Flamenco Messenger

With her thick black curls framing a face filled with passion, Carmen Romero is a force of nature both onstage and off. Her artistry reflects the intricate relationship between flamenco dance and emotional healing, revealing how movement can serve as a profound means of expression.

Raised in a multicultural household – her father Spanish and her mother German – she was immersed in flamenco music from an early age, a connection that deepened when she immigrated to Canada with her family at the age of four. Settling first in Hamilton and later in Toronto, where she began her dance studies at age eight, Romero moved to Seville in her teens to learn from some of the world’s premiere flamenco artists.

I use the physical power and artistry of the body for psychological and spiritual exploration. All these elements come together in flamenco

Despite her dedication, she initially hesitated to pursue flamenco professionally. “I didn’t know ballet or modern dance, so I never thought I could fit in,” she says, her voice clear and confident. Instead, she enrolled at York University to study psychology, a decision that would later enrich her artistic practice.

Romero’s approach is deeply influenced by her background in the behavioural sciences. “I like to investigate the art form in a deep way,” she says. “I use the physical power and artistry of the body for psychological and spiritual exploration. All these elements come together in flamenco.”

Over three decades, Romero has adeptly balanced her roles in corrections and neurological rehabilitation with her flourishing career as a flamenco artist. In 1986, she founded the Compañía Carmen Romero and later established the Carmen Romero School of Flamenco Dance in Toronto.

Advancing her training, she frequently travelled to Spain to study with flamenco masters, earning numerous accolades for her artistry, including a 2003 Dora Mavor Moore Award nomination for Best Choreography.

In 2000, she represented Canada with a full Canadian flamenco cast at the ninth annual Certamen de Coreografía de Danza Española y Flamenco competition, held at Málaga’s prestigious Teatro Cervantes. Her expertise even extends to coaching pop stars; in 2010, she worked with Shakira for her “Sale el Sol” world tour.

As Romero collaborated with flamenco luminaries such as La Tati, one of Spain’s greatest female artists, she became increasingly attuned to the profound emotional resonance of dance. Her appreciation for the transformative power of dance intensified when her first-born daughter was diagnosed with a neurological disorder that required extensive rehabilitation.

We are the muse to the audience. The audience lives through us

Drawing upon her dual expertise in dance and psychology, Romero recalled a vivid moment when her daughter began to regain strength, swaying gently to music. “That impulse became a motivation and a goal,” she reflects, illustrating how movement evolved into a powerful tool for healing and communication.

The experience reinforced her belief that art transcends mere performance; it embodies wisdom that can facilitate connection and recovery, allowing individuals to navigate their emotional landscapes. Romero emphasizes that “artists are messengers” who convey not only deep emotions but also insights that resonate on a fundamental human level, bridging the gap between suffering and healing. “We are the muse to the audience,” she says. “The audience lives through us.”

Praised by critics for her “languorous arms” and footwork “clacking out furious beats, building to a breathtaking crescendo,” Romero continues to make significant contributions to Canada’s flamenco scene. This November, she celebrated the 10th anniversary of the Duende Flamenco Festival at Toronto’s Aga Khan Museum, where she served as guest curator.

 

In this role, she showcased exceptional talent, including Antonio Najarro, a dancer trained in Madrid known for his innovative choreography; Farruquito, a celebrated artist from Seville recognized for his powerful performances; and Nazaret Reyes, an emerging talent from Jerez de la Frontera, a city renowned for its deep flamenco roots. Their participation underscored the festival’s commitment to presenting authentic flamenco artistry to Toronto audiences while highlighting the dynamic evolution of this cherished art form.

As part of the festival, Romero hosted a workshop for York University dance students at the Keele Campus featuring Ángel Rojas, an international flamenco artist who created a special commission for the Aga Khan Museum in collaboration with Farruquito. This initiative aimed to introduce flamenco to a wider audience, many of whom were encountering the art form for the first time.

Looking ahead, Romero is set to open a new studio in December, which will serve as an expansion of her current efforts in promoting flamenco culture in Toronto.

As a teacher, Romero displays a nurturing and attentive nature – a striking contrast to the commanding presence she exhibits in her performances. Adult students at her flamenco school, many of whom are learning Spanish dance for the first time, praise her patience and encouragement.

“Carmen is so patient and inspires us to never give up, even when it’s tough,” says Toronto resident Chris Koenig, who wears a fringed floral shawl around her waist while learning Romero’s choreography for Bulerías. “I live for this class,” adds fellow classmate Anca Puiu, dressed in a flouncy floor-sweeping flamenco skirt and regulation black heels. “For me, it’s better than therapy.”

Standing proudly at the front of the room before a mirrored wall adorned with photos of her own dancer mentors – Antonio Gades, the legendary Spanish flamenco dancer; Paula Moreno, a prominent figure in Canada’s flamenco scene; and Andrés Peña, a celebrated dancer and choreographer known for his electrifying performances – Romero expresses gratitude for her students’ enthusiasm.

“When I teach,” she says, “I’m sharing more than just steps. I’m sharing feelings and the joy of movement. It’s about fostering a community through the language of dance.” ■