"Five Brilliant Seconds Are the Result of a Thousand Hours of Rehearsal"

Sara Baras (San Fernando, Cádiz, 54 years old) shows no signs of fatigue. After 5,000 performances, the flamenco dancer and choreographer feels strong enough to continue showcasing her art on stage. Immersed in the 'Vuela' tour, a show that pays tribute to her friend Paco de Lucía, she believes that flamenco, as a universal language, knows no borders, so the next Camarón could be born in Australia, Miami, or Japan. "The land pulls a lot, but flamenco is a way of feeling and living." Sara Baras is in the news for winning the Connecting Excellence Award, granted by Turium, the excellence tourism division of Vocento, for her career and her work as an ambassador of Spanish culture.

–What is the best thing that has happened to you on stage?

–Since I created the show 'Alma', which was dedicated to my father, and now this latest one, 'Vuela', in honor of maestro Paco de Lucía, I have felt something very special. Those people, so important to me and who are no longer here, I feel them with me on stage. And not with sadness, but with joy and gratitude.

–Cristina Hoyos said that after a performance, even her last hair hurt. Does that happen to you too?

—Yes, absolutely. It's hard to believe that on stage you float, almost fly, and then your body hurts so much. There's a technical part that we control, but the emotional part we don't, and magical things happen there. The next day, you feel like you've spent a whole night partying dancing: you're shattered. They say you can lose up to two kilos in an intense performance.

–What advice did Paco de Lucía give you?

–Paco insisted a lot on work. He said that inspiration should come to you while working, that five brilliant seconds are the result of a thousand hours of rehearsal. He also insisted on not forgetting where you come from, on keeping your feet on the ground, on not forgetting your roots. That allows you to have your eyes open to all kinds of cultures and music.

–Was he as serious as he seemed?

–He had a great sense of humor and was very affectionate. He commanded respect, of course, but he quickly showed you his closeness. He was genuinely humble.

–What does it feel like when that thing they call 'duende' appears?

–It's hard to explain, it's like everything coincides at the same point: the music, the light, the energy of the audience, the connection with your colleagues... It's a wonderful explosion. When we watch the recordings to correct mistakes, sometimes we are surprised because they are very heartfelt, unrepeatable moments. The 'duende' appears when we all give ourselves 100%.

–Do you think your body will continue to respond for many more years?

–I hope so, because I still feel very strong. When I became a mother, I thought I would rely more on maturity and stage presence, at the expense of strength or speed. But no. I have a trainer who helps me a lot, especially to avoid injuries. I feel stronger than ever. I suppose that when the body starts to fail, we will know how to adapt and that's it.

–Do you think retiring as a dancer will be painful?

–It doesn't have to be. I love directing, choreographing, and I also think the time has to come to make way for other artists. In my company, there are very young girls to whom I try to pass on everything I have been taught.

–Do you have stage fright? Do you still suffer from it?

–Of course, yes. The day the curtain is going to rise, it's not easy. But once it goes up, it seems everything dissipates, everything flows, and you are able to give your soul and enjoy.

–And with that fear, do you feel like running away?

–I feel the fear more before going on stage, not during the show. I suppose it's more about responsibility, the fear of not being up to the task. In my case, I not only dance, I also direct, choreograph, I am responsible for the company. Everything has to be in place and work perfectly so that the audience perceives the respect and total commitment. All that generates pressure. But once the show starts, the fear is forgotten. Then I give myself with my soul and heart.

–What is more important in dance: mastery of the body or the mind?

—You have to study a lot for the body to have a solid technique. But when you reach a certain level, you have to forget about the technique and let yourself be carried away by what you feel. The essential thing is that: study a lot, yes, but also know how to let go.