Artistic Director - Rebeca Tomás
Rebeca has been deemed by the critics as “awesomely fiery” (New York Times), “masterful” (Eva YaaAsentawaa), and “a postcard image of the feminine Flamenco dancer” (Kansas City Metropolis). After years of performing and touring with such companies as Soledad Barrio and Noche Flamenca and Flamenco Vivo Carlota Santana, she founded A Palo Seco Flamenco Company, for which she directs and choreographs her own original productions. Acknowledged as an up and coming voice in the U.S. Flamenco community, for an artistic vision deeply rooted in Flamenco tradition, yet relevant in a modern urban context, her productions have been proclaimed as “a feast for the eyes and the ears” (Theatre Online).
In support of her artistic work, Tomas has received the LMCC MCAF grant (2011 & 2013) for her company productions, Jerome Foundation's Travel and Study Grant (2008 & 2010), a Space Grant at the 92Y Harkness Center for Dance, and first place at the XIII Concurso Nacional de Flamenco in Albuquerque, New Mexico (2010). In July 2012, her piece “El Lenguaje del Abanico” was featured by La Caixa Foundation/Vitra Design Museu in Barcelona. Tomas was featured in the NYC Library of the Performing Arts’ exhibition 100 years of Flamenco and was one of Cora Dance’s Groundwork Resident artists. She is presently a 2013 fellow in Choreography from the New York Foundation for the Arts.
In addition to her work with A Palo Seco, Tomas works as a dancer, instructor, and choreographer throughout the country. Past projects include Lincoln Center's production of Women on the Verge of a Nervous Breakdown, R.evolución Latina's Choreographer's Festival and presentation at the Broadway Cares 25th Annual Easter Bonnet Competition, and Yaron Zilberman’s indie drama A Late Quartet. She is currently working as choreographer and project director for Flamenco Vivo Carlota Santana’s upcoming Navidad Flamenca.
Rebeca began her formal dance training in Granada, Spain at Maite Galán's Escuela de Danza Española. She later moved to Madrid, where she studied at the internationally renowned Flamenco Academy Amor de Dios under such figures as Maria Magdalena, La China, Manuel Liñán, Rafaela Carrasco, Alfonso Losa, and Concha Jareno, with whom she took intensive courses in Manton (manila shawl) and Abanico (fan). While in Madrid, she appeared at various tablaos around the city, including Al Andalus and Las Carboneras. She has also studied in Sevilla with Juana Amaya, Pastora Galván, and Yolanda Heredia, focusing on Bata de Cola (long-train dress) technique.