Rant & Rave
Angelica Escoto, courtesy Flamenco Vivo Carlota Santana

Irene Rodriguez's recent Dance Magazine interview—which mentions only a few of the many flamenco companies in the U.S. and claims a lack of innovation in American flamenco, and has already drawn criticism in a letter to the editor penned by Ensemble Español—brings to the forefront a deeper problem surrounding flamenco in the United States.

Why are so many flamenco dance companies and dancers in the U.S.—especially those pushing the form forward—overlooked and undervalued? Why do we constantly have to defend our work?

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