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Niurca Marquez

Miami, FL      

Niurca Márquez (1976) is an artist/researcher with a wide range, as a creator and performer in film, site-specific work and staged performance. Her work has been commissioned by and presented on various curatorial platforms in Europe and the US. She has worked tirelessly on presenting new works that examine notions of identity, cultural memory and ritual in flamenco within a contemporary framework, as well as, works that delve into the multiple layers of communication and understanding in the form. She continuously examines the many intersections of tradition and creation resulting in new languages and expressions embedded in flamenco but informed by contemporary practices in dance and theater: a reflection on the work’s historical placement and potential implications within a contemporary dance setting.

 In 2009 she became part of an international movement that is addressing extended forms in flamenco and reclaiming the art form’s liaisons with political and social discourse. That same year she was invited to perform original choreography at the first-ever Festival of Experimental Flamenco (Flamenc Empiric – Barcelona), as well as, the International Dance Residency at Art Omi (NY). The following year she debuted “Sevilla Mon Amour” with contemporary flamenco guitarist and composer Jose Luis de la Paz as the opening concert for Espacio Vivo Endanza at the 2010 Biennial of Flamenco in Seville.  Since then they have premiered four other collaborative works. She has been an Associate Artist in Residence with Wally Cardona, Liz Lerman and Victoria Marks at the Atlantic Center for the Arts. Her films have been screened in Miami, Scotland, Trinidad/Tobago, Greece and North Wales, in both traditional and non-traditional projection sites.

 In 2014, she was the Community Artist in Residence at the Atlantic Center for the Arts where she completed the third installment of The History House, an interdisciplinary project that is part live arts, part research experiment and has thus far taken place in Huelva (Spain), Miami and New Smyrna Beach (Florida). In it, she collects local history, personal narratives from the community and the town’s natural geography to create a work. To date, the project has lead to the dance for film Abandoned Transits (Huelva), a staged performance (Miami), and a performative installation (New Smyrna Beach) in a 100 year old, three-story house that challenged audiences to create their own personal performance experience. 

​Her most recent work Ofrenda was commissioned by Grass Stains, an initiative looking to expand the site-specific offerings in Miami through the Pioneer Winter Collective. In it, she and collaborating artists enter the space with both an understanding that memories live in landscape and the historical significance of space and place. The work is a collage of ritual, mythology, sound and movement that explores how site moves us and how a variety of traditions can dialogue within a shared geography.

​Márquez is also an informed and articulate writer and her essay on the development of “Flamenco Empirico” in Spain and its implications for the form, was recently published by MacFarllan Press in Flamenco on the Global Stage: Historical, Critical and Theoretical Perspectives, edited by K. Meira Goldberg, Ninotchka D. Bennahum and Michelle Heffner Hayes.

Márquez is the recipient of a 2015 and 2017 Dance Miami Choreographer’s Fellowship and was the 2015 Gillman Fellow at Jacksonville University and White Oak Residency. 

Solea de mis ancestros (Solea of My Ancestors)

The very essence of Flamenco is in it’s ties to those who are no longer with us. Singers, dancers, musicians, poets, cultural cornerstones that are the glue that binds us as artists in this form. Utilizing original lyrics and composition, this work calls out to the past and combines both traditional flamenco as well as contemporary compositional structures and tools in order to make a statement about current artistic voices and our place among them. The piece premiered in the Gran Teatro de Huelva, Spain.

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Suitcases, airports, crowds (the world moves too rapidly) – you look out the window of an airplane and you think about home… (2011)
This was the inspiration for this piece. It is set in the “tangos” style, which is considered one of the festive styles within flamenco. In this case, we wanted to play with the idea of constant transit and how it has a tendency to put you in a “groove”if you flow with it. We got rid of traditional attire in favor of a more urban feel, one that would allow movement to happen in a more natural fashion.

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“Womb” was created during the Dance Omi Residency in Upstate NY in collaboration with Efrat Levy (Israel) and performed at Art Omi and the Alvin Ailey Theater, NY (2009). “Womb” is based on the idea of blood lines that are no longer evident, legacies that are not necessarily spoken of and the imprint left by voices from the past. Its central axis is the resilience of women within the geography of conflict and war.

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