The dance of María Moreno (Cádiz, 1986) is the result of pure evolution. Her body movement is nothing more than the reflection of her unquestionable freedom, marked by the value she dedicates to the flamenco tradition from updated and contemporary codes. He places his advanced technique in a balanced position, basing his message on the breadth of resources that his creative universe allows him to show.

His land has marked him to the point of letting himself be carried away by the confluence of cultures, absorbing stimuli to shape his artistic architecture free of prejudices. He therefore gains in each of his proposals because he reflects the narrative diversity of an oeuvre that is under continuous construction.

In the meantime, its essence is spilled in theaters such as the Sadler's Wells in London, the Paris Villette, the Academic Theater of Opera and Ballet Tchaikovsky and the Russkaya Pesnya in Russia. His appearances at the Roman Theatre of Baelo Claudia, at the Suma Flamenca in Madrid or at the Itálica Dance Festival in Seville stand out.

And so she walks from beginnings that lead her to win the Revelation Award of the Festival de Jerez in 2017, with the assembly Alas del recuerdo, confirming herself as a name of flamenco dance in 2018 with De la Concepción, which allows her to win the Giraldillo Revelation of the Bienal de Sevilla. It was an intense year, because at the same time he performed RECREO, also in 2018.

The consecration of an exciting reality arrives in 2020 with the premiere of the show More(No)More, with which she wins a second Giraldillo, in this case to the Magic Moment of the XXI Biennial for the beginning of her soleá. In this edition, moreover, she is in charge of the opening act together with Antonio Canales and Rafael Riqueni, whom she previously accompanied on the tour of his album Herencia.

In 2020 Yo bailo, a book shared with the photographer Susana Girón in which María signs the texts and which is an extension of the show of the same name born a year earlier, saw the light of day.

He tours world music festivals with the Manuel de Falla Orchestra and the Enrike Solinís & Euskal Barrokensemble.

She has been nominated three times in the Max awards of the performing arts, two of them for De la Concepción (Best Female Performer and Best Stage Direction) and one for More(no)More (Best Costumes), recognition that took place in the PAD Awards (The Association of Dance Companies and Professionals).

In this incessant challenge between her being and her artistic expression, María seduces with her brilliant language, her modernist style and the accurate sense she gives to her proposals. Not in vain, since her beginnings at the Professional Dance Conservatory of Cadiz, she has absorbed the best of masters such as Javier Latorre, Antonio Canales or Eva Yerbabuena, being inspired by the ideas and direction of Rafael Villalobos or the groundbreaking fashion concept of Palomo Spain for a wardrobe that defines the personality and perspective of an unclassifiable artist.

María moves away from immovable spaces to approach the movement of time and its circumstances as living matter that moves the soul. With the movement of her hands she makes herself, raising an ode to dance from its deepest roots and reaching a whole as malleable as firm.

Crucial for the artist is to discover new atmospheres, to take risks and immerse herself in research, to know a mature discourse of herself with the conviction of finding freedom. This is the case with Soleá, premiered in September 2022 at the XXII Bienal de Flamenco de Sevilla as one of the most anticipated events of the edition. María, polyhedral and subtle, returns to the style that most represents her to break it down technically and emotionally, leaving before the viewer a new physiognomy of the danced soleá.

In this montage we can perceive the new perspective of the Cadiz woman who does not run away from herself, but rather meets again with the fantasy of the immense and unlimited. The challenge is not the result, but the construction of the path.