The diverse young artists reviving the flamenco scene in Spain are each bringing their own spice to the traditional form—whether through contemporary-dance infusions, theatrical flourishes, or improvisation.

But no matter how varied their approaches, they have one thing in common, according to one of the leaders of the new movement. “There’s a drive to do things differently and do more personal work,” explains Sara Calero, speaking over the phone from her Madrid home base with the translation help of Rosario Ancer. (The latter helms the Vancouver International Flamenco Festival, where the Spanish sensation will headline in a few days.)

The personal is at the heart of Calero’s Petisa Loca, which she will perform here. It draws on the history of her own family—and that of Spain itself, which experienced massive emigration during the first half of the last century, when it endured economic hardship and a brutal civil war.

“My inspiration was the stories my grandfather told us,” she explains. “He emigrated to Argentina and then, years later, he had to return to Spain. And so we heard all the stories of his immigration and the adventures he went through when he was exiled.”

What resonated deeply with Calero was the experiences her female relatives had in their new, strange land—and those became the ideas she and cocreator-cantaora (flamenco singer) Gema Caballero focused on as they created Petisa Loca.

“I thought, ‘If I’m going to tell the story, it’s going to be from women’s point of view.’ So I invented a woman who goes through emigration, and figures out what her place is in the world,” Calero relates. “I created my own script and used that to develop my ideas. But I don’t pretend that the public has to understand her story, exactly. I’m more interested in creating images to inspire the public’s imagination.”

Calero performs with a live cantaora (Loreto Arnaiz) and flamenco guitarist José Almarcha here, and bases her dance on impressive technique: born in Madrid in 1983, the stunning, dark-haired dancer graduated from the Conservatorio de Madrid in 2002 and made her solo debut at just 17 with flamenco master José Granero at the art form’s epicentre, Spain’s Festival de Jerez. She’s also danced with the Ballet Nacional de España.

But Petisa Loca feels different from traditional flamenco performances. Instead of classic ruffled skirts, Calero wears costumes that look more like the midcentury clothes worn by the character she’s channelling. The simple set has a domestic and retro vibe, with its fringed floor lamp and stool. The musical bridges come courtesy of electronic artists the Lab. There is the feel of the cinematic, the theatrical, and visual art to what she does.

The piece’s look and sound help flamenco speak to contemporary times, and so does the subject matter. We live in a world, unfortunately, where displacement is epidemic these days—with reverberations strongly felt not only in Spain, but around the planet.

“Even though the story came from an old story, I was very conscious of how current this was—that it’s happening right now, and it’s relevant right now,” Calero emphasizes.

For flamenco-fest organizer Ancer, it’s an example of the kind of cutting-edge work she wants to feature here more. “We have always brought in feature artists who are the best in Spain, with more traditional representations,” she explains. “But for a long time I wanted to show audiences what is possible with flamenco, and up-and-coming artists. Sara is becoming a force in Spain and her dancing is impeccable. I saw her in Jerez and was so impressed at her ability to merge these disciplines.”

By rooting everything in her personal passion, Calero is forging a fresh path. “I don’t know if it makes me different,” says Calero, “but this is the way I like to work.”

Sara Calero Company presents Petisa Loca at the Vancouver Playhouse on Saturday (September 22) as part of the Vancouver International Flamenco Festival.