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La Chunga
La Chunga
La Chunga
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Micaela Flores Amaya (1938 – 3 January 2025), better known by the stage name La Chunga, was a Spanish flamenco dancer, and painter of naïf art.[1]

Key Information

Early life

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Micaela Flores Amaya was born in Marseille, France, in 1938, although the exact date of her birth remains unknown. Her parents were Andalusian Romanis, who emigrated to France during the Spanish Civil War. When she was less than a year old, her family moved to Barcelona. Additionally, she was the sister of flamenco dancer Lorenza "La Chunguita" Flores Amaya, and cousin of famed flamenco dancer Carmen Amaya.

La Chunga started dancing when she was six years-old in the "Ca La Rosita", a well-known bodega for the Romanì community in El Poble-Sec. It was at this time she was discovered by painter Francisco "Paco" Rebés, during one of her improvised street performances. Rebés would later take her under his tutelage, and assume the role of her godfather.[2]

Career

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La Chunga became the 'muse' of several writers, including Blas de Otero, Rafael Alberti, José Manuel Caballero Bonald, and León Felipe, as well as several painters, including Pablo Picasso, Salvador Dalí, and the aforementioned Francisco Rebés, who made her an attractive character for intellectuals and encouraged her to paint. A 1958 photo shows Salvador Dalí inviting her to make art by dancing on a blank canvas. During intervals, Dali would paint beneath her feet.[3] She was known for her barefoot style of flamenco dance and described as "The Barefoot Dancer".[4] She was admired by Picasso as a "shining naif".[5] She also exhibited in several galleries in Paris and Madrid. After then, Chunga participated in many tours and some films.

Personal life and death

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La Chunga married director José Luis Gonzalvo, and they had a daughter, Pilar.

La Chunga died on 3 January 2025, at the age of 87.[6]

Filmography

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Prizes

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  • Medalla de Oro del Círculo de Bellas Artes de Madrid,
  • Medalla Oro de la Asociación de la Prensa de Sevilla
  • Trofeo Delfín de Alicante
  • Premio del Ayuntamiento de Alicante
  • Premio Cidale de los Almendros.

References

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La Chunga

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''La Chunga'', the stage name of Micaela Flores Amaya, was a Spanish flamenco dancer and naïve art painter renowned for her distinctive barefoot dancing style and powerful, spontaneous performances that established her as one of the leading figures in 20th-century flamenco. Born in 1938 in Marseille, France, to Gitano parents exiled during the Spanish Civil War, she grew up in Barcelona and began dancing at age six in neighborhood bars and streets, quickly developing her signature barefoot technique that set her apart in the art form. A cousin of legendary flamenco dancer Carmen Amaya, she was often called the "barefoot gypsy" for her raw, expressive approach that emphasized natural movement and emotional intensity. Her career took her to prominent tablaos such as El Corral de la Morería in Madrid and international venues including Maxim's in Paris, as well as stages in New York, Hollywood, and Las Vegas, where her debut was supported by actress Ava Gardner. She captivated audiences worldwide for more than two decades as an international reference in flamenco, admired by artists and intellectuals including Pablo Picasso, Joan Miró, Salvador Dalí, and poet Rafael Alberti, who regarded her as a muse and friend. In addition to her dance career, she appeared in films directed by José María Forqué and José Luis Gonzalvo, whom she later married and with whom she had three children. Later in life, La Chunga pursued painting in a naïve style, exhibiting her works in Madrid and Paris, with Picasso describing her art as "naif-luminous" and earning her awards such as the 2009 Premio Cultura Gitana in the Painting and Plastic Arts category. She passed away in January 2025 at the age of 87 following a prolonged battle with lung cancer.

Early life

Birth and family background

Micaela Flores Amaya, professionally known as La Chunga, was born in 1938 in Marseille, Bouches-du-Rhône, Provence-Alpes-Côte d'Azur, France. Her exact date of birth remains unknown. She was born to Andalusian Romani parents who had emigrated from Spain to France during the Spanish Civil War. Approximately one year after her birth, her family returned to Barcelona, Spain, where they settled. La Chunga was a cousin of the renowned flamenco dancer Carmen Amaya.

Childhood and entry into dance

Micaela Flores Amaya, known artistically as La Chunga, grew up in a humble neighborhood in Barcelona after her family's return to the city. Her family and community environment, of Romani heritage, immersed her from a young age in the flamenco atmosphere of the gypsy neighborhoods of Barcelona, where this artistic expression was part of everyday life. At six years old she began dancing barefoot in bars and early tablaos in the neighborhood, showing a natural inclination for flamenco dance without having received any formal academic training. These early performances were improvised and took place in popular settings, such as taverns and family gatherings in the gypsy neighborhoods, where the spontaneous participation of children in singing and dancing was encouraged. From childhood she was known by the nickname "La Chunga", attributed to her playful and rebellious character, which already distinguished her among her peers in the neighborhood. This nickname accompanied her from those formative years and defined her identity in local flamenco circles long before her professional emergence.

Flamenco career

Early performances and rise to fame

La Chunga began her professional performances dancing barefoot in the bars and tablaos of Barcelona's flamenco scene from a young age, continuing this signature practice into adulthood. She captivated audiences in these venues with her raw, expressive presence, establishing herself as a fixture in the local gypsy quarter's nightlife. Known as the "barefoot gypsy" for her distinctive barefoot dancing, La Chunga built a strong reputation within Barcelona's flamenco community through consistent appearances in its tablaos. Her talent was first spotted by painter Paco Rebés while she performed barefoot in improvised street and bar settings, which helped propel her into more formal tablao engagements. As a cousin of the legendary flamenco dancer Carmen Amaya, La Chunga consciously forged her own distinct path in the art form, separate from her relative's towering influence. These early years of dedicated performances in Barcelona solidified her rise as a recognized figure in the flamenco world.

Signature style and major achievements

La Chunga is celebrated for her intensely expressive flamenco style, which prioritized raw emotion, passion, and the transmission of duende above technical perfection. Her performances were characterized by dramatic arm movements, fierce facial expressions, and an instinctive, almost theatrical delivery that conveyed profound feeling. This emotional depth set her apart as one of the most compelling bailaoras of her era, capable of captivating audiences through sheer presence and intensity. She performed barefoot throughout her career, a distinctive choice that became her trademark and allowed for a more direct, grounded connection to the rhythm and stage. This approach amplified the percussive power of her footwork while reinforcing her reputation for authenticity and sensuality in flamenco dance. Her iconic status in the flamenco world stems from her ability to embody the art form's most visceral aspects, earning her recognition as a legendary figure. Major achievements include her success in the tablao scene, where she drew crowds and acclaim for her expressive interpretations. She also undertook successful international tours, bringing her distinctive expressive approach to audiences in Europe and the Americas.

Painting career

Transition to naïf art

Micaela Flores Amaya, known as La Chunga, first encountered painting at the age of nine while serving as a model in the studio of painter Francisco Rebés, where she picked up brushes out of curiosity and never set them down again. Although she maintained the practice throughout her life, painting remained secondary during her active years as a flamenco dancer. By the end of the 1990s, after withdrawing from professional performances in tablaos, La Chunga channeled her creative energy more intensely into naïf art, marking a clear shift in focus from dance to visual expression. This transition was rooted in her early exposure to the art world through Rebés and her later role as a muse to prominent figures including Pablo Picasso and Salvador Dalí, who encouraged her natural talent and recognized her intuitive approach. Her naïf style is distinguished by exceptional luminosity, vibrant and personal color palettes, freshness, and spontaneous naturalness, qualities that mirror the emotional force, joy, and rhythmic intensity of her gitano dance. Picasso himself described her work as "naïf luminoso," emphasizing the distinctive chromatic quality that set it apart. La Chunga's canvases often depict her own world, including flamenco environments, dancers, and aspects of gypsy bohemia and nostalgia, achieved through seemingly simple forms that convey sincere psychological complexity and honest emotion.

Exhibitions and artistic recognition

La Chunga exhibited her own paintings in several Spanish cities, including Madrid, as well as in major European capitals such as Paris. Her works, often described as ingenuous in style, gained visibility through these public displays. Her artistic output has been documented in the art market through 36 recorded auction appearances between 1999 and 2024, predominantly in the drawing-watercolor category, with at least one work in painting recorded in 2015. Specific examples include the 2024 auction of a piece titled "Three women" and earlier sales such as "Rostro femenino" in 1999. These results reflect ongoing interest in her visual art within commercial auction contexts. A notable moment of artistic recognition came in the summer of 1957, when Salvador Dalí collaborated with her on a unique piece: she danced barefoot on a prepared canvas to music, spreading paint with her feet to create the work. This event, documented photographically, highlighted her intuitive approach bridging dance and visual creation.

Film and media appearances

Acting credits

La Chunga made occasional forays into acting, though her screen appearances remained secondary to her primary renown as a flamenco dancer. Her credits primarily consist of supporting or cameo roles in both Spanish and international productions, often reflecting her cultural background or public persona. Her earliest known film credit was an uncredited appearance as a flamenco dancer in the American production Tip on a Dead Jockey (1957). She later appeared in the Spanish drama De espaldas a la puerta (1959). In 1970, she took on the role of Carmela in Juan Pedro the Scyther (also known as Ley de raza), a film directed by her husband José Luis Gonzalvo. This marked one of her more substantial acting roles, with her character integrated into the story of a man returning from military service. In later years, she played a small part as Woman at Gypsy Camp in the Italian horror film Vampire in Venice (1988). Her final credited performance came in the 1998 film Pápa Piquillo. These appearances, while limited in number, highlighted her versatility beyond dance in occasional cinematic contexts.

Personal life

Family and relationships

La Chunga, whose real name was Micaela Flores Amaya, came from a Romani family and was a cousin of the celebrated flamenco dancer Carmen Amaya. She married film director José Luis Gonzalvo, with whom she had three children: Curro Gonzalvo, Luis Gonzalvo, and Pilar Gonzalvo. The couple separated in 1978. Her son Luis Gonzalvo has been a public voice for the family in later years. She remained close to her relatives, including brothers in Barcelona and extended family members in places such as Palma de Mallorca.

Death

Illness and passing

Micaela Flores Amaya, known artistically as La Chunga, passed away on January 3, 2025, at the age of 87 after a prolonged battle with lung cancer. The illness, diagnosed in 2011, had progressed over more than a decade, with La Chunga spending her final years in a nursing home where she was accompanied and well cared for. Her son, Luis Gonzalvo, confirmed the news of her death, stating that she had been going in and out of the hospital for many days and describing the long progression of the illness as making the loss somewhat more bearable, though still sad. Gonzalvo shared these details publicly on the Antena 3 program Y ahora Sonsoles.

Legacy

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