The image features the stylized white text "Liturgia Andreska" on a black background, with "Liturgia" written in a cursive font and "Andreska" in block letters beneath it.

« Vêtu d'un éphod de lin, David se mit à danser de toutes ses forces devant le Seigneur. »

"David et tout le peuple d'Israël faisaient monter l'arche du SEIGNEUR avec des aclabations et au son du cor, dans la joie." 2 Samuel 6, 12-23

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Liturgia est une expérience immersive à travers la manière dont Dieu a été chanté en Andalouise au fil des siècles, et son influence sur le flamenco.

A person standing amidst candles arranged in a heart shape inside a church with ornate carvings, an altar, and religious symbols.
A person with long dark hair, dressed in dark clothing, performing a dance or movement in a dimly lit church or cathedral with wooden altar and religious statues in the background.
Silhouette of a person walking down the aisle of a dimly lit church decorated with candles, with an ornate altar in the background.
People singing in a choir during a music performance.
A man is standing in the center, surrounded by four people in a dimly lit room with candles on the floor, in front of an altar or religious setting.
Three people are standing close together in a church, singing or praying with their eyes closed and hands clasped or near their chests. The background shows ornate religious decor and a large altar piece.
A person dancing or performing in a dimly lit room with ornate woodwork and religious paintings on the wall.
A man with long dark hair and a beard is sitting with his eyes closed inside a dimly lit church. He is wearing a dark jacket and has his arms crossed over his chest. In the background, there is an ornate altar with religious statues and a floral arra
A man performs a dance surrounded by lit candles in a church, with a woman playing a musical instrument on the left and an altar in the background.
A man with long dark hair and a beard stands in a dimly lit room with his arms outstretched and head tilted back, appearing to be in a pose of concentration or worship, with an ornate wooden altar or altar piece in the background.
Four people singing in a church. The man in the center has curly hair, a beard, and is wearing a beige shirt with buttons. The others have their eyes closed, possibly singing passionately.
A man with curly dark hair, beard, and earring looking to the side in a warm-lit room with a woman with dark hair in the background.
A man with long dark hair and a beard stands at a prayer altar, singing passionately with his eyes closed, in a dimly lit church interior with religious icons and a floral arrangement.
A person, possibly a young woman, running in front of a church altar or an ornate religious altar with statues and wooden detailing inside a church.
A man with long hair and a beard, dressed in black, is dancing in a dimly lit church or cathedral, surrounded by numerous candles arranged in a square shape on the floor. In the background, a musician is seated with a music stand, and the ornate inte
A woman with long dark hair and outstretched arms stands inside a dimly lit church, with an ornate altar in the background.
A man passionately singing or shouting, with eyes closed and fists clenched, in a dimly lit room with a religious icon or painting in the background.
A person with dark hair and glasses is raising their arms and looking upward inside a dimly lit room with wooden details and religious artifacts in the background.

Découvrez l'équipe

A man with dark hair singing passionately into a microphone in a dimly lit room with a religious icon in the background.
A man, Jose Maya, best flamenco dancer, with long dark hair and beard standing in a dimly lit church, arms outstretched, eyes closed, in front of ornate altar with religious statues and gold accents.

José Maya

Woman gesturing with her hand while speaking, indoors with stone wall background.

Sandra Carrasco

A man with curly dark hair and a beard, wearing a white shirt, holding his chest while looking down, standing indoors against a stone wall.
A man with glasses and gray hair playing a cello in a dimly lit church decorated with candles.

José Luis López

Diego Amador Jr

Rafael Jiménez “Falo”

L'expérience

Nous proposons au spectateur de participer à une expérience unique et singulière. Avec ses cinq sens et dans des lieux de culte pour une immersion plus complète.

Nous recherchons les influences dans la manière dont les cultures qui ont existé en Andalouise (et en Espagne) au fil des siècles ont chanté Dieu, jusqu'à l'arrivée du flamenco : Tartessiens, Phéniciens, Romains, Hébreux, Byzantins, Al-Andalus, Mozarabes, Castillans et, bien sûr, les Gitans.


Sans artifice. 100 % acoustique. Uniquement le cante, le baile et les palmas, les instruments ancestraux de l'humanité.

Chaque expérience de Liturgia est unique et irremplaçable grâce au cadre dans lequel elle se déroule.

— Immersion dans une liturgie flamenca

Gerhard Steingress : "Avec la popularisation de la musique liturgique chrétienne, ses modalités mélismatiques et chromatiques issues du chant mozarabe et ensuite grégorien ont été assimilées aux nouvelles tendances musicales des siècles XVIII et XIX.
L'"orientalisme musical" du chant jondo n'a pas surgi par génération spontanée au siècle XIX, sino que estuvo presente en el escenario de los cantos litúrgicos (entre otros) que serían utilizados por el pueblo andaluz y usados como " modelo " para la asimilación y reelaboración de los cantos populares, tanto religiosos (saeta) como profanos (" tonadas ").
Turina : "lo jondo" n'est pas une caractéristique gitane, mais "lo gitano" est une caractéristique de "lo jondo" provenant du chant liturgique médiéval tanto mozárabe que almuédano, hérité de la liturgie bizantine et de la musique andalouse à travers la saeta primitiva évoluant jusqu'à la toná(eslabón de inserción de las antiguas tradiciones musicales en el flamenco) donnant naissance, plus tard, au "gypsy seguiriya".

— Fondements

Nous proposons une "liturgie andalouse" comme "héritage" de l'ensemble des différentes manières de célébrer les rites religieux en Andalousie au cours de son histoire. C'est le résultat de l'assimilation et de la continuation de chacune des influences des différents peuples qui ont peuplé cette terre.
L'Andalousie chrétienne a connu son âge d'or musical au milieu du XVIIIe siècle, et a trouvé dans la "liturgia cristiana andaluza" sa plus grande splendeur. Et les cafés chantants. Et la situation sociale et politique de l'Espagne du XIXe. Et tant de "je".

« Le flamenco est une liturgie en soi. Un rythme. À votre place. Maintenant, c'est mon moment. Et retour. Silence. On se lève. Macho. Maintenant, écoutons la guitare. Et quand est-ce que je chante ?
Nous voulons proposer une autre façon d'aborder le flamenco. Il s'agit de le délocaliser des scénarios habituels pour le relocaliser dans les lieux où cet art a vu le jour. Ces lieux - et les groupes qui y participent - ont contribué à maintenir le fil conducteur de la culture musicale andalouse à travers les siècles», Daniel Torres.

— Performance

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