Juan Siddi Santa Fe Makes Its Debut, Sponsored by the Joyce Theater

By Alexandra Villarreal

When Juan Siddi debuted at the Joyce Theater in 2003, he thought the performance would mark one of the great achievements of his career. He was in his early 20s and a backup dancer with María Benítez’s Teatro Flamenco, a troupe based out of Santa Fe, New Mexico. Even over a decade ago, Siddi was recognized as a “dynamic young dancer,” according to the Joyce’s Director of Programming, Martin Wechsler.

Neither Siddi nor Wechsler could have predicted that, over a decade later, said youngster would return to the venue with his own ensemble in tow. Founded in 2008, Juan Siddi Flamenco Santa Fe will have its New York City premiere March 22-27, hosted and sponsored by the Joyce Theater.

“The dynamism that Mr. Siddi displayed early on [has] remained, but he [has] grown into a mature dancer and choreographer,” Wechsler said. “He is advancing the performance style that Joyce audiences may remember from the performances of María Benítez, adding his unique personal touch and making it relevant for today.”

For Wechsler, part of Siddi’s appeal comes from his musical choices; he challenges the notion of flamenco as a museum piece, instead incorporating new sounds and rhythms without cheapening the art form. For example, he has commissioned pianists and cellists to accompany his dancers, whose tunes depart from the Spanish guitar but still stay true to the spirit of flamenco. Likewise, his aesthetic can stray from the Andalusian style, adding in East Indian themes that recall flamenco’s earliest origins. Still, in Siddi’s movement, everything has its rhyme or reason — cultural accents are meant to enhance the , not to redefine it.

“Flamenco has changed and is always changing itself,” Siddi said. “Some pieces are more traditional, some have a little twist with a modern touch. But the overall picture is authentic flamenco.”

At the Joyce, Siddi’s bill will be varied to showcase the company’s diversity. In Sabor Havana, the brightly embroidered mantón de Manila will take center stage, its fringe flying through the air as dancers maneuver the iconic shawl. In contrast, Ángel de la Guarda — or “guardian angel” — will deal with religious symbolism through a song imported from the Andalusian city of Huelva. Women wearing long traditional dresses —batas de cola — and playing castanets will honor the Virgen del Rocío, who holds significant spiritual weight in Southern Spain.

While Siddi’s work varies depending on theme and content, one constant that holds it together is the triangular relationship between his ensemble. In his choreography, the musician, the singer, and the dancer are equally important, and each has moments to exert his or her leadership.

“It’s not just dance,” Siddi explained. “One of the most important parts is the song, the actual singer. The singer sings his story, and the dancer is going to interpret it with his soul and with his body — and tells the story, feels the story. So it’s very emotional, and very deep. It can be very serious, it can be very happy, it can be very festive — all the feelings that everyone has in life.”