Flamenco dance allows for the exploration and development of the body’s expressive capacities and helps us to feel the life force we all have but do not always have access to. Classes combine precision and pleasure as students learn the different styles that make up flamenco. They are also divided into different parts: technique (warm-up, rhythms and posture) followed by the development of steps and choreography. The aims of the class are to have a better awareness of the body, to acquire a new style of expression and of course, to experience the joy of dance.
Having taught within the framework of the Ateliers d’ethnomusicologie for fifteen years, Ana la China has trained a number of students, some of whom have become professional dancers.
Ana la China began her dance training in Seville with Manolo Marin and Angelita Vargas. In 1992 she moved to Granada, where she began working with Alfredo Iago, Juan Carmona and Chicharrito. She performed in numerous shows with these prominent artists, both in Spain and internationally. During this period, she also collaborated with several other important musicians from Granada: Rafael Habichuela, Antonio Solera, Jaime Heredia, Pedro Carmona and Miguel Angel Cortes, with whom she performed in the festival “Noche del Albaicin” in Pena de la Plateria, at the Casa Patas de Madrid, as well as in France, Portugal, Switzerland and Italy.
In 1993, she collaborated with singers Antonio and Manuel Malenea, as well as the Jerez musicians, Luis de la Tota and Domingo Rubichi. Working together, they produced “La Route Tzigane”, performed in France and in Hong Kong with the Rajasthani group Manganyiar and Taraf de Haidouk from Romania. The next show was “De Bénarès à Jerez”, an encounter between kathak and flamenco, with the dancer Ravi Shankar Mishra.
Now based in Geneva, Ana la China teaches flamenco dance within the framework of the Ateliers d’ethnomusicologie, as well as in France.
PLACES:
ADEM Maraîchers - 44 rue des Maraîchers, 1205 Genève
Ecole de danse Encore-en corps - 8 bis ch. de la Gravière, 1227 Acacias
Théâtre Les montreurs d'images - 9 rue Michel-Simon, 1205 Fenève
TIMETABLE:
ADEM Maraîchers:
Monday : 18h45-20h - intermédiaires I - 20h15-21h30 : avancés
Wednesday 18h30-19h45 Intermédiaire I
Thursday 18h30-19h45: débutant I et II 20h-21h15: intermédiaire II
Saturday 10h30-11h45: débutant II et III
Théâtre Les montreurs d'images:
Tuesday 20h-21h15 : Intermédiaire II
Encore-en corps:
Wednesday 20h-21h15: initiation-débutant I
Friday 12h15-13h30: intermédiaire I et II
FEES:
Monthly: payments are made at the beginning of the month - 1h15 lessons: 120 frs - 10 frs discount for students - lessons with guitarist: 15 frs extra per month.
Per trimester: 1h15 lessons: 270 frs - 25 frs discount for students - lessons with guitarist 30 frs extra per trimester.
Information session: Monday September 8, 2025 from 6:30 to 7:30 pm at ADEM Maraîchers.
CONTACT :
T : + 41 (0)78 737 96 62
Email : analachina.flamenco@gmail.com
Website : http://www.analachina.com
Photos : Rime Madani & Jean Christophe Arav
Next courses: October 18 & 19, December 13 & 14, 2025, February 7 & 8, April 11 & 12, June 20 & 21, 2026
Fouad Didi
These monthly courses are for musicians from all backgrounds mastering one of the following instruments: Violin, cello, oud, guitar, mandolin, qanun, flute, clarinet, ney, derbouka, daf, bendir, etc.
Tristan Morelli
The oral tradition of Corsican vocal polyphony is wide open to expression through its various forms. The rawness and vitality of these songs take you on a journey to the depths of an often underappreciated Corsica, which is as mountainous as it is welcoming, as astonishing as it is generous.
NEXT DATES: September 20 and 27, October 4, November 8, 15, 22, and 29, December 6
Anass Habib
This course is presented as a grand musical tour where experienced singers, participants with knowledge of music theory and music lovers will set out together to discover a repertoire rich in history.
Private or video lessons on request
VIVIAN' ADAYA
Viviana sees Oriental dance as a unifying force in its traditional form, because it touches upon one’s deepest being. The dance remains both sacred and feminine for her. She recognises the therapeutic powers of dance and it is with this in mind that she transmits her knowledge.