tamara Rojo and creates a special choreography that both dancers perform together with the Spanish National Choir. During this same year Soleá Pas de Deux was premiered with great success in the New York City Center – with a choreography created by Maria Pagés for Ángel Corella.
Mirada is premiered in Seville, as the closure of the season at the Teatro de la Maestranza in June 2010, unanimously acclaimed by both critics and audience.
Pagés’ latest project, Utopia, premiered at the Niemeyer Center in Avilés, Spain, in October 2011, is a declaration of principles in the form of Flamenco dance born of the admiration the choreographer holds for the architect and humanists Oscar Niemeyer (1907-2012), who transmited to Pagés, during their encounters in Copacabana, his message of integrity, commitment and solidarity.
In 2012, she creates Casi divina, leve (Almost divine, light) where she performs along with the dancers and musicians of the company a show of high visual impact, which synthetizes and raises the spirit of Flamenco.
Concurrently, María Pagés Company has been increasingly devoting its time, efforts and resources to social and solidarity work, in spots as hospitals for children and shelters for mistreated women, among others.
With this essence, in 2013, the company creates and premiers La alegría de los niños (Joy of Children). Being certain about the important role that the dance may carry out in process as social education in civil principles, and promotion of the respect to diversity and teamwork concepts, María Pagés Company starts up this interactive show, which is thought and conceived to familial audiences, and which marks the accent, moreover, in the creation of new audiences. From this moment on, this show comes along the company in its national and international tours.
In 2014 at the biennial flamenco event in Seville, the Bienal, María Pagés presents a new show, created specifically for her participation one year more in this renowned event, one of the most significant events in flamenco world, without doubt. Entitled Siete golpes y un camino (Seven hits and a road), María Pagés presents a journey along the last 7 years, which mean a key period not only personally but also professionally.
In October 2014, the company premiers its last production Yo, Carmen (I, Carmen) at Teatro Calderón in Valladolid (Spain), a chorographical reflection that searches to confront the myth and to strip the audience from that manufactured image, integrated into our cultural background in order to, from this nude point, build up on stage a more certain, more truly woman. At the same time, it does not only explore the desire as an ethic responsibility but also reclaim life, pleasure, autonomy, freedom and happiness as fundamental rights of every single human being. That same month, the show travelled to Singapore (Esplanade-Theatres on the Bay) to hold its international premier; both premiers, national and international, has received an enthusiastic response from audiences and reviews.
Creative intensity from María Pagés closes the year 2014 with the premier in December, at Temporada Alta Festival in Girona, of the show Óyeme con los Ojos (Let your eyes listen to me), a piece which takes the name from the poem “Sentimientos de ausente” (Feelings of absent) by Sor Juana Inés de la Cruz. This work is a piece of maturity, a monologue where the choreographer and dancer collects, expresses and shares life among strongly dramaturgical-marked scenes, both with in the purest chorographical dimension and within the musical one: rhythm, singing and melody, powerful tapping and percussion, tough and delicate voices, humor…all these elements interacting. María presents herself from her closest side, her most proximate facet.