The New York Times called the “purity and invention” of La Meira‘s dancing “joyous, powerful.” Widely recognized as a master teacher and performer, Meira began her training in her native Los Angeles with Luisa Triana, Roberto Amaral and Carmen Mora. In Madrid in the 80s she spent years studying by day and performing by night in several of Madrid’s best tablaos (Flamenco clubs). Meira appeared at Luisillo’s Los Cabales, Manolo Caracol’s Los Canasteros, and was the solo attraction at the Arco de Cuchilleros. She has performed with many of the giants of Flamenco, including Antonio Canales, Tony “El Pelao” y “La Uchi,” Dolores Amaya “La Pescadilla,” Diego Carrasco, Manolo Soler, Juanito Habichuela and Jose Soto of “Ketama,” Enrique Soto, Ramon El Portugues, El Guadiana, El Indio Gitano, El Chato de la Isla, Pepe Montoya “Montoyita,” Arturo Pavon, Dolores de Cordoba, Tito and Diego Losada, Chuni Amaya, La Repompa de Malaga and Raquel Heredia, Alfredo Lago and Antonio “de la Malena.”
La Meira has been first dancer in Carlota Santana Flamenco Vivo, Fred Darsow Dance, Pasion y Arte, and Ballet Flamenco La Rosa, performing throughout North America in venues such as Carnegie Hall and Jacob’s Pillow. Meira has been featured in several documentaries and has been awarded choreography grants from Pew Charitable Trusts, American Dance Festival, and the New York State Council on the Arts. She choreographed “Carmen” under the baton of Seiji Ozawa, and the first staging of the 1915 version of Manuel de Falla’s “Amor Brujo” since Pastora Imperio performed it in that year, along with the rarely staged opera “La Vida Breve” for the Manhattan School of Music. The New York Times called the production “one of the more audacious, intriguing operatic undertakings to hit a New York stage this season.” Meira holds an M.F.A. in choreography as well as an Ed.D in dance history from Temple University, and has published numerous articles on Flamenco history. Meira’s doctoral dissertation on Carmen Amaya contains thirty five interviews with figures such as Diego Castellon, Leo and Antonia Amaya. She is currently working on a project entitled “Sonidos Negros: Meditations on the Blackness of Flamenco.” She has taught at Bryn Mawr, NYU, Princeton, Sarah Lawrence College, Flamenco Festival International in Albuquerque, Ballet Hispanico and at the Fashion Institute of Technology.
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