María Pagés should exist as do other dissident phenomenon: they are the democratic demonstration of a plural landscape. She fights against antiquated formalisms and localisms, thus ironically assuming what may be topical in others...

In 2002 she was awarded the National Prize for Dance (Creation) and in 1996, the ADE Prize for Choreography. She was conceded Premio Léonide Massine 2004 per l’Arte della Danza “Al Valore” Award in 2004, the Gold Medal for Merit in the Fines Arts in 2014, the Award to the Best International Dance Show in 2015 and the Prize of Culture of the University of Seville in 2016. Her eight Giraldillo Prizes, awarded by the Flamenco Art Biennial in Seville, confirm her position as one of the most important Flamenco dancers and choreographers.

In 1990 she creates the María Pagés Company and since that date it has produced the following pieces:Sol y sombra (1990), De la luna al viento (1994), El perro andaluz. Burlerías (1996), La Tirana (1998), Flamenco Republic (2001),Canciones, antes de una guerra (2004), Sevilla (2006), Autorretrato (2008), Flamenco y poesía (2008), Dunas (2009), Mirada (2010), Utopía (2011), Casi divina, leve (2012), La alegría de los niños (2013), Siete golpes y un camino (2014), Yo, Carmen (2014), Óyeme con los ojos (2014), No dejes que termine el día (2015), Rostros (2016), and Una oda al tiempo (2017).

She creates the idea and choreography for Ilusiones FM for the Spanish National Ballet, La soleá, paso a dos for Ángel Corella, as well as The Hymn of Europe, which she performed together with Tamara Rojo. María Pagés and her Company have been invited to perform on the world’s most prestigious stages: Radio City Music Hall, City Center (New York), Sadler ́s Wells Theatre (London), Théâtre National de Chaillot (Paris), Kremlin Palace, Chekhov Festival (Moscow), Komische Oper Berlín, Kölner Philarmonie (Cologne), Festspielhaus Baden-Baden, Palais des Beaux-Arts (Brussels), Bregenz Festspielhaus (Breguenz), Auditorio Parco della Musica (Rome), Piccolo Teatro di Milano (Milan), Bunkamura Orchard Hall, Festival Hall, NHK Osaka (Osaka), Esplanade (Singapore), National Centre of the Performing Arts (Beijing), Taipei Theatre (Taiwan), Hong Kong Cultural Center (Hong Kong), Teatro Nacional Mohamed V(Rabat), National Arts Centre (Ottawa), Sony Center for the Performing Arts (Toronto), Grand Théâtre (Quebec), Place des Art (Montreal), Festival Cervantino (Mexico), Teatro Mayor Julio Mario Santo Domingo (Bogotá), Teatro Real (Madrid), Teatro Liceu (Barcelona), Teatro Arriaga (Bilbao), Teatro de La Maestranza (Seville), Festival Internacional de Música y Danza de Granada, Festival de Jerez, Bienal de Danza de Cali (Colombia), Spoleto Festival USA, and Edinburgh International Festival.

With ARTEDEA, an association founded by the choreographer, she undertakes intense philanthropic and formative activities: Dame tumano, Teatro Nacional Manuel Bonilla, Tegucigalpa, 2006; Dame tumano, Teatro José Francisco Saybe, San Pedro Sula, 2006, Flamenco, Katami Auditorium, New Delhi, 2008; Flamenco, Rabindra Bharti Auditorium, Hyderabad, India, 2008; Flamenco, Homi Bhabha Hall, Mumbai, India, 2008; Un día con ellas, Cultural Center of the Eduardo Mondlane University Maputo, 2009; Bailemos, National School of Dance, Workshop, Maputo, 2009; Fukushima, mon amour, Waiwai Hall, Fukushima, Japan, 2013; Fukushima, mon amour, Kitakami Sakura Hall, Kitakami, Japan, 2013; La alegría de los niños, Childrem’s hospital Virgen del Rocío, Seville, 2013; La alegría de los niños, Hospital Virgen Macarena, Sevilla, 2013; Un día con ellas, Reinsertion Center for Battered Women, Madrid, 2014; No dejes que termine el día, Reinsertion Center for Battered Women. Workshop-show; Óyeme, golpe a golpe, APROPA Cultura, Mercat de les flors, Barcelona.

María Pagés has collaborated with Mikhail Baryshnikov, Sidi Larbi Cherkaoui, Tamara Rojo, Ángel Corella, Plácido Domingo, José Saramago and Oscar Niemeyer. One should highlight her participation in the movies directed by Carlos Saura: Carmen, El amor brujo and Flamenco.