Becoming the dance: Flamenco Spirit 084035844X

Citation preview

Becoming the Dance’ FLAMENCO SPIRIT

po ela

Becoming the Dance’ FLAMENCO SPIRIT by Teodoro Morca

€

KENDALL/HUNT 2460

Kerper

Boulevard

PUBLISHING P.O.

Box

539

Dubuque,

COMPANY lowa

52004-0539

Cover photo of Teodoro and Isabel Morca Back cover photo of Teodoro Morca

Copyright O 1990 by Teodoro Library of Congress

Catalog

Morca Card

Number:

90-60628

ISBN 0-8403-5844-X All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the copyright owner. Printed in the United States of America 109 8 765 43 2 1

Dedication This book is dedicated to all peoples who

seek a way — not the way, for there are many

ways, buta way —a path to becomingthe dance,

to feel that dance of life, that communication of spirit, of life, of self.

That path that I have found so real isin the art of flamenco. The spirit of flamenco is the dance of life. Flamenco is the essence of creative meaning of life living itself in music, in song, in dance. Flamenco is a creative path to your inner feelings and emotions that surface with human truth. Why, why flamenco? Flamenco was born of the womb of the human soul crying out for eternal freedom of spirit. The art of flamenco is living and expressing this eternal freedom of spirit. The way of flamenco is the art of living each day to its fullest, physically, spiritually, emotionally and mentally as an individual and fulfilling your individuality as a unique creative expression of life.

The body expressing flamenco in movement

and sound

is communication

with the heart,

with the universe, in spirit, soul and in feelings that are feelings of truth and individuality. Yes, flamenco is freedom, flamencoisfreeing the spirit to soar, like on the wings of eagles. Flamenco is a word of unknown origin, yet flamenco is understood throughout the world as the essence of all human feelings and emotions in music, in rhythm, in song, in dance, in art. Flamenco is the un-selfconscious joy, sor-

row, passion, pain, growth, love, fear, fear of

death, fear of not living the who that you are. When you awaken the flamenco within yourself, you awaken your true self. When you can become the dance, climbing into your duende, your aire, your gracia, you will dance the dance of life. You will become the dance and in that moment, you will know the meaning of your life in the purest of truths.

Special Thanks Isabel, my wife, my best and dearest friend and a fabulous creative artist in her own right, has been the inspiration and the guiding ‘push’ behind this book. Whenever my Libra nature procrastinates, she will say, “I will help you, you can do it, go for it.”

I would like to thank her for all of her help, for her multi-faceted talents and for

choreographing the perfect marriage.

Teodoro Morca

Acknowledgements I would also like to acknowledge Juana de Alva and Paco Sevilla, the founders of ‘Jaleo’ the international flamenco magazine.

Typography, Edit and Design by Kathleen Weisel Typesetting, Bellingham, WA

Table of Contents

¡NTRA

lii

Special Thanks and Acknowledgements .....oooononiccnonoconononnoncannnnnonononnonaconnonnonnonncnncnonons 1v FOC WOM

......ssceessscssesssececsssceescssscesessesessssceesecsseceescssneesecsaaeesessseeecesseeesesseeeceseseseceseansessenes vii

¡SERA ¡FEST

viii 1X

The Roots Of Teodoro MOI ca ou... cescssccssscsessscscesscstssseeseecsescsceeseeeecescescesseceaeesseensenseees 1 The Roots Of FLAMENCO ....occnicnocnonnnononnnnnnonaccnnonnonanonccnononocnnnno nooo noncnono conc n conc rro on ncno rra nan nos 3 Flamenco Spirit, a Golden Thread .....conoonicnicnoononninnnccnnonorncnncononnonocrncnncnnoon nono c nono nronon cons 6 Zen and the Art of Flamenco ....cooccconcconnnonnconaconnconnnonncnonannn nooo noonnoonncornroon con nconn con ncannnns ..10 In Respect Of Tradition ......ooncoocnncnncononcononaconcnncnaccnananoncononnnnonacnnnonorononnnn conc cnncnnnonn on rcnn conos 11 Flamenco — Timeless Ongoing — It IS ......oonionocnnccinocionnnacocnconcncccononocororrnnornoonconocononnos 12 Technique, Craft and Art ...oonconccnconicconocncnnocnconocnonnonacnoncanonnoononn non nono corona cnn ron non n conca narcos 15 Search for Individuality ..........oonocnocnonocnonocnnnonnonnonannnnnonanonoconocnnonnornncnnnonannn cocoa ronnnooranooos 19 Are You a ‘Flamingo’ Dancer? .........ccssssesscssesscscsscsscsseeeecescencsaseeseeseeeceasenseaseceaseesses 22 Flamenco AnatOMy .........cccssssscssssscscsessecsesssencssssecscescceseasescsseseessceeseaeeeeeaseessesseseseaeees 23 Exercise, an Aesthetic Point Of View .......oococcnccccnononnnccccncnanncnccnnonoccnnnnnnncnnnnnn sssssescees 26

For the Dancer, Flamenco and Your Body ..ooonnccnnccnocuoccnonancnnnnnnnonnnconaconananccnanannnnonss 28 Flamenco for Non-flamenco Dancer ........cssssscssssssecscscsssecscssescacsccsssssesscsesces sesssesseees 30 Dancing with Control oo...

cscssssscsscessssssscsscescsessscsesssseese sosssssssesssssseseessessesseseeseesees 31

Dancing and Age .........ccssssssssssscsscscsesscsscessssecsceesscessesessessseeesseesesessssessesecsseaseseecsesasesees 3 Dance and Diet...

cc csssssscssessscssesecessssssescesssecssescccsssssesesseseessesseeecaesseeecsesaeseeeeeees 37

Back to the Basics — the Inner and Outer Dance of Flamenco. ..........:ccsseseeeeeees 39 Becoming the Dance — ‘Duende?’ 00.0... ee sscsccssssscssessceseesessesscsssesessesecsseescsseeecseeneens 41 Some Thoughts on the Dance «0.0.0... ecsesscrcesceccssesccssescsecsssseeseseeseesscecsessesesesseeeseeseeess 43 Learning Flamenco Outside Of Spain ...oocconcnicnnonocnonncnnnonnnecnnnnncnononnoncnoncnrnnononnoncnnanonoons 45 The Flamenco Workshop .....ooococcocoonocoonnnononanicnononnncnncnnnncnnonononno nooo nono ro conoce noc arnancananncnoss 46 Beyond COMPÁS ..ooonoccccnonncncononnonunonanncnnnonnonannonnoonnoncon nono nonnconn o concen nrnn cacon none on cra cnneracones 49 Alegrías — the Joyous Concerto of Flamenco DaNCe ..oooonconccocicnnioncnnncnonacncnncanononncnnos 51

Dl

Bulerías, Viva Tul ..........occccnnnnninononononononnnannnnononcnonencnnonnoninaciccononononononnononconodo nono nono nneneninoss 54

Sevillanas — Arte, Aire y Gracia .....oooooonccnonnnnoncnononnnconncnnoconannnonnccnnnnno nooo nooo nonn nono conncnnos 57

Soleares — Arte Grande IA

61

La Farruca De Verdad — Inspiration of Earth and Sky .........cscssssssssssessesseseessseseees 63 Listening to Flamenco ....oooononcnnnoninnncnncnnonacanocanonncnanonnnonaconanonanan crono cononona cono ncroo cra rones 65

Interpreting the Cante in Flamenco Dance ......oonionicnicnnonocnnionnnnnnnnnnnnonanononononoooooononocoos 66 Contra-Tiempo — Rhythm's Life Force.........cooocnnonncnocnnocnononnconcononacnnnococononooonoroornoononns 69 The Power Of Subtlety.............oonconmonmonmonm»*mommmmomnommsrros 71 Footwork, From Noise to Art — “When you Speak, Say Something” ................... 73 The Art Of Jaleo ........... cc cecccssseccecssssssccecessessncececeessnaececsessneeseceesenenseceessneeseceesseessceseseessecs 74 CATIA

77

Costumes and the Dance ........oonconcnnocnoncononinonanionononnnanonnoncconananonnonnonconncnconncnnococonccnnnnnonos 79 Wood that Laughs, Strings that Cry — The Flamenco Guitar ......onicnocniconnonnonionocos 81 CHOreOgTapPhy .........cceesscssscsseescesscssesssesscsssssssescsssoscesssssoessesssescssesseescessesssessesesoesseseeees 84 From an Audience Point Of View .......oonooncnoccnnoonnnnnconocacononnonaonnanaconaraconoonnconornonnoonaonconos 86 Flamenco in CONCELSE ....... cc eecessceeseseessesscsssesssonssseeesscsssessscrsessseessseessesssseeseessessoeeesessenens 88

Touring Flamenco ..........ccccecsssessceteesessesscsesssssecssesssssecsseescnsecsesesseseeseesesessseeeaseeseeseness 90 Pilar LÓpezZ ..ooooncoccnicnncnncnconocanonncnnccnnonncnnccanonnonnncnonanonarnnocnnnnrnnrno none rnnorn non ron ron conc rn nooacnness 92 Touring Spain and Fine Experiences .....conconicnoccoononncncccnnnnnonnonnnonacnnonnnonoononnannorneconnnoss 92 Dancing in the Caves Of Nerja ......oooncncninonnonocnonionincnncnnonacononinoncnnncnnonaonncnnonncononanoncrnoss 96 Flamenco Can Happen When You Least Expect It ......oocociononinonommsmmmss9os*”m”eo. 98 Café Chinitas — An Experience in Spain ..ocoonconcnocionnononnnononannnonconananrncanonnonnonconnonnonaso 100 Shoemakers Are Artists TOO .......oooonccnoonicoonnnincnnncanocnonnocanonnonocnononncncnnnnoanoncornnnanonnonaannos 102 Becoming Professional, Being Professional ..............cssscssseseseseseeeneeteeseneeressenenees 103 Inspiration — Carmen AMAya..cooooononnncnconononinnnonncnnccnnorinonnconnoncncn nono non non caro noro noo non ncon eos 106

The Many Other Faces of Spanish Dance — The Folk Tradition.....................o...». 107 Exploring Another Dance Style — Classical Spanish Dance. ...........:seseseseereeeee 110 Creation of a Style — Interpretive ....ooooconcnionnoonnnonononoronccnnnonanonananon nano nonnonnononrancononancnes 113 Flamenco GlOSSALy .........cssccsscssecsscssscssscesscesseeseeeeeeecseensecsaecesecseesseesseenaeerseseseesseen ness 117

vil

Foreword Dance, art, music and

spiritual conscious-

ness have always dominated the life and love of Teo Morca. Teo lives each day full of positive and creative energy, with a spiritual awareness that each day must have meaning, that each day must be lived as though it were our last. Life, talent and art are to give and share. I shall always remember Teo performing his beautiful rendition of Bach’s “Toccata in Fugue in D Minor’, his face aglow with the duende of all of his spiritual ancestors as he explored the utmost of his soul with his great art. In writing this book he has shared with the world of all those who love flamenco, dance, art

and life, the ideas that he has developed or been inspired by — hoping that by this book others will be inspired to improve their art of creative effort. Teo is creative in all facets of his life. When he is not busy dancing, then he is busy thinking of new ideas for choreographies, drawing, writing articles on dance or beautiful poetry, creating a piece of sculpture, helping his son Teo Jr. witha father/son project, cooking a marvelous dinner or just being a wonderful person. As a dancer, Teo Morca is one of those few

who may be called genius. He is possessed with a clean, precise technique and sense of rhythm and counter-rhythm, exciting to listen to and to

watch even more so, because of his ability to

“become the dance”. The audience feels what he isexpressing emotionally and becomes entranced by the strength and energy coming from his artistry so subtly and synergistically. As a teacher of dance, Teo has developed a way of teaching which has method of progression of knowledge behind it. Instead of the ‘stand behind the teacher and copy him’ method used by most flamenco teachers, Teo teaches where the movement comes from, braceo, turns, foot-

work patterns, and most important, the interpretation of the compás. He explains the rhythmic structure for all of the flamenco styles and dances, how to dance with guitar and song ac-

companiment, how toimprovise within the structure of each dance rhythm. In his articles, dance workshops and video tapes he gives to the student all that he has developed as well as technique and knowledge. As a creative artist, Teo possesses a shrewd sense of theatre and what creates interest to the audience. Based on the traditional forms of the dances he creates fanciful and dramatic works. In his “Botas Magtcas’ a shoemaker puts on a pair of boots which cause music to be heard whenever he picks them up. Then they begin to dance a zapateado and he has to follow them wherever they take him even though at one point they go off in opposite directions. In his ‘Semana Santa’ based on the religious processions during Holy Week in Sevilla, he becomesa poor prisoner asking forgiveness from the Virgin Mary as the procession passes his prison cell window. In ‘Los Amantes Sin Futuro’ a smuggler meets his beloved Spanish lady at midnight and they dance their last dance together. As she leaves him her lace mantilla, he recites “My life will be one of aloneness, but your life will be one filled with sorrow”. Teo’s unique ability to design dances which are filled with tragedy, sorrow or humor are a delight to the audiences who can identify with the human conflict within. Apart from his flamenco

choreographies,

Teo

Morca

has

also

explored the vast realm of the classic, theatreballetic Spanish dance school, most admirably in Pachelbel’s ‘Canon in D’, Boccherini’s ‘Gran

Fandango’, Bach's “Toccata and Fugue in D Mi-

nor’, Vivaldi’s ‘Classical Guitar Concerto’, Saint-

Saéns ‘Introduction to the Rondo Cappricioso’, Granado’s ‘Goyescas Suite’ and countless other beautiful works. Teoisa wonderful husband, father and friend.

He eats, drinks and breathes flamenco. He is a

great artist, choreographer and teacher and he gives to the world of Spanish dance a great legacy through his knowledge, sensitivity and unending creativity. Isabel Morca

DMI

Preface This book began many years ago. Its origin was not so much in writing, although much of this book is made up of articles and ideas that I have written for ‘Jaleo’ magazine. Some as essays ona given question that I was asked, others to clarify my opinions and ideas. The opinions are of my personal experience of forty years in Spanish and flamenco dance. It actually started when I began to dance in my teens and immediately began to ask questions — “Why? What? Where? When? How?”

— about dance, about Spain, about flamenco,

and aboutall of the myriad things that interested me about the whole art form. Inside, I was trying to bring my mind into synch with my body. I was fortunate to become associated with teachers and friends who encouraged my studies; to read whatever I could

find, to learn as much as I could about the art,

about the peoples and cultures that were the cradle of the dance. There was never enough. I devoured the limited book supply that I could find. Books on the subjects of Spanish and flamenco dance, folkloric dances and other dance forms were very few. From the beginning, I seemed to feel intuitively that I wanted to ‘become’ the dance. I wanted my technique, my craft, to permit me to know my feelings through dance. I kept hearing the word ‘art’ and began to feel that only by becoming completely in tune — through understanding

the forms, dance, music, craft, tech-

nique, culture, art, my attitude, respect, love of what! was doing— would I someday ‘feel’ what art was.

When I went to Spain in the early 1960s, I felt as if I were coming home. I had absorbed so much through my contact with Spanish artists, singers, dancers, guitarists, and other people who helped me in my search, that I felt at one with the ambiente. 1 wanted to just swim in the ambiente of this country that gave birth to the art of flamenco, the dance that was now so mucha

part of my life. My soul was plugged into flamenco. Idid not try to become Spanish, for I felt that flamenco transcended Spain. The feelings and emotions

that I felt were universal love. I felt at one with flamenco — it was me. Believe it or not, I felt this way when I was a boy of 13 working as an auto mechanic. I worked for two men who were great artists of auto repair. They gave me the love and inspiration to take a broken car and, with pride in my workmanship and craft, repair it like new. Doing it well gave me a taste of satisfaction in craft and art.

When I saw my first dance concert, (I was supposed to have gone to a symphony concert, so destiny sort of interrupted), I discovered that

I was a dancer, I knew that it was me. I was

inspired. I knew that I could become a great dancer by the same sort of apprenticeship that had led me to become a fine auto mechanic. An auto mechanic and a Spanish dancer may seem miles apart, but when you search the art, and

look at the how and why, you realize that they are just different facets of our co-creative self. This book can never be finished because as

long as we think and grow, there will be other

ideas and thoughts. We will have new realiza-

tions about dance, about what it is, and about all

that we relate to dance. It has been designed and presented with the idea of being read and looked at many times, opened at any page. There are many repeats throughout the work, many times the same subject is taken up and viewed from a different angle or seen in relation to other matters. “Becoming the Dance - Flamenco Spirit’ is really a search, an awareness of becoming at one with the self, and feeling who you are. As an old Zen master said, “Begin each day with an empty cup so it may fill with living.” If this book has any suggestive value it will be to stimulate independent thought and study; and hopefully it will bring new understanding of the beautiful and exciting world of flamenco. Flamenco to me is living each moment fully. It is the dance of life. This book is for all those who want to continue their search for the dance that they want to become. Teodoro Morca

Bellingham, Washington USA

Segutriyas, Ay ... Seguiriyas

Body exploding, arms reaching, squeezing rhythms into a broken pulse ... Pain that feels no pain, dry tears that claw the throat ... Tension, striking the earth like self burial ... A death that will not live its death ...

Flamenco FLAMENCO

... the art, the music, the song,

the dance,

the way

of life of

Andalucia, of southern Spain, a melting pot of many exciting peoples that over the centuries have blended their cultural heritage into one of the most unique art forms in the world. Flamenco is ancient, yet new, evolving with the times like other great art forms. Like the roots of ‘Jazz’, flamenco was born of peoples expressing their inner feelings and emotions, their joys and sorrows and also their art and beauty as a way of life. Flamenco is an improvised art form within a very complex set of rhythmical structures. There is no written music in flamenco. There is a total inter-play between guitarist, singer and dancer — in music, rhythmical expression, interpretation and inspiration. It is a blending of feelings, emotions, inspirations and art, to experience that feeling of becoming the dance, the song, the music, the all-important duende or inner spirit and soul. The flamenco dancer’s whole body is a musical instrument, visually and audibly expressing the total art of flamenco, a serious art form born of the highest cultures of east and west, a form, like all true art ... of the world.

The Roots of leodoro Morca I was raised in Los Angeles in an ethnically mixed neighborhood — Caucasian, Hispanic, Black, Jewish, Slavic. It was marvelous

to go

down to Adams Boulevard and be able to go froma Jewish delicatessen to some Greek church

or a Black Baptist church. I started to hear Spanish from a Mexican family that lived across the street.

I remember being interested in music and dance. My Hungarian grandmother had an old wind-up gramophone and she’d play Hungarian music. My Aunt Bea used to tell me “You were always wiggling and jiggling.” I always liked to move. A turning point in my life was when I became an auto mechanic at a place run by a fellow named Racey, kind of a Will Rogers type. He was into nature and a real humanitarian. He took me under his wing, he and his partner, an English fellow named Bill Bradshaw, they made me feel part of their family. I started working for him when I was about 10 years old, I loved it. Right away, he started to teach me how to fix cars by showing me how they worked, and how it was an art. He approached auto mechanics like a craftsman, like a sculptor, the old-fash-

ioned way with almost no electric tools. He took greatpridein his work. Everything I did, whether it was sweeping the floor or minimal work on car, everything was, “Do it right. Take it apart right. Make sure everything is clean and right and perfect.” That instilled in me a certain pride in craftsmanship. By the time I was 14 I had my own customers, doing brakes on doctors’ old Lincolns and all kinds of other things. Racey had a nine-acre ranch about 45 miles north of Los Angeles that was his retreat in nature. He built a cabin on it, and started taking me up there with his wife and family. Up until then, at 12 or 13, I was physically sickly, I could hardly eat anything unless it was cooked, and I would catch every cold going around. Then I started going to his ranch, and working, not just playing. I learned how to drive a tractor, we pulled a lot of sage. We picked berries, and we planted the whole nine acres with oranges. In one summer I gained 30 pounds. I’ll never forget when my mother came back froma visit to an uncle in Philadelphia who had

a radio program there. I was supposed to meet her at the train, and she walked right by me, didn’t recognize me. I was tan and my voice had dropped, I was huskier and I had gotten into gymnastics. She couldn’t believe it was me. The ranch was another important point in my life in the sense of quality of life, Racey was into nature and spiritual things. I went to the ranch for 4-1/2 years, until my boss died of a heart attack right there on the ranch, I was there with him. He was the father image that I had lacked, because my dad had died when I was about four. Racey gave me reason to be on a straight and narrow path. Atone point I had been hanging around with some real juvenile-delinquent typesin the neighborhood. Racey basically told me to either shape up or ship out, and I respected him so much that he became a major influence in my life. By the time I got into junior high school, I felt pretty much at one with myself. I wanted to be a good gymnast, 1 was going to be a top auto mechanic; I knew where I was going. If I did go to college I was going to be an industrial arts teacher. I really like to work with my hands. I got to be a very good mechanic, I had a lot of dexterity. They used to give me all the carburetors, distributors,

weird

transmissions,

and

other little things. It was an interesting shop, we used to work on old Packards, Dusenbergs and Pierce Arrows. I’m fascinated to this day with all the old cars that I look back at now. I met some people in junior high and high school who were into music, and I took a music appreciation course when I was about 15. Little did I know, but this probably changed my whole life. I discovered classical music. In the 40s and 50s young people were listening to ‘modern’ music. But I discovered Beethoven and Bachand Scarlatti. We'd listen to symphonies and concertos, and I found it fascinating. I went with a friend to a dance concert by mistake, it was supposed to be a symphony, instead it was a Spanish dance concert, at the Philharmonic Auditoriumin Los Angeles. Anna Maria and her Ballet Español — 1 remember it as if it were yesterday. I was really moved, found it beautiful and exciting and thought it would be fun to do that, this changed my life.

to

At about 16 I was

working after school at the auto shop. A girl that knew was taking

some dance classes and she invited me to come and watch a class. It was at RuthSt. Denis’

studio in Hol-

lywood, who, later with Ted Shawn had

developed

the Den-

ishawn Dancers. Later on, I would work at Jacob’s Pillow six times, which was Ted Shawn’s Dance Festival, the oldest in the US. Almostassoonasl

walked

in,

I

was

Tootikian,

who

greeted by an Armenian lady named Karoun

was to become a great

friend. She had an ethnic ballet at that time called the Armenian Dance Ensemble. She

Teodoro Morca dancing to the guitar of Geronimo Villarino at Eduardo Cansino Studio at age 17.

had danced with Ruth St. Denis. At any rate, I watched this class, and Karoun looked at me and said, “Hmmm. We're having a recital and we need a boy, would you mind? You don't have to do much.” It was like today, there were so few boys. I said, “Okay, what do I do?” They were doing a Christmas show for the Armenian Old Folks Home, and I was one of the Three Wise Men, I wore a little

Grecian outfit and carried a plate. That was my introduction to the professional world. I started to go to these studios a little bit and heard about the Cansino family. Eduardo and José Cansino were part of the Cansino family, which was very famous in the 20s. This was a family of Spanish dancers, not so much flamenco, but all-around Spanish dance. Their parents had been a very famous vaudeville group from Alicante, Spain. I had a little poster — in big letters it introduced the Familia Cansino as the opening act, and in very small letters, asa supporting act, was Bob Hope. In his biography, Fred Astaire, gives

a lot of credit to Eduardo Cansino. Today Edu-

ardo is probably best known as the father of Rita Hayworth. I went over and there was a big group of people. I walked in, and they said, “Okay line up” and I just followed along. Then I took lessons from José and started to learn some dances.

I only went Saturdays because I was still going to school and working after school. But I found myself waiting for every Saturday afternoon class. I just loved it. The people I met there had a certain joie de vivre, a certain gracia and liveliness. I’d work all week and my mind would be on the footwork, or castanets, I had these little teeny plastic castanets... Westarted doing recitals. I was still going to

Karoun’s; I was going to Ruth St. Denis’; then I

would go to this flamenco/Spanish class with José. After just one or two little recitals given by

him, in which he used everyone, at the Royal Jubilee Theatre, I said, “This is it!” In my mind I

knew, I wanted to do this all the time.

The Roots of Flamenco Flamenco has two very real meanings. To

most of the world, it is an art form — one of the

most highly developed forms of folk art in existence. To true aficionados, flamenco is a com-

plete way of life. Artistically speaking, flamencoistheevolved song, dance and music of the Spanish Gypsy and the melting pot of cultures that make up Andalucia in southern Spain. It originated from a

balanced mix of Eastern and Western cultures,

and is uniquely cross-cultural in both a visual and an auditory sense. Although the name ‘Gypsy’ is derived from the word egipto, (Egyptian), after that North African land through which they probably wandered, the original Gypsiescame frommuch further east. Legend, passed through generations on the tongues of Gypsy storytellers, suggests that these people began their travels in India, wherecomplex traditions of classical dance and music can be traced back many thousands of years. Around the late 15th century, they began to appear in southern Spain. By that time, Spain already had a rich tradition of regional folk dance and music. This was particularly true of the region known to the Arabs as al-andalus or Andalucia, ‘Land of the Vandals’, where Moor-

ish and Arabic, Semitic and Greek peoples lived side by side. The Gypsies were wandering tribes who, for reasons long ago lost, left their Eastern homeland for another freedom. That is the basis for the Gypsy way of life. Gypsies demand a freedom within nature, a right to be left alone with life, to be able to go wherever their inner voice

tells them, to go ever seeking that hill just beyond. The very nature of this wandering has made the Gypsies tremendously aware of all that they contact, their surroundings and

the

people. Inevery country they pass through, they observe and absorb what they desire, like a creative sponge. Then they squeeze out what they willand thoughagitanado, ‘Gypsy-fication’, it becomes all their own. This is what probably happened in Spain. Over a period

of time, the Gypsies

absorbed

certain elements of the pre-existing cultures, molded them to the Gypsy way of life, and

created a unique Gitano (Spanish Gypsy) culture of their own. Andalucia, the southern region of Spain, became the home of flamenco.

Of all the incongruous elements in flamenco, perhaps the kinship with Indian dance is most interesting. In India, dance is total involvement;

every movement of the body, from the hand motions to the complex footwork, plays an important part in the dance expression. The

same is true with flamenco. What's more, the

roots of both dance traditions are in religious expression.

Beinga very misunderstood people, because

of their individualistic ways, Gypsies have for centuries been persecuted and looked down upon. They have been feared for their cloak of mystery, yet at the same time have been held in awe by many people. A strange, distant respect for them prevails to this day. What holds Gypsies apart from non-Gypsies is their belief in their particular kind of God-given inner spirit, which they call duende. This is one reason for their arrogant pride, a childlike faith that fulfills their desires, whether traveling on the open road or dwelling in caves in Granada’s Sacromonte.

The Mystique of Duende To the Gitanos, who live in a unity with nature and Mother Earth, flamenco is a sacred

ritual. All aspects of life are relived through the song, the music, the dance, and all emotions

surface. And no element of song or dance is more important than the release of one’s inner duende. Duende is ‘becoming’, being ‘possessed’. Duende isa feeling, and as such is difficult to define. It means spirit or soul, but itis more than that. It is a fiery inner demon, one that when released can possess not only a performer but also all the participants and onlookers in a flamenco gathering, or juerga. When a Gitano is possessed by this duende, he believes that he is in rhythm with all of life, in all its aspects. He is in rhythm with the sun that gives us life, and with the earth that goes around the sun. He is in rhythm with the waves of the sea as they crash powerfully upon a rocky beach

over and over again, calling, “Come to me, for I

am your true mother.” He is in rhythm with the

Flamenco Spirit,

a Golden Thread

Spirit is a golden thread whichrunsinand throughall of life, all of creativity. It is a word used often to try to describe something that is higher and more divine than our pure, physical life force, our everyday function and existence. Like the word love,

spirit has an almost endless variety of expressive uses. But its realm of vagaries and explanations sometimes make it an uncomfortable word to

use.

Spirit has been defined as ... the principle in conscious life, identified by breath ... | the vital principle in man, anii; mating the body or mediatbl ing between body and soul A b ... an angel or demon ... an Y inspiring or animating principle such as pervades and tempers thought, feelings and actions ... the divine influence, as an agency working in the heart of man... the dominant tendency and character of everything ... the essence or action, the principle of life force that rises above the physical form. Applied to a creative expression of humanity, spirit can be described as the basic Teodoro and Isabel Morca essence of that creativity in its relation to the individual's creative expression. That could refer to the spiriongoing realm, above the basic movements of tual relationship of any man’s or woman's creadance and of the sound of music and song. tive or expressive or artistic outlets. Indeed, the spirit runs in, through and all The total realm of flamenco isa multi-faceted about flamenco. That is what I explore here, for manifestation of expression, whether we want as nebulous as the search for awareness of the to talk of the art of flamenco or just its basic spirit may be, it appears to be a very important origins in expression of feelings, emotions, and factor — this golden thread that flows with the the personal outpourings of the person or percreative energy — the life force of flamenco sons involved. Since my personal world has itself. been involved with flamenco for so many years, The angels and demons of flamenco guide us if we are indeed in tune with the flamenco spirit. I find it an exciting subject to explore in its zo

| en

&

If flamenco is part of our true soul, then we will connect with the spirit, as it will be our true and

sincere creative outlet. Just as the life force of an

orange tree gives birth to oranges— itisalways true to the orange and never tries to be an apple — so flamenco. The spirit is almost impersonal, for if you plug into it with truth and sincerity, then to your capacity will the spirit flow. Flamenco will do nothing for you; itis what you put into your creativity, your co-creativity with life, that will give you some form of joy and satisfaction with your feelings about flamenco,

and let you rise above the purely physical into a spiritual union with flamenco. The union with flamenco of which I speak is the art of flamenco. It is the facet of flamenco that not only moves you, the performer, but makes you the giver as

others are moved by your expression of flamenco. Art, like the word spirit, is something that

rises above what could be considered the norm. It can be a personal expression so powerful that others are affected in a very positive way, even if not in accord with your feelings. A great painter can be considered universally a great artist, such as was Leonardo da Vinci, but that

does not mean everyone universally appreciates or loves his work — his art. No matter; art, spirit and love are vital ener-

gies that, once experienced, no matter how little

or how nebulous, change our lives with some sort of meaning and indeed give meaning to life. How does one connect with the spirit? How does one’s spirit connect with the spirit of flamenco? How does the seed of the spirit, the flamenco spirit, grow with the rest of one’s being? First of all, there must be a ‘gut feeling’ that flamenco is indeed some part of your life. You must feel the seed stirring. You must go to it, for it will not come to you. It’s like mining gold — you have to move tons of earth for each gram of gold that it yields. You must be willing to move yourself, to be moved, to give of yourself to the art form with a total desire before it will flicker the spiritual flame, the spiritual life force in your being. There must be a deep respect for your feelings about art, seasoned with humility, reverence and inspiration, no matter how small or how frustrating. There cannot be time and space involved with the awakening of the spirit. When you become involved with the art of flamenco and begin to study, move, train, ex-

press, awaken your body as an expression of flamenco dancing, you will find the inspiration will come in various levels and degrees. You cannot wait for inspiration. You must awaken it by doing, and the doing will give birth to flashes of inspiration. Just as we brush our teeth daily, or eat or walk daily, we must also

have part of our time dedicated to our creative involvement with flamenco. I have frequently been asked, “How does

one become a flamenco dancer, a fine dancer, a

dance artist?” I often want to give a simplistic answer such as the sculptor Rodin gave to someone when asked, “How does one become a sculptor?” He answered, “Oh, it is easy, just acquire a block of stone and knock off what you do not want.” If a person is going to flower into a great dance artist of flamenco — and I’m referring not only to people born into the ambiente of flamenco, which of course gives them an edge in some aspects of this art, but to anyone who is moved by flamenco — that person must act on his initial inspiration. In dance, training the body and mind and, yes, awakening the spirit will ultimately be the sustaining force that will help on the continual search for artistry, ‘becoming the dance’. From initial inspiration can come frustration. As we develop the discipline of training our bodies to express flamenco movement, that movement will relate our truest feelings and

emotions, our selves through flamenco.

Inspiration will dribble in as we awaken

control, as our bodies become tuned, our muscle

memory develops and our movement becomes our own. Our discipline in training will be a beginning indication that our spirit is plugged into the spirit of flamenco — our art form to express, to live, to breathe, to be. Our frustra-

tions will only be a shedding of skin, so to speak, and will ultimately, if we persevere, let us experience a more beautiful form. The discipline in practicing, thinking and studying flamenco will be more than pure willpower

or surface desire. It will be a need,

a

hunger, not for fame or a name in bright lights, but a hunger to know your spirit. It will be craving as strong as a physical hunger for food. It will be food for the soul — that resting-living place of the spirit. There are no shortcuts to spiritual growth or

awareness. We tend to accept the patient growth and awareness of an enlightened spirituality in religion, the priest studying and praying for a lifetime for spiritual guidance, the Buddist monk in daily meditation, the Zen student with no thought of time and space in his meditative search for enlightened spirituality. So itisin thearts, and that is the way it should be. In flamenco, the touch of the ‘demon or angel’, the becoming of the dance for one lightening flash of time, the kiss of duende, usually

comes (if it is going to come) when it is least expected. It may come followinga long period of immersion in flamenco, where desire and love

of the art have become one with your being and a level of technique has taken hold so that you can literally ‘forget’ as it evolves out of your being. This flash of spiritual awareness and enlightenment will be a change in your life forever. Yes, it will be that dramatic when it happens. It will bea ‘high’ that no drug has ever been able to produce. It will be the purpose of your co-creative existence on this earth. Ilike to think that this experience will have a very positive effect on the person. I like to feel that a person in tune with their spiritual, artistic growth will know where their ego is, and know no envy or bitterness or petty jealousies, and be a better person for experiencing a true deep purpose. I’m not naive and I know this is not always the case; but it is the ideal, the positive desire of a spiritual search and awareness. Another compensation for spiritual enlightenment in this beautiful art isa sense of inner joy, the renewing force in life. It is a climactic high as different levels are reached with ongoing continual study and involvement. Everything will have meaning when you dance. Each planta can be an expression of something felt, like the subtle sensation of fine season-

ings. Your search will slowly be for the essence of your feeling of flamenco. It will not be in quantity, but in quality. When the conscious focus on spirituality becomes an unconsciousact and you realize that there is something beyond the steps of dance and beyond the dancer, then your total being will begin to exude this spiritual air. This, then is a very beautiful beginning to the high points of life itself and its purpose. It is nothing that you can or even want to touch or analyze. It will be... We, our total

physical, mental, emotional.and spiritual self, will be as one. We cannot take it for granted, for humility, deep down, will hold our personal perspective of life together. We must not let our being atrophy with disuse or misuse. We must be true to ourselves and our art, our spiritual connection with flamenco. That is what will keep flamenco alive and well, within us and without us.

All of this may seem far-reaching — but why not? Why not reach for the ultimate in ourselves? Nothing is out of reach if your goals are to be yourself in your true capacity. The concept of spirituality as the golden

thread that runs through life, art and love is, of

course, a personal feeling as a concept, superbly special. Everyone has his own explanation of spirit. Almost every culture has a word for the spirit or something higher than ourselves, something valid and worthwhile to ‘plug into’. Flamencocan transport usintoa realm higher than ourselves. The inspiration from a single movement, a musical sound, a verse of song, can

move one to feelings and emotions of ecstasy. Inspiration can come from countless sources within and outside of our being. It is not something you can wait for. Inspiration comes to one with love of life, of the art of life, of enjoying our

co-creativity with life, with flamenco.

Should the time arrive that you know you

have become the dance, the aire of the dance, that

your dance is more than your body movement, then you will be addicted to the art of the dance. Your spirit will be plugged into the meanings of your life. Although the dancer’s body may grow old, the spirit, kept ever-young by the love of life and flamenco, will be able to inspire others and giveinanongoing pattern of co-creative growth. As long as there is one soul on this earth with a true spirit of flamenco, a love of its essence, its art and life force, there will always be flamenco.

Spirit does not die. Spirit is, and therefore flamenco is. The flamenco spirit, like the spirit of life itself, has always been. In the finale, it will be our spirit dancing, moving our being in truth. Again we will know the meaning of life itself. We will become the dance, the dancing spirit, the true spirit of flamenco.

Teodoro Morca stretching to the sky

10

Zen and the Art of Flamenco Our body is the tree of Perfect Wisdom,

And our mind is a bright mirror.

At all times diligently wipe them,

So that they will be free from dust.

— 7th Century Zen verse

As children we were spontaneous. We were able to be ourselves, improvising in play and make-believe. We showed honest emotion and genuine delight in discovering ourselves — our bodies as they learned to move, our minds and feelings as our emotions awakened in laughter and crying. Our “mental cup' was empty, ready and eager to accept new experiences. Zen calls this a ‘beginners mind’. It is well to approach flamenco with the same empty cup, the same readiness to learn who weare, what we

feel and how we do. We seek honesty, spontaneity, freshness, inspiration and, yes, enlighten-

ment.

Zen and flamenco are really one without trying. They are of the same essence. They were born with the same roots. From both Zen and flamenco springs nota philosophy, a doctrine, a set of rules or a line of stone walls, but spontaneity of each moment. Wecan become life itself so that our dance can just dance, our breathcan breathe,

our feelings can feel, so that our individuality is unique yet a part of the whole, like a river blending with the sea. Zen is basically self-enlightenment. We are we, dance is dance, life is life. There’s no deep philosophy, just moment-by-moment living, each day full with spontaneity and calm. Our oneness is with all. There is no separation, no duality of physical and mental, just being. There have been many books and articles written about Zen and its relationship to creative endeavors (archery, martial arts, jogging, tennis, golf, skiing, even motorcycle maintenance). These basically are paths to knowing thyself. Any creative discipline is helpful in learning to become one with your total self. Flamenco enables the dancer to know himself or herself in the most intimate, enlightened

way. When you go to Spain, to the cradle of flamenco, you will see and feel the earth, the sky,

the peoples. You will sense the history, the richness and poverty of cultures, the pain and pleas-

ures, the joys and sorrows, the aire and gracia of

the ambiente that is the womb and the freedom of

the art of flamenco. Flamenco dance is move-

ment that expresses the ambiente. When we study

dance and reach a singularity of being with the compas and the basic disciplines of the technique, we are interpreting all the facets of this

flamenco ambiente.

Flamenco has been called a ‘mature’ form of dance. Federico Garcia Lorca noted its depth and profoundly ‘black rhythms’. This may be so in part, but it is also inborn in children. Watch children, any children, and you can see true spontaneity, inspiration and uninhibited improvisation. Before there was even the word, flamenco people were expressing themselves in flamenco movement, singing flamenco songs and beating out the many accented rhythms that are now called flamenco compas. I personally have seen some of the most moving, mature and pro-

foundly dramatic flamenco dancing done by

children. Children of the ambiente are great teachers of the essence of the art. When flamenco moves you to its beck and

call, you start out childlike in your feelings and

movements. You may be backward in your search, running on pure inspiration. Withempty cup, your instinct and intuition will shine the

way. You will find movement that you will

study, practice and count out. You will become mentally awake and even analytical, and witha

strong awareness and desire, develop a tech-

nique that will speak flamenco. One day when you least expect it, you will dance and come full circle. Your enlightenment will be in a flash, a child reborn. Your empty cup will have overflowed with the essence. You will be flamenco, you will have become the dance. It will be inspired, spontaneous and improvised with a knowledge learned of the soul, the soul of

the ambiente that gave it all birth.

11

In Respect of Tradition Tradition: Time honored, cultural continuity. A base for creative inspiration. Tradition gives meaning, even when stretched to its limits. The word tradition or traditional has a great sound to it, a marvelous ring of purpose, integrity and worth. It sounds old, but worthy of being new because it has lasted. In reality it is ongoing, forever new. Tradition is forged from expression and inspiration. In the case of an art form, it is forged from the art of individuals and groups that had an almost divine power or purpose, giving birth to something unique and worth following by others. Tradition is a seed that becomes a taproot in the creative arts. Flamenco’s long, deep taproot was sent down through generations by many peoples and cultures. It expresses a truth of feeling, emotion, art and creativity. Knowledge of tradition is a beginning, a springboard to finding one’s own connection to that tradition. In the 20th century, flamenco has branched and traveled from its native Spain to all corners of the world. People from almost every country have grown to accept flamenco music, song and dance as not only Spanish, but as a worldly art form. They have accepted the fact that you need not be Spanish to study the timeless tradition of this art, influenced by many cultures. Flamenco

is now influencing many cultural art forms, from contemporary music to jazz dancing. Webster’s Dictionary says that tradition means “time-honored, cultural continuity”. The time-honored flamenco tradition, with its long continuity froma birthplace ina rich fountain of culture, deserves great respect. It has surpassed itself in its speciality, its worth, its art, its sub-

stance. Time-honored does not mean stagnant;

rather, it is a perpetual fountain, an oasis, for-

ever giving new purpose. In modern times, this tradition is a stepping stone to one’s own indi-

viduality. When one respects what is and has been, one can be true to the art and true to one’s self as an individual expressing that art. Tradition has many facets. I think of tradi-

tion when I read Frederico Garcia Lorca’s dissertation on duende. When Lorca tells the story of

Pastora Pavon, ‘La Nina de Los Peines’, the fa-

mous flamenco singer singing for an elite group of flamenco aficionados, he writes, “After singing a few songs there was mostly silence, muted applause, and one person sarcastically shouted ‘Viva Paris!’ with intended guasa (sarcasm). With this challenge, she again sang, bypassing her own technique — her own muse, and ripped her voice to reveal the true duende, which also revealed the true marrow of flamenco.” This primary birth is the meaning of flamenco in the first category, raw tradition to the core. In this day and age with so many artists, so many people stretching flamenco in all directions (flamenco can be stretched and still reveal its traditions), where can we find this tradition to

respect? With so many rock arrangements, electric guitars, organs and interpretations resem-

bling all forms of rock and roll, where can we get

to the source? Where can we study tradition and get past the steps and really get to the roots so we can understand the art form better in its natural form, in its intended uniqueness? Obviously, there is no single answer. It’s a question thatall those studying flamenco should ask themselves. They should start to use their instinct, intuition and desire to find it for them-

selves. It may be necessary to go to the source, to the ambiente of flamenco — to the back alleys of southern Spain. I have always felt the importance of going to the flamenco ambiente, to the birthplace of the

tradition. This, along with the instruction of knowledgeable artists and a strong inquisitive nature,

will help bare the roots of flamenco.

More osmosis than pure analysis, it isexperiencing the why, what, where and how by doing — not only by asking or studying. Respect

for tradition

seems

obvious,

but

many times we bypass this foundation because we get caught up in the now, the immediate titillation of movement.

Tradition gives substance to the now. It is the backbone of today’s flamenco. All great artists who have found their unique style and expression of flamenco have started with a deep

12

immersion in tradition. Then, using tradition as a base, they have found their own path and in reality have expanded tradition, giving new life in a multi-faceted, ever-changing expression.

I often find that when I am choreographing

and trying to be inspired and creative in movement and individuality, I ask myself, “What is this solea por bulerías? What is its tradition saying to me personally?” Usually this helps me to hear it, feel it, and express it with truth and integrity and with better understanding. I keep going back to the source. Some people have had an almost divine awareness, a power of purpose that creates tra-

dition. The ancient Greeks had it, they inspire thinkers and artists to this day. Individuals have had

it, like

Michelangelo,

da

Vinci,

Bach,

Beethoven and Carmen Amaya, Martha Graham, Balanchine. The list is endless and ongoing. When one is inspired by a tradition and by people who make tradition, this is the springboard for personal artistic growth. This is the ongoing addition to the tradition of the art. Each person who expresses the tradition of flamenco in his or her own way, with respect to the source, adds to that art, just as each drop of rain adds to the ocean.

In today’s flamenco, there are some hard-

core traditionalists — people who want no

change at all from the flamenco world of long ago. On the other side of the coin are those who feel anything ‘old’ is out of date, worn out, of no

present use. They believe that ‘modern’ is what

is ‘in’, and should be representative of flamenco in today’s age of electricity, computers, namebrand fast food and clothing. I feel that both of these approaches are black-and-white, with no

room for a gray-scale. First of all, no one truly knows the flamenco of long ago, nor even how the bulk of present-day forms were crystallized.

Flamenco tradition breathes and is alive, is old and new, for these are the head and tail of the

same art form. So-called ‘modern’ dance is very healthy because itis an art formin search of itself through its interpretation. It is a healthy union of old and new

that breathes life into life, into art, into

flamenco. It is the gray area, the shining gray of a stallion, a healthy, living and breathing breed of flamenco which respects its ancestors, its traditions. Yet it rides with an age-old aire y gracia y orgiillo (hauty pride) into today’s world, where flamenco

is now,

where

it is born and born

again, forever new, with a living love that sings “Ay!”

Flamenco — Timeless Ongoing — It Is I would be surprised to meet anyone not in

awe of the wormy caterpillar which eats for a while then spins a cocoon and later emerges asa stunning butterfly, ready to fly, transformed into a creature of timeless beauty. A parallel can be drawn within the world of

flamenco. Here too, there is timelessness and constant change, both in the person and in the

art form as a whole. Flamenco’s unchanging taproot is planted deep ina very old tradition of many cultures, with many feelings and emotions. Like a very old and handsome tree that is strong of trunk and root, it is forever growing new branches, each one reaching out and away,

adding to the total quality of the tree, but still

drawing on the power of the deeper roots for its very survival. We often hear mention of ‘old style’ and

‘modern style’ flamenco, referring to the form and content of guitar playing, dancing, and also singing. Many times Iam asked whether I dance new or modern flamenco, and does such-and-

such guitarist play in the new style or old style, as if one style of an entire art form were better than the other. Wecontinually hear a differentiation between ‘old flamenco’ and ‘new flamenco’, but in reality it is all the same flamenco in an ever-changing form. As if one facet of the evolution of the art could encompass the content of the whole, or the origin should be disregarded as too old-fashioned and no longer representative of the art. When getting into the so-called styles, old or new, it is important to study as many aspects as possible. It is much like the turning of a kaleidoscope

13

makes a myriad of complex patterns, with only seven pieces of glassinit, each subject to individual interpretation. The basic rhythms and structures of flamenco have been well established for a very long time; within these rhythms, there is an infinite series of possible rhythmic patterns. It is always exciting to see and hear the creative process of guitarist and dancer in search of another rhythmical pattern, another series of contra tiempos — perhaps a (tongue-in-cheek) search for the ‘ultimate contra tiempo’ or for the dancer, the ‘ultimate desplante’. It is this very search that gives flamenco its dynamics of change. For the dancer, it is a search for other ways of movement within the tradition. There is so much to draw from. I really feel that flamenco offers unlimited creative growth potential, being such a varied and complete dance form with so much room for personal creative search. With so much history, so many cultures, each adding to the whole, the dancer can forever blossom. Much of the change that has taken place in the dance of flamenco has been in the technique — both the movement of the whole body and in the audible rhythms such as footwork and palmas. Most of this change comes from very strong, creative individuals whose influence has been such that their styles have forever altered the flamenco styles for the rest of us. One very strong influence for the male dancer

would think while watching the waves come in and go out that they never repeat the same shape, always assuming different patterns and rhythms, yet coming from the same ocean — the same water, but always changing. I would think that when dancing flamenco, try to let it be everchanging, letting the soul search for new means of expression within the boundaries of whatever rhythm I was doing. It is always exciting to see the changes in trends of flamenco, especially in the dance or the costuming, to see the pendulum swing back and forth between style or approach, and to see who is influencing the dance at any particular time. A few years ago, when it was the style to dance extremely slowly, the soleares of a great artist like Maria Soto was pure dramatic joy. It was a slow style that very few people could do because it required tremendous inner understanding and strength. To dance really slowly with knowledge and control, your art really has to be in order. Everyone in the early 1960s was dancing super slow. There were periods before that when it was the style to dance super fast. You could see bulerias done at 100 miles an hour. There have been trends of footwork only, where the rest of the body has been sacrificed, or trends of standing for long periods of time, doing just braceo, emoting much drama. There were trends of just dancing in contra-tiempos,

individual who was loved by many and thought crazy by others. Without a doubt, he was one of the strongest and most influential forces in the evolution of male flamenco dancing. He was a scholar who wrote books about his thoughts on dance, drew very modern and abstract drawings of his dance styles, and set down in writing a sort of “Ten Commandments’ of flamenco dance. He considered himself the tower and pillar of old and profound flamenco, yet it is interesting that this very style was the greatest influence for Antonio Gades, whose styleis very contemporary and has influenced much of the male flamenco dancing of recent years. I remember when I was touring Spain with Pilar López. We were on the Mediterranean coast during the summer festivals, and almost every day I would go to the beach in the morning for some sun and a swim. I would think of the stories of Carmen Amaya, how she had said that the sea was such an influence on her. And I

for the women and street suits for the men. Now the trend is to dance a very set ‘routine’, with steps set beat-by-beat with the falsetas of the guitar, much like composing music. You almost have to be working with the same guitarist for a very long time and also have great control over your emotions, trying to reach the exact same effect every time you dance. All trends show a search. They are good for flamenco, non-stagnant. From a total blend of trends and fads comes much creativity and that is what all art is about. I use the word ‘art’ as the ultimate creative expression of flamenco, yet never changing in original feeling, in the original purpose of expressing man’s highest ideals of his being. If one studies as many types of flamenco as possible, then by absorbing as much inspiration as possible from each, absorbing the depth and energy fromoneand the complicated techniques of another, a complete individual artist will be

was the late, great Vicenté Escudero, a unique

and trendsincostuming, with very short dresses

14

formed. Over a long period of time and through constant study of the subtleties and evolution of the art, you will stay timeless, not old or new, but an artist of the present, a blend of all, and you

will be fresh, honest and you! If we always think of flamenco as a whole, its totality in energy, feeling and emotion, with dynamics and expression coming through the techniques, then no matter what the style — simple, complex, fancy, old or new — it will be true and ‘say’ something.

menco

in his own

way.

Art, feeling, emotion,

and energy do not change — only their expressions change. When one approaches flamenco asa performing art which includes dancer, singer and guitarist, one approaches the tradition of flamenco at its roots. The base of flamenco is the compás, not only each rhythm and its style, but its interpretation,

None of this is old or new, but timeless fla-

its feeling and emotion, always in its totality. Dancer being sensitive to musicand song; singer being sensitive to music and dance; musician being sensitive to singer and dancer. With a

Gastor, Paco de Lucia, Nino Ricardo or Sabicas,

interpretation together, a solid understanding takes place of the tradition of the roots of flamenco. [learned long ago that being Spanish or non-

menco. The essence of flamenco is a timeless expression of all human feeling brought out through an art form. This timelessness goes for the guitar also; whether the player is Diego del

they are all playing and expressing a different and individual facet of the whole art of flamenco. The cante is the most timeless part of flamenco and, whether the singer is El Chocolate or Camaron, it is cante flamenco, period, no matter the individual style or approach to compás. Many of the older transitions in flamenco dance are coming back, and to me that is beautiful, for tradition is the glue that holds much of the art together while it grows with inspiration and intuitive and imaginative evolution. For example, a few years ago when I was dancing in Spain, I asked a guitarist to play the old ida transition of alegrías to bulerías, a noncountable bit that the guitarist plays while the dancer does a set series of movements to this ida. He laughed at me and said that “was really too antique.” Now, I see it revived everywhere, from the teachers at Amor de Dios to the National Ballet of Spain. There is no limitation to this beautiful growing art; it is life itself, ever moving.

Flamenco

cannot change — it is! It is the individual interpretation that changes and each person that is involved in flamenco will express and live fla-

foundation of learning flamenco technique and

Spanish is a frame of mind when approaching

flamenco. Flamenco in its totality is a creative and expressive art form and therefore, universal to all who want to absorb and feel and live it. The point is that flamenco is total involvement, physically, spiritually, emotionally and mentally. Until one learns to lose himself, he cannot find himself. When you can become at one with all of the facets of your being with innate understanding, and become the dance,

the music, the song — then the word duende will have meaning. Let us take this beautiful tradition and not stop its flow by limited understanding and narrow-minded criticisms. But let us take tradition as a base for individual creative growth. If you feel like lifting your arms to the sun, like the wings of an eagle, then stretch with inner joy. If feeling comes over you, then feel — feel your feelings. If movement comes over you — move. Be sensitive to the compás, to the song. Be bathed in the totality of flamenco —which in all essence and reality is really the dance of

life, the song of life, the music of life in all of its

glory.

15

Technique, Craft and Art Having taught and performed for many years, lam often asked the question, “How long does it take to become a dancer?” and specifically, “How long does it take to become a flamenco dancer?” I find myself at a loss for words to this question. Trying to answer it in a few short sentences invariably leaves the other person just as mystified as before they asked. What does it take, what is becoming a flamenco dancer? If I give the answer in the number of years of study — 10 years, as most ballet teachers say — then 10 years of what? What is at the end of 10 years? Flamenco by its very nature hits an emotional chord in most people who first discover it. It can even look easy in its subtle moments. Years ago, I was teaching in Los Angeles in the days when Spanish dance companies passed through quite regularly; companies like José Greco, Roberto

Iglesias, Carmen

Amaya,

or

Jiménez-Vargas. I would get phone calls from people who had seen the concerts and ‘loved it’ and ‘felt it’ so much that they wanted to dance that flamenco.

They wanted to dance one of those ‘tarantos,’ as

one girl put it. Some of these people would come to dance class, and when

they found out that

there was much more to it than a few quick and easy lessons, they would melt away. Some of these people told me that they ‘felt it’ so much that they did not need or want technique, or want to bother learning the music or steps. I found myself saying, “Fine, when you go out on stage and ‘feel’ and ‘emote’ in front of an audience for five minutes, then what? What are you going to do for the rest of the performance?” It is the then what that I want to talk about here. Whether you are an aficionado wanting to do a few steps in a fiesta or a dedicated professional, it is desirable to understand technique,

craft and art. Good technique is essential to any craft. Through technique, one can eventually unleash the art that is the essence of flamenco. A good foundation can be developed by working on and understanding the basics of movement,

as applied

to flamenco.

A

total-

movement approach is important before one should think of getting too complicated. If one

can do simple things perfectly, itis possible to do difficult techniques easily. Talking about technique in relation to flamenco is like talking about religion or politics, there are as many opinions as people. Some would say too much technique takes away from the art. Technique is the vehicle that expresses the art; just as a hammer and nails are not the house, but tools used to build the house. There is no such thing as too much technique if its purpose is a sincere approach to artistic expression.

Flamenco is visual movement. Flamenco is the bloodstream of dance,a form involving every part of the body, with no one part of the body moving without another. Flamenco has all of the facets of every other dance art and more, it calls for a total approach from the beginning. It is not just grabbing a skirt or vest and pounding away at a footwork combination. It is a posture of the body that sings of the ages, of proud races of people, past and present. It is arms moving, expressing a reach for love, life, death, challenge and rebirth. Itisa head held high, like the phoenix rising; it is earth and sky. It is movement

and

non-movement,

like the

appearance of a distant star that, though it appears still, is moving through eternity. It is audible music, footwork interplaying with a joyous surface, a love — the making of sound against sound, of palmas (hand clapping), footwork, pitos (fingers snapping), caressing our listening senses with passion and life. Your craft comes from rehearsing, practicing and more practicing until your technique has flow. Using your technique to ‘say something’ comes from the good fortune of many things, such as properambiente to learn the meaning and understanding of what flamenco is to you, studying with teachers of dance who are sensitive to your individuality and to all of the other elements of the music and song. It comes from understanding individuality, phrasing, clarity and all of the qualities that enable you to become one with the music, the dance, the song, and the

total feeling of that you have Much has used are often

flamenco — the personal feelings in regard to flamenco. been written on art. The words the same words used to discuss

16

love. Art is difficult to explain in words; it is more easily expressed in feelings. Itis the craftof

an art form that is most often seen, not the art

itself. It is this beautiful difficulty of just “turning on the art’ that makes art so rare and precious and worth striving for. Professional performers, performing night after night, traveling hundreds of miles and then giving a concert, often rely on their craft to present the art form in as beautiful and exciting a manner as possible. The audience sees a very controlled and exciting display of technique, of music, song and dance, ‘turned on’

by many years of experienced craft, even though the performer might be tired or sick. I was told an interesting story by a very fine guitarist who was visiting Sevilla. A Gypsy

dancer was performing atone of the tablaos. This. dancer was well known for his ‘great art’ when conditions were ‘just right’ ... but the right conditions were very unpredictable. The guitarist went night after night to see this

dancer for a week, he saw the dancer perform

nicely, but nothing to really excite the bloodstream. The guitarist was getting ready to leave Sevilla, but decided to go one more night to see the dancer of whom he had heard so much, and

it happened. He told me, “The soleares he danced

made people rise out of their chairs, the air was like a vacuum ready to explode, the dancer was possessed and in turn possessed the audience who could not even breathe.” It was the most moving ofall experiences, it was dance that transcended dance, it was Art.

Dance becomes art when it transcends technique, when craft carries movement to greater heights where it intertwines with the soul, the meaning of all creativity. Art is a giving process. Everyone has some creative expression of nature, of life. When a person who carries a bit of dance in his being followsa path of creative growth, then the flower of art will appear in his dance, and he will know the meaning of creative life.

In-tune with Technique

The human body is indeed a remarkable instrument, with the ability to express a wide range of feeling, expression, emotion and communication. With today’s many categorizations, the art of human expression can be labeled bal-

let, mime, sports, modern, post-modern, folk,

ethnic, jazz, tap, etc. With many shadings of technique to express any one particular labeled

category.

The human being is one of the only creatures on earth that has sucha wide range of adaptable expressions. Before today’s categorization, men and women expressed themselves and their feelings with dance. The techniques of flamenco dance have evolved from many sources that are unique and have become more unique in their blending. The total involvement of the body in such a blended abstract way is only rivaled by the dances of India. The approach to flamenco technique should be, every part of the body saying something, not favoring one part over any other. I have read, “Flamenco dance is based on the

footwork.” That would be limiting, like saying that ballet dancing is based on standing on your toes. Without frills, in its basic traditional ap-

proach, flamenco is an expressive blend of the

total body, communicating its visual and audible feelings and emotions. To have so beautiful an art form dissected — “he has good arms but lousy feet,” or “she grabbed the skirt and did some nice footwork, but her upper body lacked,” — may be valid critiques, but I feel that we should approach flamenco technique from all angles, from the first moment of study. Flamenco technique should involve the total body and this can best be approached from the upper body working down, like gravity. Just as a guitarist finds a good position of the hands to properly execute good fingering techniques, a dancer can start witha good posture so that this centering can relate to the rest of the flamenco body. Good posture is primary for the flamenco look, which will relate to the flamenco

feeling expressed with this look, this positioning. One of the main differences in look, from style to style and different dance forms, is the position of the head, shoulders and back. The initial aire and look of flamenco is a head held straight, not stiff, but back from the chin,

like the look and position of a proud eagle. Tilting the head gives it a classical look which changes total character. Shoulders are down and natural, giving the feeling of presence, of a secure estampa. When at a diagonal, the downstage shoulder could be slightly higher than the

17

up-stage shoulder. This keeps you from looking stiff and at the same time maintains the look of flamenco. I cannot completely explain this look, but itis the total proper positioning of the body that best represents a particular flamenco style. Over many years, when dancers have become involved almost exclusively with the footwork of flamenco, the habit of looking down has become popular. This habit breaks one of the most important flamenco lines — the head; the

head has to do with the focus, that all-important focus of the eyes. If you looks down asif concentrating on the footwork patterns, then look down with only the eyes, thus keeping the beautiful

line of the head held up, held in the position that

gives strength of focus and not a hunchbacked effect.

The back should be a total, natural curve

from lifting the torso; not a swayback with the behind stuck out. Our behind is already prominent by the way we are built. If you lift the torso, tummy in with shoulders back and down, the hips held naturally, you will best find the flamenco back, the line that lets you move naturally flamenco. One of the most exciting discoveries in flamenco technique is finding your personal asentao position. It is not only your bent knees, but it is that opposition in movement that lets your uplifted torso float, your hips move and adjust smoothly and releases your legs so that your movements, your footwork, will work the best

for your body. No one can tell you how far to bend, because this position should be completely integrated with the rest of the body. It is exciting to explore the techniques of flamenco that come from obvious natural movement. For example, walking, where your arms

move in opposition to your legs. It is interesting that many times in flamenco walking movements this naturalness will be ignored and will give the appearance of a stiff movement. Natural opposition is a great beginning in line and linear movement which lend immediately to the basic movements that flamenco tries

to express. There is nothing more exciting to a

teacher than seeing a student respond to the basics and make them work personally. There is a snowball effect when studying flamenco technique in a totally integrated way.

Once we get the basics all moving together within the realm of our own bodies and within

the realm of the various flamenco forms, then

the muscle memory starts to work along with our physical, spiritual, emotional and mental self. It is beautiful to see and experience. It is very interesting that in many of the

Oriental martial arts, (which have similar roots

and approaches as flamenco), that when one promotes to a technically higher level in degree

of understanding, whether absolute beginner or

grand master of many years training, the basics are the same. The promotional movements and techniques are the same for beginners as for advanced. The basics are all important and the so-called more advanced student is expected to do the basics with more understanding, more perfection, more simplicity and economy. This is indeed profound when one thinks that in the arts,

in flamenco, it is the ability to stand still with art, it is that quest for the essence of technique in its purest form to speak flamenco truth. Why do some of the greatest artists, flamenco artists, do the least physical movement?

Because they have learned to ‘become the dance’ — totally. Every facet of their self has been

focused to that essence, that personal reflection of flamenco art in its purest form. This, of course,

can encompass a lifetime of your personal involvement in and your approach to flamenco. When one is born into the ambiente of flamenco, there is a much more natural osmosis,

absorption and adaptability to the technique, which is part of the total mannerisms of the cultures that gave birth to flamenco. For people who are not born in Spain or into other pockets

of flamenco, there is still that universal element that is in all art; the love and need for that art

form to be a necessary part of our lives.

Working from the Top Down

The first time that I tell a student that the footwork or control of the good footwork comes from the upper body, I usually receive an interested stare. If approaching flamenco technique from the upper body, (working downwards), then by the time you get to the feet position and technique, the upper body will be giving them maximum help, through uplift, control and proper leg action, hip action and torso action.

Beautiful footwork is exciting. It is beautiful to hear, beautiful to see. With thoughts of play-

ing the floor, as a musical instrument, we can

18

explore the different sounds of the different techniques and their rhythmical, musical and emotional expressions. Visual patterns of interest and controlled-counter-rhythms along with dynamicsof shading come more easily when the total body is moving in unison, purpose and expressing the particular interpretation that you are doing. It is exciting to practice various techniques; for example, redobles, with various compás to see

how they they adapt to these compás. Some might be more dramatic or intense in one compás than the other. I feel that one should try to practice technique as much as possible within the various flamenco compás. This not only reinforces their use in that particular compás, but will help

improvisations havea deeperacquaintance with the compás, so that the technique is in reality the

dance, not just technique.

Any movements or practice of technique should be dance movements, something that is related to actual dance steps and should be able to apply immediately to choreography. This approach gives purpose to technique beyond just steps and makes a natural, smooth transition to perfection of technique the same as perfection of dance. Ihave mentioned ways to practice footwork, coordinating with arm work, and of course, the

rest of the body. I do a series of diagonal move-

ments, turns, footwork combinations across the

floor in many different compás. These are geared for total coordination and are a great way to develop movement techniques. These also can help develop a naturalness in developing personal pelliscos to the individual's personality. Good technique, controlled technique, is a beautiful

search,

whether

flamenco

bailar or

bailarin. After all, you want to control your body, not have your body control you. Finally, I would like to talk of breathing, that marvelous technique, that necessary technique that enables the dancer to rise above just physical strength to dance. Proper breathing enables the dancer to look and feel in complete control.

Proper breathing is an art in itself, and if one

wants to complete a dance with strength and control from beginning to end, then this art of breathing is a very worthwhile search in itself. Look into the method of Zenbreathing, of breathing deeply, using both nose and mouth, ina way that is of the dance. Proper breathing is power, power in the dance. This also is the power that gives life to the dance. Technique is dance and dance is technique. They are one and the same and when a person breathes their soul, their love, their desires, their

self into this technique, dance technique, then they will touch that art of dance, they will “become the dance’.

19

Photo - John Van Lund

Search for Individuality

Magic Boots

Oneofthemostexcitingsearchesina person's life is the search for his or her self, especially the individual creative self. We are all on this earth as a basic creative expression of life itself. Just as an apple tree does not try to bear oranges, or a rose does not desire

to become a carnation, so too, the human being — deep down inside of spirit and soul — wants to express the true self, the individual self. There

are no two people who have the exact same ‘stamp of life’ within their being. Danceis one of the most unique of human experiences, involving our total physical, spiritual, mental and emotional being. As a creative art form, it is a total personal high and flamenco dance is a giant facet of the total beautiful jewel of dance.

Flamenco, as one of the world’s true solo dance forms, is a perfect artistic and creative ex-

pression for finding one’s individuality, a dance that shines with the energy of personal individual interpretation. A person who is moved to

stud y flamenco, hasan unlimited space to search

for the individual self. The teacher of flamenco has a great responsibility to encourage the individuality of his students right from the beginning, and not to encourage and create clones of himself. For the flamenco dancer who was not born in the flamenco ambiente of Spain, it is this search for individuality that is of prime importance, something that should be kept in constant focus. No matter how many great steps you learn, great pellizcos you pick up from exciting dance artists and teachers, you must keep in mind how they will look on ‘you’, with ‘your’ feelings, style, body and emotions. The discovery and awakening of a person’s individual feelings are an inspirational discovery for both student and teacher. If a teacher stresses only his own personal style and states that this is the way to approach flamenco, then that teacher is stressing an ego trip that will ultimately be limiting. It is the search for origi-

20

nality, through the understanding of flamenco as a whole, that produces the exciting artist and the inspiration to continue to grow as an artist. Discovering your own individuality is like nurturing a beautiful garden. The beginning seeds, nurtured witha solid technique thatlooks good on your body, blended with what your emotions and feelings say to you, along with knowledge of the music — the cante, the compás,

and interpretations — individual expression about flamenco. A teacher can give ments, understanding

will grow to be you, an of what you truly feel

the ingredients: moveof the different compáses

and interpretation. Going to Spaincansubmerge you into the flamenco ambiente and let you ab-

sorb by that special flamenco osmosis, the feel-

ing of flamenco from its source. But it is you, as

an individual, who will let your self know what it is all about, your feelings about it. We all admire the creators, for they are the ones who dared to explode with their originality. Carmen Amaya, Vicenté Escudero, Estampio, Antonio de Bilbao, are just a few innovators who

were followed by countless imitators. But dance is more than technique and copying steps. It is the personal estampa and style that generates growth in art. All of the basics of the age-old traditional movements can be molded to individual personality or approached with that in mind. As

you

learn various

facets of technique,

for ex-

ample, see and feel how they look on you. It's important to go to a class you enjoy and to work witha teacher you respect. You are there to study from someone who will awaken something in you and show you what you are not aware Of. Itis also important to adapt that awareness to your being. A mirror for dance can be a helpful tool — study personal line, study the flow of the arm movements to see how they look and feel on you, see how the total sculpture of the body is in harmony and balance with the technique and movement that it is absorbing, express your personal feelings from within. I'll never forget when I was in Spain in the early ‘70s, and Antonio Gades was popular. | saw many male dancers trying to look exactly like him. The Amor de Dios studio was full of cloned Antonios. They were trying to ‘look’ like him rather than taking his beautiful line and style and ‘adapting’ it to their own bodies.

Antonio Gades himself had admired and was inspired by Vicente Escudero. Antonio freely admitted adapting many of Escudero’s ideas of movement and total flamenco art to his own. That is the key — to adapt, not to copy. The great innovators of flamenco art are all super-strong individuals.So muchcanbe learned from them. When you see artists like Antonio, Mario Maya, the late Carmen Mora or Carmen Amaya, or hear a Sabicas, Paco de Lucia or Niño

Ricardo, realize that it is their individuality in expressing the art that we greatly admire.

There have always been more sheep than

shepherds! One of the important reasons why there are many more copiers than individuals is that the search for individuality takes time. It is a slow growth process, a giant redwood tree compared to a weed in the garden. It is a dual happening — learning first, adapting and absorbing second. I have been asked many times, “How long

does it take to become a dancer?” Of course,

there is no set time because of all of the personal

factorsinvolved, but l feel that becoming a dancer

or any other kind of artist is perhapsa three stage operation. The first stage I call inspiration. You usually have been inspired by seeing flamenco or being exposed to it in some way that inspires you to pursue it, to study it and have it become part of your life. This whole explanation is very simplistic, but it roughly describes the experience. The second I call the technique stage. This is the stage that you never really get out of if you continue your pursuit of flamenco. Very quickly your inspiration leaves, at least for a while, as you start to learn the basics. Your body awakens to flamenco movement, the frustration of mak-

ing your body do what you think it should and having it respond in awkward movements of slow awakening. The searching for that means of personal expression that is bursting inside, wanting to grab onto the compas, the music, the feeling and cry out “here I am, I feel, I love”, through dance. The third stage will happen I know not when. It is the blending of the inspiration and technique, and one day it will happen when you least expect it. You will not think of steps, compas, desplantes or anything. You will become the dance, you will feel, you will float, you will dance your personal feelings in all of their glory,

21

your joys and sorrows, your love of that creative expression called dance, that special dance called flamenco. You will become the dance — call it duende if you will — the dancing bug will have bit you in this ultimate high and, for a split second, you will know dance, you will know yourself as an individual creative expression of life itself. Many people who take up flamenco never get past the first stage. If you don't stay with an art long enough for it to be absorbed and start to become you, it will become boring, tiring and

soon be dropped. The study of flamenco, by its very totality, is very time-consuming even ona light level. There is a point in absorption where you either go on or almost have to stop and step back — out of the artistic ‘quicksand’ that drew you in — and just be content to look in. Another exciting search in finding one’s individuality in flamenco is to recognize that there are really several kinds of teachers. One kind of

teacher is outside of yourself; another teacher is

within yourself. I love to recall some of the fine adventures of my wanderings in southern Spain —absorbing the way a young bootblack danced for his clients in Granada, hearing the sound of cante hondo while inside the Caves of Nerja, watching El Cojo in his little studio in Sevilla, talking to some elderly folks ina bar in Cordoba, watching the dance in the back alleys of Motril — and many other moments that were all lessons, all teachers.

I remember auditioning for a pension (lodging) in Madrid when none was to be had, as it was the time of the festivals of San Ysidro. As I

knocked at the door, I heard a faint, very old-

style sound of a guitar, an alegrias coming from

within; and when the duena answered the door,

I mentioned that I needed a room and also that I liked flamenco. She invited me in with no promise of a room, but to meet her brother who happened to be sitting in the kitchen playing a very old, lovely Santos guitar. I started to do a few paseos as he continued. They began to smile, offered me a glass of wine ... and a room, my new tios in Madrid. Another lesson. As these outer lessons and experiences are learned and absorbed, and as this outer ambiente seeps in, then the inner teacher (if awake and

truly receptive) will form distinct personal impressions that will be in your art. In my imagination, I love to go back many

years, maybe at the time of the beginning of the café cantante. I imagine myself wandering in the ambiente, absorbing, dancing, living some of the beginnings of what is flamenco. I find myself getting below the surface of the art, boring into the core, so that maybe for an instant I can see and feel the mother of the art that gave birth to me, my love of the art of flamenco, this feeling of life, expressed in a unique way. Flamenco is yours, it is mine — flamenco is larger than Spain, and with committed love and desire to be a part of it, it will be a part of you. How does one approach individuality within the tradition of flamenco? For one thing, flamenco dance has acquired a concrete vocabulary of technique and a very large vocabulary of movement within the tradition. The various strong styles and adaptations have been formed by many artists who have found their individuality within the art and passed it on to others to help them find their way. No one knows what the ‘first’ dancers of flamenco looked like, for that matter, it’s not that

important. Tradition is now, a summation of all time. It is up to the individual — with respect to this total, timeless tradition of flamenco —

to

find his own path. If your instinct leads you to a style and teacher that intuitively feels right for you, then it is the adaptation of this learning that will make it ‘you’. One of the most important facets of learning anything and making it your ownis to be able to spend long hours with yourself in study. A dance class is only the tip of an iceberg of learning. The slow absorption of some of the roots of flamenco in the back alleys of Andalusian pueblos can, by osmosis, make sense if you look at them slowly and from within and, at best, alone,

to feel your place in flamenco. It is very exciting, almost awesome, when one truly realizes that he is a unique individual, a one-of-a-kind creative expression of this universe. To copy is not a shortcut, a copy is never unique like an original. To lose oneself within is to truly find oneself; applied to flamenco, it isa very rewarding experience. To find your creative individuality with so vastanartas flamenco isa worthwhile search,

a finding of a treasure within the soul. To paraphrase Shakespeare, — To thine ownself and flamenco be true, and as the night follows the day to the next juerga, you and flamenco shall not be false to anyone.

Are You a ‘Flamingo’ Dancer? “Are you a ‘flamingo’ dancer?” That question may strike one as funny, or even a bit sad, but it one of the most frequently asked questions of flamenco artists in this day and age when flamenco is seldom seen. Though I am sure every flamenco dancer would like to be as graceful as that beautiful bird, it is a sad fact that in the whole United States you can count on two hands the places where flamenco can be seen. The present generation of sponsors buying talent for college, university and community concerts have never seen flamenco, never heard of Carmen Amaya or José Greco, or contemporaries like Paco de Lucia and Antonio Gades. No art dies or dies out. It may enter a cycle during which its patronizing public is in the mood for something else, but the art does not die — it is just in another cycle. Just because no one bought Van Gogh’s paintings when he was alive, does not mean that his art was no good. Bach is more popular now than when he was alive. All art forms go in and out of cycles of public popularity. When Spanish and flamenco were in a golden age of popularity in the 1930s through 1960s, ballet and modern dance were playing to empty houses, but the art of ballet and modern is art nevertheless, and now they are in a popular cycle. Flamenco is ancient yet new, evolving with the times like other great art forms. Like the roots of ‘jazz, blues, soul’, flamenco was born of peoples

expressing their feelings and emotions, their joys and sorrows, and also, their art and beauty as a way Of life. Flamenco is an improvised art form within a very complex rhythmical structure — actually a set of structures that have evolved over recent centuries. There is no written music in flamenco. there isa total interplay between guitarist, singer and dancer in music, rhythmical expression, interpretation and inspiration. It is a blending of feelings and emotion, inspirations and art. It is to experience the feeling of the dance, the song, the music, the all-important duende or inner soul and spirit. The flamenco dancer’s whole body is a musical instrument, visually and audibly expressing the total art of flamenco, a serious art form born of the highest cultures of East and

West, a form, like classical ballet, belonging to

the world. Is there a set technique for learning flamenco dancing, as there is in ballet? Yes and no! There are very good teachers who have developed individual styles that are strong and within the tradition of the basic movements of flamenco. some have developed methods of teaching that are good for some and have great followings. But flamenco is such an individual form of expression, even within the tradition, that many teach just parts of it, such as beginning with footwork to titillate the student, or teach just routines without a good foundation of technical and interpretive knowledge. Since flamenco is such a complete dance form, using the whole body, it should be taught in a fully structured class with total technique and interpretation that will enable the student, like in ballet, to find his or her own style and individuality. What! found so unique about flamenco when I first saw it many years ago, is the instant energy and emotion that both artist and audience can experience if it is ‘really happening’. It is human to the core in the most natural animal sense, and

at the same time it has the built-in artistry of a long, ancient history of cultured peoples expressing themselves. Another unique quality is the total blend of visual and audible art — the footwork, the hand

clapping, pitos, instruments; the integrated body nuance of life. I have always

tongue sounds - all musical pride of carriage in a totally expresses every feeling and felt at home with the rhythms

and counter-rhythms of flamenco, and really,

their uniqueness is that they are so natural, it is the pulse of nature. Another facet of flamenco is the great possibility of expressing your individualism. In a corps de ballet, you can be a clone and get away with it, but fewer is better in flamenco. A strong

soloist is more exciting than 20 people lined up doing the same thing. The excitement of 'becoming’ the dance, of whatis known as experiencing duende — once it has possessed you, you are addicted and this great event is quite unique. It is certain that the Gypsies have and will

23

continue to exerta greatinfluence on the total art of flamenco. With great care, class, style and respect, they have been responsible for much of the great flamenco, the spreading of good flamenco and making the world aware of this great art form. But at the same time, flamenco is a world-class art form and many non-Gypsies have been the ones to carry it throughout the world. If one were to have seen flamenco even 100 years ago, it would have looked very different as far as the dancing and the music, but not so much the singing, even though the styles have changed. First of all, the various forms, suchas soleares,

bulerías, tangos, and tientos are all old forms that

developed a certain rhythmical structure, inter-

pretive feeling and overall structure many years ago. But they are all ina constant state of change, some of itin rhythmical and musical interpretation, much of it technical. The rhythmical structures of 12, 4 and 6, make up most of the dance

forms, but what can be done with them is endless and ever-changing, asit should be, for what stands still dies. Aslong as tradition is respected with regard to the roots and meaning of flamenco, then change is fine. The overall evolution of flamenco is ongoing, much like styles of clothing. Some changes work and some do not enhance the art. The guitar has become a solo instrument in the last few years. This have been an interesting change — the creativity and expansion have been enormous. The dance, becoming a performing artover the last few decades, has absorbed much

inits technical growth, becoming very complex.

There are various reasons for flamenco not

being seen, besides the cycles in the arts. Some of the great flamenco and Spanish artists were, in the golden age of flamenco, presented by impresarios such as Sol Hurok who knew the dance,

who knew theatre, and that exciting dance was exciting dance no matter what the label — ballet,

modern, Spanish, Indian, ethnic, etc. They pre-

sented in theatres across the country and people went because they knew that it was good dance being presented. What has changed in the last few years is that, for better or worse, the main presenters have become the colleges and universities. Many of these sponsors are buying into a label. Is it modern, or ballet, or ethnic? These are three very

frequent labels that one hears today; flamenco is

considered

‘ethnic’, which

is not on the most

popular list. Good dance for the sake of dance is not the priority; it is the label. Itis very funny to me at times, because

the United

States is the most

ethnically varied country in the world, and all dance is ethnic, ‘of the people’. We cannot get snobbish about it and say that one form is better than, or more artistic than another.

When sponsors do their homework, are openminded, and are in the frame of mind to buy good art, no matter what the label, then flamenco will share in their buying, for the audience still loves a good performance. As Martha Grahamonce said, “There are two types of dance, good and bad.”

Flamenco Anatomy It is generally accepted that we’ve been dancing, moving our bodies, expressing our feelings, mimicking animal movements and in general, ‘dance-expressing’ since the beginning of our appearance on this earth. Depending on the area, climate and related living conditions, men and women developed and evolved different ways and styles of movement expression. Like language, different peoples speak differently — even though we are all humans with basically the same bodies, voice

boxes and anatomy. Animals, climate and topography were very influential in the development of movement, customs and society of the various cultures. Heredity,and the ways that people haveevolved physiologically and anatomically, has helped shape their dances, their feelings about dance, and their outlook on what dance is to them personally and culturally. It’s amazing to think of all the ways a human being can move to express themselves. There are thousands of forms

24

and styles of movement that the human race has developed throughout the world. There is no dance form that looks quite like flamenco. This is probably due to the melting pot of cultures that it has evolved from and that's why it can be related to the essence of jazz dance in the United States. Jazz is new enough to see the multi-cultured influences and how the various body movements from these different cultures have influenced the whole. In jazz and in flamenco you see similar basic influences — the African torso, the Latin hip and the East Indian arms. What all this means in today’s flamenco dance is an interpretation that says something. What I call flamenco anatomy can be described as ‘capturing body movement that best reflects this flamenco essence”. It is simply getting back to the basics of flamenco movement before we think of it as copied movement. Like all of the arts, we can ignite our imagination and ‘feel’ — or at least pretend to feel — our bodies as flamenco bodies, reflecting a flamenco that is ageless, a flamenco that captures the initial language of the cultures that gave it birth. In today’s age of sitting a lot, driving instead of walking, forced plans of exercise to keep in good physical shape, our basic postures have become weak, our backs slump and our tummies are more often out than in. This of course does not apply to everyone, but it is nevertheless common in our modern computer age. This is the antithesis of the anatomy of flamenco. Sure, there are great artists who have been of every shape and size, but the cliché of the thin, small-

hipped male — lean and firm of body — is a good thing to work towards. Alsoa well-shaped, firm, pulled-up body isa fine goal fora woman. It is much easier to pull up and have that flamenco back come alive with strong muscles to lift with, especially stomach muscles, which are the dancers main muscle group. A flamenco dancer can train, in mind

and body, for the

physiologically ideal anatomy that can best represent his or her feelings in thier relation to flamenco. We may not have evolved from the roots of flamenco — the heredity of flamenco; but with

our minds we instill in our bodies the habits of beautiful postures, beautiful lines, a positive set of habits that will reshape our bodies to the maximum of our art-selves, our true expressive

selves.

This may sound drastic to some, but dance —

flamenco-dance art — can start with our mindfeelings, shaping our thoughts to shape our bodies. Just as we ‘feel’ like brushing our teeth at certain times of the day or eat when we ‘feel’ we are hungry, we will ‘feel’ like pulling up when we slump. After all, what are gracia and aire all about if we cannot feel that personal pride, that joy of a body that is tuned like a taut guitar string, singing its voice true in the language of flamenco puro.

We mustlive in our bodiesall of our livesand

itis our right to have that body tuned to the best of ability, an ability that will let us be our most vibrant flamenco selves. Flamenco in its most relaxed approach is a strong dance, a dance that requires an inner and outer strength to say something, to speak well, to speak a true flamenco language. There is nothing mambypamby about the dance form and style of flamenco.

Cool flamenco

is just that —

cool; no

Juice. Energy breeds energy and that is what flamenco is all about; training the body for flamenco should have energy in mind and body. What are the habits that we can adapt to enhance our flamenco anatomy? One of the most important series of movement habits to acquire is a set of upper and lower abdominal-strengthening movements, along with the side-waist muscles of obliques. Sit-ups properly done, with the head held up as if looking at your feet; leg-raises while lying on your back with the head held off the floor; legs held up while lying on your back and then carrying the legs from side to side. These three main movements will strengthen your upper and lower abdominals and also your side muscles. With this added strength you can realize a stronger back and back support. Proper footwork requires a strong upper body to lift off of your legs, to free the legs to move with strength and control. Flamenco dancers should train their bodies for flexibility, posture and strength. A consistent program of stretching, strengthening and posture improvement not only improves your flamenco anatomy, it improves your flamenco technique. It will give you the strength to sustain a long dramatic soleares or other dance; adding

25

flexibility to interesting footwork, giving suppleness to anart formlong thought of as stiff, but in reality, an artistic coiled spring forever winding and unwinding like a striking cobra, or a panther por seguiriyas. The study of flamenco anatomy is also getting to know your body as an expression of the art, of yourself in the art and all of the wonders of sculpting movement. Like East Indian dance, flamenco is a magic fountain of isolations of the body. I say magic because when first attempted, moving the arms one way, the hands another, the torso doing

something else in movement, the hips, legs and feet doing countermovement in opposition, and all of this going on while the head is moving in another opposition with the facial expression to boot; it is indeed

magic at first. Working with isolations isa very important part of flamenco training as long as we put them all in perspective as we learn the individual

flamenco movements of the differ-

ent parts of the body. One of the great founders of today’s modern jazz-dance styles,

Jack Cole,

was

a master

of Afro-

Cuban, East Indian, flamenco, Har-

lem Black and ballet styles. He was one of the first artist-teachers to create a whole new language of isolationsand created anart withinanart that is helpful in other dance styles, including flamenco. There aremany waystoapproach the discovery of your flamenco anatomy, including the flamenco isolations as a way of discovering how your individual body relates to the art. The shaping and training of your flamenco anatomy isan exciting, lifelong challenge and discipline that will reap joyous rewards in a body that we will love living in, a responsible body that will speak flamenco with all of your inner truth and feeling.

Teodoro Morca

‘aire’

Exercise, an Aesthetic Point of View Not long ago the United States was known as a country of soft bodies and big cars, having the basic priority of comfortable living with a minimum of physical effort and activity. Now wearein an exercise craze that seems to be burning more calories than gasoline. More people every day are taking up some form of exercise program. Health spas and fitness centers that offer everything from running tracks, swimming pools, weightrooms, racquetball and tennis courts, to gymnasiums, aerobics, saunas

and steam rooms are sprouting up like mushrooms in almost every city in the country. It seems like everybody is running, or taking classes in some form of aerobics, body-building,

Jazzercise, dancercize, powercize or stretcher-

cize. Along with this, the exercise craze has spawned the fastest-growing clothing industry in the country, with styles changing almost daily. People are trying to keep up with the latest in leotards, sweat togs and running shoes. There are hundreds of how-to books on all forms of exercise, hundreds more on every conceivable diet. There are daily TV shows on everything from aerobics to yoga. There are countless articles, surveys and studies appearing in magazines and daily newspapers telling the benefits, pitfalls, pros and cons of all forms of

exercise and fitness programs. With very few exceptions, the emphasis in today’s exercise craze is founded only on the practical and functional facets of exercise, rather than the aesthetic importance and values of physical activity. The importance of aesthetic value and awareness may be a subtle point, but it is this that makes exercise not only what we do, but what we are and what we become as a total person. The aesthetic value of beauty and art incorporated into our daily lives isn’t new in history, and that includes striving for a totality of beautiful body to house our beautiful thoughts and actions.

The ancient Greeks celebrated the beauty and achievements of the body, mind and spirit in their Olympic Games. They believed that the body was unique, as a total beautiful expression of the person as a whole. They believed that the development of a healthy and athletically sculp-

tured body wasnot only for winning a game, but was for achieving a oneness with the creative self, the aesthetic self.

It was a celebration of beauty in thinking, in spiritual values of the body asa whole. Thisidea of aesthetics and the human body was reflected in the ancient marble sculptures that the Greeks carved. To this day they are envied for their beauty of line, physicality and art. The aesthetics of the human body reached an new height of genius in the sculptures of Michelangelo. There is not a body builder today who would not like to have the shape that Michelangelo gave to his famous David. Artis not just great paintings and sculptures, art is recapturing that approach to training the body to reflect the beauty of the soul. In today’s world, what are aesthetics in relation to health, exercise and general fitness programs, and how can we achieve a reflection of aesthetics in our daily lives? We can start with good posture. Beautiful carriage of the body is natural to our anatomy. Using our natural plumb line, or center line, is not only a more healthy way to lift and hold ourselves when we move, it also gives us a feeling of personal worth and a better positive approach to daily living. When we walk as if defying gravity, we give off an air of purpose and feel good about ourselves. Today’s lifestyle is more casual that in the past and we are in an age of slumping, letting gravity get the best of us. If we carried ourselves with torso uplifted, then we would actually age more slowly by not letting our bodies sag. Our lungs would take in more air, which in itself is of prime importance to good health. A beautiful posture with shoulders back and down, head held high, stomachin, supporting the back, can be one of the healthiest habits to add to our daily lives and our exercise routines. It makes a great addition to our aesthetic approach to ourselves. Another path to aesthetic awareness in exercise is in the movements and science of ballet. Thisis probably the best-kept secret in the search for better approaches to exercise. Most people only know ballet as an audience at a dance concert or TV program, seeing girls in pink

27

tights and pointe slippers, men posing, leaping and jumping with much grace and a lot of mystery.

Most people who are looking for an exercise program feel that studying dance, especially

ballet, is out of the question, as that would mean

trying to become a dancer. Nothing is further

from the truth, as many football, baseball and

basketball players are finding out; along with runners, weight-lifters and gymnasts and other athletes. The basic movements of ballet are perfect for the person who is looking for a superb exercise program that will fit into their everyday lives. Ballet, apart from being a style of dance, is a science of aesthetic movement over 300 years old. The essence of ballet training is actually already used in most exercise programs, but is usually obscured in the push for fast movement and loud music. The beneficial essence that I am speaking of is the science of centering the body. A series of slow stretching and strengthening movements of the body to bring out the maximum flexibility and strength witha minimum of bulk. Ounce for ounce, a ballet-trained body is one of the strongest, most graceful bodies; and

the essence of

ballet can be practiced by anyone. We're usually in such a hurry foreverything, including the benefits of exercise, that we have not caught onto the secret that the slow nurturing of body movements is better in the long run. Thereare too many people pounding theirbodies toa pulp, running and doing aerobics on cement surfaces, trying to get into shape in a big hurry. As ina

garden, we cannot rush the beautiful

flowers in their growth, yet we must weed it constantly. So with the body, we must develop a daily habit of upkeep, not try to rush a beautiful, healthy body into existence. Itis like taking one vitamin pill a day, not the whole bottle. Ballet movements are both athletic and aesthetic, and are a blend of total physical approach to a functional and beautiful body. Quoting from Jane Fonda’s exercise book, “Despite all the abuse I showered on my body over the years, there was one positive thing I did. I studied ballet.” Another form of movement that is marvelous for aesthetics and practicality is the study of a facet of martial arts. Like ballet, most people have only seen the outer, peripheral side of

karate, kung fu or tai chi. Maybe they have seen the Bruce Lee movies, which are exciting but exaggerated. The study of karate as a form of total exercise is both beneficial from an aesthetic point of view and practical in our daily lives. Itisan age-old art form thatis designed to shape the total personin a completely positive way. It is something that can be studied by people of all ages and taken up any time, to reap its benefits for a lifetime. Whichever path one chooses for his or her personal exercise program, it should include some important facets other than just exercise. Exercise for its own sake can become a bore, and

that’s why few people actually stick to a calisthenics-type program. To really become a positive habit in our daily lives, like brushing our teeth or bathing, exercise programs should have a built-in challenge to develop a skill of the body. Skills that the mind and body can learn together have a continued inspirational drive behind them. As I've stated before, you don't have to become a dancer to take up the beneficial movements of dancing. You can develop the musclememory from dance and learn to be more graceful, more balanced, more coordinated and learn

more about what controls movements of the body. This ongoing search and discovery of how our bodies work in relation to movement, and

using this movement to bring out the beauty and grace and elegant style of our bodies, can be very exciting. It is not at all narcissistic to approach exercise and movement from an aesthetic point, we have to live in our body all of our lives, and we should be able to enjoy it totally. The excitement in getting to know our bodies and applying this to a skill — whether playing golf, tennis or running — will add another dimension. It is that exercise is not something apart from us, that we do an hour here or there, but that movement is really ongoing and a part of our lives. It is a unity of mind, body and spirit in total harmonious unison throughout all of our lives. You are never too old to discover a beautiful body to live in. As long as we are breathing, we can improve our bodies, we can seek our personal garden and bring out its beauty by thinking beauty. By thinking beauty in movement and applying that movement to personal achievement, even if it is

28

only to improve our walking and posture. Webster's Dictionary describes aesthetics as, “The study or theory of beauty and of the psychological response to it ... the branch of philosophy dealing with art, its creative source, its forms and effects.” We can start by adding the awareness of aesthetics to our approach to movement, exercise, physical activity and our ongoing daily

lives in general. By doing this, we are adding a positive dimension, a creative attitude to our form, our thinking. The effects are added beauty in mind, body and spirit. This awareness of aesthetics in our movement will help awaken a new meaning in our approach to the art of flamenco dance. Mind and body will express the oneness of beauty and feeling in our dance.

For the Dancer — Flamenco and Your Body There has been quite a bit of material, both

spoken and written, about the various aspects of flamenco dance — the technique, feeling, emotion, art, steps, gracia, aire, duende, history, etc.

There has been very little discussion and written material on the preparation, the warmup and conditioning, the actual physical training and upkeep of the person who studies flamenco dance. Since we have only one body and have tolive in it all of our lives, I think that it is very important to consider how we train it. The body of the dancer is the beautiful instrument that creates the expression, the feeling, the technique, and the art; unlike a guitarist, we cannot replace our instrument. Unfortunately, the body is often badly neglected during the preparation for becoming a fine dancer. I am not talking about the aficionado who gets up in a juerga and does a few desplantes por buleria. 1 am talking to those dancers who want to perfect and perform their art with good technique, good line, and good expression of feeling, and at the same time, be in good physical condition to arrive at these goals. Just watch a great guitarist with his fine guitar, whatever make it is. He keeps it in tune,

uses humidifiers for weather changes, warms

his fingers up before performances; in general, babies his guitar as well as his fingers. Yet, over the years, I have seen many dancers go into a studio stone cold, put on their boots or shoesand start inon fast footwork — going into immediate routines without a bit of warm-up. What a shock to the body! After doing this over a long period of time, bad news — muscle problems, broken veins, painful joints, and short

careers! I would like to suggest some very important exercises for all students of dance that will help us to live to a ripe old age, dancing beautifully without too many aches and pains, strained muscles

or bad

arches,

knees,

shoulders

and

backs. The best way that I know to approach a warm-up is what I call stretching and strengthening. One of the best ways to do this is to study ballet, even if itis just enough to learn the science of a ballet barre. This is the most complete and fantastic way to stretch and strengthen slowly, every part of your body. It is the greatest base for all dance preparation — and you don’t have to become a ballet dancer. The key is to stretch all of your muscles, and at the same time strengthen them, so that you can sustain a long dance without feeling like you are going to fall apart. Almost every city has a good or at least an adequate ballet teacher who can teach you the basic movements. So many people feel that studying ballet will

ruin their flamenco; but in reality, if approached

as an aid to getting the body in shape, it is for the good. If you have your flamenco together, it will help with more

control, strength, and a more

enjoyable body to work in. This can be seen in super-stars such as Carmen Mora, Antonio

Gades, José Antonio and Maria Benitez, the list

is very long. They are all very flamenco and all have much ballet training as a base. For those who don't want to or haven't the time or money to study ballet, I have worked out

a set of warm-up exercises that I would like to share with you. They will not only stretch and strengthen, but will greatly improve your foot-

29

work and total movement. Listed here area few to start with.

Since we wear high heels, our Achilles tendons and the calf muscles in our legs are constantly being shortened by the seated position and the digging of the planta, which is so important in most flamenco “marking/. Without the flexibility of the Achilles and the whole back of the legs, we have less control and a tendency for

stiff footwork. So the first exercise is to stand with feet parallel, bring one leg back until it is resting on the ball of the foot, and then slowly press down and up so that you can feel the full stretch of the entire back of the legs. This can be done facing forward, eight times with each leg; and then on the diagonal, with a bit longer stretch, another

eight times with each leg. Second, stand with feet about 18 inchesapart

and arms up, stretched in a ‘V’; alternate reach-

ing as if reaching to each corner, slowly from side to side eight times. Then completely release your back by stretching forward as if touching your toes, letting the back loosen. Then slowly ‘roll’ up, one vertebra at a time. This whole

exercise can be done twice, or better yet, four

times. Third, with your legs still apart, reach forward asif touching your toes, but as you reach, think of a barrel in front of you so that you have to reach over. Come up the same way and then

reach back, first lifting the whole torso, so that

you are actually arching and stretching the entire back — rather than just bending and straining the lower back only. After going forward and back four times, stretch to the side, then down. Moving na circle, keep stretching and moving, coming up the other side, continuing on to stretch the back, and then coming up again.

Now reverse it, all done to the rhythm, say, of

a slow tango, taking two compás to get all the way around. The more variations of torso stretches, (a la touching the toes) the better. I’m sure with a bit of imagination, you can work out other back and torso stretches that will loosen the waist for those beautiful, smooth vueltas. Smooth head rolls are important to take the strain out of the neck, and doing shoulder movements such as circles (up, back, down and

reverse) helps the fluidity in shoulders and arms.

After I do torso stretching, I usually do some

knee bends with feet parallel and a nice straight back, going up and down slowly. When I come up, I go up on my toes to release the tension and give my legs a full stretch, usually four times. One more series of exercises that can be done anytime, are to me the most important since they strengthen and tone the upper and lower abdominal muscles and the waist area. It is this part of your body that is holding up your torso and controlling your legs. I usually do a series of leg raises, as I lie on my back, with head slightly up to take the strain off my back. Then I do a series of sit-ups and then, while still on my back, Ibring up one leg (or both if you can) and go side to side, without lifting my shoulders. I find these exercises to by my most unfavorite, but the most beneficial. One of the best warm-ups after you have stretched outa bit is either running in place (take off your shoes), or plain old jumping-jacks. These may not seem too aesthetic, but what it does is get your circulation, breathing and your endurance going, so that you are less susceptible to cramped muscles and broken capillaries. In general it adds to your overall energy level. Just a few minutes are sufficient as part of your total warm-up. The most important attitude to take when approaching your warm-up, your practice and of course, your performance, whether in juerga or formal concert, is to consider the dance as

your entire body. It is the whole of the body that is dance. The way to overcome the approach of seeing flamenco in ‘pieces’ is to rehearse the entire body at all times. (Most of us have strong and weak points.) Flamenco is one of the few dance forms that requires total involvement, both visually and audibly, so when you warm up your feet, use your arms in beautiful flamenco patterns, getting used to total coordination, express total flamenco inside and out, think of climbing into your dance and becoming the dance with a beautiful, warmed-up body, ready to express your true feeling and love of flamenco. I realize that many times we are in a hurry (with a rented studio and anxious to get to dancing).

But

taking

10, 15 or better yet, 20

minutes to stretch and strengthen and warm up your body, the beautiful instrument with which you want to express beautiful flamenco, can be the best time that you spend in the studio.

30

Flamenco for Non-flamenco Ihave often suggested to dancers who dance flamenco that they study other forms such as ballet, for control, for feeling of using space, for line in relation to performance focus. The study of other facets of dance could enhance the total art of flamenco dance. Now I would like to talk about what flamenco dance can do for dancers whose primary focus is in other styles of dance, such as modern dance, ballet, jazz or any other

performing dance art. I am often asked to teach master classes at

universities, festivals, private schools, and in

other situations where I am teaching non-flamenco dancers. I am invariable asked what they could possibly gain from the experience of studying the movements of flamenco dance. I am also

often told, “The dancers do not have flamenco boots, shoes, or castanets, and anyway, what

will they ever do with footwork stomping and castanet clacking?” When I answer that there will be a minimal

amount of footwork, that they do not need castanets and that bare feet are fine, as we will be

working on the ‘essence’ of flamenco move-

ment, I am stared atin amazement, as this cliché

of stomping feet and clacking castanets has reached almost every corner of the dance world! “The essence of flamenco movement” usually gets me to first base, but what is this essence that can indeed enhance the all-around dancer? What can I make them aware of besides the obvious? I feel that the obvious basics that can be learned from flamenco are an exciting posture, a posture that is the essential ingredient of stage presence, a use of the back, arms and torso that

is unique to flamenco, but essential to any study of using your upper body in an expressive way, no matter what dance form. The flowing movement of the torso, leading with the torso into other movements suchas turns, leading with the upper part of the body and following through with the lower part of the body, is one element. Another is the coordination and isolating movements in flamenco that are unique for their totality, especially where there is desire for extreme opposition in movement. Walking is one of the most difficult facets of movement to master, stage walking, that 1s;

Dancers

flamenco dance walking has got to be the most

beautiful, powerful

and

sensual walk,

when

done well. This style of walking as a learning experience is another advantage of studying flamenco dance. One of the most important advantages of studying flamenco is a way of using energy, steady-sustained energy, so that there is a feeling of non-gravity in movement. You float over the dance floor, you learn to bring down an arm with as much energy as you use to lift it so that there is a feeling of sustenance, like dancing

under water. This gives great fluidity in movement, an energetic fluidity. I feel that some of the less obvious reasons for the non-flamenco dancer to study total flamenco movement are in a way more important than the obvious. There is subtlety, the development of exciting subtle movement, to be subtle with power and energy exploding across the stage is very much part of flamenco dance. The ability to stand still or almost still and yet give the appearance that you are eating up the stage is another facet of flamenco that is invaluable to the total dancer. Sustained feeling, emotional feeling, is another strong point of flamenco. The theme of the national dance week of 1982, was

““Emotion

in Motion”,

which

is a

theme that we have used for years. It is nice to see, because there is still a great need for the human quality of emotion, sensuality, an ability to feel a depth of dramatic emotional mood. Flamenco music and song have this type of

emotional feeling built into it. Communication

and focus. A use of head and eyes to give explo-

sive center, like the center of the ‘ki-force’ in

martial arts. A peripheral focus and communication that is in direct contact with the audience and is another development of a presence, a strong presence, stage and otherwise. In this day and age of what has been called the “dance explosion”, dance audiences have grown to millions. Thousands of students are studying ballet, modern, jazz, but very few are

studying the so-called ethnic dances forms, the basic dances of the people. It was only a few years ago that almost all ballet schools encouraged the students to study what is known as

“Character dance” or demi-character, which was

31

a learning of the basic movements of Russian, Polish, Hungarian, Spanish and other basicdance forms, to learn that all-important “spice” in movement that depicts the human quality behind all dance. In most European schools, it is still taught and is actually required study. In America especially in the universities, it seems that they have gotten very much into “mental dance” motivation, a type of artsy-craftsy creativity and have set aside the basic human element and emotion in dance. Many ballet schools have become ‘step-oriented’, based on technique only, technique for technique's sake. With great artists like Baryshnikov who have superb and dynamic technique, we seem to see only his giant leaps and multiple turns. Yet looking past that great technique and big movement, you find an artist

who has studied all forms of character dance, in

order to have that human quality, that all-important something that makes technique ‘say something. The above are general examples and not the

whole picture, but as Ted Shawn, the ‘father of American dance”, said, “It is a blending of all dance that helps make the true dance artist.” When I started to study ballet in the late 1950s, I was told by many that my flamenco would suffer, that it would not be the “true thing/. That of course, is baloney and narrowminded

thinking.

It is the exciting study of

opposites and each form enhances the other, without trying to become the other. Both meat and spaghetti can be enhanced by a bit of garlic, their total taste and flavor improved, and yet meat and spaghetti have little in common. The real essence of studying, in this case flamenco, is to enhance, to add another dimen-

sion, to adorn, to bring that special feeling and quality to the total dancer, to add earth to the

flow of ballet, modern or whatever label you call

your dance style. Flamenco ‘is’. It is life-dance, it is now-dance, and whoever adds its dimension,

its aire y gracia to their total dance, with an open mind, will have a rewarding experience of

growth,

motion’.

of joy, of what

I feel is ‘emotion

in

Dancing With Control Having full control while dancing seems

very basic at the first look, but in reality, there are

many facetsand faces of one’scontrol over dance. There is a never-ending search and discovery process in these areas of control. When I speak of inner control I mean being in control of the body — the total body as the ultimate goal — not the body controlling and guiding our dance and our feelings of dance. As initial inspiration gives way to learning good technique, the body seems very much in control. Until our long study periods start to develop ‘muscle memory’, that ability to know that when you execute a turn or footwork pattern that it will be there, control over our basic technique is a never-ending study process. As we climb to a level of expertise and put all of the isolated parts of our body together to do one beautiful flamenco turn, then immediately we begin the search for and practice of two and three turns, and on and on.

The same is true for all of the facets of tech-

nique — refining, cleaning, developing a deeper and more complex total involvement. In my all-flamenco workshops we work on some very important facets of control that I feel develop the art of the dance to a higher degree. some of these basics are often neglected and are not given sufficient time and worth in our total study. A few concepts we work on are: sustaining energy and focus; proper breathing; dancing slowly with power; attacking speed with power, not just winding up into it. The control of footwork with speed, not just loud, but a full range of slow-fast, loud-soft, slow-loud, fast-soft, and

all combinations of contrast. Control over filling in the music within the compas, developing a ‘flow’ within each compas that steadily interprets

that particular compás; sustaining interpretation

— not switching interpretation just to get the

‘rah-rah’ ending as a performing artist. Controlling the area between artist and audience; making simple things look difficult

32

and difficult things look easy. Making the whole body and spirit move as one, completely integrated for whatever interpretation message it sets out to do. The ability to stand still and exude energy and power to the back of the room. These are just some of the ideas to think about in the search for a total approach to control in dance. One of the more important approaches to good overall control is to be in good physical “dance shape”, and to properly warm-up and do

a regular series of stretch and strengthening

exercises. The body is the instrument, and the better tuned it is, the better it dances. I always suggest ballet for flamenco dancers; for many it falls on deaf ears, but it is one of the best approaches to body control, centering, strengthening, stretching, breathing and discipline, which allcan beapplied to flamenco without becoming or looking like a ballet dancer. Another facet of control is sustaining energy and focus. I am speaking of that special inner tension that is like a spring, coiled like a stalking tiger. Think of the tension as flexible, not stiffness like a cement wall, but a sustained energy that you release at will. Think of your body as independent of gravity, your upper body suspended, your legs and hips free to move, your arms sustaining energy to bring them down as well as to lift them, a feeling of suspension, like

moving under water. Also, along with energy is breathing, totalbreathing deep into the body, both with nose and mouth. It is important to find your breathing spots within your dance movement, otherwise all of the muscles in the world will not

prevent the huff and puff and strain from suck-

ing out all of the aesthetics. Along with breathing is focus, an inner focus as if you are stalking an unseen force. This focus Iam speaking of is not a mystery, nor is it just a focus with the eyes, but it is the piercing inner and outer focus of ‘deep purpose’ that you are portraying. Itis the difference between tiptoeing through the tulips or shaking the audience to the inner core of their spines. It is both peripheral and concentrated; it is a focus of interpretation;

it is becoming one’s true self and focusing that into the dance. Anexciting facet of control isdancing slowly. I mean a powerful slow, a filled-in slow, a sustained slowness, as if you are savoring every

second of every movement. When a dancer has

conquered the basic compas and basic accents of the various rhythmical structures, then he can

start filling out the music, using all of the musicality that is built into all flamenco rhythms and music. This filling out of the music gives a sense of control that enables you to ‘breathe’ with the music, and make slow movement into very full movement, full of special meaning, and enabling you to do many more things that you could not do going fast. Slow and fast are relative approaches, but a sense of this cross-section between slow and fast is an exciting search and one of real inspiration and power when conquered. I tell people who are first getting into flamenco that control over their footwork comes mainly from the upper part of the body. It is of primary importance to start flamenco training with proper carriage, arms in control, finding that special ‘seated’ position where your hips

are able to isolate your upper body and that

slight bend from the knees which gives a beautiful freedom of footwork. All of our lives we are under the influence of gravity, or shall I say, over the influence of gravity. During our dance training we work against gravity by pulling up, centering our bodies, lifting our torsos off of our legs and then making that superb posture work for us. As an experiment, put your feet together, bend at your knees all the way down, keeping back straight and body centered without letting

your behind stick out. Now put your hands

under your ribcage and ‘lift’ yourself back up. If you are lifting in your upper body, you will come up with little or no strain and your weight will not be left for your legs to lift, but your torso will act as if it is floating on your legs. Probably the most interesting search for control of what you feel in dance is on the subjective level, such as sustaining interpretation of a dance, control over standing still or walking, exuding that inner energy that crosses over between artist and audience. I do not mean just the paid audience of the professional; I am speaking of any sharing, whether two people on

a street corner (we did that in Madrid) or at a

fiesta. To me these facets of control are of supreme importance and come from a combination of understanding flamenco and total belief in be-

33

coming the dance with your whole self. Today, I see dancers ending everything with bulerias or rumbas, mainly for their need for the ‘rah-rah’ ending. Why should everything have to have a thunderous applause of approval for speed and noise? Try at some point to end a soleares slowly, just as it began, sustain a feeling all the way through this dance of dramatic intensity and a powerful inner energy of intense stillness.

The most exciting facet of total control in

dance, or any other art form,

is that there is

always room in the search for improvement. It is a never-ending search, for we are human and it is an ongoing growth within our total self that makes the search of our personal art worthwhile. With humility, patience and a deep love, the inspiration and joy of control will be yours. You will become the dance ... the flamenco dance.

Dancing and Age The first time that remember thinking about age and dance was on the day of my first rehearsal with Pilar Lopez in Spain. This was back in theearly ‘60s and I was contracted as her guest solo artist for a tour of Holland, Belgium and Spain. I was pretty nervous, as I was about to begin rehearsing some exciting duets with this famous artist, who happened to be quite a bit older than myself. I did not know how I would feel — dancing what I felt would be the sensual man-woman dramatic works that she was planning for us to do. I needn't have worried, for I quickly learned that she was ‘eternal woman’, transcending any age difference between us. She did not have to be highly technical or worry about ‘steps’. She adapted her dancing to herself, her physical self, as well as her expression of her spiritual and sensual artistry. I also learned very quickly why she was so successful in training the best male dancers such as Jimenez, Vargas, Lorca, Vega, Greco, Gades, Mayaand many others. It was because she always expressed the pure feelings and emotions of femininity on stage and that transcends age, for feelings are eternal. I will get to this concept later in this chapter, for it is very important in the aging of the dancer. Pilar López” days of jumpy classical boleros and jotas were over, but her repertoire of theater and flamenco works fitted her age and feelings. Whatever she danced, whether solo, with me or

others, I felt that she was a great lesson in a performing artist aging properly in repertoire, responsibility to the public and herself in general. She did what she could and did it well, and the audience loved her.

There was one exception, and this was an-

other lesson in aging, physically and emotionally, and that is when she played the miller’s

wife in the ballet, “The Three-Cornered Hat’, by

Falla. In my opinion, it did not work, and the reason was more than physical age. Her acting

could not transcend that certain, but obvious,

spark of innocent youth that is the character of the part. It would be like an adult Judy Garland trying to play Dorothy again in “The Wizard of Oz’. There are many kinds of thoughts on age in regard to dance. You could put it simply, the body ages, the aging and maturing of the artist in thought, feeling and artistry. Attitude is another factor, especially in the U.S., where many people feel strongly about youth in everything, including the often-asked question, “Am I too old to take up flamenco?” Or for that matter, any other type of dance. There is the thought of actually becoming aware of your body for the first time as a flamenco dancer, for example looking at yourself and your physical and mental potential asa flamenco dancer. There is developing an attitude of what you want to do with flamenco dance if you do get involved. I became acutely aware of these and many other thoughts on age while conducting workshops with people ranging in age from 10 to 60 years old, with each person’s personal and individual need for flamenco different in how they approached this dance form. I would first like to talk about flamenco dance as a performing art by performing artists, because as a performing artist, the responsibility is not only to the dancer/performer, but the dancer’s

relation to an audience, most often as a

professional dancer and a paying public. When flamenco became a performing art,

away from the closed informal juergas and fiesta,

it acquired a time and space energy that the dancer had to adapt to, along with looking the part and being aware that a public is paying to see something special. That meant being in pleasing costumes, looking sharp, dancing with energy and not huffing and puffing, which meant that physically you had to be able to sustain a dance and look like you were really feeling it with whatever interpretation that would take. This all sounds pretty basic, but in reality, it isaconstanton the mindsof serious professional artists. For a youthful professional who is serious about their work, thisis really nota problem, and the last thing that a young dancer thinks about is aging. Even if a very young dancer hasn't that genius of artistry of great compás, feeling emotion and maturity, the audience is usually kind in acceptance of the performance, mainly due to exuberant youth and vitality. The audience becomes much less tolerant as the dancer ages, and how a dancer approaches their dancing as they age. This was brought out very strongly in the movie “The Turning Point’, when the ballet company began to take the aging ballerina’s parts away, giving them to a much younger girl, knowing that even though the older dancer was a great artist, they felt it was youth that would sell and that the audience wanted to see. Flamenco dance has some marvelous qualities, human qualities that are on the side of the dancer-performer. Flamenco dance matures with inner subtlety. Unlike classical ballet, for example, which demands a dancer’s body to perform the demanding physical techniques that are inherent to the art of ballet, no matter what

the ballet dancer’s age. The flamenco dancer’s body, although itisjustas desirable to beshapely, is almost secondary to the feeling and the art of the dancer, for feelings, compas, emotionsand art

do not age. If a ballet dancer’s body has been let go out of shape, and he or she cannot balance, leap, jump;

if the dancer just tries to pose and rely on that mature subtlety that they may have; well, often it would not work because ballet is a dance form that is by nature highly refined technically. lam not talking about the artistry of the many great ballet dancers who have aged gracefully.

Flamenco, by its very internal self-expression, ages well if a dancer knows how. A dancer can maintain compas forever; his or her feeling can maintain that inspiration that an audience will believe. If a dancer listens to their body as it ages, then they will be smart and age internally with it in feeling, emotion and artistry; they will go on inspiring the audience into their ripe old age. One of the biggest mistakes is, of course, not listening to your body to know when the turning point has arrived, physically. Dancing (all types

of dancing) is a very physical art and demands

that the body keep up with the internal spirit and soul. Usually when someone is ‘over-thehill’, it is because they have not listened to their inner clock. They puton the girdle just one more time, expecting the audience — the paying audience, to be tolerant for their ‘great artistry’. Well, sometimes they are, but basically the flower should be picked when it is in bloom. It is very difficult for a professional dancer, a performing artist, who has put his or her life into dance, to know inside when to set the dancing shoes aside, for the ego is strong and the past feelings of satisfaction and duende die hard. There have been and are many great flamenco artists who are not young, such as the artists in Flamenco Puro who go on thrilling audiences. It is a very one-to-one personal consideration for each and every dancer to think about. I am sure that flamenco aficionados will never tire of El Farruco or Matilde Coral, or the

many others who continue to dance. And who can forget El Cojo with his gracia, dancing until he died? Flamenco dance is one of the most personal dance art forms in the world. It is not a group or communal dance form, but a solo interpretation of each individual’s feelings and total being. This is what it is in its truest form and this leaves a lot of room to be individual — not only in these feelings and personal emotions but in the individual approach to its technical tradition. If this idea is truly followed, then you will see many fine professional artists doing what they do best, no matter their age. Unfortunately, this is not always the case. Flamenco dance has its innovators who may have a very strong personal technique, such as Carmen Amaya had. What this has to do with

35

your costumes still fit well or have you grown out

of them?

Do

the

aches and pains of knees, joints and body in general outweigh the fun that you used to have? Do you think a lot about your age now, in relation to your dancing? Are you just dancing for the money now, do you care less about the joy, the art, or what people think? Are you doing this out of habit? Are you bored with your dancing, feeling that your dances are boring to do? Are you bored with rehearsals and find exercise a drag? These are just some questions that will eventually come up for most dancers who have been dancing all of their lives, and who feel

age is that many people who need to copy and follow others in their inspiration will never actually look their true age and true feeling and they will age, not looking like themselves. This is another facet of aging, aging gracefully with your own true feelings expressed; then, you will come across as ageless in relation to your own age. How does a performing, professional flamenco dancer know when to retire? There is no set answer for this, each one is as individual as the waves of the ocean. The key may be to do a bit of self-analysis as to what you actually want to continue doing. Some questions could be: Are you still inspired by performing in public? Is your body

the reality of aging coming on. Again, there is no answer or cure, for aging issomething thatcan be retarded a bit with good health, proper physical, emotional and spiritual care, and healthy heredity; but it is a fact for all dancers to face, more so than a guitarist or singer. I can only say that all professional dancers should listen to and feel their inner clock. Listening as truthfully as possible, keepingin mind their profession, the flamenco dance / art that they love so much, and the public that they want to come to see them and to pay them for their true art. There is a great responsibility to the art of flamenco that we hope will go on with great interpreters for all to see. There is a great responsibility to the public that we want to give true flamenco to. Finally, there is responsibility to the self, the total physical, spiritual, emotional and

you find yourself posing more than moving? Do

with that inner duende that you have felt live, and

On tour with Pilar López In ‘Albaicin’

still vital to perform a strenuous soleares, or do

mental self. You and only you, the dancer, live

36

it will be your memory that will never let it die within. What of the many people who dance flamenco who do not want to be professional, but for whom flamenco itself is fulfilling. As long as you are breathing and can move, you can study and enjoy flamenco dance. There are hundreds of people studying flamenco dance who have no need or desire to become professional dancers. The studio Amor de Dios in Madrid is full of teachers who have students from all over the world studying dance. The students are young and old and in-between. I am sure that they find flamenco a bit more of a joy to their needs than aerobics, and they may be finding their emotional outlets as well. I have had many people from all over the world come to my workshops, and almost all of them have told me in their own words that flamenco dance isa real total tonic for their bodies and minds. It lets them come in contact with their total feeling about themselves and life in general. Many love the discipline of the study and search for what it takes to dance flamenco, with

no thought of the tablao or concert stage, and are just interested in the inner dance. They know there are no shortcuts and that the challenges of the music, techniques, compas and all that go

with it are a lifelong study. This can give thema reason and purpose to get to know their bodies and feelings, and help them to understand something about aging in a body and mind that are active toward the pursuit of a beautiful art form. You can start studying flamenco dance anytime in your life, and age with the dance form,

using the cliché, ‘gracefully’. If you take care of your body and keep your mind young and your feelings of inspiration intact; this is the real philosophy of aging that I feel is so important. Never say, “I am too old”, for being too old

means you are dead and buried. Yes, the body ages and that cannot be stopped, but it can be slowed. Flamenco dance is the style to retard the aging process. For one, we are working away from gravity. Gravity is the worst culprit for aging if we give into it by bad posture and let our bodies sag. But flamenco dance is pulled up, with beautiful aire and posture that will keep your body vital. With the added philosophy that “Zippers do not lie”, you will keep your body fitted to the pants and dress that you love, not let out the pants or get a larger dress if you feel the

body starting to spread. Inspiration cannot age. Neither can joy and love and respect for the art. So if the mind and feelings stay young, then you will dance the ‘inner flamenco dance’ until the day that you die. That is living with flamenco dance, that is the secret of aging gracefully. With that love of lifting your arms in a joyous alegrias, laughing with your bulerias por chufla, crying a bit with seguiriyas that you feel in the blood. Let go. Do not worry about age. The idea is to think about

life, and life with the inner dance of flamenco is

what creative aging is all about.

In1955, when I wenton tour with Lola Montes

all over the United States doing community concerts, the last thoughts on my mind were aging. I was full of life and hope, and we drove and danced everything, jotas, classical, flamenco, theater dances, and my thoughts were of learning more and more of this art that inspired me to quit my very nice job as a budding car mechanic. I was like a sponge, soaking up everything that I could learn of the dance, theater, and to me, my life was endless. I was Tarzan, and I would just go on and on, ageless, strong, able to do anything. Well, we do age, and I know that after close to 40 years of dancing, teaching, and choreo-

graphing. Theone thing that! have learned is the

love and inspiration of this great art, the art of flamenco, keeps me young at heart and disciplined. It is worth the effort to do those extra exercises to keep my body in shape, so that I can feel the dance with my total being. I know that I will reach a turning point someday, and I hope that I will never let the public down with my interpretation of this beautiful art. I hope that I will know when to take my last bow professionally, when I should stick to the fiesta, for life should be a fiesta. Let

our lives never stop dancing life’s fiesta. Let’s not worry about age. As I have said

before, let’s live each day, each dance, to its

golden evening. Like fine wine, let us feel that our aging is good. It is improvement of the total

self, and since we are students of not only fla-

menco but of life, then our total life improves with age, because we have learned a bit more about becoming the dance. Dance your age with feeling and love and truth of your feelings, and you will be ageless, you will just be ... flamenco.

37

Dance On a recent visit to Spain, we noticed the usual invasion of McDonald's, Wendy’s, Burger Kings and other fast food places. An interesting surprise happened while we were in Sevilla, “the cradle of flamenco’. We found a health-food restaurant in the heart of the city, featuring vegetable salads, nutritious soups, carrot cake and fresh fruit juices. This was very interesting in the country of delicious tapas soaked in olive oil, strong coffee, lots of fried food, porras, churros and a large diet of wine and cigarettes. While I have indulged myself with years of smoking (I quit in 1971), plenty of wine (a bit with dinner now-a-days) and lots of years of eating tapas and delicious Spanish food (fried

and otherwise), I have in the last two decades

developed a great respect for taking care of my body — especially my dancer's body — by eating right for my body and mind. Itseems that young people with young bodies have great resilience to all kinds of food abuse, sleep abuse and many other forms of dissipation. One sees many young dancers — ballet, flamenco, jazz, modern, you name it — barely out of grade school living on cigarettes, Diet Cokes and in Spain, café solo, wine and sweet

rolls. Many do eat well, but it is a common sight to see young dancers working their bodies and not being too concerned about what they eat. I will discuss drugs, suffice to say that dancing well and taking dance as a serious art is not compatible with drugs. Drugs are anti-dance, anti-life. Bodies change over the years. Just about the time a dancer has studied to the point of arriving as a mature performing artist, his or her body is changing. The body becomes less resilient to abuse and the metabolism begins to cry out for reform. This age of change is different for each individual, but let us say late 20s through the 40s. I remember when I could eat anything, including thick milk shakes, lots of beef, pastries

and all types of fattening foods; and easily keep my waistline and my weight in check. When I was around 28 years old, things started to change a bit. [noticed that I had to ‘work’ at keeping trim and keeping my weight where I wanted it to be. I feel that a dancer, a flamenco dancer, owes

and Diet it to himself — and the audience if the dancer is a performing artist — to have an aesthetically expressive body. I know that there are many fine, heavy or thin dancers of fine artistry. l am not only talking just shape, but about a healthy

body, as well as a body that is trim with a flamenco line. For flamenco, like other dance

forms, is expressive moving sculpture, as well as the feelings, emotions and artistry of the dancer. A body should express art, feeling, craft and technique, along with an emotional outlet that is true, not a huff-puff, out-of-shape bodily ex-

pression.

When one starts to take care of the body, of the self, it usually will tell you what is good for it if only you listen. Discipline can surely play a part in this. Sometimes, when your body and mind say, “You have smoked enough,” it takes

personal will-power to stop, not just a weak desire from an uncomfortable body but a real desire for self-improvement. It may not be easy to change your eating habits for the better, but that is when your priorities come into play. The excitement of a threeday juerga, with jerez and other booze flowing, and the room full of smoke, may be a special occasion that brings out the best in flamenco. But

somewhere along the line, the body rebels — I

know from these juergas. The dancers body rebels, which in reality is saying, “A bit of moderation please, if I am to function as a healthy dancer’s body, able to perform the way that you want, with my full potential.” I cannot say exactly what to eat or set a

special diet here, because instead of absolutes, I

want to give you positive thoughts which will stimulate positive actions in regard to your eating properly. At the age of 53 I love to dance and I want to have as much time from a healthy body as possible, so that I may continue to experience this deep love of dance. I want to dance without being ashamed of a body that does not respond, a body that has given up hope of being in a dancer's shape. Sometimes we think that exercise and dancing is enough to stay in shape, but it is your diet that also plays a key role in your shape.

38

A good diet should include the basic balance of fruitsand vegetables, a minimumof red meats, a good balance of grains and pasta-type foods, lots of water along with balanced variety using good common sense. These priorities will help maintain a body and mind that dance better. It’s a good idea to get a complete book on nutrition. A myth that need to change is that a big juicy steak is healthy and gives strength, energy and power. Actually, a good dish of pasta gives more dance energy than a big beef steak. The key is a balanced diet for your needs; a dietof moderation that hasall of the essentials of proteins, fats, carbohydrates, vitamins, miner-

als, etc. Listen to your body, your dancer’s body, and remember, zippers do not lie. Adapt your body to the clothes that you want to wear, to the size that you want to be. Do not start letting out pants and dresses when you gain a few inches or a few pounds. Sculpt your dancer's body, with a good diet that fits your body; good thoughts of beautiful dance and continued inspiration to improve yourself, your art, your flamenco. Do not think it is un-flamenco if you do not drink or smoke. It is only a bad cliché that says it is more flamenco to do these things. On the other hand, you also do not have to shop ata socalled health store to be healthy. I started to listen to my body, and for me personally, it said to start the morning off with some type of fruit or fruit juice, something with grain (whether bread, rolls or cereals), and freshbrewed coffee, which I have cut back to a few

cups a day and feel better for it. I lunch simply: soup, salad, maybe a healthy sandwich. This way, I can work out in the afternoon without feeling sluggish. For dinner, good cooked food usually baked or broiled. My body says, “Not too much”. I like a little wine with dinner — but not too much, as I feel sluggish, sleepy and a bitill;and thatis fine, as it keeps me in control. I like a bit of sweets — who doesn’t? AsI said, listen to your inner voice that speaks bodily truth. Sometimes our inner voice hypnotizes us and says, “It’s alright to overeat and dissipate.”

This happens to all of us, but the key to extending our dance life is in interpreting when our inner voice is true or just fooling us for our own indulgence.

Even though I am writing with thoughts of a

dancer in mind, everyone of course, can benefit

from a proper diet and proper eating habits. Whether casual dancer or serious dancer or anyone who wants to be in tune with their body, a balanced diet is essential. If you are going to give a solo concert, for

example, it is like training for the Olympics and

you have to be critical of your eating habits. The thought of a solo concert is the intensity that I

personally like to think about in regards to keep-

ing myself in shape. This may seem a bit dramatic, but then the dancer’s body

is always

ready for self-improvement and thatmeans better flamenco. There will be people who rationalize that many great artists of all shapes and sizes have dissipated, drank and smoked all their lives. 1 have no argument with people who live their lives any way they want to. There are many people who live to be 100, smoking and drinking and eating whatever, saying they were never sick a day in their lives. This is all great. I just say that we have only one body and the better we take care of it, the better we feel to dance the best

we can. Some people are born with the genes that enable them to do anything, and they feel good. Heredity does play a strong role in our lives and that includes our eating habits. If you give an Eskimo a large tossed green salad, they may not digest is as well as they do their high-fat diet of blubber and animal fats. A person from a warm climate would have trouble digesting a piece of whale blubber. The key is in your personal dancer's body. Just as you get to know your body as a dancer that wants to move to your feelings; you get to know what food should nourish it. You can be not only who you want to be and have a healthy body to livein, but a happy and joyous feeling in mind and spirit. To become the dance, it takes a complete you. Listen, feel, be at one with your mind and body,

so that you can dance a joyous dance of life and be in compás, be in tune with your highest potential as a true art expression. Think of food as not only for the body but for the soul, a healthy body and soul that expresses your true flamenco self. This ‘soul food’ is really the attitude toward your body that is a respect for your total self.

39

Becoming the dance means becoming at one with the self. So the entire diet for you is one that helps you find your total dance self. In this day of fast food, fast computers and fast everything, it is a challenge to have the patience to get to know yourself. Your body really does not know what

it eats, but it knows

what

it likes, and

slowly your body reflects the total intake of body and soul food. One of my favorite sayings is, “Those who hesitated, waited too long.” Using this saying

and using it as a bit of a push, let's start that sculpting of our dancer's body, our dancer’s spirit, and feel the joy of finding the you who reflects your dance, your inner dance, your becoming you in the dance. Let's go for the total diet of a healthy body, mind and spirit so that we will have a lasting, healthy compás all of our lives.

Let our flamenco vibrate out of this total new being, the flamenco you.

Back to the Basics ... the Inner and Outer Dance of Flamenco I have often been asked if I still get nervous before a performance. Before going on stage, before a class or lecture and the answer is always, “Yes”. Not in the sense of frightened or scared, but nervous energy to do it right, to express with inner truth and integrity what I feel inside. I want to be sure that this inner truth and feeling, the real inner-me will be expressed outwardly in my dance through my expression; in my thoughts in lecture; in my classes while I teach others, which to me is one of the great responsibilities of a teacher. The inner dance cannot be reached without first creating the ‘way’, the technique path of the outer dance; it is the inner dance —

the inner

truth that helps guide and develop the outer technique to express the inner art — the inner

essence of the dance and dancer. So, it is this

ping-pong back and forth and blending of the inner /outer person that brings about the whole, the truth, the flamenco that says something. Flamenco continues to evolve within its tradition. More and more, it is leaving the tradition of the small, intimate confined tablaos, colmaos

and going onto the theatre stage, the festival stage. Teachers are stressing technique, along with the traditional way of teaching flamenco by dances and routines. Dance companies are reappearing and touring the world. There seems to be a resurgence of the 1950s and 60s, as far as the popularity of flamenco and Spanish dance is concerned. Some of this formality of dance companies is creating a very definite discipline of training the

dancer, in flamenco, as well as the other forms of

Spanish dance. For example, there are regular classes that the members of companies must take, not just for choreography, but for technique. Recently, while in Spain, we (my wife, son and myself) were invited to classes and rehearsals of the Ballet National and the structuring and discipline was every bit as complete as a classical ballet company such as the Ameri-

can Ballet Theatre.

What this all means is that the serious flamenco artist-student is faced with a discipline somewhat different than in years gone by, when you could depend on work if you could do one or two dances well, with gracia and arte. lam not talking about quantity or that you have to have a large and varied repertoire. Iam talking about the arrival to that repertoire, whatever it has become. The arrival being more structured and focused; even the hardcore traditionalist is seeking to expand and grow, and not just be happy with his or her natural talent. It is a very natural habit and necessity for ballet dancers such as Baryshnikov, Makarova and other serious ballet dancers to take daily and twice-daily technique classes besides working on choreographies and performing. They are polishing and developing their techniques, their bodies, their musicality, their strength and their artistry — so that when they enter into choreography, they will have their ‘act’ together to express whatever they want to say in the dance. Their outer dance and inner dance are ready to work together. This seemingly endless

40

repetition of the basics is the path to the inner dance, if approached with that primary focus in mind. How do steps become a dance? How does one get past the steps to the dance? There is no single answer, but there are ways of total integrated development as a performer, artist, and dancer. I want to mention that during my many years of teaching and observing dancers, usually the weakest parts of the dance techniques are the basics. I have seen many fine dancers that can do very complicated steps, but find it hard to do the simple redobles cleanly and crisply. I have seen

multiple

turns and

fast footwork,

but a

slow turn which can be so effective, is often lost

without the convincing energy and control needed. A simple planta combination with the whole body expressing it, is lost because this practice has been passed over for the more titillating steps. I cannot over-emphasize the basics, the slow

controlled practice of total body integration. From the most simple of movements, flamenco

dance is expressing the inner to the outer with powerful subtlety in contrast to powerful energy and movement. In jazz one hears the word isolation a lot. In jazz, dancers work a lot on isolating different parts of the body, and then putting this muscle memory to work in combination. Well, there is no dance form more involved with the total body in isolation, with the exception of Indian dance, than flamenco.

Getting back to making steps the dance. This is where the dancer starts to study with a total integrated approach, the final point being to arrive where the outer body — the dancers body, is expressing in total control, feeling and expression what the inner feelings and emotions want to say and explode outwardly. Knowing how your body works in flamenco isolation and then blending these isolations to express the whole isa very exciting way to get to know your flamenco body, the outer-flamenco you. Starting from the head; the focus, the line and movement of the head is one of the very important techniques that give the flamenco look. You should start from the head and work down. The neck is long, like a pedestal holding that beautiful proud head, like an eagle. (These suggestions may sound like clichés, but they are simply

examples, to get the thoughts going on a way of approaching flamenco from the outside, from the inside and then back to the outside.) The shoulders back and down, centered and

natural, ready to move and expressin any direction, acting like focus points, directing the upper movement with aire. The shoulder line and head line are primary lines that give the flamenco look. The arms, oh, those flamenco

arms, never

static. The majesty of flamenco arm movement expressing through to the hands, is uniquein the dance world. They are a world in themselves and it is said that the famous Gypsy dancer, Pastora Imperio could just raise her arms and

bring tears of emotion to her audience. Finding

the movement for flamenco armsis to find natural movement. In all directions, they are sinewy like our emotions. Elbows and wrists as focal

points of movement, circling, inward, outward,

flowing dynamically, sensually, with no visible gravity. The flamenco arms are the expression of the soul. In a way, they express time from the beginning, before there was speech there was expression of arms and hands to communicate

all feeling, all emotion and all aspects of neces-

sary communication. The flamenco torso is the guide of movement with the beautiful back, spine as the guiding force. The carriage of the torso is the aire of

flamenco expressing the center, the hara of your

being. The torso is what is choreographed in dance and all else follows. The torso guides the rest of the body in movement, with the isolation of lift under the ribs to release it from the rest of the body. You see this unique way of moving not only in flamenco dance, but in watching a torero

(bullfighter) guide the bull past him, his feet

planted and his torso flowing, spiraling independently, like a coiled spring ready to unwind like a whip. The hips in flamenco dance are the balancing force between the upper and lower body. Itis the hips that bring the earth and sky together in flamenco dance. The flow and control of the hips and the expression of the hip movement give independence and personality to the rest of the body. The hips interpret flamenco before the rest of the body even has to move. The legs — the position of the legs follow the rest of the body and with the knees floating in their seated position, along with the flow of the

41

hips and

pelvis, we

now

have

that flamenco

movement where the upper body is to the sky and the lower body to the earth. With this in mind, the feet are now free to express only fabulous footwork, expressive, well-placed footwork that is artistic to the ear and eye. Now that we have taken the flamenco body somewhat apart, we are ready to put it back together in total integration, with a beautiful approach to practicing technique that will eventually free the steps to make the dance. Steps becomethedance when they havebeen sprinkled with personality, musicality, style, dynamics, sensuality, rhythmicintegrity and inner humanness. The inner dance will start to flower and come forth through this freed body that has been tuned to express your inner-most interpretation.

Your seguirtyas will be the seguiriyas of your inner drama, because you have prepared your outer body in control, technique, and seguiriyas expression. You will have mastered the basics of technique that will say seguiriyas. This same philosophy and attitude will free all of the other

flamenco worlds that are living inside of you,

ready to be expressed in steps that are dances, that are your outer-body moving your innerfeelings that are expressing the inner arte that you so want to explode outwardly in truth of feeling. Returning to the basics of technique, of simplicity, of listening. Constantly pulling the weeds and maintaining your in-tune body to express your inner-soul should be an everlasting goal. It is this type of goal that also maintains your motivation in the realm of flamenco, a world

that is purity of human expression of your total being. We have one body to live in. Let us keep it charged to the gallant deed of living each day fully. With this aire of fullness, of love for life and love for our art let us express our inner feeling, our joys and sorrows with truth and passion. Let the basic beginnings be a path to fulfillment. Let the inner-being flow through your outer-being and become one, expressing your spirit, your soul, your own personal flamenco, which is your life expressing life.

Becoming the Dance — ‘Duende’ As a student of dance — flamenco dance — it isa search for a oneness with yourself that will awaken your talents to ‘become the dance’, to experience the pain and ecstasy of birth of your dance, the addiction of duende.

Your personal duende can only be described by you; the concept is such that it is worth seeking your personal meaning. Startasanempty sponge, ready with patience, to start a lifelong soaking up of all the ingredients of becoming the dance. Your mind isin tune with your body, that

isin tune with your spirit, your soul, your duende, and all of the history and meaning of flamenco. So what if you start from scratch, if you are not from Spain, if you are not Spanish. If you have desire and the need, then you will plant the right seeds, to get you going of a marvelous path. At times I feel like I am advertising flamenco. It is my love of this universal art, this art

that cannot be materially possessed, that I feel a need to share. So, without rationalizing one more moment, we are going to start on a path to

one of the great ‘highs’ of life — the ‘becoming’ of your creative self, the personal blossoming of your dance. Flamenco dance is movement, so we want to get moving. We want to move flamenco, totally flamenco. You move from inside out and outside in, totally. You swim, you float, you dive into the flamenco music, the song, the dance, the

spirit. You tune your body so it is strong. Flamenco is strong; it is strong feeling, emotion, loveand movement. Your body should bestrong to climb into the dance. You strengthen your inner and outer focus so that you can see and feel the path to your expression, your personal feelings that are soaking into flamenco and being saturated with the totality of flamenco. You expand your technique so that it will express you. You want your technique to be good enough for you to become your dance. There is no such thing as too much technique if it is expressing truth in dance, your truth about

42

dance. Technique for technique’s sake is just that; we are not concerned with that approach. If a technique does not say something of you and does not help you become the dance, then forget it. Know why there is technique, just as you would know why you use any tone in flamenco music and song. Soak in all the forms that you

are able to listen to, to feel, to move to.

Many people do not want to give up counting flamenco compás, counting with their lips. They do not want to give up the false security blanket when what they really need to do is listen, feel and soak. Counting leads to more counting and while you are counting yourdance, your ‘becoming’ the dance passes you by. Complete unity of mind, body, spirit and technique are part of the path to becoming the dance. They all work in unison and have a balance so that each reflects the other. Through this totality of training, total-self intuition will be awakened, intuition which is our connection

with our creative expression. Personal intuition of our dance self is vital to becoming the dance. When will I experience becoming the dance? You will know, because your intuition will tell you that you are the dance. Action and reaction will be one. You will not be thinking but will be ‘being’. You will ‘be’; feeling, emotion, move-

ment, being born to re-learn; and all of this will

for that time, have the meaning of life. Creative force working with and within and outside your being. As in the Oriental do (way), the way of flamenco dance — in its relation and understanding to us — is to concentrate on basics. The basics, even one technical basic done very well,

will lead to the understanding of total technique. This is like aiming at a target, not just shooting blindly, but sensing and intuitively feeling at one with the target. Mastering the basics of flamenco technique is just one facet of the ‘way’ of flamenco. The mind, the spirit, must also become the way of flamenco. Intense patience, one step at a time, doing whatever you do with integrity and pride, is another facet of the path to the ‘way’. Yours must be an open, ever-searching mind

into the art, the way, the ambiente, the purpose,

the beginning, ened intuition must I study?” wise saying of

the end, always with an enlightto truth, your truth. “How long — “Until you die.” This is an old, the Oriental masters. And there is

a very fine line between studying and doing. Whatever happened to the apprenticeship method of learning? Not out of a book, but by learning and doing. When you go to a dance

class, it is important to realize that the class is

only to show the beginning of the path, the beginning of the road map for a long journey. It is what you do after and between classes that is important for your journey to becoming the

dance. Studying and doing, and soaking it up

and living it, your dance self; that is part of the path. Doing something well once is better than doing something wrong, over and over. What is right and wrong in art and in dance? Rightis when you are true to your ownintuition, feelings, emotions, and truths. You will begin to know yourexpressive movementsin dance when you have this concept of truth to yourself. Wrong is in being closed to your personal truth. It is copying what you think is ‘in’ because it is truth for someone else. The right and wrong in flamenco are a bit subjective, but suffice to say that there are basics in flamenco that have come about from a long growth of history and tradition. The tradition of flamenco is on-going and it is the oldest of these feelings, emotions, forms that have stood the rugged test of time that have a ‘right’ ring to them. Surface change of flamenco for change’s sake is neither right nor wrong, because the essence of flamenco cannot change. Call it what you will, flamenco, like the music of Bach, is rugged.

People change, not art. Shakespeare said it best,

“a rose by any other name is still a rose”. Flamenco by any other name is still flamenco. The search to become ‘your’ dance and your duende comes when you start to know ‘you’; and in a passion will come burning out in a bright light of truth — your truth, your message, your giving of your dance and art. Then it can have meaning, and that is to lift all of life to its most positive purpose. Flamenco, once felt, is there and will always be when all else is gone, for it is a meaning and

purpose of life and art; that cannot die for it just is. You will know the essence of flamenco when you see it and feel it, if you are in tune with it. This flamenco ‘high’ may be painful as well as ecstatic, because you will see yourself, your path. This personal path may be hard in a sense

and painful in the following, butlikesore muscles

43

that are telling you that they are happy being

your creative expression of your flamenco.

As the dawn speaks of the coming of the new day, melt into it and live it fully, dance it fully and seek yourself in dance with truth. Give birth to your dance. As your day finishes, know that you have lived it fully and that you are on the path to becoming the dance, becoming you,

time and space in the beauty of your personal relationship to art. Once ina while think, “He or

used, it will be worth it.

You have a whole lifetime, for there is no

she who

hesitates, waited

too long.” Capture

yourself in flamenco now — if that is you, your creative love.

Two great innovators salute one another - La Chunga and Teodoro Morca

No one knows when the first tond was sung or the first planta hit the earth in primitive footwork, or the first stick hit the ground in ancient rhythms that would become the art of flamenco that we know today. We do know that many years ago conception took place from the many cultures that lived in southern Spain and gave birth to the roots of

flamenco. That tradition of flamenco has grown and blossomed into the most profound and complete of art forms. From the very beginning, it was the power, the art, and the inspiration of the individual that shaped the growth of the many branches of flamenco, for it has always been the individual

that expressed his inner feelings and emotions

44

and life itself. That individuality has been one of the keys to the evolution of flamenco. Before there was ever a thought of flamenco going on stage — when flamenco was being expressed behind closed doors and in open fields in and around the pueblos of southern Spain — the natural creative drive of the individual for personal fulfillment was changingand evolving flamenco. Flamenco like all great art forms that have no boundaries or borders, is a living, breathing, flowing creative process, very much alive — like aflowingriver. Traditionalso growsand moves. Tradition is the tap root with branches that grow and use it as a base for more creative growth. During this last century, there have been many artists whose namesare synonymous with the creative growth of flamenco: Antonio de Bilbao, Estampio, Pastora Imperio, La Macarona, La Malena, Frasquillo, Vicenté Escudero, La Quica, Carmen Amaya, Antonio, Argentina, La Argentinita, Rosario, Pilar Lopez. And the

more contemporary artists: La Chunga, Farruco, Antonio Gades, Mario Maya, Rafael de Córdoba and so many other great artists. All of these people were innovators, creating and leaving their artistic imprint for others to use and follow. At the same time, they evolved with the art of flamenco. From the beginning of the café cantante of the mid-19th century, we have seen the growth of flamenco, spreading out into the world as a universal art, crossing all borders. Some people feel that flamenco lostits purity when its artists became professionals, eaming

money at what they loved and did best. Some

people feel that the word ‘commercial’ is bad, unartistic, the antithesis of the creative process. Commercial means something that sells, and whatis wrong with being paid for your art, your profession? An artist will be an artist whether paid or not. Some of the greatest creative growth and development came from professional artists like Carmen Amaya, who changed the art of flamenco dancing forever, being one of the first with the most awesome blend of great artistry, technique and creativity; carrying flamenco to all corners of the world. Antonio Ruíz Soler, one of the greatest dancers of all times, was the creator of the dance drama to martinete, refined and elevated the

taranto and inspired many of the great male dancers that we know today. Flamencois flamenco. If people want to dance for the joy that flamenco gives them, with no thought of making a profession our of it, that is fine. If a person has that magic in them called art — then whether they have a lot of technique, no technique, dance in the pueblo, ona concert stage,

or in a tablao — they will still have art. Good technique can give artits freedom, if it is used to express the art. Technique for technique’s sake is just technique, which is true of all art forms. It is silly to think that too much technique hinders the art. What is too much technique anyway? Great art and great technique go together beautifully if they are used to express each other. Art, that inner energy that explodes from a person, can consume itself like a flame if not ex-

pressed; technique by itself can be cold and boring, not saying anything. When the flame of art is fanned by exciting technique and movement that says something, then that unity of art and technique become the creative process, the feeling, the addictive force of the art of flamenco. For the professional flamenco artist, good

technique is a form of freedom. The human being is not a machine, neither is the flamenco dancer; and many times the old cliché, “The show must go on” is true. If you are performing nightly in club, tablao, or traveling to concert after concert, there will be many a time that you will rely on good technique — the craft of your

art — to get you through a performance.

The ideal juerga, where the elements are all great for the profound flamenco happening, is very rare. Who does not wish for the fine guitarist, superb singer, exciting dancers, great jaleo, sensitiveand understanding aficionados, all with aire and gracia to set the stage for the ultimate flamenco happening. It does happen and it is beyond words in feeling and emotion, but like anything special, it happens seldom. There have been many influences in flamenco,

some very beneficial, some not. Some of the negative influences have been the tourist attraction aspect of flamenco used in Spain and other countries. This has flourished in the many tablaos as quantity instead of quality. Many people have tried a short cut approach to flamenco,

learning a few set routines, adding what they

45

think is a jazzy-sexy-sell approach with cute costumes, passing this off as the latest Vegasstyle flamenco. In reality, it's just a plain lazy approach and in bad taste for such a beautiful art form. The good influences in flamenco have been the serious artists who realize that flamenco is an art of the highest, most noble stature and

bring forth innovative creations, taking the seeds

of tradition and cultivating them with dignity, class, style and study. They have raised flamenco from a regional art of southern Spain, to

a universal art of the entire world. Flamencolives...it willalwayslive, for there are always a few who hold it with love, who

know what flamenco is ... it is life, it is alive, it is

one of the ultimate processes of life lived to its fullest from moment to moment. When oneexperiences that moment of losing themselves in flamenco, then they truly find themselves in all of life’s glory, of all emotion, all feeling; it is living creation and we should be so proud to be a part of this beautiful creative human expression called flamenco.

Learning Flamenco Outside of Spain The ideal way to learn flamenco in all of its aspects, of course, is to be able to go to Spain for an extended length of time. To be steeped in the ambiente, study from good and sensitive teachers, hear good guitar and singing, see fine dancers, travel throughout the cradles of flamenco in Andalusia, and to hit the festivals. On the other

hand, there are many people who love flamenco, want to study and want to get into the thick of it all, but for one or more reasons, cannot run off to

Spain right away. I would like to give a few helpful hints to prepare those who want to get a good base and knowledge of flamenco before they go to Spain — it will save them many pesetas and heartaches when they get there. If at all possible, learn to speak Spanish before you go. This is very important for saving time in getting into the thick of things. I feel that you are taken more seriously in your quest for this elusive-enough art and way of life, if you speak the language. For the studying dancer, try to find a teacher or teachers who will stress good comprehension of the different compás and their interpretation. Routines should be secondary since, when you get to Spain, a set routine will only hinder your open mind to learning. It is important to hear different guitarists and singers, and new approaches to combinations which, in the long run, will give you the freedom that you want in your dancing. Dancing with a singer is of prime importance. Here in America, as in many countries

other than Spain, there are few flamenco singers to listen to. But it is still so very important to learn how to dance witha

singer, and to have the

sensitivity in your dances for the places where a singer would sing. One of the best ways of course, is to listen to records and tapes of good singers who sing in compás and have a feeling for singing for dance. (Yes, there are also singers who sing out of compas.) Try to feel the length of the letras, even though each singer will sing differently, and some sing more or less compáses in their letras. Flamenco dances should be set with singing in mind. Whether or not there is a singer, that blend of music, song and dance should not be forgotten. Students of flamenco dance should make sure they are learning their flamenco with singing in mind, otherwise, it is a rude awakening that need not be. Guitarists should keep this in mind also, so that when accompanying the dance, with or without singer, they will feel where the cante goes and be sensitive to the paseos that are being done where the different letras would be sung. Again, second best to having a live singer is having access to records and tapes, mostly of singers who sing not only in solo, but with dance. I ama firm believer in training the ear. If you listen over and over again to good art, like your ear is recording it in your being, then indeed you will absorb. This goes for the eyes as well, and seeing

good art isa great learning process. It may be an old Boy Scout motto, but “Be prepared” is a

46

good practice. Preparing yourself as much as possible, with good technique and much knowledge of flamenco in all its aspects, will make your trip to Spain that much more rewarding. In your quest for knowledge of flamenco, whether from teachers or otherwise, do not be

afraid to ask questions. If a teacher is too mysterious, then in all probability they do not know and are milking a limited knowledge. Flamencoisanongoing art. To methesearch,

no matter where or how, is worth pursuing with

a passion and joy.

The Flamenco Workshop In the early 1930s Ted Shawn started Jacob’s

Pillow in Lee, Massachusetts. It was the summer, and at times, winter home of his all-male

dance company. They worked on many styles of dance and began doing summer afternoon lecture-demos for the local people and the few that came up from New York. This was the start of what is now the oldest dance festival in the United States. It wasalso the beginning of the dance camp, where professional dancers and students would come and stay for certain periods and devote their entire time to the study of dance. There were others, such as Perry-Mansfield in the mountains of Colorado. Little bylittle these dance camps blossomed, mostly for modern and classical styles of dance. Up until a few years ago the study of flamenco, along with other dance styles of Spain, was mostly in the classroom. Usually group classes on a set day or private classes of teacher and student. The idea of a two, three or four

week seminar-workshop in flamenco was very rare. Also, there appears to be a correlation that until recently, summers were lean times for the study and performance of dance, especially touring and concert work. The very fact that there was so much spare time in summer gave way to the idea among

In 1977, I started the only all-flamenco workshop each year with a big festival, including concerts of major artists in Bellingham, Washington. From the very beginning, people from all over the world came for two weeks in August, strictly for flamenco. This brings up a question by many people who are into Spanish dance in general, “Why only flamenco?” First of all, Spain is a country with many forms of dance, basically categorized into four main forms: individual regional folk dances;

classical dances of the bolero school; modern

Spanish dance or contemporary theatre dance; and flamenco; with sub-categories. I learned long ago that each of these categories is a world in itself, very complete and worthy of intense study or a workshop unto itself. Each region of Spain can be an in-depth study. You can spend years and years just on Aragon or the Basque dances or the dances of

Cataluña, plus the conditioning to do the jump-

ing movements that many of these northern

regional dances have. The classical Escuela Bol-

era requires a fine ballet-type training plus the knowledge of fine castanet playing. The interpretive dances of the theatre, such as a basic choreography to the music of de Falla, Grana-

dos, Albéniz and the other famous composers,

dance camps, that this would be a good time to involve the people that wanted to study dance or music in depth. This started to include flamenco, and the many other forms of Spanish dance. Within the last ten or fifteen years, workshops and semi-

requires artistry. This form alone needs much study just for a beginning understanding of interpretation. I have found success with students absorbing a great deal, with each workshop that I teach that is of one form at a time. I would like to give some of my personal ideas on what a successful workshop could

especially in the United States and Spain, and now they are offered throughout the year in many locations.

workshop. I would like to explain what has worked in my workshops, and what I have learned from many years of giving workshops,

schools of dance, dance companies, festivals and

nars have

blossomed

throughout

the world,

consist of, to get the most out of a two-week

47

Teo leading a workshop group at his Bellingham, Washington dance studio

both at my studio and around the country. I approach my workshops with five goalsin mind. First of all, loffer morning warm-up to stretch,

strengthen and prepare the flamenco body for the intense classes to follow. lam a firm believer that your body does not know what it is doing. It only knows if it is in shape to do what you

want todo withit, whether flamenco, classical or

tennis. It knows if it is flexible, strong, with good placement and posture and energized with proper breathing and also a flamenco mood within its muscle memory. Secondly, I plan the technique classes in the morning, immediately following the warm-up. Ina two-week workshop, I usually have a beginning level class followed by a more advanced class. The main difference in the classes is that the more advanced students know the various compáses and have a basic understanding of the

main forms of flamenco. Ihave had professional classical dancers from American Ballet Theatre take my workshops and they have started at the beginning level. The technique classes emphasize a base of working from the upper body down, so that you are working on posture, placements, total integration of arms, torso, head and legs in movement,

right from the beginning.

The technique classes are conducted in both

the basic 4-count and the 12-count compás. This way they understand right from the beginning

that their technique is working in a compás that

they will use later in repertoire. So, they are learning compás and understanding how to move inthe variouscompáses. The technique class works in basic diagonals from the beginning to emphasize placement. Then basic marking with full coordination of arms, body, legs, etc., all within

48

basic pasos of that particular compás. Tumsare worked on with integration of total body,

both

back

turns,

back

bends,

etc. The

footwork is shown toward the end of class when the student has the rest of the body under control. This way, the footwork has good placement and is totally integrated with the rest of the body. I believe that the upper partof the body, with good placementand position and proper knowledge of the hip movement, ‘seated position’, are what give the main control of good taconeo. I finish the technique class with movements on a diagonal across the studio, using basic pasos that let the student move, stressing walking in various compases. The reverencia finishes the class with hand movements, braceo and center movement.

This is just an example of the basic technique class, but I want to show the philosophy that, from the beginning it is the total body working in flamenco harmony, with understanding of the compas in which it is working. Third. The afternoons are made up of repertoire classes, again ona beginning level and then a more advanced level. Both classes work on two main dance styles, one in a 4-count compás and one in the 12-count compás. The repertoire class has a variety of purposes. First of all, it uses what was learned in the technique classes in dance form, and shows how to useitin variouscompáses. Itteachesactual dances and choreographies, but in a way that it is not just the set dance. How a flamenco dance is constructed, with various forms, where the singer comes in, the relation-

ship of the guitarist to the dance, the singer to the

dance, the dance to the singer, the music to the

singer and then all of that together. The dances are taught as vehicles for understanding and are not set in stone. I do not want the students to feel that this is ‘the’ alegriás, etc. This is a dance, and can be changed as their knowledge increases. On the more advanced level I always teach bulerías, how to dance it, what it consists of and

taking the mystery out by movements that teach the understanding of this form. At the same time that the students are learning various dances,

they are also learning the interpretation of these dances. What makes a soleares look different from a seguiriyas, or a farruca different from a tientos, is very important in understanding how flamenco works.

Also, they will learn that the same basic steps that are the vocabulary of flamenco — whether

a movement, paso, footwork or palmas — are

interpreted differently in each dance style. In repertoire class the students learn control, to

listen and hear the music and the singer. Not to

think that the dancer is being followed only, but itis the respect and control of the compás and the total awareness of the music and singing that is stressed. This again just touches the surface but gives an idea of how teaching repertoire is approached. Fourth. The next facet of the workshop usually happensin the evening. All of the classes are over, people usually eat, shower and then come

back to the studio or in summer we find a nice

park outside. This is the time to do all of the

discussing, the talking about the what, how and where-for of flamenco. We talk of history, what

flamenco is and is not, its relationship to other

dance forms in and out of Spain. We get into the singing, wedo palmas sessions to all of the various

compás. We talk of costuming, ambiente, placesin

Spain and in general, get into every facet of flamenco that we can think of and discuss as many questions as possible. That includes getting into the art, the arts — everything verbally that we do not have time for in class. These evening sessions have proven to

be most valuable to all of the students, as they

are informal and filled with music, singing, dancing and fun. It should be a joy and that should be part of any workshop. We also show videos and movies on many of the evenings and discuss the fine artists and dancing that we see. These evening sessions can goin many directions. Forexample, here in Bellingham, there are some fine coffee houses and restaurants that have rooms and at times we hold our evening discussions there. This brings up the basic final facet of the workshop — the juerga — the sessions where everyone is encouraged to participate at their own level, improvising as best they can and encouraging this participation with musicians and singers that are positive and encouraging. The knowledge of the juerga is learned, espe-

cially here in the United States, where the idea is

usually that itis a set type show, or they have to do their routine. We finish by trying to culminate the total workshop into that juerga, with all of the gracia and aire possible, with no more ‘do

49

this and do that’, but with the joy of a great flamenco experience. The whole idea of this workshop can work whether it be a classical workshop or for Basque

dances. The idea is the total approach and to get

away from just learning the steps of a dance. It should be stressed that it is the total approach to the art form that is important, no matter if itis a one-day class or a one-month workshop seminar. A workshop is a very special event with many months of training squeezed into a few weeks. Itisthe time for the teachersand students to feel charged up, psyched to get the mostoutof a special event. This is a time for learning and growing to your maximum. Whether you are going to take a flamenco workshop to become a better, more knowledgeable dancer or aficionado, know beforehand what you would like to

get out of it so that you are prepared. People that come to my workshops come from as far away as New Zealand, Japan, New

York and literally every state in the U.5. and itis a major expense in time, money and energy. The more prepared they are, the more they will get out of it. If you go to Spain for a workshop try to learn a bit of Spanish, if you do not speak it already. Do not be shy about communication. If you do not know something, ask, for understanding should be a big part of the workshop. Finally, go with an open mind, a love for flamenco, and a hope that the teachers have done their homework, will teach their true love of flamenco

and

their maximum

knowledge,

without holding back. A true teacher will teach what he himself does, the so-called ‘preach what you practice’ philosophy.

When you, the teacher, the students, the afi-

cionado, the flamenco bystander experience an in-depth concentrated flamenco workshop then you become one step closer to becoming flamenco, becoming the dance. Let’s become the dance, the music, the song the feeling. Let’s become flamenco.

Beyond Compás There are many parts of flamenco music that I feel a dancer should be sensitive to in order to develop that marvelous freedom of ‘becoming the dance’ — to be able to literally move and breathe as one with the total music and song and ambiente of flamenco. In all of the years that I have taught flamenco, I have tried to infuse this idea of total musicality, and sensitivity to flamenco as a whole, to all of my students. Itis very interesting that the people who stop counting and get beyond counting every beat of the compas really start to trust their feelings about the total music, letting that pulse become part of them. These are the dancers that get the deeper understanding of what flamenco is all about; they look the part and get it quicker. Many dancers who have studied for years are still counting every beat and every half beat, some visually moving their lips, counting while they dance. Since there are quite a few compáses

Compás must not become a crutch, but must be trusted. Compás must be released and total musicality must be developed. No matter what falseta is played, no matter how contra the contratiempo, no matter what accents or what tempo is played, the underlying compás is always the

going into the forest and not seeing the trees, or not believing they are there even when they can be seen.

ent accent structures. However, once understood, they should be released and trusted. For someone who has become a habitual counter,

in each dance, it becomes a bit much. It is like

same, the pulse will be there, a soleares is always

a soleares. To paraphrase a famous saying, “Soleares by any other name is still soleares.” One thing that I discovered with habitual counters of the compas (and it is a habit), is that usually they do not listen to the music. This may come as somewhat of a surprise, but it is true. A guitarist will be playing and the habitual counter will be dancing to counts, to the ‘routine’ that

they have learned or set, they assume that the

guitarist will follow them and hopefully it will all fit. Counting is a habit. For someone who is just getting into flamenco, it is very important to understand the different compases and the differ-

50

there are other habits to replace counting and I have faith that, if someone truly wants to go

beyond the compás, it can be done. Musicality

can be developed. Very few people have absolutely no musicality, no rhythm. There are no short cuts to the total understanding of flamenco. It is generally accepted that for someone just starting outin the study of classical ballet, it takes ten years just to develop a basic technique. A person who studies flamenco dance not only has a complete and complex technique to think about and work at, but the complete understanding of two other facets of music — the guitarand thesong. Plusall of the forms and facets of flamenco, plus all of the interpretation of each facet and form, plus understanding of the culture of flamenco and its roots, so that the interpretation will ring true

and ‘say something’. One of the simplest and best ways to develop a sense of musicality and understanding beyond the compas is listening to the music. This seems so basic, but in reality it is training yourself to absorb all of the facets of the music. I mean really listen. Learn to hum or sing as many falsetas as you can, to hum the melodies and hear them in your

head, to feel the tones of the different compases. Really record the music in your being so that it is part of you. Study and listen to the sound of

every compas, not just the rhythm.

Of course you should make the same study of the cante as well. You will start to feel the basic patterns of the different cantes and the different styles of the singers; you will sense the length and the accentuation of the different letras. Can you hum a soleares, bulerías, tangos?

It is very important to realize that a dancer must be sensitive to the singer and the guitarist, just as well as the singer and guitarist should be sensitive to the whole of flamenco. It is a total inter-relationship, not just one following the other. This heightened sensitivity to each other brings out that beautiful creativity, that inspiration of the moment that should be such an integral part of flamenco. Another way to develop the habit of moving within the compás and to develop a sense of freedom within the compás is to practice walk-

ing. 1 mean dance walking, sometimes on the

beat, sometimes within the beat, cat-like, so that

you are flowing with the continuity of the music,

not just marking every beat of the compas. This is a good lesson for getting into the compas. Another exciting way to move to music — I say exciting because it is like a new adventure to discover new things,

a new awareness — is to

move differently to the different styles and techniques of the guitarist. If the guitarist is playing a pulgar variation, what type of movement does that call for? This applies to all of the other

techniques, such asarpeggios, tremelos, rasqueados, etc.

Listen to these different techniques and know the differences in the sounds and feelings. So many times the music indicates the movement for the dancer. This is very exciting, if you trust yourself and let it happen some very beautiful, spontaneous movements can come out. For that moment, you will havereally ‘become’ the dance. Another lesson for developing a heightened

musicality is to move toa so-called undanceable

compas or free rhythm, such as granadinas, tarantas or fandangos grandes. This may surprise some people, but actually you can move to any music and it does not have to be stomped out with heavy taconeo. These forms that are mostly sung are great vehicles for finding fluidity, a sensitivity and lyrical quality in your dance. It is a beautiful challenge to listen carefully and flow with the exciting dynamics of a grand fandango. Lift your arms and breathe life into them and let yourself become one with the music. Do not count, but feel the pulse, record it in your soul and trust yourself. When you are at a juerga or a flamenco gettogether, try to forget your set routine and really let the music, the ambiente, the song and above

all, your own inner spirit move you. Reach out beyond the compás, become the dance, let go and be inspired with the total love of flamenco. There is a saying that, “when you want to swim, take off the life jacket, get into the water, and swim”.

When you want to dance, let go of the compás and getinto the totality of flamenco. Let yourself ‘become’ the dance, physically, spiritually, emotionally and mentally and then let it happen — and it will happen!

51

Alegrías — Joyous Concerto of Flamenco Dance

Teo Morca, Pepe Segundo and Julio de Los Reyes at the end of alegrías.

One of the greatest influences in today'sstyle of flamenco was the dance, the art, the personality and intuitive creativity of the late Carmen Amaya. While she was alive, she wasa flamenco cult hero and had everyone scrambling for a touch of her style, energy, aire and genuine duende. Some

time in the late 40s or early 50s, she

created a bit of an ongoing miracle with her rendition of alegrías. Especially the escobilla, the footwork section, where instead of dancing with

guitar accompaniment she did a footwork solo toa strong three-rhythm with the palmas accompaniment of her company. She wore pants on

her slender body, with a long-cut vest, and she pulsed that ONE-two-three, ONE-two-three, ONE-two-three rhythm into the flamenco world;

it has not stopped since.

Her alegrias grias from that everyone's style — when youare

not only influenced every aletime on, but influenced almost of every other dance. Even today hearing electric guitars, organs,

cellos, flutes; and seeing so many set routines —

that pulse of Carmen’s is still beating like a joyous heart that will not die. While this chapter is basically on the many styles of alegrias, itis the mentioning of Carmen’s contribution that will give meaning and credit to this past genius of flamenco. I had the good fortune to see her dance her alegrias, and I also was completely influenced to this day. Alegrías, cantiñas, romeras, mirabrás, rosas are all of the same rhythmical family with an aire that was born to dance. Within its 12-count

structure, it has blossomed and evolved into a variable concerto of music, song and dance. I

52

relate it to a concerto form because it not only has the rhythmical flow of all flamenco dance and singing forms of this type, it also has movements and styles within its own basic style. Within the dance there are movements that demand a vari-

arte can leap out. There is traditionally no cante here. It is the space where the art of the dancer can weave an ever-flowing picture of what lyrical, total flamenco dance movementis

all about.

In classical music, a concerto is a form that

This is the movement to savor like the finest of nectars de Jerez. Carmen Amaya came back to this movementat least two or three times during the dance, although today itis usually done only once in the total dance. You can climb into space and space into you, so that you and your surroundingsare one. This

This is also in an abstract relationship, the

as that flow is like the endless flow of life itself. This is not meant to sound poetic, but itis feeling in words that I express here. For contrast to this movement, the next pulse is usually a llamada (call) to do a 4 or 5 compás,

ety, a maturity, an aire and a technique that is the

height of interpretation and control. This variety of interpretive movement and feeling is one of the main differences that alegrias has from other dance forms of flamenco.

usually has an allegro movement for a beginning; followed by an adagio (or slower movement) of sustained lyricism; and ending with other movements that are allegro, or upbeat in mood and style. way and the uniqueness of dancing por alegrias. Although alegrias is generally related to that beautiful old city of aire y gracia called Cadiz;

alegrias, like all of the flamenco dances of today,

are universal throughout flamenco southern Spain. Even a style called caracoles, which is the

same compás, but danced in a similar form to other flamenco dances, is sometimes called the

alegrías of Madrid. I would like to give just one popular example

of the interpretation of alegrías, only one because

there is an endless variety of approaches choreographically. The entrada, (opening movement) really oozes with aire and sets the mood of the total

dance,

— as thisis the main part of thecante,

the singing is unique — and this is where the main differences happen when the name is called romeras or mirabrás or cantiñas, etc. Subtlety in flamenco is powerful and it is the subtle differences in interpretation that make the dances different, whatever the title.

The gradual raga type build-up that a dancer can do — while the singer sings and the guitarist plays in those tones that can move the stodgiest non-aficionado to sit up in their chairs — is something that is the beauty of flamenco. The dancer moving to the flow of music and so on, interpreting that aire and joy that is alegrías. Slowly the energy flows stronger; more dynamics, pulse, rhythm, power; exciting desplantes, more flow, more dynamics, energy breeding energy; and then a cierre that is explosive in its stillness. The next movement, usually a slow-flowing falseta in adagio form, is where the contrast and

is a feeling that I have when I dance por alegrias,

very upbeat movement, sometimes called the

Castellana. This is usually very up-tempo and snaps one out of the flow and lyric movement, when the singer again comes in to sing this attack of a movement, which usually comes to as quick a close as its abrupt start. This type of dynamics gives alegrías a power that is unique in flamenco dance. Sometimes the slower falseta movement is again brought back at this time, or if not, the third basic movement

comes

in, which

is an

escobilla de pies (footwork section), which again is

a complete contrast to the other movements. It is in this section, the zapateado de alegrias, that the dancer can show the artistry of their footwork as a musical, rhythmical instrument of flamenco. The traditional pulsing of this movement is in sixes, threes and twos, and is very different in attack and interpretation from the preceding movements.

Sometimes the guitarist plays a sort of singsong six-pulse and the dancer has to come up

with some very creative material, so not to enter

into an easy repetitious boredom. This can be a super-inventive time, as it was for Carmen Amaya, or it can be a very predictable series of

footwork sequences that go onand on. Individuality and originality are very important in flamenco, as they are in any art. It is great to be inspired by others, but to be inspired to find yourself, try notto copy, a copy is the shell, never the contents of the art. Traditionally, there is a two-compás cycle that the guitarist can play — this can be turned into something beautiful with a bit of creative

93

had the guitarists stop, as she proceeded to do her solo of footwork with palmas accompaniment. Itis still being done in homage to Carmen. I personally do it every time I dance my alegrias, which has been a homage to her from the first time that I danced it. !worked out something that is original, because I didn’t have a group at the time to play palmas for me. I created a whole escobilla playing my own palmas in accompaniment and counterpoint. The escobilla section of the alegrías usually builds to a powerful energy of tempo and dynamics, to enter into a finale of either an upbeat cantiñas type ending, or often, a llamada to enter into a final bulerías ending. This last is very common, for ever since

thought —sothata fugue-like series of footwork canbe done, really creatingsome musical rhythm and matiz. A bit of interesting doubling, soft attacks, loud and slow, one compás of something,

out of nowhere, followed by a series of unrelated yet similar movements that tie it all together with interesting dynamics. What like to see is an interesting use of arm and body movement to enhance the visual aspect of the footwork — for footwork should look as interesting as it sounds. Why just grab the skirt or the vest and let one-eighth of your body look and sound interesting, when the total body can be enhancing the total dance aire? This escobilla (probably a word coming from the old brushing steps that are typical of the older style footwork) is where Carmen Amaya

flamenco became a performing art for the public, there seems a natural need by the public, for an ending of noise and speed and frenzy. Thisis all right in alegrías at times, but it takes great art and control to maintain the same aire in a dance. 1 have often seen a beautiful tarantoended with a rumba just to get a big applause. But, sometimes the arte is sacrificed. Alegrías is really a compás that sums up all of flamenco — for in flamenco you can cry while you are laughing, laugh while you are dying — and dancing the joyous concerto of flamenco can be living the art life to its fullest. It can be a lesson in all of its moods and temperaments. Alegrías translates into “joy, ecstasy, pleasure”. These are worthwhile pursuits, and when one dances alegrías, romeras, mirabrás, cantiñas,

know that you are living a dance that speaks of what life should be. Go beyond steps, song, sound, music; become

la vida alegría, become flamenco.

Bulerías, Viva Tu! Of all the flamenco forms, bulerías has the most and least rules. The more one listens to bulerías and sees and hears itexpressed in dance and song, the more One realizes its endless variety of mood, expression, expansiveness, rhythm and feeling. The incredible balance of rhythmical energy and pulse make for what I call an ongoing natural search for more — not so much more variety, but more depth, more involvement within the form — of true self-expression finding itself. Although there are many other flamenco forms sharing the same compás, there are few others that use it with such variation of pulse, of accent, of energy, of drive, nuance and mood. Some of the common questions that dancers ask are: “How do 1 get into the rhythm? On what beat do I enter? How do I know when to stop or start? When doI make the llamada, or desplante? When

does the singer come in or out? When do I pasear or play palmas? When is the best time or place to do the footwork section and how long should I carry on the footwork? How dol go from the base rhythm to the paseo?” Guitarists basically ask the same questions, although related to dance accompaniment or understanding bulerias asa solo form: “When do I play the base accent? What do I play when the dancer is doing footwork? Are there many different kinds of llamadas and ways of calling them? What is the difference between a llamada and a desplante? When do 1 play a falseta? How do I know when the singer is coming in or finishing? What do I play when the singer is singing and the dancer is dancing at the same time?” Suffice if to say that for every answer, there is an exception, just like the Spanish language itself. For example: instead of counting compds when wondering how long the singer will sing or how long a falseta will be, start to feel a basic

rhythm-within-a-rhythm, a certain ‘natural’ length and flow, no matter how long or short. Like watching the waves of the ocean, there is an underlying basic rhythm even though each and

every wave is different. It is soon obvious that

one particular facet of bulerias will not go on

forever, only the underlying rhythm. A knowledgeable guitarist will carry a falseta out to a natural termination; a singer will sing a letra in a natural length and expression; and a dancer will carry out a desplante to a natural length. This ‘natural length’ that I’m speaking of will vary. The ‘natural’ that I am speaking of is the aesthetic art, the intuitive expression of the whole

interpretation of bulerias. Bulerias is the ultimate in expression when it comes to what is NOT done. I have noticed over the years that people just getting into the ‘grip’ of bulerias seek with great energy for the ‘fun part’. Dancers get addicted to more and more

everyday world around us. That essence

desplantes, looking for the ultimate desplante, con-

tra, double contra-tiempos, more and more titil-

lating and complex series of steps to put to the titillating rhythms, packing each compás full of double and triple goodies. Guitarists search for the most up-to-date falsetas or maybe the ‘original Moron golpe’ or an accent yet unaccented.

This is all very natural search because, like

watering a beautiful garden, it takes much water for enough to trickle down to the roots. When one finally reaches the roots of bulerias, one of the most profound things that will be found is what is NOT done, what is not heard or seen.

The essence of bulerias as expressed by the artist is the feeling, the overall feeling of bulerias itself. It is almost the ultimate escape from the

is behind the dancer who is able to stand almost stock-still and move an audience to tears of joy; or the dancer who does a subtlelookas the singer accents; or moves an arm, tracing a rhythm, expressing a subtle guitar inflection; or doing just one planta and walking away. Or on the opposite end, doing some outlandish movement por chulfa or some small pellizco that makes your hair stand up with more joy. In Spain, if there is any test at all in artistic flamenco interpretation, it is usually por bulerias or soleares, two relatives with a magic all their own. So many times in Spain, the ones who move the onlookers the most are the ones who ‘outwardly do the least’. They become the bulerías in feeling and interpretation, let the total variety of mood and rhythm ‘play them’ as an instrument — so that the artist is being moved, not forcing the moves or preconceiving the moves. At this point, I want to differentiate between a person raised in the ambiente of flamenco in Spain and the person beginning their study of flamenco, whether in or out of Spain. It is obvious that a person with the ability and sensitivity to become a flamenco artist, who has been raised in the heart of ambiente of flamenco Spain, will have already had their roots soaked with the essence of flamenco and will have an innate understanding of its interpretation.

Those who saw the movie ‘Flamenco’, made

in the middle 1950s, willremember a very young E] Farruco sitting next to his wife while she sings por bulerias. He had his arms around their baby and he was playing palmas. It was so moving as you saw the very young infant, fairly bouncing around to the rhythm of bulerias as it was sung into his little ears, along with the steady palmas; how

could he help but become

flamenco, be-

come the bulerias? God bless bulerias ... inthis day and age of 4/

4 time, (when 99 percent of the music and ‘muzak’ we hear all around us is 1-and-2-and-3-and-4, in

56

flamenco, like all art, like all facets

of human creative expression, is in aconstant stateof evolutionary flux within its own tradition. As you study bulerias — listen and look, thenlisten and look some more. Start to see, hear and feel something beyond steps. As you

acquire technique, steps, desplan-

tes, llamadas, paseo, falsetas, try to absorb them, try to forget them on the surface and then try to bring them out of yourself spontaneously. Trust your body language to speak your inner language. After

you have acquired many steps, feel

them digest. Dancers, as you hear different guitarists and singers, let theirindividuality and yours blend so that whatever comes out will be special for that moment, that time

and it will be fresh. If you are just starting your study of flamenco with a teacher who understands bulerías, ask him/ her to point out the basic compás, the rhythmical accents for basic paseo, llamadas and desplantes. These four basic facets are a sensible beginning and will introduce you to listening to and understanding

the basic structure of bulerías. Once

all flavors of speed and noise), bulerías is like a

beautiful oasis in the desert. You don't fully understood

how it got there, but it's so very

welcome to come upon.

By some beautiful stroke of evolutionary

genius, bulerías seems to hit that magic chord of nature itself. You see nature all around you, but

she remains a bit of a mystery and, like a chameleon, is ever-changing before your eyes.

Bulerias isa facet of flamenco that universally

awakens the spirit, perks up the earsand lifts the soul.This chapter is not meant to be a lesson in bulerías, nor will I count out the compás. In ex-

pressing my personal feelings and observation from many years of studying flamenco, I agree with the person who said, “Some things cannot be explained too well in writing, they have to be experienced.” I try to put few absolutes in writing because

you have a foundation of understanding, then the variety of expression will start to make some sense. For those dancers who have been dancing for years, leave all of the practiced routines and desplantes ‘inside of you’ and at the next fiesta, rehearsal or juerga, trust your soul to bring out what is NOT done, not done by your body and conscious mind. Let the spirit of bulerías move you in what can be called ‘becoming the dance’. True improvisation is letting all that you have learned trickle into the soul, asI mentioned before, like the water nourishing the roots of a plant and then letting the roots push up and blossom into a beautiful bouquet. God bless bulerías, one of the beautiful flow-

ers from the bouquet of art we love, called fla-

menco.

57

Sevillanas — Arte, Aire y Gracia

Sevillanas with all of its built-in aire y gracia has captured the new mood of an International Spain, that crosses all regional borders and gets to the heart of all of the people of Spain.

What? More than 100 sevillanas clubs in Bil-

bao, the heart of the Basque country. Some 150 sevillanas clubs in Barcelona, the heart of Catalo-

nia. hundreds

more

from

Madrid

to Galicia,

from Asturias to Cadiz. This all seems a bit amazing, considering

58

that 20 years ago, while touring Spain in the Festivales de España with Pilar López, we had to have three different concert programs depending on where we were in Spain. Since Spain is one of the most regional countries in the world — we did jotas in the north, flamenco in the south, and all of the regional dances for each specific regions that we went to. Sevillanas in the 1980s has become one, if not

the one, universal popular dance of not only the

festivalsand férias, butof the social populace, the

doctors,

lawyers,

merchants,

housewives

and

everyone else. This phenomenon, after the experience of dancing sevillanas, does not seem so

amazing. Sevillanas with all of its built-in aire y

gracia has captured the new mood of an international Spain, that crosses all regional borders and gets to the heart of all of the people of Spain. One of my most memorable experiences of

dancing sevillanas happened in the middle 1950s.

José Greco and company had come to Los Angeles for a series of concerts. This was one of his first tours of the United States with his superb company of artists, and he was experiencing that tremendous success that only a few artists have in the world of dance. It was Spanish and flamenco dance that was making waves of popularity wherever they went. This particular day that I am speaking about, began when I went to see a matinee of Greco’s concert at the Wilshire Ebell Theatre in Los Angeles. Following the concert, I was invited to a party given by a friend of mine for the Greco company. I had been studying for a few years and had learned a few dances, which is how I started out

when I began to study with José and Eduardo

Cansino, Paco Lucena, the Trianas and others in

Los Angeles. They mainly taught routines and did not deal much with technique or what could be considered flamenco, but mainly school dances. Of course, one of these dances taught by Jose Cansino was a nice old version of four coplas of sevillanas. The Cansinos were very famous in their days in the theater, and sevillanas was one of their main dances. I had learned it by following along and learning the steps, not getting much explanation about aire, technique, history,

interpretation; just steps and hopefully the awareness of what they were supposed to ex-

press. It all worked, for there was a lot of joy in

class, and everyone in the big Saturday classes really got into it. Back to the party for Greco. I was excited to be invited to the party where all of these fine dancers and musicians of the Greco company were the guests of honor. After seeing these pros in concert a few hours before, I was still in awe,

each artist was great and exciting. Getting to meet Teresa and Juanele Maya, real stand-outs of the concert, was especially exciting for me, for

they were the best flamenco dancers I had ever

seen. After everyone had eaten and had a few drinks, one of the guitarists took out his guitar and in that beautiful late afternoon in my friend’s garden, he began to play sevillanas. Some of the dancers got up and began to dance. The mood was happy and alive, and the atmosphere had a special energy that was affecting everyone. All ofasudden, Teresa Maya was standing in front of me with that fantastic smile and said,

“Quieres bailar?” My knees almost buckled. Before I knew it, I was dancing sevillanas with her. To this day, all I remember is that I never felt so good, likel was finally dancing the way I wanted to always feel. She just looked at me while we were dancing, and by some magic the sevillanas danced me and I danced it. This whole combination of dancing witha great artist, dancing this magic dance that symbolizes the cradle of flamenco, was the combination that let me know that! wasa dancer. This was the inspiration to search for that feeling all my life. I was addicted. From that time on, I have always had a special feeling for sevillanas and have never gotten tired of dancing it. More than 20 years later, while dancing at the

Café de Chinitas in Madrid, I walked up to Teresa

Maya, who was featured there. She looked at me for a minute and asked if she knew me. I reminded her of that day in Los Angeles and she smiled. I asked her to dance sevillanas with me,

and it was still as exciting as ever. What is sevillanas? Why is it a very special dance in Spain and how does it fit into the world of flamenco? First of all, sevillanas has gone through a lengthy evolution to arrive at what it is today — a dance, a song and a music that not only captures a flamenco mood, the total aireand gracia of all Andalusia, but the hearts and feelings of Spain. Sevillanas today is heard with almost any

59

~

ae

é

me)

LE

E

74-3

Isabel and Teo Morca with Gisela Noriega at Jacob's Pillow Dance Festival

type of musical arrangement, from jazzy renditions with organs, flutes and orchestras of all sorts, to the tapping of a stick, to the solo singing of the coplas. All of this originated from a more classical form known as seguidillas. Sevillanas is a form of the seguidillas boleras, which were popular in the 19th century. The coplas of the seguidillas boleras are still taught by the teachers, such as the Pericet family, who specialize in the Bolero School dances. The seguidillas boleras have the same copla or verse form and structure, but are classical in nature in the balletic form, with various

beats, jumps and the total look of a classical bolero dance style. The four coplas of sevillanas that are so popular today — that are the mainstay of the feria of

Sevilla — have had the influence of flamenco and the aire of all of Andalusia. This makes a very earthy dance style that fits into the flamenco category and at the same time having that flow, pulse and feeling of a floating classical mood. Like the fandangos that are danced in Andalusia that evolved from classical origins, the sevillanas (for purposes of some type of category), are not only a regional folk dance, a school dance, but a flamenco dance when interpreted that way. That is one of the rare beauties of this great dance, song and music. It can be interpreted in aninfinite array of moodsand feelings, from theater to a social dance and everything between. So this, then,

is one

of the many

unique

qualities of this dance — the beautiful mixture of

60

the classical aire and floating quality, and the earthiness of flamenco, along with the total movement of both styles. This dance has become the jewel of Sevilla, the feria of Sevilla and many other ferias, the universal dance of Andalusia and is fast becoming the fad of all Spain. Sevillanas has evolved into a set series of coplas and basic steps and movements. If one person knows this dance, they can dance with anyone else who knows the dance coplas, even if their styles and technique are different. It can be danced solo or in couples or even in groups. Each of the four coplas has three variations, and each copla ends with a pose — a definite

stop. It is in 3/4- or 3/8-time and the speed

varies with the individuals who dance it, the

musicians who play the music and the singers who sing the coplas. Many people like to play the castanets while dancing sevillanas or do their finger snapping, but often the people who dance itatthe spur of the moment in juerga or fiesta just dance it with whatever is available at the moment, which could be guitar and singer, palmas or orchestra, or cassette player in the park. Sevillanas are not the easiest dances to learnif you want to get the most juice and arte out of

them. Sevillanas can actually become a lifelong

learning experience into what all of the art, the aire and gracias of southern Spain is all about. Many people think that it is a beginning dance and kind of a throw-away dance to learn for fiestas and just to do, period. In a serious study of Spanish and flamenco dance, the opposite is more the truth. Not sounding overly dramatic, butlapproach sevillanas with all of the reverence and respect of a total musical and danceartform, for it is a total learning experience. First of all, sevillanas is total dance, starting

with the posture that epitomizes what Spanish and

flamenco

dance

is all about.

Each

of the

coplas, and each of the three parts of each copla, are movements to bring out all of the dance and movement quality needed to capture the art of the dance. Just listening to the copla form or verse or singing form brings out the feeling of what the dances of southern Spain are all about. Sevillanas is a challenge of all of the main techniques of Spanish-flamenco movement. Let's start with the upper body. From the first pose into the first paso or main sevillanas step, (sort of the signature step), you are moving in coordination with beautiful posture; with back pulled up

and tall, a head like that of a proud eagle, style with beautiful arm movements, body moving from diagonal to diagonal, floating with knees bent and hips moving in the true seated posture

and position of flamenco — the dance of the

earth. You are learning many styles of turns, por delante, por detrás, de pecho, con destaque, and so forth. You are learning focusing, partnering, dynamics, flow and musicality and a dance that if you wish to play them, will improve your castanet playing with matiz and quality of rhythmic expression. Many people who have studied sevillanas in a small area feel that it is a dance for a small space, but in actuality it can be done in a large area, and can improve your ability to move in larger theater-type spaces. I remember seeing the marvelous dancers and teachers, Mercedes

and Albano, many years ago on a concert stage in Madrid. They were dancing sevillanas and they were doing the pasadas and careos, the passes, from theater wing to theater wing, and it was the most exciting sevillanas that I have ever seen.

Sevillanas is like a chameleon, ever changing

in color, style and texture. It is a dance that expresses almost any level of aire and gracia of arte that the dancer can and wants to bring to it. Sevillanas is a dance of communication and a true social dance, and it is fun to see people of all ages dancing it; from aman and woman encounteringa flirtatious, sensual feelingin their dances to young children, joyous from the sheer beauty of movement. Like all other dances in Andalusia, sevillanas

has grown and evolved into so-called new and old styles. The dancers often learn the basic

traditional movements, stepsand choreography

and then individualize it to fit their own moods and styles. Sevillanas has been the foundation for Spanish theater dance, and it is common to seea choreography to the music of de Falla, Granados and Albeniz; and see the many steps and movements that make up sevillanas, for it is a storehouse of movement vocabulary. Sevillanas is old, it is new, and it captures that

feeling in life that is life and the feelings that are so good. These feelings of joy, of love of life and a love of dance, isa worthwhile goal to reach for. When you dance sevillanas, let yourself become the dance, let yourself become the aire, the gracia,

that sevillanas cries out. Viva las sevillanas!

61

Soleares — Arte Grande One of the giant foundations of flamenco is soleares. This is true baile, toque, cante grande, the

it can be crystallized; as if you can crystallize moods, you life’s feelings, your daily moods put

One of Spain's finest flamenco dancers said

Soleares, like bulerias,can be experienced more

essence of arte grande, the essence of flamenco.

at one time, “I do not dance soleares, because it

has too much art” (English translation). I am

sure that he was being a bit modest, but if there

isa degree of difficultyin artistic conquestamong the many flamenco dance forms, soleares is way at the top in its total expression. Soleares is often called the mother of flamenco song. It could also be called the mother of flamenco dance and flamenco music, for indeed

soleares is a very special form held in universal high esteem. Soleares holds many of the possibilities of high art and expression in the world of flamenco. It could be a lifetime goal to express soleares in all of its potential and a true search of one’sindividuality in flamenco. There are proba-

bly forms older, but solea (as it is often called) is

artistic galaxy after artistic galaxy. It is the ocean — endless, calm, stormy, thunderous, powerful and deep, caressing and thrashing like giant waves on a rocky coast. Soleares can lull you or frustrate you. Soleares is a primary study in control. When it is played and sung slowly it is the ultimate lesson in flamenco dance to capture that slowness with control, energy,

dynamics,

bigness

into stone.

fully when left open, so that the feeling of the moment can shine through with realness, sincerity, integrity and freshness the split second that you are dancing — serious dancing. Again, there is no one lesson for this soleares enlightenment. It comes through open-minded study, listening, absorbing theambiente, the lessons, the music, the singing and digesting it all. There is no end to this study, so there is great satisfaction

in the lifelong search and awakening, the joy of bit-by-bit enlightenment in this great art. For all beginning students of flamenco dance, it is very important to start learning the ways of soleares, for it truly is a lifelong search and discovery. I feel about soleares like Pablo Casals felt about the music of Bach. He said that each morning he would play a selection of Bach preludes — each morning he would hear and learn something new and different in the music. Some technical approaches that mighthelpin practicing soleares, (which by the way is one of the most versatile compás to move to for total technique), is to move doing braceo, taking the

full compas for a movement, then the same movement in half- and quarter-compás . Also walking and marking in 3s and 2s and on each

and interpretation of yourself in honesty of mood. It gives you that time.

beat; also, turns in full compás , the halves and

and feel about slow and fast. It is the slow of

Move also to the base rhythms of 3, 6, 8, 10,

Of course, slow is relative to what we mean

almost clinging to the notes, the compás , not

letting it go too soon. Savoring of this jewel of a

compas in technical counts, 12 counts that you

want to go on forever in slow but powerful climaxes. The marking of soleares can be sensuality in its purest form. In the 1950s movie ‘Flamenco’, the Gypsy girl dancing in front of the ranch of Juan Belmonte was sensuality from the earth in all of her simple paseos. Soleares is an exciting search and study; and itis best at times to let its difficulties find you, not you searching for its difficulties in technique and mannerisms and profound interpretations. Much of the key to enlightenment of what flamenco is, is to be found with soleares. 1 have heard dancers say that they have a soleares, as if

quarters, and them mix them.

12; and 1-2-3; 6, 8, 10; and 1, 4, 7, 9, 11; and then

intermix

them

in movement,

and

then move

within the rhythm. All of this soaking up of the basic compás structures will help you get beyond the compás — to the music energy, the flow, the melodic interpretations, the dynamics of mov-

ing in feeling with the singer and with the various techniques of the guitarist’s music. Even though there are many 12-count compás , Soleares can be the longest, most lyrical of all compás . If you can control moving slowly with energy, knowledge and understanding, you easily move with relative speed. If you can do adagio, you can master allegro. If you can move big — I mean giant movements, full movements encompassing sing the maximum movement of

62

your body in relation to the compás — them you can move small and subtle. Soleares can help you experience your fullest movement potential. These are just some examples of soleares movement ideas. Footwork explorations in soleares are endless and a beautiful challenge to get past the ‘one to the right, one to the left ...’. Getting past the base compds is when enlightenment starts to happen in soleares footwork explorations. Just an example is to do intense footwork and what could be considered double speed, while the music is very slow and simple; slow footwork when

the musicis faster. Also working in movement and footwork on the edge of the compas , as if you are almost slightly ahead or behind the beat. This creates a very flamenco

tension and, I feel, an

exciting exploration in musical interpretation that is very much in line with the serious approach to soleares. The intense study of soleares makes other compás more understandable in movement experience. Soleares is probably the biggest challenge for a guitarist when it comes to performing with a dancer and singer. It is mainly in energy and dynamics; I do not mean just staying in compás , 1 mean maintaining an energy level that is equal

to the interpretation of soleares when it is

marked well. I wish hopefully to create thoughts and thinking on flamenco dance and I try not to deal with too many absolutes. It is stimulation of thoughts and difference of opinion that are part of the life Isabel Morca dancing soleares blood of individuality in the search for art. Sometimes when asked how long it takes to soleares should be one of the first steps in discovbecome an accomplished flamenco dancer, 1 ery of what flamenco is. The study of soleares can want to say, “When you can dance soleares and also help get rid of the cliché that flamenco is a make it say something. When you can move stiff, stomp-the-floor dance form. The fluidity of yourself, be moved and move others.” movement in soleares can be interpreted as beauSoleares, La Madre, an honest label to a form of tifully as a cat, a stalking black panther. flamenco that encompasses what flamenco is all Soleares is but one journey in flamenco, but it about: feeling, emotion, art, life, life force breathholds many rewarding adventures for the serious student of this art form. With intense joy, ing life force, human creativity in its essence. discover the aire, the arte of being alone with “The longest journey begins with the first soleares, La Soledad, La Madre. step.” For serious flamenco dance students,

63

La Farruca De Verdad Inspiration of Earth and Sky Long ago, in southern Spain, in the heart of flamenco Andalucía, there lived a boy destined to be one of the great dancers of all time. He was

a natural-born dancer, a bailaor. Dance wasin his

blood, flowing with a creativity waiting to be born. This boy-man, this bailaor would often go to watch the bullson the grassy plains of dry Andalucia, to the bull ranches that raised the magnificent bulls of Spain. For hours he would watch them move, watch their strength in flowing movement.

He

would

admire

their strength,

their movement of purpose, their aire that gave off to him an electric energy. He would watch them move slowly, and then witha

great burst of

speed the bulls would run, seeming to explode with that inner power and pride that spelled

their inner freedom, their command and focus of

their oneness with nature. He did not think of fighting the bulls. He was not destined to be a great torero, a fighter of bulls. He wanted to ‘feel and move like the bull’, with all of this controlled

strength and fearlessness. To this bailaor, the bullsmovement wasadance,a dance of strength, pride and power, a dance of limitless space and time.

One day, while watching the bulls, he looked

up into the sky and saw this beautiful-giant eagle flying overhead. The eagle’s wingsseemed to stretch from sky to sky. Their eyes met, this great eagle and the young bailaor. The young bailaor leaped to his feet, as if the eagle’s eyes had pierced him with an arrow. What power, what grace, what beauty, what flowing rhythm, what eyes that look beyond the lines of infinity. These were all of the inner thoughts that this bailaor was feeling in his soul. In that moment, his spirit came alive. He felt a unison with the power of the bull, and with the grace and beauty of the eagle. He felt the inspiration of his creative life coming together. He felt his inner dance. He felt the dance that he would dance with the strength, the power, the inner freedom and fearlessness of the bull. He would lift his arms and flow with the grace and beauty and pride of the eagle. He would dance this creative inspiration through the one dance that was very special in

the world of flamenco. He would dance the Farruca — La Farruca de Verdad’. He would feel the inner-creative battle to express his freedom, each desplante was his ‘becoming the dance’, becoming at one with life, exploding with his own duende. For that split second of infinity, we has at one with the earth and sky. Many great bailaors y bailaoras have been inspired by the power and excitement of nature and have realized their creativity in the farruca. The above story is just one of the many that seized an inspiration unto a flamenco creation. Farruca — the word exudes energy. The rhythm is age-old. It is the steady beat of the heart locked into the compas of the flamenco four. There are many dances in flamenco with the same compás as the farruca. There are the dramatic tientos, the sensual and flowing tangos of all styles, the light rumbas, colombianas, the moody recently evolved tarantos, zambras and others, but it is the farruca that is multi-colored,

with every possible feeling ready to explode. The farruca defies all categorization such as chico or hondo, for it can be interpreted and fine-

tuned to the individual dance artist and it, like a chameleon, takes on the color and drama of that

artist.

La Farruca has a built-in dramatic feeling to its whole structure. 1 personally see and feel the farruca asa dance of dramatic challenge, aninner challenge of self-conquest. Each series of movements, building to a climatic desplante are much more than a display of fine flamenco technique, but they arean implosion of energy-from-within, to anexplosion of duende outward from the soul, from the spirit.

Often, farruca is danced without cante; but it

is with the cante, and with a slow power of music, as if the fingers of the guitarist were glued to the strings, scraping, pulling, retarding the compás that wakes up the inner voice of the farruca. The pulse of the cante is almost stalking through the compas, pulling, stretching, wanting to lift the dancer on the wings of eagles; and at the same time enhances the planta that pulses the earth. The aire of the eagle, the gracia of the bull. I would like to note a few dancers who have been inspired by dancing the farruca, and made

it the highlight of their repertoire, and at the same time popularized the farruca by their worldwide concert performances. José Greco, one of the most widely-known Spanish dancers in the world danced the farruca in almost every one of his concerts and performances. He, more than anyonein the United States between the 1950s and the 1970s, danced the farruca ina way that was his very own. It was the farruca and his personality and aire that made him one of the most-known and famous dancers of that period, which happened to be the golden years of Spanish dance concert companies. Greco's farruca was fast, sharp, clean, filled

with powerful desplantes that men love to do. He did knee-slides, knee-drops and at times looked very much like an exciting Russian dancer, with a bravura technique that audiences in concert love to see. Another dancer who loved to perform the farruca was Antonio Gades. Both Greco and Gades come from the time and influence of Pilar López, whom I have mentioned as a fantastic artist having a special gift for training male

dancers, bringing out the ultimate aire and

strength of their male character. There was a time inthe 1970s whenalmost every male dancer in Spain wanted to look and dance like Antonio Gadesand dance his farruca like he did —slower,

long arms reaching with that stoic drama and

superb control. These two dancers have that special inner focus, as many other dancers who have been able to ‘conquer the aire of the farruca have. Another great artist who was inspired by the

farruca was Manuel de Falla, one of Spain's

greatest composers, if not the most famous composer. He was inspired by the music of flamenco, since he was from Cadiz and very andaluz in soul and spirit. When he composed his famous ballet, ‘El Sombrero de Tres Picos”, he

composed a dance for the miller based on the farruca. To this day this dance is one of the most famous of all Spanish dances and itis often done

as a solo in concert. 1 have often danced this dance with orchestra asa solo with great joy and

success. The miller’s dance, the farruca of the ballet, has all of the art, aire and focus of the

flamenco farruca. Manuel de Falla danced the farruca in his music with art and soul. I want to mention focus — that focus like the eyes of the eagle — that is both internal and outward. You cannot be mamby-pamby about this focus, this look of the eyes and inner eye is what creates the inner drama that you want to feel and dance. [like to enjoy the flexibility and the structure

of the farruca. The desplantes can be many differ-

ent lengths. The flexibility of dancing very slow and strong, then increasing in tempo and then releasing — as if a spring unwinding — is very exciting and powerful. Building to a climax of tempo and then retarding the tempo with a

dragging strength, as if pulling the tablao into

yourself, is a way to create the unexpected. If

you are performing the farruca in front of an au-

dience, try to dance without ‘telegraphing’ what comes next. Let the audience expect the unexpected. The compás of the farruca, “la Anda 2a Anda 3a Anda 4a Anda”, lends itself to every possibility of interpretation of the four-count compás. This is where the inspiration and creativity of

the artist is fully challenged.

Within this compás has grown an infinite

variety of exciting falsetas that can help color the

dance in a tapestry of interpretive art and ex-

pression. For both men and women, the farruca

is that rare hybrid dance of flamenco, a dance that will challenge your creativity and at the

same time, lift you from earth to the sky in aire,

gracia y duende. See that power and strength of life that was the bulls, feel the wings of the eagle lifting your arms, your being, your soul to the heights of flamenco art. Become the dance, the spirit of flamenco dancing the farruca de verdad.

65

Listening to Flamenco Rhythm is that magical something that is everywhere in life. It is the pulse of the universe, therhythm of the stars, the planets going around the sun, the heartbeat of our bodies, the visual

rhythms of the ocean waves, the rhythm of daily walking, a cricket chirping or the rhythm of an eagle’s wings beating the air. Weare literally surrounded by rhythm all of

our lives, both visually and

aurally, whether

fromnature itself or the music of our own making. This palette of rhythm and music in nature has been an inspiration for man from the beginning of time, inspiration to create his own music and

his own dance, which were forms of communication even before there was a spoken language. Flamenco was bornamong peoples who lived close to nature and used nature as a source of inspiration for the music that grew from their feelings and emotions. From a simple beating of a stick to produce a rhythm to move to, to the anguished cry of a pre-flamenco song expressing hunger or loss, to the complex rhythms of today’s many flamenco styles — the evolution has brought flamenco music to its complete blend of many musical elements. The music of the guitar, the song of the singer, the audible rhythms and visual movements of the dancer, the complex jaleo of the complete flamenco experience. Itis thisapproach of flamenco music in its entirety that I speak of, this listening to flamenco in its totality that will reveal its complete majesty. The more one listens to flamenco, the more

one hears. At first, you might just listen to the rhythms. This is important, to absorb the different rhythms, their structures and their pulses. Of course, when

there is no live flamenco,

then

good tapes and records are the way to learn what flamenco sounds like. There are still many records available, old and new. There is nothing

like listening and listening, to soak up flamenco like a recorder. Back to the rhythms — when one takes up flamenco dancing, one of the first things to begin learning is the structure of the differentrhythms. Since there is no written music in flamenco, you must train your ear to hear the ‘flame’ of the compas or 4- or 6-count compás. Once you understand where the compás begins and ends, then

you can start to feel the base accents of which there are many. Again, I say that the more one listens and absorbs, the better it is and the more you understand without counting. This is very important, because this is one musical form in which it is best to try not to count once you know the compás, because it will inhibit freedom of expression later on. Counting is very good and important to know, butonce understood, best forgotten. Trust your inner ear, your feel within, so that when

you dance, you will be listening to the total music and dancing with it, not counting it and being late or early. Counting can becomeacrutch and hinder movement and true expression. For example, too many get caught up with the base accents of 3, 6, 8, 10, 12 in a 12-count

compas, and if anything deviates from that, they are thrown. You do not want to create a metro-

nome out of the base accents, but use them to

spring from and create from. Aside from the accents of the various compases, there is the pulse. The pulse is what gives the compás its individual character and individual expression. The pulse is the tempo,

the flow, the feeling of the compas and the inter-

pretation of the compas. It is the difference between alegrias and soleares, between bulerias or caracoles, alegrias and romeras. It is the aire of the

compas. It is the individual heartbeat and, even though the difference may be very subtle between, say, alegrias and romeras, it is there and

can be heard by the person who listens for it. The pulse is that long, stretched, sinewy drama ofa slow soleares in its lyrical arte. Itis the round, sensual femininity of a slow tango, the dry, sharp staccato power of the farruca, the driving energy of the soled por bulerias, the up and flowing feeling of the alegrias, the short impulsive earth quality of the siguiriyas, and the reaching tension of the taranto. These are just example feelings of the pulse of various compáses and each person will feel them in his own way. Another factor of flamenco music that carries the feeling so strongly is the different tones. The feeling of dancing a soleares por bulerias with the cejilla on five por medio is something that almost carries the dancer withits tone and power.

Just the tone of a taranto is enough to feel a strong plantainto the earth. Many times, listening to the old anthologies and hearing many of the forms such as the serranas, cabales and different forms of siguiriyas, or the different styles of alegrías such as mirabrás, romeras, rosas and other can-

tiñas, gives you insight into the inner feelings and evolutions of flamenco. The different tones have their own interpretations and carry a special feeling, even though the rhythm may be the same as something else. Probably the most important facet of fla-

menco for the dancer to listen to, aside from the music itself, is the cante. For each singer, al-

though singing in his own individual and unique style, will be singing within the traditional structures. This may seem basic, but for the overall freedom of dancing with different singers, it is important to understand the tradition of individuality within the tradition of the base compás and the pulse of each compas. The evolution of flamenco guitar playing in the last 40 or 50 years has been something like a comet. Just a few years ago, you heard mainly

the thumb techniques and rasgueados. Today

you hear almost every possible technique, and dancing with a guitarist who has a good com-

mand of thumb, rasgueado, picados, tremelos, arpegios, etc., gives that much more expression and interpretation for the dancer as well. When one listens to the accompaniment of Sabicas playing for Carmen Amaya, or the

Moraos

with

Antonio,

one

is really

hearing

something tremendous and creative. It is unfortunate that there are not more records coming out withsensitive accompaniment of good dance

included. There are some, but too few; for listen-

ing to all of the elements, with exciting guitar,

cante and baile, is to hear the full energy of

flamenco. Listening to flamenco is an art in itself, as many serious aficionados know. They take listening very seriously, appreciating the subtlety, the nuance, the rhythms, the tones; the different

singers and their different styles; the expression and matiz of good footwork; the guitarist whose fingers sing out the many beautiful expressions and techniques, each with its own feeling and depth of the language of flamenco. If one listens long enough and open enough, then the original feelings and emotions will be heard. Those feelings and emotions that came from life itself, from peoples who lived close to the earth and felt its pulse, its rhythm, the rhythm of life itself.

Interpreting the Cante in Flamenco Dance Flamenco singing is the soul-voice of the total art of flamenco. Long before there was the music of flamenco guitar, flamenco voice was crying out the feelings, the joys and sorrows, inner and outer life happenings of the people of flamenco. Who knows when the danceand singing became intertwined. We can only assume that the inspiration and need to dance, to move and be moved by this incredible singing came together as twins, born of the mixed blood of the

many cultures that have made southern Spain their home. We often hear the words to describe flamenco singing as either cante hondo, cante grande or cante chico. These are a very limited way to describe the many interpretations of the cante.In reality the categories are neither black nor white, but many shades of gray; flamenco singing is expressing the endless variety of feeling and

emotion that we as humans can experience. It is this endless variety of feeling and interpretation of the singing that the dancer blendsin with.

Ever since flamenco becamea

performing art

in café cantantes, tablaos, concerts and festivals, it

has evolved and expanded with many new dance styles. Most of these styles and forms come from the songs that previously were only meant to be sung. Basically, there are three styles or ways of hearing the cante. First, there are the many forms of cante that are free-form, such as the granatnas, the fandangos grandes, the tarantas, many other

forms of free fandangos, many forms of palo seco or songs without guitar accompaniment. (Many of these forms are acquiring danceable compas which I will discuss later). Second, there is the style of singing that is a

67

solo type performance. The singer is singing with his or her own flavor and interpretation, with all of the freedom of the solo cante. This is much like the solo guitarist who has the freedom of flexing and flowingin and out of the compás to add drama and their own interpretation. At times the compás is almost secondary, since they are not performing with a dancer and of course, the guitarist is following the singers ‘stamp’ or personal feeling and expression. Third, there is singing with the dance. This is the total trilogy — music song and dance — that makes up the main foundation of flamenco art . The singer at this time has to be sensitive to the compas, the form, the musicality of the particular form that is being played and danced to. This last way (and I am sure there are many other ways) is what the dancer is sensitive toand should be very involved with. From day-one of a dancers study it should be stressed that it is dancing not only with the compas, the music, the guitar and all of the dance technique, but to dance with the cante and to interpret the cante to its fullest, that is of prime importance. Without this awareness, knowledge and sensitivity, a dancer will never bear the whole fruit of the art of flamenco. What is a dancer interpreting with a singer? What is the total picture when a singer, dancer and guitarist get together? What should adancer know, feel, think of, do, express, feel, and emote

with the singer, working together? There are many answers to all of these questions. But the primary important factor is for ALL of the artists — the singer, dancer and guitarist — to interpret honestly the feeling, emotion and tradition of the form itself. An alegrias is an alegrias — all should be sensitive to that fact and it should be interpreted as an alegrias. This is very basic, but I am starting out with the most basic of important points. A dancer should know the form and structure of whatever the formis, as should the singer and guitar-

ist. When a singer starts to sing that particular compás that the dancer will dance, that singer is locked into that compds as much as the guitarist and dancer, and the dancer must think and feel

just as the singer does. Let me give a few examples: I have seen many dancers do a set routine of steps that are using the singer as Muzak. They have steps that

fit the compás, they are moving around in dance and the moves are in compas, but the do not ‘say’ anything, because they are dancing steps and not being sensitive to the nuance and expression of the cante. A dancer may not know the words of a letra and in fact the words can be very secondary to the basic interpretation of the cante, just as the ‘blues’ are interpreted with feeling first and words second. For example, the words of the singer may say that “my love has left me” or “I love you more that the mother that bore me”, but the shaping of the dance steps are in the cante, the way that the singer sings the cante, the accents, sound, phrasing, the matiz, dynamics and the tradition of the

cante. This is what many dancers miss, as they

get into their own titillation of steps only or are locked in routine. Another example can be seen this way: The music begins, the singer begins to sing, maybe a solo letra, the dancer listens, feels, senses the feeling of the music and cante blending as one,

the dancer begins to dance, not consciously thinking of steps, pasos of the cante, but letting the cante move him or her to ‘move into the cante’. The cante is now shaping the dance and dancer in feeling and expression. Flamenco, being an improvised art form within the various compáses, makes it so that there are never two interpretations alike and the artists are sensitive to this. The dancer is dancing as if this is the first and last dance that she or he will ever do. Thisis also what is happening to the singer and guitarist. The dancers whole body is being moved, shaped and accented by the interpretation of the cante and music. This is what it is to ‘become the dance’, you as a dancer are also singing within, not words but the feeling and soul of the cante. You do not have to think of steps, for the steps happen in complete harmony with the soul and spirit of the cante, if you stay sensitive to the cante and have

a good knowledge of your basic flamenco dance technique and style.

Working with a singer

In Spain there are many singers to hear and experience. In the United States there are not many singers to listen to in person. A dancer must know the form of the cante of that particular form and style of the flamenco dance that he or she will dance. A dancer should know that

each and every singer sings differently, in style, feeling, interpretation, and length of letra. Also, for each main form of flamenco, there are many styles of that form. Within alegriás for example, there are mirabrás, romeras, por rosas, caracoles,

cantinas. There are endless styles of soleares, also

segutriyas, such as serranas, cabales, etc.

A dancer must try to intuitively sense this difference and make this work to their advantage in spontaneity and interpretation with that singer. A dancer must be willing to be sensitive to each singer that they work with. A dancer should know how to dance the different subtleties of each cante style within a basic form. For example, if a dancer is dancing a basic alegriás and then wants to dance a romeras

or mirabrás, they should understand the differences, such as dynamics, tone, feeling, aire, tempo,

style. If you tell an old-time singer that these forms are similar, they will look at you like you know nothing of flamenco. To many of the old-time

singers like Mairena, El Pili, Almaden and oth-

ers, these subtleties within the forms were giant

and worth savoring for their individuality. | overheard a conversation in Spain, someone

said to an old singer that “polo and cana where

almost the same thing”. This brought on a huge long-winded discussion, worse that politics or religion. In the last few years, there have been many forms of cante that have developed into dance styles by adding a danceable compas. In the 1950s, Antonio, put the compas of seguiriyas to the songs of the fragua, the martinetes and interpreted this style in a very hondo form. He captured the drama of these songs of the forge, all without the accompaniment of the guitar. Basically, he created a new form to dance to.

Vicenté Escudero claimed to be the first to dance to the seguiriyas. Before that, it was a free compas or less dance structured. Pilar López, puta stylistic dance to Caracoles, the “alegriás of Madrid’, interpreting this alegriás with a unique aire that is all song and does not fall into the basic structure of the many-faceted alegriás. The taranto,

a dance derivative of the free

tarantas is a recent dance form, with its added compás to dance to, a very dramatic styling and interpretation. More and more, dancers of creative choreographic ability are taking rhythms

such as rondeñas, granadinas and almost every

flamenco cante and giving it a basic danceable compás and interpreting that cante. Thisisa natural evolution that has been going on since the time flamenco was born. The menu of flamenco is growing where the

dance is concerned, but the art and soul of fla-

menco are deep rooted and stable. These roots go back to age-old tradition that is as hardy as the human soul that began to sing of life itself.

The dancer, if sensitive to the soul voice of

each of these forms will have the joy of tasting from this menu of feelings and rhythms. The dancer's repertoire can grow with the many dances being crystalized into compás-form from the age-old cantes. The excitement of new dance creations is not just in technique, but a whole awakening of the many new feelings, emotions previously only heard and felt in the cante. As dancers, let us interpret the dance as if we were singing, and let the singer sing as if he or

she were dancing from the soul, and let this all blend into one with the music, with the guitarist

whose guitar is both singing and dancing, the art and spirit coming through the fingers caressing the strings with flamenco life.

69

Contra-Tiempo, Rhythm's Life Force There is nothing that wakes up a person's soul like good rhythm doubled with an abundanceof exciting, predictable and unpredictable counter-rhythms — contra-tiempos, in flamenco

terms. More people have been turned on to dance — especially flamenco dance, music and song — while listening to well placed counterrhythms. Flamenco encompasses the full range of rhythmical and musical force and has been an inspiration for countless composers throughout the world. People like Michael Jackson have taken the traditional rhythms of Latin American, Afro-

Cuban and other 4/4 rhythms, have created a

world-wide popularity explosion of their recorded music. They have sold millions of records with much thanks to their rhythmic explorations. Rhythmical pulse and counter-rhythms are indeed endless in their variety.

Another great master in counter point was J.S. Bach. His works are more alive and vital

today than when he was alive. His works have inspired every type of musician, dancer, choreographer and artist in their quest for musical inspiration.

Flamenco is very unique as a dance in that

the dancers not only have many instruments

within their own bodies but have a variety of rhythms to work with. Rhythm by itself can be boring if it is so steady and unadorned that it has the affect of a dripping water faucet. Both visual and audible rhythms come alive with accents, dynamics, flexing pulse, a pushing /pulling effect and, of course, beautifully placed jewels of counter-rhythm. Rhythm is one of the main foundations of all music and its variety of pulses challenge one to awaken these pulses with a variety of counterplay. Rhythm and counter-rhythm have played a most important role in man’s expression and communication with nature, religion, life and art since the beginning of time. Flamenco is really a history of, and a picture of, all of man’s expressions and communications with life in all

of its rhythms. Flamenco can transcend the 4/4

world which dominates much of the world’s listening. Dancers just beginning their study of fla-

menco will discover layer upon layer of rhythmical exploration. Most of the various compas in

flamenco, the various rhythmical structures in

flamenco fall into the basic 4/4 rhythms and the 12-countrhythms. There are various6/8 rhythms also and all of these unwritten forms have various base accented rhythms that give it a particular form, style, personality, flavor and interpre-

tation. Needless to say, an important requirement for studying flamenco dance — or any other dance or musical form for that matter — is to have a good sense of rhythm. I mean a real musicality of rhythm and a deep understanding of what the pulse of rhythm is. All rhythm has an underlying steady pulse and this is the core of the rhythmical structure. All flamenco forms have a definitive underlying pulse, no matter how strong the base accents. Keeping a very steady beat may seem very basic but that is why the finest musicians use a metronome at times so that they may develop a selfcontrol in expressing rhythms with and against a steady pulse. The pulse of a flamenco compas is like a steady heart beat underlying every counterrhythm, falseta, melody and expression and this exists no matter what the tempo or how many silences or dynamics are used. It is literally that ‘the pulse or basic rhythmical beat of that particular form’. Any flamenco form can be tapped out in a steady beat. This is very important to understand in approaching a deeper understanding of expressing flamenco dance and understanding flamenco music alltogether. One of the first things to consider when you are approaching the study and use of counterpoint is that it is natural. All of the possible rhythmical adornments are natural in the sense that between each beat of base rhythm there is a natural space that can be filled in various ways. It is very important to get past the psychological difficulty of performing contra-tiempos. Too many teachers negatively influence their students by saying, that “now we will get to the difficult part and thatis learning contra-tiempos” . A basic counter-time is the primary ‘and’ count of the compas, so a good start in counter-rhythm study is, for example, to verbalize a compas such

as saying, “1-2-3-4-and-4-and ...” and then put-

70

ting an “and” count between each beat, between

each beat, “1-and-2-and-3-and4-and-...”

This is the base compás for many of the four count rhythms. Dance-wise you could start by marking the base rhythm with the feet and the

“and” count with the hands doing palmas. This

could sound like the old German song, “umpah-um-pah-um-pah-um-pah”, stamp the ‘um’ with the foot, and clap the ‘pah’. This is a very basic, but simple beginning. The more that you verbalize the compás, clap the compás, use your feet to mark the compás, the quicker the compás will be inside of you and part of you. You will start to feel the breath of the compás and the breathing time between the compás for the flow of the counterrhythms. It is that breathing, so to speak, of the rhythm that gives understanding to the placement of counter-rhythm. In the 12-count compas, it is important to know and understand the various accents (the base accents of the various forms) to facilitate good placement of meaningful contratiempos. Explore, breathe, feel the flow and continuity of the rhythms. Let your whole body experience the pulse and counter pulse of the compas. Obviously this chapter is to create an awareness in a positive way about a facet of flamenco thatisbasic,and yet important. All parts of an art form are of equal importance, just as each facet of a jewel is of equal importance. This is not so much a how-to-do, but to show an awareness of

what can be done to grow as a total flamenco dance artist. If a person has a built-in good sense of rhythm, then a variety of exciting countertimes and their understanding will come as the person studies the music and improves their technique and grows as an artist in understanding the music and dance of flamenco. Good technique helps the placement and execution of contra-tiempos in the sense that they will blend into the total movement as exciting adornments. Contra-tiempos for their own sake are just another part of rhythm. For example, if during a fiesta five people are playing palmas and they all wanted to do contra-palmas, it would not be nearly as exiting as if 1 or 2 were playing counter-time, and 3 were giving a strong steady base-rhythm for the counter-rhythms to work against. With all playing counter-rhythm, it would be basically ‘on’ of the beat and sound

mushy. There is an much musicality in knowing when do to counter-rhythms as in any other study of music such as melody, falseta, dynamics, tempos, etc. Counter-rhythm can be very subtle and create great energy and excitement by their almost mysterious placement in the

rhythm, such as just bouncing off the beat, be-

fore or after the beat or accenting a counter beat differently between a succession of compás. Carmen Amaya was recognized as a great

genius and inspiration in her use of counter-

rhythm and she inspired all flamenco dancers who ever had the privilege of seeing her or

hearing her records. Another of the recognized

masters of the use of counter-rhythms, in its range from pure simplicity to immensely difficult was Fred Astaire. Many flamenco dancers along with almostevery other dancer, have given him great credit not only for his total dance

artistry, but for his genius in using the full range

of rhythm and counter-rhythm in his dance. That also goes for a most important part of dance — counter-rhythm in movement as well as sound. The first little dance that he did in the movie Top Hat’ made in the 1930s, and the other dances that de did with his cane and tapping, will be an inspiration forever for those choreo-

graphing interesting and exciting escobillas.

The execution of counter-rhythms in flamenco dance is total execution of movement and sound. A dancer that knows how to move in counter-point with total movement is half-way home, with the beauty of moving all parts of the body in opposition and isolation and creating a tension that can awaken and express the art of flamenco dance. When doing footwork and using counterrhythms it is the understanding and use of various sounds in the many techniques that can greatly enhance the effect of the counter-rhythm. It will not always be the flat of the foot, for example, doing the rhythms, but the ball of the foot; the heels and the combination of the differ-

entsoundsand intensities of different techniques that vary the color or the total footwork patterns, including the full range of matiz —of shading, of soft and loud counter-rhythms — of slow and fast, etc. I like to study the rhythms of all my surroundings in life. It is sort of a hobby, to hopefully enhance my total artistic learning. I love to

71

be by the sea, feeling and seeing the neverending rhythm of the waves; with each wave different, but feeling the underlying pulse of each one. The universe is an expression of an infinite variety of rhythms. Just looking at a simple picket fence is seeing rhythm, or hearing the sound of rain or a train clicking on the rails. (This sound inspired a zapateado of a famous flamenco dancer of the past.) Our heart beats or our subtle breathing are rhythms of life. I often think of life with all of its

possible rhythms, and we are in rhythm and

counter-rhythm with it, its seasons, its moods

that counter and alter its outward behavior. Flamenco is an expression of life-art. We can

know our total spiritual, physical, mental and

emotional range of seasons in flamenco and by locking into its rhythms and its full range of counter-rhythms we can better understand our own rhythmical pulse, our rhythmical in-tunement and creative purpose in life.

The Power of Subtlety When I used to perform in Las Vegas,

Lake

Tahoe and

the Moulin

Rouge,

couldn't help but see the giant extravaganzas of the big shows. At any one time on stage, there may have been airplanes,

I

swimming pools, fire eaters, earthquakes,

hundreds

of nude

bodies,

millions of

sequins, analtogether non-stop, overpowering visual and audible titillation that rocked the senses. The interesting thing was, it would be

that cotton candy, when boiled down, was just 10 grains of sugar. The people who have tried to make rock-n-roll- or jazz-flamenco have usually failed because they replace the real power of flamenco, whichis greatly internal, with the external cotton candy and fluff, usually just making flamenco something that it is not. The power and excitement is lost. Unfortunately, the power of subtlety has lost its appeal in today’s blastingamplified sound, musicand movement. It is lost ina trend where, external technique for technique’s sake and big and more are better, the philosophy of quantity is stressed over quality. The power of flamenco is not in quantity. A large group of people dancing flamenco together is not as exciting and powerful asa single solo artist. By its very nature, flamenco isa solo, individual form

of expression. Much of the excitement of flamenco dance lies in the subtle move-

Photo - Carol Beach

forgotten in an hour. It was fun, but all

72

ments and feelings, much as subtle seasonings bring out the flavor in fine gourmet cuisine, while at the same time casting a spell of mystique.

Subtlety is not weak. It is awesome power,

but at the same time it is something generated from within and expressed externally, muchlike the subtle opening of a bud, revealing the delicate beauty of a gorgeous flower. In my many years of dancing flamenco, the truly moving, emotional moments that stick in my mind are of the subtle movements of a few great dancers — artists who could stand still and look like they were exploding. I remember Carmen Amaya walking out on stage and stopping. Merely from the way she emoted in doing that walk, she was given a standing ovation. I

rhythm. Feel that you and the music are one, whether still or moving. Flamenco, by its very nature as a solo expression, is so very powerful inits potential for exciting subtlety. Theaire inits

beautiful posture, for instance, or the head

movements with the pride of an eagle, or the strong eye focus on the seen and unseen, a focus that reaches out to infinity. The inner approach and search for the power of subtlety goes for all who are interested in flamenco, not just the professional student.

Subtlety is full of inner energy, though intan-

gible, it is strongly linked to artistic expression. It can be quiet or dynamic, still or moving. It can be the manner in which movement and musical-

ity are linked. Subtlety can be the setting of a mood, the interpretation of the dance, the un-

remember a pose that Antonio did while dancing his martinete. 1 remember the look that Sabicas and Amaya gave each other while they were seated on stage doing a bit of bulerías. 1 remember the stage exit of Pilar López and Manolo Vargas — just backing off stage, so subtle, so

derstanding of the power of the singer, the flowing of sensitivity througha musical falseta played by the guitarist. Subtlety is an exciting search in the development of personal artistry and can be seen and felt in many ways. Many feel that subtlety means soft, and soft

most of them were awesome and powerful subtleties. They are branded in my soul and are probably the most influential inspirations that contributed to my studying flamenco dance. When I was a young dancer, others a generation older told me of their most moving moments watching Vicente Escudero, La Argen-

but that does not mean weak and unexpressive. You can be dancing the most dramatic, emotional, strong seguiriyas and make an exciting stop, releasing it all in a slow, soft movement. The subtle contrast is one of strength, of weaving and contrast. The control of strong dynamics and soft release can be unforgettable if done with belief and inner sincerity. Probably the most beautiful facet of subtlety is that which is revealed in the face. Facial expression can reflect the inner feelings and inter-

sensual.

| remember many, many movements,

tina, La Argentinita and other artists of the first

half of the 20th century. They told me in exciting detail about the subtle movements they had observed — things like expression, the face, a pose, a whispering castanet ora hand in motion, even a raising of an arm that moved them to tears. What high art that is! It is worth working toward and cultivating. A well-known Japanese dance teacher told her students, while they were getting ready to perform in recital, to keep moving no matter what, as it takes a great artist to stand still. I tell my students, when they start to dance, to try to keep moving, even when standing still — not externally, but with inner movement and energy. I tell them to raise their arms slowly and, when they arrive in an up position, keep them there and see what it takes to keep them exciting. Walk in different rhythms, walk within the

means slow. Subtlety and slowness can be soft,

pretations of the total dance.

Too many dancers bolt on a face — mostly a stern face — for all of the flamenco forms. Ihave seen too many looks of constipation, of suffering

and wrinkled foreheads, whether in bulerias or

soleares, that looked as though they came on and off with the costume. A subtle change in facial expression during a dance is just as important and exciting as a change of steps, if itis what you feel within. Like the meditating Zen monk who, in his quest for enlightenment, tosses a pebble into a pond then watchesasits ripples flow out toward infinity, subtlety awakens the artist and the soul within, expressing the art spirit to infinity.

73

Footwork, From Noise to Art

“When You Speak, Say Something” Watching a concert in Toledo, Spain a few years ago I saw a dancer doing a very long zapateado; when it was over an elderly gentleman next to me, whom took to be an aficionado of flamenco, said, “She had good taconeo, but it did not say anything!” It is very interesting that many people who study flamenco still think that loud footwork,

plus speed and above all, long escobilla footwork patterns, are still the excitement of flamenco dance. If I sound analytical in this chapter it is because this is written for the general flamenco

Thinking of the leg movements from the knees down, using the lower part of the leg as a hammer-type movement and not using the thigh to lift the leg, which gives a stomp effect. 2. Good posture is essential to good footwork; torso pulled up and centered over the hips, knees bent just enough so that you can float and not bounce; minimal looking at the floor which has a tendency to pull the body forward. Each one of the different steps of footwork has a different sound and feeling. The media

planta or ball of the foot; the tacón or heel; the

gies of flamenco dance. One of the first things that I like to keep in mind is that footwork, palmas, pitos, and any of the audible sounds of flamenco dance are musical instruments. Just as an Indian drummer plays the tabla, his hands creating musical art with rhythms on the drum, a flamenco dancer is

plano or flat of the foot with the sound coming mostly from the heel; the golpe de tacón or punta por delante or por detrás whichis the hit of the heel or toe coming off of the floor front and back, and also the sliding steps of the footwork. It is the combination of all of these steps that gives an endless variety to exciting footwork. Another important fact to keepin mind is not only what you do, but how you do it. To start practicing interesting combinations of footwork to develop exciting steps, it is very beneficial to develop good technique with the basics, suchas redobles. There are many different redobles which, in English means literally to re-double. These are the short breaks used to begin and end phrases, to use as remates, to dynamically end llamadas, desplantes, etc. There are redobles that work more dramatically in jondo rhythms such

the ‘instrument’ to play on. The floor is not just to stomp on to make noise. Nothing is more annoying than to read a review in some newspaper that “so-and-so flamenco dancer pounded the floor and stomped the feet.” There should be artin footwork. And how do we find art in this beautiful and fascinating part

Work on alternating so that you can lift either foot when you want to and try not to become a one-sided dancer, as it limits you in the ‘attack’ of your footwork. Another type of general footwork technique to study is steady phrases of footwork, such as planto, tacón, tacón alternating this phrase alone. It should be practiced at different speeds, softly

approached like any other art form, with sensitivity to all of its aspects. There are techniques for doing fine footwork which are better than others. Some people are born with a natural technique, others must develop a fine technique through hard work. some of the finer points of good footwork are: 1.

matiz. This is one example of a simple footwork pattern that can be used in every compas and can create many different moodsaccording to howit is used. There are countless waysof practicing before you actually start doing set patterns to different

aficionado, student dancer, or professional who

was not raised from childhood in the cradle of flamenco in Andalucia. This is not definitive, but only suggestions that may help to broaden and deepen understanding of this aspect of flamenco dance in study and interpretation — to have it ‘say something’. In other chapters, Ihave touched a bit on interpretation and I would like to go deeper into technique, execution, matiz and other facets of these beautiful, audible ener-

creating the same art, but the floor is his drum,

of flamenco

dance?

First of all, it should

be

as toe, heel, toe, heel flat, all put into one count.

slow, softly fast, varying the accents, dynamics, loudness, and speed — in other words, the total

74

compáses. Many people who start studying flamenco, fall into that mode of learning routines. Before they have good technical foundation and a good knowledge of compás, they learn an alegrías from so-and-so, and something else from another teacher, and really never get to feel the depth of flamenco in all of its physical and emotional aspects. It is much like a guitarist taking one falseta from Paco de Lucía, another from Sabicas, two

from Montoya, three from Fulano and putting them all together asa solo that is music, but does

not say much. Footwork should say something. As you learn, it should say something about yourself; it should be musically, visually, and dramatically a reflection of your feelings and love of flamenco. I have mentioned in other chapters that footwork should be practiced while maintaining good posture and body position using the rest of your body as you practice, so that footwork is part of the whole. When you practice slowly, lift your legs from the knees down as high as possible so that your footwork will not have that glued-to-the-floor look, when you go fast. Also, practice as if you are focused onto one

small area, not so much with feet parallel, but as

if they were both standing on a control point; then, by the subtle movements of the hips and your own particular seated position or bend of

the knee, you will find good balance and a good

position. Look fora position where you will not bounce in your footwork and your upper body will find freedom to do all of the beautiful and important artistic expressions of flamenco movement. Feel

that your footwork comes from the control of the

center part of your body and down through your legs. Thisisa thought process that I feel helps with

the all-important control, matiz and gives beau-

tiful clean, crisp sounds. Each sound of footwork, whether a planta, or punta or tacón should be given special emphasis while practicing. It is much easier to do a planta loudly than a tacón, so emphasize your tacón. There are basic ideas in approaching footwork as a musical instrument, as a part of the beautiful whole body expressing good and exciting flamenco, expressing that particular compás that you are dancing, and ‘saying something’,

saying something about yourself as an individ-

ual artist expressing a beautiful art.

The Art of Jaleo The artof jaleoissynonymous with the under-

standing of flamenco, the art and relationship of

flamenco in all of its facets. The essence of the meaning of the word jaleo, when it applies to flamenco is to encourage the maximum of artistry and inspiration from whatever flamenco happening is taking place.

It can come from the performing artists, jal-

eadores, singers, dancers, guitarists, aficionados,

the audience, spontaneous performers, etc. Jaleo

can at times make or break a flamenco happening in mood, feeling and ambiente. Picture these two simplistic stories. A cuadro flamenco (flamenco scene of fine guitarists, singers, dancers and jaleadores). The guitarist tunes up and starts to play, maybe a few chords and a few falsetas, setting the cejilla in the right place for the singer. When they finish these opening falsetas, a few subtle sayings may

be heard, “olé, asi, se toca”; a singer starts to warm his voice, “ay, ay, ay”; a bit of soft palmas is introduced, in compas and with the proper accent and mood for the music and song. The singer sings a letra and is encouraged to sing another, “canta ya, olé”. He sings another letra

with the palmas and jaleo coming with the right

accents, dynamics, tempo and compas to enhance the cante. A dancer is moved to dance, gets up froma chair and begins to move, locking into the mood, timing and feeling the music and the flow and dynamics of the singing. As the dancer moves to the song and interprets that music, that song in movement, the palmas lock into a definitive matiz of shading, tempo and accent, blending with the dance, song and music. The jaleadores match their spoken encouragement with the remátes, llamadas, desplantes and

total dynamic interpretation of this blend of art-

75

istry that now isa well-

tuned, blended, balanced, orchestral fla-

menco happening. It all becomes that compás, that harmony of sound, dance music, song — that melody of flamenco color and feeling that internally says what flamenco is. No one is overpowering the other. Yes, a blended

orchestra music,

of jaleo,

song,

dance

that speaks the energy and rhythmical balance and intunement that is the beauty of flamenco, a true flamenco happening. Now the otherside ofthecoin. Agroupof Teodoro doing palmas flamenco performers, each into his own ego and mood. Also picture an audience that wants to get into the act, thinking thatall of that hand-clapping and yelling is easy, and the more of it and the louder that they do it, the more they must be flamenco. The performers are playing loud for the singer and dancer, no matter what, so that they feel important and they want to bang out the compás and the public wants to get involved, compás or no compás. What does it matter, as long as they are having fun and feeling in with the group. Both of these little stories are simplistic. Unfortunately, the second story is very common when people are not in tune to what jaleo is all about in relation to the overall picture of a flamenco happening, whether in private juerga, tablao or theatre performance. What l am getting atis that the people giving jaleo should know and be aware of the subtleties of the art. All of the audible, rhythmical techniques, such as palmas, footwork, pitos, table tapping, cane tapping and verbal sayings, can be considered musical, rhythmical instruments in their

relationships of flamenco accompaniment. This might seem a bit sophisticated, but for someone who is giving jaleo and is sitting in for that pur-

pose, thenindeed, that

person's jaleo has all of the intricacies of the musicians, the singers and dancers. Often jaleo can be in the category of the cheering section of a ball game where

the fans

are

saying “go-man-go”. This is jaleo in its most simplistic form. The starting point for giving good jaleo is to begin with a sure knowledge ofall of the basic compás in relation to the guitar music, and the accom-

paniment forsongand dance. With this knowledge comes the understanding of the many styles and dynamicsof good palmas, when to play palmas, when to play loud, soft, to

stop, to start, accenting, shading, counter time,

good positioning and aire, along with the aesthetics of the art of flamenco. There is no quick school of this, just as there is no short cut to proper training in guitar or dance or the singing, even if you have the talent. Some of the learning involves developing a sensitivity and plain musical good sense. I make this art of jaleo a very important part of my all flamenco workshops, and when one group is performing, another group is giving good jaleo. One approach to the basics is when it is soft, play soft; when it is a bit louder, play louder in regards to palmas. It makes obvious good sense to not try to drown out the artists with too loud palmas, even if your palmas are terrific, in compás and super in contra-tiempos. Palmas are to adorn, to add pulse and energy, to accent and to emphasize something exciting, something that may be building, interpreting or developing a mood. Palmas can actually be drawn out, retarded withintensity in such forms assoleares, seguiriyas, tarantos and other compáses that have a built-in dramatic quality. This is where a bit of body language comes in, a bit of palmas movement, a

76

dance within itself, to give the quality of explo-

sive impulse, a release of the rhythm, as if the

opening of the hands is the power and accent and interpretation of the compás. Like other facets of flamenco, it takes doing and listening and developing a sense of the music, the song forms, the song styles, and the individual singersand their singing styles. Also, to understand the dance forms, the various calls,

variations, stops, the sections of dancing with the singer and the footwork sections must be studied. They all have individuality of color and contrast for palmas. Inalmostevery culture handclapping as accompaniment is the life pulse of song and music and, in flamenco, it has evolved

a spectacular cierre, or desplante, you feel yourself saying something of divine encouragement, a bravo that will penetrate the artist and make them sing, dance, play with even more inspiration, more feeling, more meaning and bring them closer to becoming the art of flamenco. The pulse of these words of jaleo have a compas as strict as flamenco itself. There is no written music in flamenco, there is no written code for these words of encouragement, but with sensitivity to yourself and to flamenco, it will seep into the blood of your being. I have developed a few opinions about jaleo in the years that I have been involved in flamenco. One is that, while a flamenco concert is

into a very high art in itself. Palmas are an inte-

going on, on a concert stage, I do not like to see

Like palmas, the myriad of sayings that spring

performing artists. A good rule of thumb is that

gral part of the total flamenco happening.

forth during a flamenco happening havea pulse all of their own. Unlike palmas, they are not steady, but there are definite places for a spontaneous saying, a word or a phrase of encouragement, and this again comes from a basic knowledge of flamenco in general.

Itis difficult to tell you when to say “olé” for

example, but itis always apparent whenitis said at an inappropriate time. For a Spaniard who has been around flamenco for a long time and is a serious aficionado, sayings seem to come naturally and in the right places. But, some so-called aficionados can be obnoxious and yell out any old place, more to be noticed than to encourage the flamencos to higher inspiration. There are many different sayings that are ap-

propriate to learn for the people entering into the world of flamenco and partaking in fla-

menco happenings. Learning Spanish helps a

great deal, of course, in feeling and saying them

with the proper pronunciation and accent. Some do not translate well into English literally, for they are part of the flamenco world, just as the Sayings screamed out at a rock concert may not

translate well into Spanish. “Olé, eso, ay, toma que toma, agua, castaña,

asi se toca, baila, canta, vamo ya”, and

many,

many more words are used in spontaneous jaleo. They are used in those places in a flamenco happening that inspire, that attack the senses, that lock into your rhythm, a rhythm of your feeling, so that when a guitarist does a special

falseta or passage, a singer does a letra, a phrase,

hits that macho in the right place, a dancer does

the audience trying to play palmas along with the

if you are not invited to give jaleo or are not part of the immediate flamenco happening, do not

play audible palmas.

Palmas, even in compás, take time to travel to the stage in a theatre and end up late and out of compás, and break the intimacy of the flamenco happening — which is difficult anyway, to create on a large concert stage and the total effect is

annoyance for all.

I once went to a flamenco concert of a fine artist, where the sponsor in an opening speech, encouraged the audience to “clap and yell” during the concert and believe me, it turned the concert into a cheap shot. The fine singer tried many times to stop the out-of-compás clapping, much to the loss of his spirit. This idea of respect

for the artists with regard to jaleo, is just old-

fashioned common sense and respect for the art that we want to experience as an audience. This idea can actually be applied to any audience as far as audible palmas are concerned. When a flamenco happening is going on, with people who are trying to experience what flamenco feeling is all about, then a bunch of noisy, extra palmas from the audience can blow the mood, just as if you started to yell and clap at a chamber orchestra concert. Not that there will not be times of cachondeo and fun times for all,

but I am talking about flamenco in moments of juergas, get-togethers and performances that try to express the artistry of jaleo, sensitive jaleo; where weare encouraging the meaning of life, of art, of feeling of beauty of the agony and ecstasy and love of flamenco.

77

Castanets There have been many countries in the world that have used musical instruments similar to castanets for rhythmical accompaniment to their dances. Spain is one of the few countries in which the castanets have developed into a high art, a total musical instrument that has literally become part of the dancer’s body in musical expression. Many of the regions of Spain use various types of castanets for their individual folk dances, some have different names — posttzos, pulgaretes, palillos. The word castanets probably came from castaña (chestnut), perhaps due to its chestnut-shell shape. In most of the regions, the castanets are worn on the middle finger. In fact, if you hand a pair of castanets to most people who have never played them, they will usually put them on their middle finger, which is correct for most of the northern regional dances and the many styles of jota. In the regional dances, they are used mostly for rhythmical accompaniment. In the classical and theatre dances styles, the

castanets are usually worn on the thumbs to facilitate a larger variety of techniques and to better interpret all of the facets of the music. This is where the castanet playing is unique in all the world. This style was started many years ago as dancers developed into performing artists and was a natural out-growth of the total technique development of interpretation. People like Antonia Merce - ‘La Argentina’, made castanet playing a high art. She sought out craftsmen who would make castanets tuned to her specifications, with subtle action and made for specific dances. Her interpretational use of the castanets became like that of any other solo instrument of a symphony orchestra.

which plays the variations — a roll action or caretilla. Polishing is very important, as very smooth castanets prevent finger drag, which slows down the speed and control of playing. With granadillo and other exotic hardwoods becoming very rare and hard to get, many castanets are now

formed

of man-made

materials;

their main virtue is that they are unbreakable. They are usually made from micarta, fiber, plastic, pressed wood or fiberglass. I personally prefer a good wooden pair for tone, art and aesthetics,

justasI would prefer a wooden guitar toa plastic guitar, even if the plastic sounded great. It was a natural part of evolution when dancers started to use castanets in flamenco. This chapter is not intended to make a judgment about whether castanets should or should not be used in flamenco. My feelings in the arts have always been peripheral and open to people’s individuality and approach to art. It was not too many years ago in history that the guitar was adopted as the flamenco instrument. So basically, the castanets are an added musical, rhythmical instrument to a very musical, rhythmical form. My feeling in regard to playing castanets in flamenco involves interpretation. I have seen many artists use castanets for almost every flamenco style and compas, from bulerias to seguiriyas. Carmen Amaya, pure Gypsy that she was, used them in many of her serious dances, as many others have and do today. My personal feeling and preference is that dance styles of seguiriyas, soleares, tientos, tarantos and other serious styles have so much beauty of movement, flow and drama, that the visual

a fine art, much like making a guitar or violin. Castanets are made from many materials, but the best are of Granadillo — an African black-

movement of the handsis stronger in interpretation than the addition of castanet playing. This is not purism talking, because I am expressing a feeling of interpretation of style and emotion of the music. There are the so-

best tone, the finest action, and is the most aesthetic. Castanets can be custom-made to the size and shape of the performer’s hands. They are tuned and given a pitch, and their action is adjusted to the performer's desire. The base hand, usually called the macho, is pitched a third tone lower than the hembra (right hand)

By nature, flamenco desires a strong rhythmical interpretation from the dancer. This has been proven in the evolution of footwork, palmas, finger-snapping and tongue sounds. I see the castanets as an added musical instrument contributing to the total audible energy of fla-

Over the years, castanet making has become

hardwood similar to ebony, which develops the

called purists who think that no castanets at all, period, is best.

78

menco. A dancer should be judged, if at all, on total artistry and interpretation, noton whether castanets are used. Castanet playing is an art in itself, and there are definite techniques to help with the mastering of playing castanets as a musical instrument while dancing. One of the important basics is to play the castanets with as natural a hand position as possible. This may seem too basic in itself, many people play quite well with all kinds of positions, but the best playing is with a natural hand position. For example, just place your hands to your sides as if you were walking down the street. This position, with no broken wrist line,

wherever the arm is placed, is the easiest position in which to play. It is the most aesthetic and anatomically works best, without cramping the bones, ligaments and muscles that move the fingers. The less wrist action and bending of the wrists, the better control, speed and naturalness of movement. As to the thumb position— the thumb should hold the castanet up so that the fingers will have a minimum of travel. This will help in speed, control and sound. If the thumb holds the castanet down where it rests on the palm, it muffles the sound and the fingers must work harder. Another point of importance is the approach to total musicality. It was just recently that flamenco guitar was mostly thumb, strum and a bit of rasgueado. Also, it was not too long ago that the

footwork was a few basic, planos, plantas and a

redoble or two. Castanet playing has also evolved with a great deal of creativity. Castanets are not just two pieces of wood, or as the newspaper critics like to say, ‘clack-clacking castanets’. Castanets should be sensitive to our feelings. Like our costumes, they are an extension of ourselves. No matter in which style they are played, whether classical, theatre or flamenco, when practicing castanets, think of playing in movements that you use while dancing. Let them reflect the musicality of both your own inner feelings and the music that you are dancing, so that they become an important part

of the whole. Practicing the castanets with armmovement patterns of your style will facilitate playing with musicality and give better control of what you want to say, in feeling and interpretation. One area of good castanet playing which is often neglected is the strings. It is important to have good, smooth strings that fit the holes well. If the strings are too loose, they let the castanets flop around, which makes them hard to control and makes your hand positions unnatural.

One of the best types of cord isa hollow-type

shoelace filled with yard to the size that will fit the holes in your castanets snugly. The castanet should be able to go into any position and maintain its position relative to the hand. Castanets have been played in many of the Andalusian folk dances for many years. Almost everyone whostudies flamenco will, somewhere along the line, study sevillanas, fandangos, verdiales and panaderos. These dances usually include castanets and offer perfect movements for mastering good, basic castanet playing. There is a vernacular for teaching castanets. For example, a beat of the left hand is called TA, a beat of the right hand is called PI, a roll of the four fingers of the right hand is called RIA. For example: in 3/4 time like in sevillanas; ta, ria, ria,

pi would be left hand beat, roll, roll, right hand

beat for the count. If palillos (castanets) are to speak in flamenco, let them speak that language fluently. Dance becomesan art when nothingis taken for granted and every part is important to the perfection of the whole — the whole ‘becoming the dance’ — the art that we want to speak with truth. If the castanets are to be the total art, that dance art

called flamenco, then they should be approached

as an extension and part of the total art, the total

music and the total interpretation. Ilove to hear those beautiful, small pieces of wood come to life, speaking exciting music, whispering an inner drama, laughing our joy, and bringing to life our love of the total dance, music, the art in which they take part.

79

Costumes and The Dance This chapter falls into the category of food for thought, because when you write about as large

a subject as costumes and costuming for dance,

specifically flamenco dance, then there aresurely as many opinions as there are colors in the rainbow. Ihave always been fascinated by all facets of dance, including the history and all of the wondersof ancient tradition, with theever-changing

evolution to the present day. Almostevery culturein the world thatdances, whether as a performing art, ritual, festival, or personal expression of that culture, has given great importance to costumes. As body cover, as well as an extension of the body expressing movement and becoming one with the dancer’s interpretation and feeling. Since the time that flamenco dance became a performing art the costumes for both men and women have gone through many subtle and not-so-subtle changes in style and use. It was not too many years ago— before all the marvelous wash-and-wear materials, paper nylons and polyester gabardine — that costumes for women were cotton, heavily starched

and usually heavy in body of the material. This was also a time when — back in the early tablaos and cafe cantantes of the early 20th century — the famous dancers La Malena, La Macarrona, La

Tanguera, and others moved ina flamenco style very different from that which you see today. The costumes for the male dancers of that same period were usually made of a fairly stiff alpaca or wool, which had very little give in movement if not cut right. The style of the male flamenco dancer was also very different from what we see today. Early photographs of the famous male dancers, El Estampio, Antonio de

Bilbao, Frasquillo and others, showed them in the traditional three-piece trajecorto of high (way above the waist) pants, a short vest, a heavy short jacket, and a high-necked shirt. In a way, this is similar to what is wom today, although I will talk of the differences later in the article. For both male and female dancers, the very

cut of their costumes and the materials they were made from influenced their movements and styles. It seems obvious that the earlier female dancers moved slower in the heavy cot-

ton costumes, especially the bata de cola, using them as part of the body, not something to just kick around or lift like a shmata. Although a Semitic word, it describes a type of trapo or rag beautifully. Another emphasis in the earlier dancer was the use of the upper body asa total expression of the danceand the dancer’s feelings. Arms, hands, torso, and the aire of the upper body were expressed by the dancer of the past; the costume was not only to cover the body, but an integral part of the dancer’s expression. Footwork was at a minimum for the early female dancers and, if they did like the bata to show the expression of the footwork, it was done discretely and with style, as was the art of using the fan. The bata was in the category of total artistic expression; flowing with the dance, the

use of the legs and hips at one with the compas, making the costume and the artist appearasone, not just a beautiful body with a beautiful cover. Women’s costumes of fitted nylons and paper nylon give a movement that is of our time, evolving with the movements of flamenco dance, and give a touring artist a real joy of upkeep, without the hassle of ironing and starching. Pilar Lopez was one of the last of the Spanish-flamenco dancers who could do a 12- to 15minute soleares with no more than two or three redoubles and yet completely cover the entire range of feeling, emotion, aire and gracia of the dance and never once grab the bata. It flowed artistically with every nuance and dynamic of thecante and music of the guitar. She made an art of the movement of the bata de cola. The woman who changed the movement of the bata forever was Carmen Amaya. She had such dynamics and strength that she could put the heaviest and longest bata anywhere she pleased with one incredible movement of her body. She had such terrific footwork that she would lift her bata in a way that was always in relation to herindividual movesand originality. It would be totally integrated into her dancing. She was also one of the first women to wear pants on stage; she could do it because they fit her figure and artistic temperament. Carmen Amaya inspired many imitations. They tried to wear even longer batas, kicking and thrashing at

80

them to get them out of the way of their feet and eventually having to carry the bata for most of the dance. Much of this still prevails As technique has evolved with faster, more intricate footworkand a kind of unisex approach to flamenco, more and more female dancers are

using costumes as just beautiful body covers.

Today, when you can show more of the body

than was permissible years ago, and with all the beautiful paper nylons, it is almost easy to feel that a beautiful

costume

is enough,

without

thinking that a costume should be an integral part of the total dance interpretation. Flamenco costumes are probably the most sensual of all costumingon both men and women. Although completely covering the body, they have a built-in mystery of line and flow, compared to the leotard of modern dance or the tights and tutus of ballet. A superb way to study flamenco in order to maximize the artistry of the costume worn is to conquer the integration of the total body as if you were dancing nude. By conquering, I mean a continuous way of working every part of the body in harmony with every other part of the body with respect to movement, feeling, music, footwork, palmas and so forth. This is one creative goal to work toward and when the costume is put on, it is an expressive extension of the total movement and feeling, it should enhance the total art of the dance. I will never forget seeing the older women in Andalucia in summer, and how they used the fan whenever they spoke with each other. | remember watching two elderly women in the town of Cordoba, fascinated by the art of the movement of their fans as a total expression of

their feelings. I was out of earshot, but I could

understand almost every meaning and nuance of what they were saying to each other. I often think of those women when I am teaching female

dancers

costume

movements,

hands

or

total dance technique. When a women picks up her skirt or takes hold of her costume to lift it to show her footwork, her legs, or just to handle the bata, it should be lifted or taken hold of as if the lift were part of the total dance movement. The audience should not be aware of the the lift or the costume in hand. The legs should bring the costume to the hands; you do not reach for it as if you were going to do the laundry ona washboard. This is

actually very basic, and is part of the whole

learning of style that should not be a mystery to accomplish. As I have mentioned in other chapters on technique, facing absolutely front to the audience is a very boring position after a few moments. If a female dancer is doing footwork, with her body facing front and her bata thrown over her arm as is often done,

she is short-

circuiting her more favorable artistic and exciting lines. A flowing movement, whether in a turn or in just a change of position, isa good time to aesthetically take hold of your dress. Practice making your dress, your bata, more than just a beautiful covering of your body. Make it an exciting, dynamic extension of your personality, your movement, your style and your art.

Visually, the male flamenco dancers’ cos-

tumes have not changed much in many years. As flamenco became more of a public performing art, the pants on the male dancer usually got tighter to show the line. Many times the vest and jacket became very ornate, sometimes too ornate, bordering on being gaudy and thereby usually taking away emphasis from the dance. There is also a style of flamenco dance in which you just wear a street suit, sort of the casual look, as if you just happen to have your boots on, your guitarist and singer on hand, and the show ready. Thereis nowa fullrange of male flamenco attire for dancers, from plain shirt and street pants to the traje-corto with leather chaps, high boots, hats, belts, whips and capes.

Whatever the style that is preferred by the

dancer (personal preference should be respected), if he is going to do more than a few

desplantes por bulerias, he should take great care

in the cutof the costume. If he wants to look wellfitted and show his line to the maximum, while

at the same time having a full, free range of movement, he should be very critical of the cut in the crotch. There is nothing worse than having a nice tight pair of pants showing your line, but the crotch is not cut right to give movement to the legs — which gives a stiff statue look to movement.

I truly feel that much of the reputation flamenco has among the general public as a stiff form of dance rather than a dynamic from of dance is that many male dancers’ costumes are cut too restrictively for fluid movement. With today’s modern materials, men’s pants can be

81

made from polyester gabardine which gives them superb line and a freedom of movement which was impossible with hard wools and alpaca; yet they look the same. Where many women have gotten into the habit of grabbing the costume when they do footwork, there is also a habit among male dancers of grabbing the vest when they do footwork, as if the feet are the only part of the body involved in movement. I personally enjoy the simpler costumes that many male dancers are wearing — basically, pants and shirts; elegant,

but simple. This leaves them the challenge to use their beautiful long arms in harmony with the

rest of their body. I find great joy in the contrasting difference between male and female flamenco dancing, each with certain freedoms to show their individual personalities. A man with his long-fitted line can show that sharp oneness of curved line right from fingers to toes. The woman can sit into her movements,

with

legs bent, for that

sensual movement of hips and dress. Costumes

are a

real art, visually

and

in

movement. In the hands of the sensitive maker or dancer, they are an exploration into added beauty, added art, and an added flower of joy in this art we love called flamenco.

Wood that Laughs, Strings that Cry The Flamenco Guitar

Countless years ago, people began inventing musical instruments to imitate the rhythms and music of nature; also to express and extend their feelings and to communicate theiremotion, both on a human and a spiritual level. One of these

son for living, when blended with the song of the soul and the dance rhythms of life. The guitar was a natural for flamenco expression, for it has a range of mood obtained from the many races of people who gave it rhythm, depth, soul, tone

treated here specifically, the flamenco guitar. I do not know of anyone who can say for certain when the first flamenco guitar was made or who made it. Indeed, it was a strong bit of genius that so strongly captured the flamenco musical soul. The guitar was the late-comer in flamenco. For centuries, songs were sung freely with rhythmical accompaniment of tapping sticks, canes and palmas. Dance was done with bare feet against

One of the main differences of flamenco guitar and other related cousin instruments isthe pulse.

genius instruments has evolved as the guitar;

the earth, or in whatever footwear was available.

No fancy boots with nail-filled heels against

hardwood floors; that would come later with the

discovery that flamenco was destined to become a universal performing art. Although the guitar was the latecomer in the total picture of flamenco art, it was this instrument and its music that unified and made coheSive this magical trilogy of music, song and dance. Bits of artfully crafted wood, six strings stretched to the tension of three octaves and — magic, an instrument capable of expressing the total range of human joy or sorrow, of mood, depth of feeling and emotion and even the rea-

and melody.

A Gypsy violin wants to cry, to woo, to smile, to

seduce. To all of this, the flamenco guitar wants

to pulse, to mark the heartbeat and rhythms of

the soul. Not bow against strings; but fingers against strings, caressing the compas, the mood, the melody, the feeling of music, song and dance that is of the earth and spirit. In a quantum leap from the golden era of the café cantante, the playing of the flamenco guitar has gone from pluck and strum to the interpretations of countless flamenco styles and forms;

both in accompaniment and as a solo instrument, with a range of technique that was unheard of a few years ago. There are no videos or films of this beginning era of the café cantante when flamenco melted together music, song and dance as a performing

art for the pleasure of the public and a bit of a living for the artists. There are few audio recordings of this flamenco era. It would be interesting

to use deductive reasoning as to how this evolution of flamenco guitar accompaniment began to take form with song and dance.

82

The flamenco guitar as we know it today seemed to develop around the same time as the emergence of flamenco asa performing art in the era of the café cantante. Up until the middle of the 19th century, guitars in Spain were basically Spanish guitars, and were constructed similarly whether they were used for classical, folk or flamenco. It is generally credited toa few artists, such as the famed guitar-maker Antonio de Torres Jurado, who constructed the flamenco

guitar in the basic design that we know today. With the use of Spanish cypress for the back and

sides, constructed in a thinner manner than the thicker, mellow rosewood, he was able to achieve

that vibrant and distinctive sound that is a natural accompaniment for thesound of the flamenco cante and has the driving rhythm capability for the percussive sounds of the dance. The traditional flamenco guitar has other differences from the classical guitar, both internally and externally. One of these differences is the golpeador, which protects the guitar from the finger-tapping techniques of flamenco playing. It is always interesting to see natural evolution occur out of necessity, and subtleties of guitar construction came along as the popularity of flamenco evolved. Since the flamenco guitar evolved as an accompanying instrument for the song and dance, it had to meet the technical, aesthetic, emotional

and artistic needs and demands unique in flamenco dance and song. Over the years, all of these needs seem to have been met by many of the guitar makers — a guitar that can provide the harsher-type sound to match the flamenco voice, a brilliance and treble-clarity and a crisppercussive action and sound, and the ability to provide a driving rhythmical force to meet all of the power related to flamenco. The development of the guitarist as a professional flamenco accompanist was very different than playing for a singer or dancer in a private

fiesta. The café cantantes and early tablaos de-

manded a show of time and space requirements, of going on and turning on at a set time for a set series of events, songs, dances. In general a molding of flamenco into a more constricted setting of events than it was originally created for, but evolved into.

Flamenco, by its very nature of built-in emotion and theatricality very quickly drew out the various geniuselements that a guitarist would

need to compete, (yes compete), with the cante that was so popular at the time. Guitarists were

after all, human, with all of the desire to have the

public attention and adulation that the singers

were receiving. So very soon, within the struc-

ture of accompaniment, they started to develop techniques other than the thumb and strum.

Soon, left hand ligados, extended falsetas, picados,

tremolos, arpeggios started to appear with the genius of the time.

Quotes in various books mention El Maestro Patino, Paco el Barbero, Paco de Lucena, Javier Molina, and of course, Ramon Montoya who set

the basic technique patterns and structures used today by many professional flamenco guitarists. This intense period of flamenco guitar-making was a very high creative cycle in the flamenco world. Guitar accompanists developed so quickly that many became soloists with their growing repertoire and technique, even in this early period of café cantante. Guitar makers from that time to the present have kept up with the evolution of guitarists in their technique, their personal and individual desires and needs inaction, sound, tone and feel.

Flamenco guitar makingis high art in Spain, and

the names of Santos Hernandez, Marcelo Bar-

bero, Domingo Esteso, Ramirez, Reyes, Arcangel

Fernandez, Condes, Gerundino and others ring

out — as does the music from their beautiful instruments. Dancers quickly started to create choreographies that became tradition. They started to dance to the cantes and set them into structural forms. The cantes to these dances became set for the dance, being different for each singer, but still in a structured mode. The guitarists were great inspirations here because many of the

falsetas that they created became part of the dance tradition.

It was not too long after the era of the café

cantante started that artistsand aficionados began developing the idea of what was modern and

what was traditional, what was old and what

was new, what was good flamenco and what was bad flamenco. The combination of flamenco becoming a performing art and a quick evolution of styles and form soon polarized people in the pro and con of just about everything related to flamenco, and it is still going on to this day. Just as Ramon Montoya was creating what could be considered a greater trend toward tech-

83

nical virtuosity, people like Perico el del Lunar Sr., Diego del Gastor and others were adapting a simpler technique with great depth and feeling, with the primary purpose of the aire of flamenco. Flamenco,

of course,

has that vastness

of

depth and art that can bare and sprout many branches of expression. This is what it has been doing for a very long time and will continue to do, as long as there are individual artists to express and love it. As I have mentioned in other chapters, flamenco cannot stay staticin any one set mold and tradition. It is being formed all of the time. Tradition is created by those dynamic individuals that create style, forms and moving experiences in the art. Itis being set down by guitarists, singers and dancers that feed off the art, feed off the inspiration of each other. Guitarists played a great role, as I have mentioned, in the development of both the song

and the dance. From the great guitar soloists of the past such as Ramon Montoya to the greats of today such as Sabicas, Paco de Lucia, Sanlucar,

Serranito, and Escudero are all inspirational ac-

companists who in-turn have been inspired by great singers and dancers. Who can ever forget the great artistry of Carmen Amaya and Sabicas together? They were magic and inspired each other to fantastic flamenco. Flamenco is still evolving in form and structure and it is the guitarist who often sets the evolving trend. The taranto for dance, for example, has many falsetas that have become tradi-

tion for the dancer and thisisa form thatis recent history. Pilar Lopez and Antonioand Rosario all claim they were the first to dance this form. Luis Maravilla was another guitarist who set falsetas to works like Caña” that became set forms for the dancers to dance to. Estampio, who was one of the great teachers of the classic zapateado, was inspired to set his zapateado de las campanas to

melodies inspired by the musical genius of the guitarist. Whether so-called old-or new-style flamenco, accompaniment by the guitarist, blended with the song and dance should be an inspirational interplay between all artists. This seems basic and to many great artists it is, because they know that it is the whole of this great trilogy, along with good jaleo that makes for a true flamenco experience. If a guitarist goes his way and the singer goes their way and the dancer is out there doing his or her thing without that interflow of feelings to each other, then it is nothing but technique being blown to the wind. Who has watched a Fred Astaire and Ginger Rogers movie and not been awed by their beautiful togetherness, moving as if one, blending with the music ina way that is timeless choreography and supreme artistry. That, in reality, is just one example of true flamenco in its essence of becoming at one with music, song and dance. That bit of wood and string, in the hands of a sensitive musician, has become more than an

instrument called guitar. It is one of man’s and woman’s ultimate achievements in creative expression, and when it is taken beyond the solo expression to blend with the soul of the singer, crying out life’s meaning and pulses with the rhythms that beat through the dancer, feeling at one with the earth — then it truly is music of life’s soul blending with the orchestra of all nature.

As long as there are those who love this

blended essence of flamenco, then there will always be flamenco, not old, not new, not mod-

ern or tradition (for these are all labels that limit),

but true flamenco of the spirit that transcends all earthly limitations, a living, breathing flamenco that expresses infinity of feelings. Bits of wood, tuned strings, a bit of soul and

caressing fingers, Ay! musica flamenca.

84

Choreography A few years ago, I was asked by a friend and superb dancer how I felt about her dancing. I was invited to attend her performance in New

York on her arrival from Spain, and she wanted

some feedback. She felt that 1 would give her an honest, constructive opinion. After seeing her dance, I found myself telling her, “You have outgrown yourchoreographies.” She agreed, and told me that she understood what I was trying to say, because she had felt the same thing. She had improved and grown as an artist and had outgrown her earlier choreographies like a youth who had matured and outgrown her clothing. Creative choreography is probably the most neglected aspect of flamenco. This is not a flippant statement, but a personal opinion that has been well studied and thought out. Many dancers work more on their personality and temperament than on their choreographies, and perhaps not wrongly so. But then their emphasis must be centered on their steps, not on choreography which says something on its own. Choreography is more than just stringing together of a bunch of titillating steps. It is the picture and the frame, the art and the artist. Choreography should be movement that can say something on its own. Choreography is a separate art —ina way, a parallel art — to dance and dancing. Just as a painter being a great artist on canvas does not mean that he can sculpt artistically in stone. Soa great dancer is not necessarily a choreographer of great works, and vice versa. Choreography and dancing are two separate worlds that hope to live together in artistic harmony. Flamenco choreography is unique for many reasons. As it is such an individual and solo dance form, flamenco seems to require that the choreography be immediately adapted to the individual dancer. The dancer’s interpretation and technique, feelings and emotions, should be

considered from the outset. This can be said of any dance style, but flamenco, with its built-in emotional content of traditional yet personal nature, needs the added sensitivity to individuality to make it believable, real and true. Excitement does not come from copying what others have done choreographically if the individual or

personality is left out, it is then just mimicking steps.

Over the last century, the technical craft of flamenco has crystallized toa degree from many innovative artists. It has a technical vocabulary

as broad as classical ballet, and it is still evolving

— like the many personal styles of jazz dance.

Choreographically, if one can be open-minded

without neglecting the essence of tradition, flamenco has an endless frontier of exciting and innovative possibilities to surmount the plateaus of stale and boring choreographies. Dancers should dance good choreographies, seeking out good choreographers who will fit dances to their individuality. Many artists are working toward that end. Some dancers take the easy way out and try to upstage mediocre chore-

ographies with their personalities, loud foot-

work and emotional stage presence. But the art of flamenco dance and dancer should grow together.

The Tools of the Trade

Like a woodworker, a choreographer must

have tools. But rather than hammer and chisel,

he turns to tradition, innovation, sensitivity to rhythm, an un-ending range of values, dynam-

ics, nuance, point and counterpoint, and a lot of

the unexpected. Visual and audible lines, blended

to be as one, are unique to flamenco. There are no hard and fast rules of really good choreography, or of how to becomea good choreographer. Sensitivity, good judgement, musicality, staging and movement construction are some qualities that should be taken into consideration. A choreographer should choreograph to the individual as much as possible, mounting what will work for them personally. It is important to develop a subjective sensitivity to feel what is right and working, to grow with the individual as they grow into the work. It is that inner feeling that will let you know when to let the choreography breathe and expand artistically. When a choreographer begins to be inspired by an idea, and in turn begins to inspire, it is usually in the nurtured atmosphere of interpretation. Whether the inspirational element be the music first or just feelings stirring in movement

85

that want to be released, itis fed by the thread of

interpretation — an inner feeling, emotion that hasa continuity of value to move and be moved. Some facets of choreography can indeed be learned, just as any craft leading to an art can be learned. One of the X-factors that helps choreography truly say something in movement is daring. With a foundation of respect for the roots of flamenco tradition in form, history, musicality,

song and rhythm, a choreographer can add individuality in expression, combine the building blocks of technique and interpretation, and maybe transcend what has been copied and done before in personal style and format. Traditional techniques have crystallized into many basic movements that read flamenco dance. There are basic positions, movements,

lines and energies that are indigenous to flamenco. These basics are blended into the choreographic structure. It is the ‘expect the unexpected’ concept of the use of movement that can make a choreography strike dynamic chords. The beautiful instruments of space and floor give challenge to brilliant design. To play the floor with footwork and heelwork that sing of deepest life rhythms, to create percussive conversations that speak a truth louder than words — these are challenges that a choreographer clings to, hoping to achieve satisfaction within his searching soul. In flamenco choreography, there should always be room for spontaneity and improvisation; setting a dance step by step, compas by compás, is like putting a heavy yoke on a beautiful spirited race horse that wants to run free as the wind. A choreographer should be like a guide on a beautiful journey, letting you stop and see the marvels of your world. Flamenco as a performing art has the confines of time and space. When dancing for one’s self, one may be inspired to go on for hours with no thought of time and space, direction of focus or repetition on any level. But if a dance is to be performed on stage, the choreographer must crystallize movement into the dance along with desired feelings of projection. If a choreographer is used to working with the same guitarists and singers, it is an exciting challenge to search for choreographies that work universally with any fine guitarist and singer, with any style of playing and singing, and with minimal rehearsal. This can be achieved by

adhering to the basics of what flamenco is: an art with all of the musical components, all of the feeling and emotion, that offer challenge to all choreography. A dancer who has a choreography worth its salt should be able to talk through a rehearsal with any knowledgeable guitarist and singer and be able to perform the dance with a variety of style, falsetas, dynamics, balance and a basic

feeling of security. That is one of the essences of a special choreography and a good choreographer. A dancer, as well as a choreographer, should know what works with various musical techniques so that communication between dancer and guitarist canbe as simple as, “I would like to do my escobilla with a pulgar technique for this part, and the cante comes in any time before this movement.”

Choreography, the sculpting of movement into art, is a rare art indeed. From a palette of movement, music and emotions, the choreographer can speak a language transcending all words, and can reach the hearts of all who experience this dance, this music in motion.

A person with the gift of choreography, the ability to paint in movement and music, is truly

blessed,

for there are never

two

alike. Great

choreography and great dance, when blended with sensitivity, understanding and inspiration, can make movement an art. A flamenco choreographer who makes lasting works is the rarest of breeds.

On Choreographing Bach Flamenco

is a universal

art, one

without

artistic limitations. If one is sensitive to the aesthetics of flamenco, if one is involved in theatre

composition, if one has a deep respect for and knowledge of the tradition of flamenco art, then there are no limits to the adaptation of flamenco techniques — its energy, passion, emotion and

drama — with non-Spanish music.

To me, the music of Johann Sebastian Bach is

a natural to choreographas theatre composition, using the technique of flamenco. Since I have been choreographing to the music of Bach, I have noticed that other flamenco dancers have been also. Bach’s music is timeless and inspiring. It has moved people to do Rock Bach, Electronic Bach, Jazz Bach, Stuffy Bach, and plain old beautiful

86

Chamber Bach, moving dancers of every form to choreograph Bach. Bach was a true flamenco, a great improviser, a master of counterpoint and an accepted artist even in his own time. When La Niña de Los Peines, the great Gypsy singer, first heard the music of Bach, she reportedly said to Federico Garcia Lorca, “His music

has duende.” What I felt when I first started to move to Bach was a sense of drama. I felt a deep emotional involvement, and when I started to actu-

ally choreograph to Bach (my first work was the ‘Toccata and Fugue in D Minor’), the music seemed to lead me and mold my steps and patterns, rather than me accomplishing a choreography of preconceived steps. It was a fantastic sensation. Tradition opened up and showed me

movement that I did not know I had. As an example, I first conceived the fugue as a footwork section with all of the counterpoint intact, but when l actually got to it, it turned out to be influenced by what l feel in tarantomovement — slow and sinuous, long movements, and a mini-

mum of footwork. The public gave me courage to go on with these choreographic ideas. It felt

natural to me, and when I first performed my

Bach works in concert, the acceptance was natural and fulfilling. Bachis but one non-Spanish composer whose work is adaptable to flamenco choreographies.

The same could be true for all beautiful music,

no matter the origin, no matter the artist, no matter the country.

From an Audience Point of View Flamenco dance is a fabulous blend of visual

and audible movement, expressing the feelings, emotions and moods of the tradition of many peoples from that melting pot of cultures in southern Spain. In the last century or so, flamenco dance has evolved into a unique performing art, not only for personal expression, but as a performing art for the general public, or at least a general public of flamenco aficionados who enjoy watching and taking part in a flamenco performance. If a flamenco dancer is dancing purely for

him- or herself, with no audience watching, it is

natural to express in choreographic movement whatever feeling the dancer wishes, with no regard to direction and line of focus. Butasa performing artist in front of the public, it becomes an interesting choreographic challenge to have your dance ‘say something’ in line of body,

feeling, emotion, individuality, balance and all

of the other basics that make choreography interesting and exciting. This goes beyond simple technique. I feel that choreographic line and style are important factors to the built-in dramatic quality of flamenco dance, especially with the rhythms of a deep dramatic nature, such as soleares, siguiriyas, and tarantos. It is easy to fall into doing long footwork sections while facing

the public or presenting a side view; both of these lines are very boring when held to long, yet it is often done. Choreography with use of natural opposition lines and more diagonal movements brings about an energy and cat-like tension that works so well with the inner dance of flamenco.

The flowing movement of the torso, leading,

never stopping for very long ina side-view

pure frontal- or

line, gives an excitement

in move-

ment to the very simplest of dances. This was one of the secrets of people like Pilar Lopez, who

could do a 12-minute soleares without a drop of footwork, but with a deep understanding and

feeling of what her line was saying to the public. It is an exciting challenge to choreograph with an awareness of what our audience will see, what they will feel as they watch us perform. The challenge is not only to become the dance ourselves as performing artists, but to reach out to the audience and have them feel. To have them become

part of the whole, not just sit,

detached from what they are seeing, feeling and hearing. Itis the responsibility of every performing artist not to take the public for granted. It is through their energies that we can be inspired to great heights of creativity. If we perform as if they are not there, it is our loss. So-called stage presence and projection have much to do with

87

the electricity that can be generated between artist and public.

It would take many chapters to get

into complete choreographic details. Some of the basics which I feel are of primary importance to start with, are the technique and physicality of line that best interpret the particular compás that you are dancing and projecting. Is it projecting the feeling of that compas completely? Besides the line as a base of movement, is the thought of a total

balance of movement and footwork with regard to interpretation and what it looks like to the audience? Do all of your dances look different or does your soleares look like your alegrias (inside as well as out)? These are important questions to ask when choreographing. Does the dance say something in choreographic balance of technique, movement, feeling, emo-

tion, etc.; or is it a string of steps just bolted together because they fit the compas and are titillating your rhythmical sense? These are just food for thought. The line of each dance should speak about the particular compás that you are dancing or choreographing. Each compás has a particular line of movement that it can bring out, its own visual stamp, and the audience should get that message. I mentioned angles and angular lines because they have a natural dramatic quality built in. Standing in front of a mirror, you can practice by looking at or spotting yourself in the mirror. Turning your body in oppositional lines so that your various paseos, for example during a singing passage, will be on the diagonal more often. It shows a beautiful and dramatic line to the audience. Also the arms framing the head, especially the downstage arm, and from the fingertips to the heels of your boots projecting a line like an arched bow. Use these linesin various diagonal movements. Itis very exciting to develop a sensitivity to what the audience is seeing and feeling, while you dance. This sensitivity to the public will also develop added strength to your dancing. This is

not playing to the public, but a real exchange of energy so that the performance is a whole, not just the public looking froma detached distance. The performer and audience becoming as one in a beautiful art experience. Choreography in flamenco, like any other beautiful dance form, is painting a picture in movement, feeling and emotion. When that picture is portrayed to the public it should stir feeling and emotion. What is the public seeing when they see you dance? This is a question that I think all performers should ask themselves as they set about choreographing a piece or having a choreographer set a dance for them. The distance between performer and audience should be filled with that magic awareness of both performer and audience, becoming as

one, both giving to the other, each a catalyst for more understanding, feeling and love for this beautiful art and way of life called flamenco.

88

Flamenco

Concert at Lindy Opera

in Concert

House, Hollywood, CA. First solo concert of Teodoro Morca with Pepe

Segundo, Roberto Rico, Benito Palacios, Julio de Los Reyes.

I am often asked, “What happened to Spanish dance, and why is it so seldom seen today?” Basically, nothing has happened to Spanish dance. It had its own popular cycle when other dance styles were seldom seen. There are still many fine artists who practice the art of Spanish and flamenco dance and have their companies touring the world. It is a question of universal popularity, much of which is based on what happens in the United States. Currently we are enjoying a flood of fine ballet, modern, jazz and other forms and styles that were on the back-burner of popularity when Spanish dance was in vogue. In the last 20 years, dance has exploded in the

colleges and universities across America. Although university dance departments teach mostly modern and ballet dance, they are also the main sponsors of dance performances and residencies. Thanks to foundation grants and programs like the National Endowment for the Arts, a great variety of dance performances are seen at institutions of higher learning. Many smaller Spanish dance companies give residencies including concerts, classes and lectures.

The down cycle of the popularity of Spanish music has often been blamed on flamenco. Either too much flamenco in concert or notenough classical, regional

or other forms of Spanish

dance has been stated as the demise of Spanish dance as a popular art form. Recently,

Iread a magazine quote that stated,

“Some of this century’s greatest Spanish dance performers have attributed the recent decline in popularity of their dance form to poor teaching and bad technical performances that emphasized only flamenco while ignoring classical and regional dances.” This is not so much a rebuttal to this oft-brought-up subject as it is another opinion. lama very positive thinker when it comes to flamenco, and all facetsof thearts that the human race expresses as a creative part of themselves. I am not positive just to be positive, but to state some facts that can be thought over without a sense of simplistic, flippant emotionality. Flamenco is not, nor was it ever, the demise of Spanish danceasa popular art form. There are good teachers and bad teachers in every art form, yet they go on in their natural cycles of

89

popularity. Flamenco is high art, a complete art form that can stand on its own two feet and can easily fill a concert on its own, if it meets the basics of being — good talent, good programming, good interpretation, good professionalism, good staging, good costumes and good technical presentation. Each facet of artis unique and complete on its own. If someone wants to do a varied evening of all types of Spanish music and dance, fine; but classical Spanish is one thing, regional dance another, flamenco another, theatre composition

another. They are each an artistic expression on their own, and do not necessarily need the support and variety of the others, if they meet the basics which I have mentioned. Weare talking art, not politics, and there is so much variety in the art of Andalucia that if done with sensitivity, it would fill many evenings of concert variety. In all due respect for the other regional dances, we must realize that flamenco

is expressing flamenco, not all of Spain. There is a public for good talent and exciting art forms; flamenco is one of them, and has never been the

demise of the popularity of Spanish dance. There are good and bad teachers in every art form, yet if the public is in a cycle of that art form and wants it to be popular, they will find the good teachers, the good artists, the professionals with class, integrity, talent, showmanship, promotion, etc. There are many great artists who became famous after death. They lived in poverty and lacked recognition because the public was not ready for them. Sponsors that buy talentin dance, music and other arts look for what sells, and they look to the public for cycles of popularity. Thisis often a strong influence on a performing arts popularity. I do not pretend to know the answers or solutions to the stimulation of flamenco’s popularity as a performing art. I do know what has worked for my company for 25 years, and is still working to the degree that I wish to perform. ] put great emphasis on programming, presentation, interpretation, first-class promotional materials, complete professionalism between artist and sponsors, with the facilities available,

without being pretentious in our needs and wants. We providea balanced program of works that flow smoothly from number to number, without worrying about giving too little. It is

best to leave the public a bit hungry and not try to show all of your works. A full range of feelings and theatre works along with a cuadro is very successful. I do not

get into, ‘what is cante or baile chico or grande’, for

to me those are too restrictive and categorical. There is a full range of human expression and

emotion in flamenco, so this should be reflected

in the choreographies presented. A concert is usually about two hours, which means flamenco is put into time and space. It should be used wisely, like planning a beautiful meal for your favorite friends. A person who has truly been bitten by the bug of flamenco and who wants to make it a part of their life, who wants to grow with it and perform as an artist, will seek out the teachers that will help and bypass the ones that are not teaching what they need as individuals. I have great faith in students, for we are all students all of our lives, and must continue to

stay sensitive to the learning process and continuously study, as do teachers. There is nothing worse in the arts than someone who thinks they have arrived at some sort of an ending, a finished product so to speak. It is then that the art form suffers and loses popularity due to this sort of stagnant apathy. Water that stops flowing stapnates, artists who stop searching, learning and growing will also stagnate. Flamenco, is also an idea that has grown — with many different artists and peoples adding to the idea. This idea is a good idea, it feels good and is good to feel. It can be felt in many ways, in many places, in many ambientes. It can move and be moving. It can give birth to joy and sorrow, frustration and laughter. Flamenco is and will be, for its roots are deep and its branches ever-growing. In its brightest moments, it can change lives. Yes, lam positive, because flamenco has been good to me, but most of all, it is good unto itself.

I hope that some of this century’s Spanish dancers take another look at flamenco for what it is and what it made them feel in the first place. Let them continue to rise above this blame here and that blame elsewhere, and perform the art of flamenco, inspiring others to do the same. Then, by the very natural cycles of life itself, there will be good flamenco with a good public for all forms of Spanish dance and dance in general.

Touring Flamenco Thefirst touring flamenco artists were probably like other troubadours, wandering from village to village to earn a living by expressing the art that they knew and felt — whether on the street or in a café cantante. In the United States and other countries outside of Spain, touring has become an important part of the life blood of flamenco, especially in the last ten years when there has been a decline in clubs where professional artists can perform. From the 1930s through the 60s, Spanish flamenco companies of dancers, singers and musicians enjoyed tremendous popularity and there were many long tours. Almost every city, large

and small, in the U.S. and other countries, had a

chance to see at least one or two companies each season. Like many cycles in the arts, Spanish flamenco companies began to wane in popularity while other concertcompanies presenting mime, ballet or modern dance became more popular. These cycles are just a fact of life and should not be taken personally. Flamenco in the U.S.A. hasenjoyed enormous popularity ever since it was first introduced, probably by Ted Shawn. Although he did not do traditional flamenco with guitar accompaniment or cante gitano, Shaem did present what was called Cuadro Flamenco, and a theatre presentation of what he studied in Spain with the famous dance masters of the early part of the century. These dances were performed by the famous Denishawn Company. It is interesting to see in the dance-history books, the legendary modern dancer, Martha Graham, doing Spanish dances with the Denishawns in the 1920s. I will bounce back and forth from flamenco to other performing arts of Spain because, until recently, most Spanish flamenco companies were composed of flamenco, classical, regional and theatre or contemporary works, you very seldom saw an allflamenco performance outside of Spain. Ever since Fanny Elssler, the famous Austrian ballerina learned a series of Spanish classical dances in the 1840s and brought them to the United States on tour, America has been enjoying the performing arts of Spain on the concert stage. Itissaid that Fanny Elssler was so exciting

and popular on her debut tour that, when she danced in Washington D.C., the senators un-

hitched the horses from her carriage and pulled

it themselves through the streets to the theatre. She must have been some dance artist.

It was not until the 1920s, 30s and 40s that the

United States began to see an influx of Spanish dancers and musicians. La Argentina was one of the first of this period, receiving credit for being one of the first Spanish contemporary theatre artists, choreographing to music of the Spanish composers, using flamenco, classical and modern themes. Also at this time, one of the first male dancers

to tour and create a sensation was Vicenté Escudero doing flamenco. Time and space do not allow me to elaborate about each artist, but these first artists laid the groundwork for the national tours of other great artists to follow: La Argentinita and Pilar Lopez, José Greco, Jiménez and Vargas, Roberto Iglesias, Teresa and Luisillo, Carmen Amaya, Antonio and Rosario, Ana

Maria just to name a few. One of the first Spanish companies to tour the United States that showed a cross-section of all forms of authentic Spanish performing arts was La Cabalgata de España in the 1950s. One of Spain’s most popular flamenco teachers, Paco Fernandez, was a star of this company. A real flamenco treat and one of the first all-flamenco concert tours was the company of José Greco and his Gypsies, that toured in the 1960s with the

great El Farruco, Matilde Corral, Maria Soto,

Manolo Baron, Carolina de Los Reyes and many others doing only flamenco. This set the groundwork for other all-flamenco companies such as those of Antonio Gades and other major artists. For flamenco artists, the 1970s were a drastic turning point. High touring costs made large companies too expensive and concert sponsors were looking to modern and ballet companies. Fewer clubs and hotels offered flamenco entertainment and a whole generation grew up without ever hearing of or seeing flamenco performers. These are just a few of the obvious reasons that are also cyclical in nature. The flamenco companies that tour the United States now with missionary Zeal for the art of good flamenco are small, compact companies of

91

Teodoro Morca with Pilar López doing fandangos in Spain

dancers, singers, guitarists and at times, tape accompanimentif they also do other forms of Spanish dance. Thanks to the companies of Luis Rivera, María Benítez, Lola Montes, José Molina,

Gisela, Libby Komaiko, William Carter and a few

others, many small and large cities still see a yearly concertor National Endowment Residency. However, cycles change and hopefully, the popularity of fine flamenco will increase on a national level. Flamenco is timeless, like art itself,

and so will never die. The touring artists are

keeping flamenco alive across America and in many other countries, even if on a small scale, and itis the touring artist that many times wakes up the flamenco fever outside of the common centers where flamenco can still be seen in clubs. Flamenco seems to be a natural art for touring — born of many wandering cultures that came into southern Spain. I only hope that the spirit never dies and will continue as the sharing of sucha beautiful and fulfilling art form for performer and aficionado alike.

92

Pilar López Pilar López was one of the most unique and fascinating of all flamenco-Spanish dance artists of the immediate past. 1 had the good fortune of being her guest artist and soloist in 1965, it was truly a great influence on my total artistic input and a great learning experience in partnering. She toured into her 70's.

out of her company were José Greco, Manolo

one of the most famous ofall Spanish concert artists. Following Argentinita’s death in 1945, Pilar Lopez formed her own company which became famous world-wide. Her magic was many fold, but two facets of her artistry are unique. One was her ability to train, coach and help create superb male dancers. Some of the special stage magic that she helped create were class and style and a beautiful male-female maturity in partnering. She was the essence of the true hembra

her assurance of her art on stage was such that she gave off tremendousexcitement by just standing or with the most subtle of steps. In today’s

Pilar L6pezis the sister of the late Argentinita,

(female) and the male who danced with her,

looked at her and danced with her not just alongside, and that special man-woman electricity was in abundance. A few of the men who came

Vargas, Roberto Jiménez, Alberto Lorca, Anto-

nio Gades; many others were touched by her art. Part of her artistry was her stage presence, created not only by what she did as a beautiful dance artist, but by what she did not do. She was the opposite of Carmen Amaya in technique,

speed, complex footwork and wild turns. Yet,

time

of lots of movement

and

faster, more

complex contra-tiempos, it would be a good lesson to see who could just walk on stage, stand

there, and create a great emotional stir in the

audience. That is also what flamenco is, an en-

ergy that can be still and yet explode. It is that inner emotional intensity that cries out of every

pore of the artist and moves the audience to feel.

Pilar López, a great flamenco artist, brought this great art, with dignity and class, to the concert stages of the world.

Touring Spain and Fine Experiences I went to Spain in 1964 with a one-way ticket. It was an idealistic, romantic thing to do, mainly because I didn’t have much money, but I wanted to go. I left Los Angeles not really knowing what I was going to do, but trusting my talent and ability to survive. I think I had $400. I flew to New York, then to Spain. On the plane was a Cuban doctor escaping from Cuba, who had lived in Spain and was going back to live there permanently. On the flight he told me about some different restaurants and places, and when we arrived he helped me to settle in for a few days. I was going to be staying with my friend Manolo Baron, a well-known guitarist, who with his wife was featured with Jose Greco. They had about four days more of American tour to do and were to arrive about a week after I did. My very first day in Spain felt like I had been there forever. I don’t think it was just because I

was a Spanish dancer, I really felt a certain deja vu in the ambiente and had a real spiritual feeling

about it. From a combination of jet lag and excitement, I just walked around for about three or four days with minimal sleep. I’d wake up at 3 or 4 a.m. and go looking for churos and poras and café con leche with the street cleaners.

When Manolo and his wife Carolina dos

Reyes, came back, 1 moved into a spare room in

their apartment by the bull ring, right on the

Gran Villa in Madrid. I went there, settled down,

and we had a couple glasses of wine, and Caro-

lina said, “1'1l make some dinner.” I said, “I’m

going to take a little rest.” I had a headache that

I thought came from lack of sleep, and I wanted to take a nap before dinner. When! woke up and

walked in, they were laughing, because I had laid down on Friday and this was Sunday afternoon. They had come in and I was so sound

93

asleep they didn't want to disturb me. All that excitement and finally settling down just caught up with me.

When I first went to Spain, I just wanted to

melt into the ambiente. 1 didn't go to study or anything, I didn't have the money. I was just going to do what I could do, so I started going to the studios. I did know some people, had some introductions and I spoke Spanish. I arrived with a lot of confidence. I knew my compas, 1 knew my dance well, so I probably went there with a combination of confidence and naivety. Right from the beginning, things began to happen positively. I started to choreograph for an American fellow, Luis Rivera, and a

girl,

Maria Diaz, (who became quite well known later

as Maria Benitez), and Antonio Alba. The boys were from New York, she was from New Mexico via San Francisco, and they were a

trio. I had

known Luis for many years, because he had lived in L.A. Now they were settled in Spain. There were two main studios at that time in Madrid, where flamencos went. One was called

L’Amor de Dios, the other Estudio Calvo. Calvo

means bald, and this little bald man ran the

studio. I walked in there just because I was looking at the ambiente and meeting all the flamencos and the Spanish dancers. Luis Rivera saw me. He knew my choreography, and right off the bat he asked me to help them get some material together. So, I set some numbers and he paid me a few hundred pesetas. I would spend that money on rehearsing. Then I went to see Antonio, the very famous Antonio. I had met him in Los Angeles, because I wasable to find a pianist for him, when he came to the Hollywood Bowl with his company of 65. This happened just a few months before I went to Spain. It was at the time when Jose Greco was

thesymphony orchestra. But his pianist wouldn't travel because all of a sudden he’s frightened of flying. I sat in on a rehearsal, and he’s terribly upset, screaming and yelling: What is he going to do, he’s opening in two days and no pianist. Apparently they had gone over to Local 47, the major musicians’ union in California, but couldn’t find a pianist that could play Spanish music. So I introduced myself to Antonio, told him about Lydia del Mar. He was very excited and asked me to bring her by, she came and played for him and he flipped out. She auditioned for

about three minutes, he wanted to treat me like

her agent, but I told him I was just a friend. She toured with him and I saw them in New York. When I went to Spain I went to see him and he invited me to be in his company. I thanked him, but I didn’t want to be just a chorus boy with an all-male group. [had this idea that if I was going to perform in Spain — and this is where my confidence came in — that I wanted to dance with either Pilar López or someone of that caliber. But she already had Antonio Gades as featured dancer and I thought, “well, there's no way”. So I started

to rehearse,

I was about

four

Kramer movie with Vivien Leigh and Lee Marvin. Greco and his company played a band of Gypsies and prostitutes. Meanwhile, the pianist that Greco used on his concert tours was just hanging around L.A.

months into my trip, and down to $40, but I felt right at home and was having a good time. I was living in a pension at 50¢ a day, things were cheap then, of course. I was able to eat for about $3 a day. I knew a dancer who was in Teresa's company with me, who had an aunt that lived in Madrid. I went to visit this woman, to say hello from her niece and maybe also get a free meal. There was a Spanish padre, Father Montoya, visiting her at the same time. They started asking questions about me. He thought it was interesting that I was of American / Hungarian heritage and dancing flamenco. He happened to know a TV producer with a brand-new show on a brand-new channel and he thought I would make an interesting story for them. He thought they would even pay me something. It was an

Lydia del Mar. Well, Lydia had been rehearsing with me at the studio and just passing the time. We were having a lot of fun just working on my classical pieces. So, Antonio comes to Los Angeles with his giant company, plus he’s going to perform with

and danced two dances with a guitarist and that was that. That evening there was a call at the studio I was rehearsing at, and it was from Pilar López. She had seen this program, and she happened to need a dancer. Her first dancer had just left her

making

the movie

‘Ship

of Fools’, a Stanley

She was a marvelous Argentine pianist named

afternoon talk show. So I chatted with the host,

94

and she had a tour of Holland to do within a week and a tour of Europe. She wanted to know if I would audition for her, if I would be inter-

ested. Well, that was exactly whatI wanted ... ofall the companies ... I never even approached her. I had thought it impossible, that she had a full company, I had checked. She picked me up in a chauffeur-driven ‘55 Chevy, I’ll never forget that, it was great. She took me to a studio with a pianist and guitarist. She didn’t want to use the word audition, so she

asked if I would show her some numbers? I was shaking. This was the queen of Spanish dance.

She was close to 60 at the time. She’s the one who

turned out people like Greco, Lorca, Gades, and

Maya. So me if piece, ballet

I just started dancing for her. She asked I did something classical, so I did a piano a castanet piece, and a classical piece with slippers, then I did some flamenco.

Then she asked me, “If you want to be my

guest artist, you can start rehearsing tomorrow.” Within one week I was on my way to Holland, then we went to Belgium and France, and my career just started. It was incredible. There she was, and then my name right under hers.

So I started right at the top in Spain, and that

again gave me terrific confidence. I experienced a little jealous feedback from some in the guasa (company), though I got along really well with everyone else. As to the actual touring, I had to learn about eight or nine dancesina week. We had to take off for Holland, where we spent 32 days. Our European tour took us through Holland, Belgium and France. When it was over I signed on again because she liked my work and I re-negotiated a better contract. It was to me a great learning experience. Pilar Lopez was fantastic in her ability to teach partnering, and she approached the male dancers in an artistic sense. I felt another tour would be great, we were going to do the

Festivales in Spain.

We started in Galicia, near Coruña, in a little

town called Villalba, where there’san old Roman

castle. It didn’t even have a theatre, but the

mayor, a friend of hers, persuaded her to dance there. I think her family originally was from there. She was a very intimate friend of Franco and he was from Galicia.

In Galicia, being a non-Spaniard, I wanted to

see all and started walking around. We had an

extra day. I was about a half-mile from the pueblo on a country road when a farmer calls me over. I had a sports jacket on, and he wanted to know where I was from. “Oh, I’m from Madrid, danc-

ing here with the company.” He got to the point quickly after finding I had a job. “Do you havea girlfriend? I have a beautiful daughter. You should take her to the big city. She’ll work hard, she’s real nice.” He was trying to give me a wife, coming on real strong. I found myself running

away, if [had looked at her he might have got his shotgun out. Everyone thought it was real funny.

So we did the concert, and we had a very

interesting experience after. We finished the concert late, and we were all starving and wondering where we were going to eat. The driver of the truck found a private home where they take in people. About one in the morning we go to this stone building, probably built in the 16th century, and all these jambon serranos (dried

hams) are hanging there — fantastic. A woman

weighing

about 300 pounds

greeted us at the door, “Oh, La, Mamacita!” Just

jovial, we loved her right off. She brought us in,

we went into a dining room, and sat down at plank board tables, and she immediately told us how skinny all us little dancers were. I was thin at the time, all of us were.

So she brings out the wine and bread, and she comes out with this big pole gallego, a mix of garbanzos, potatoes and ham, a great stew. 1 thought great, we’ll eat that and go home. As we finished

that, suddenly,

she comes

out with

these big steaks, filletes they call them, and piles of French fries, saying, “You gotta eat!” So we're

going through that, and then salad, and then she bringssome fruit and cheese plates. We waddled out of there ready to burst — all for 50¢. I found out right away that a lot of the Spanish didn’t like flamenco. I was kind of naive like alot of people who think Spain is flamenco. I was wondering why, with Pilar Lopez, we did so many different concert numbers. Well, in the north, they only wanted to see the folk dancing — very little flamenco. They were very regional. I found out just how regional Spain was in those tours. Andalucia down at the bottom is flamenco. From region to region, it’s like one country after another. That was what was so unique. We wentinto the Basque country; we did San

95

Sebastian, this beautiful old theatre and I had an interesting experience there. It had little to do with dancing. I had a very close friend who was an Indonesian dancer. He was SpanishIndonesian married to an Asturian girl, and we palled around. He was a very spiritual fellow, named Edo, which was the old word for

Tokyo I think. He was quite an interesting fellow, born in Indonesia and spoke all kinds of Oriental languages. He moved to Spain and became a Spanish dancer and married Asucena, they had a little daughter named Lili. When we were touring she was about two years old. Well, the theatre had only recently reopened. It was an old gambling house right on the ocean that had been shut down during the Spanish Civil War. The salt air had rotted the wood, butit was very opulent, beautiful, with

marble floors.

I was downstairs, backstage, in one of the

main dressing rooms. Most everyone else was in the dressing rooms upstairs. Edo and his wife were upstairs. Lili had climbed up the stairs to go to Mama. These stairs were rotten and she had gotten to the top. For some reason I walked out of my dressing room. 1 didn't even know what [had walked out for, but sud-

denly, “Crack!” and I look up and here’s Lili coming down. She had leaned against a rotten wooden railing, had fallen and landed rightin my arms. It was a marble floor, she would have been

killed. I’ll never forget that, everyone was shaking after, I couldn’t even sleep, I kept reliving it all in slow-motion. Later on, when Isabel was with José Greco,

Edo and Asucena were there, and Lili was

treating her like an aunt. But this was before Isabel and I met, so it’s sucha small world! We

both knew little Lili! Speaking of José Greco, a funny thing happened when! was dancing with Pilar Lópezin San Sebastian. I was rehearsing by myself, and the stage was kind of dark, because it was during the day. I looked up and saw a shadow

watching me. It was Greco, he was going to follow us in — he and his all-flamenco company. I said, “Boy, you’ve gota lot of guts.” He

asked me if I knew San Sebastian, and I said

no. He took me toa great place where we could get calamares en su tinta, which is little squid in itsink. It was right across the street, which was

fun.

My trips through Spain were quite adven-

turous in the sense that, when

I went there,

what influenced me was the people I met, the places I ate, the ambiente all the way through. When I was in the Basque country, for instance, I took a bus ride around the town and sat in back of two Basque women who were talking. I’d never heard this language, so I just stayed on the bus as long as they did. I didn't even know where I gotoff, I was just following them, listening and looking around. We walked right into this plaza, and there was a Basque dance festival going on. It was quite outrageous, because to see Basque dancing is to see where a lot of classical ballet came from. They trace their dances back thousands of years. I learned a lot of regional dances while 1 was with Pilar López, we did the jotas of the north, and the Basque dances and the Valencian dances. I did a castellana with her, a Castillian folk dance. We toured right down the whole coast. This was before the turista rush that created Miami Beach along the Mediterranean coast. When I was in Nerja and Malaga, they were still like little fishing villages. They still had gun turrets from the civil waron the beaches. We danced a lot in bull rings, which was quite exciting. I learned a lot about how adaptable you have to be. Some of the theatres we danced in were pretty old and rundown, the floors were terrible, tiny dressing areas. Some of them were quite fine. But for a lotof the Festivales, which are the main government-sponsored summer festivals, we'd dance outdoor

arenas, bull rings, portable stages, that kind of thing.

Dancing in the Caves of Nerja In Nerja, which is where they have the famous caves, several interesting things happened. The cavesof Nerja are very much like the Carlsbad Caverns in the United States. They were discovered in the late 1950s orearly 60sby some kids near the beach, who noticed bats coming out. It turned out to be a gigantic underground cavern that prehistoric peoples had used atone time. The government put a stairway down, lighted itand opened it up as a tourist attraction, and they started doing summer concertsdown there. They were actually able to put close to a thousand folding chairs in, a portable stage, and lighting, and it was

hundredsof feet down. It took all day just to get the equipment down and do the setup. You had to walk down these chiseled-out steps, way, way down into the earth. It was59 degrees there, very cool. It was fantastic. I did a very dramatic flamenco solo, apart

from the group dances. Here was a ceiling that

was about 60-70 feet high, the water was dripping, bats were flying around, and I started to do a seguiriyas, one of the most dramatic flamenco pieces. I had two guitarists and a singer, excellent

musicians. It was a very gloomy sort of place, kind of red lighting, and being in a gigantic natural cave with about 900 people watching I experienced a spiritual /duende happening. I became the cave, I became the dance. I remember the bats flying around me, and I knew they would not touch me. Stalactites were drip-

ping continuously, drip, drip; it all added a lot of meaning for me as to why I was dancing. And

that was what I felt like, relating to nature, to be

part of it, relating to my surroundings, to earth, to the sky, to everything. For that small time,

that’s when I really understood what dance was trying to express.

It was a combination of duende, or the spirit,

and feeling some spiritual in-tunement with my surroundings, unlike being on a concert stage with a curtain. I was in a cave doing a primitive flamenco rhythm and I felt some connection so I that I was able to understand why humans have a creative process. I was in spiritual connection with my surroundings and it was a really profound experience. Also, it was in Nerja that I saw a band of

Gypsies living right on the beach in little tents, with their kids running around naked. The beaches were covered with little white pebbles. Icollected hundreds of them and made earrings for the girls with copper wire wrapped around. I went to get a glass of wine and some bread in a bar in Nerja, an ancient bar with an open door, very hot in summer, lots of flies. This guy came in with his donkey, or burro, and just sat

97

down ata table. The donkey came in with him and waited for him as he had his little tapas, talking, and the flies everywhere. Nobody seemed to think it unusual, I thought it was fantastic. In Spain, they had places like the Casa delas Gambas, which just means The Shrimp

House. They’d bring youa plate of shrimp, you'd peel them and just drop the peelson the floor. There was sawdust on the floor and they sweptit up. I never got sick, there was something about that time, before there were so many laws, that just seemed more natural. In Andalucia, when we got toGranada, there were Gypsies selling chumbos, kind of a spiny cactus fruit, you open them up and they taste kind of like a prickly pear. Weall bought themas we were leaving on a bus for a town called Motril, ona winding road out of Granada. Either because of intuition or I wasn’t hungry, I didn’t eat my chumbo. I used to carry a bota filled with wine and seltzer,

and I learned to carry some bread, because ona bus you can get carsick. So I was just sipping from my bota. Allofasudden, everyone starts screaming at the driver, “Stop the bus! Stop the bus!” Finally the bus driver pulled up, and everyone leaped into their own bush, and “Pyaggh!” When everyone got back onto the bus, they were just green. The combination of the winding road and that fruit just cleaned them right out. We got to the theatre, and I don’t think

that theatre had been used in 40 years. The dressing room had about two inches of

dust.We had tocompletelycleantheplace —_ | was Ina cave doing a primitive flamenco rhythm and up .

Our general habit was that when the

Ifeltsome connection so | that! was able to understand

why humans have a creative process.

bus drove up to whatever theatre we were performing at, everyone would jump out, and you were on your own. Everyone seemed to know how to do it in their own way, but I would go to some bar real quick and ask if anyone was renting rooms. Usually the bar or restaurant would recommend some duena. I felt it was very important in getting flamenco, so to speak, to live with the people. Spaniards are so curious by nature, that it’s impossible to go into a private home and just

rent a room and be by yourself. Once you’re in there, you kind of belong to them. Which is great! That’s what you want! You talk to them, you eat with them, they want to know about you, you want to know about them. You go places together. All through Andalucia 1 did that.

98

Flamenco Can Happen When You Least Expect It How do you go about seeing flamenco in Spain? Sometimes it happens when you least expect it. One of the most exciting moments in my life, as far as seeing a real spontaneous happening was in Sevilla around 1965. I was on vacation after dancing with Pilar López, and I took a couple of weeks just to walk around Sevilla. It happened around 10:30 ona warm August night. I had just finished dinner and came out of this little restaurant and was walking around, there were a lot of people on the street. As I was walking down a very narrow street near the Barrio de Santa Cruz I heard some palmas in the distance, palmas for bulerias, and some singing. So I walked over to this little market, kind of

like a Spanish 7-11. These guys were sitting right in front of it, on kind of a stoop, singing and

playing. And just about the time that I was

walking down thestreet, this cabbie pulled upin front of the market. He sat for a couple minutes listening, and all of a sudden he jumped out of the cab and started dancing. He danced a bunch of desplantes for bulerias, and jumped back into the cab and drove off. Nobody missed a beat, nobody missed a note. Another story from the same time, is about the Bar de los Pajaros. This means ‘the bar of the birds’. had heard about this bar in Sevilla which was famous for tworeasons. The guy who owned the bar used to crossa canary anda finch and get this very interesting songbird. This little bar was amazing, it was just loaded with little cages, and inside on little hooks these birds were singing up a storm. But besides that, he had one of the world’s

greatest collections of old flamenco 78 records

going back to Year One, plus a lot of written

material he had collected over the years — ancient books, anything that mentioned flamenco.

I don’t know if it’s true or not, but I heard that many of the writers, including Don Pohren, who

wrote three major books on flamenco, had frequented that bar and gotten some of their material there. It took a long time to locate it, but with some

friends, down a narrow alley, I found this little, ancient bar. It had a small urinal in the corner,

you could see it was purely a man’s tavern.

I sat down and ordered a tinto. In the corner I noticed this big pile of 78 records under a plastic cover, and alittle record machine. Aftera couple tintos, lasked the guy if it was possible to hear some of his records. He said, “No sound, no

sound, my record machine is broken.” It was just a little one, not an antique, but a square portable

that dropped records. He said the turntable went

around but there was no sound. It had been broken a long time. I asked to look at it, and he brought it over and sat itin front of me on the bar. [looked under the arm and saw the two-pronged wires were just off the needle.If I fixed it quickly,it wouldn't

be as dramatic as if I spent some time on it. So I took out my pocketknife and piddled and diddled and took about a half hour. A couple of tintos later, I got it working. I asked the man to bring a record over, and let's try itout. Well, the guy’seyesjustlit up. It played beautifully. And he was so happy that it didn’t cost him anything, that we stayed there until about six in the morning. He played every record that we wanted to hear and it was amazing. What was really fascinating was, he had records that I’ve never heard before or since,

singers that just made these old wax records. And then he let me look at some beautiful books printed in Spanish, nothing in English. I went back about 10 years later, and somebody else had taken over. Nobody knew anything about it. It was like something lost on the wind. It was quite unique, you never know where the real deep aficionados might turn up. This guy knew what he had, heknew, he had a plastic cover on them, he took care of them. He was an older fellow, and perhaps someone, if they were smart, now has an incredible collection of an-

tique flamenco. There’s another story that took place in the north. Pepin Salazar, a Granada Gypsy, born in Asturias, was the main guitarist in Pilar Lopez’s

company. He took a liking to me, and I was kind

of his primo. When the company went up to Asturias and the Basque country, all his relatives

were up there, as well as the relatives of Mario Escudero, the well-known flamenco guitarist. The Gypsies up in the north lived a little more hidden, because they were kind of outcast

99

... had to be cool. In the south they were more comfortable, but in the north there was a lot of prejudice. Pepin whispered to me near the end of one of our concerts, “Do you want to go to a family juerga after the concert, about midnight?” He didn't invite any of the others, so 1 got a chance to go with just this one other old Gypsy singer. We got to San Sebastian, down at the old port. We banged on this big wooden door, and it opened up, and the smoke poured out, and there were about 80 or 90 Gypsies in there, drinking sherry and smoking and laughing. They say Pepin, “Oh, Pepin, primo!”, cousins and all that

family business. So we went in and I sat right next to him. I was definitely outcast from the beginning, because this was family, and it was strictly the Spanish Gypsy flamenco thing. A couple of interesting things happened. He introduced me as his primo, so since I was with

him I was accepted. He started to play pretty much right away. Then a bunch of people sang, and this old guy sang, and that old lady sang ... I didn't know it, but this was a Gypsy prewedding party. The young novios were in the corner of the room, it was exciting.

Anyway, about an hour later, one very good singer (the only person there who had ever sung professionally) pointed to me and told Pepin that he’d like to see me dance. Pepin had said that I danced well, and they all wanted to see a pavo, a non-Gypsy, dance, because they couldn't believe it. So 1 had a couple belts of sherry, and I got out on the tile floor and did a soleares, and he sang for me. Apparently I was accepted — they all clapped and kind of mellowed out, whereas at first I was getting some pretty rough stares. Now they knew I had respect for the art. But the most incredible part, and I’ve mentioned duende, was what happened about 2 or 3 in the morning. There was a young girl, a very pretty little Gypsy about 17 or 18, barefoot, washing the cups we were drinking out of, and she was just hanging out. Her father called her out— she was shy as all get-out — and asked her to sing. Pepin asked what should he play? She really didn’t know how to sing with guitarin the sense of compás. All she knew was how to sing. So he coaxed her to sing, and she just sang without music. Without over-dramatizing, this girl just climbed into herself. I know my goosebumps

were as big as they could be. We all ended up crying at the end. She went into this trance. She sang this free fandango that was so incredible, it was a blunt-moving experience. When she stopped singing, there wasa pause. It was probably a few seconds before everyone applauded. She had moved us. Then she snapped out of it and ran back in and washed dishes. But while she was singing she just transformed into this old lady. You could see it in her face, she had transcended

time. If there was ever any experience of duende, that was it, in the sense of everyone being moved.

It was rare because unless you really know

someone, and I was just fortunate, it’s really a

behind-closed-doors juerga spiritual happening, duende and the whole thing. I saw that just once before with a young child. And l actually saw it in Los Angeles. It was a girl who is a very good dancer now. A daughter of a couple, Ramon de Cadiz whom I knew, and his wife Maruja Herrdia, who was a true Gypsy. He was a Spaniard from Cadiz. Their daughter was about seven at the time. They were having a baptism for their younger son, who had just been born. All the flamencos in Los Angeles at that time, even Carmen Amaya, came

to this little house they were renting on Sunset Boulevard in Hollywood. This little girl was playing around, just a typical little kid, and the father called her and told her to dance soleares. This little cutie, baby movements just like any seven-year-old. All of a sudden Mario Escudero started to play the guitar and Ramon started to sing, and she took her pose. And again the goosebumps. Because right while I was watching her, she transformed into an old woman. I say an old

woman because it was like a mature entity; as

she danced the soleares, everybody went absolutely crazy. She had all the power of an adult.

The

footwork,

the energy,

she

exuded.

This

young girl danced a soleares that was ageless. It’s something that she had that was just ingrained. It was something that was there. And when she was through and snapped our of this trance, she was back to a little girl again. But while she was dancing, her movements, her en-

ergy, her facial expressions, were timeless. It was flamenco in this young little body. It was the most mature soleares I had ever seen in my life.

Istayed with Pilar Lopez fora year anda

half,

100

and I probably could have stayed much longer. But I finally decided that I had ‘done’ that. I felt really good about the fact that I was able to step into a great touring company. That whole first

trip was for me perfect in the sense of getting what I wanted out of it. Probably my most profound experience during that tour was dancing in the caves in Nerja.

Café Chinitas — An Experience in Spain In 1971, my wife Isabel and I went back to Spain with the same philosophy that I had on previous visits — to just climb into the ambiente. When we arrived in Madrid, we stopped by Amor de Dios Studios to say hello to friends and Jose Maria, theowner,

and job was and

the very first day we were offered a in Istanbul, Turkey. It was crazy; I not ready to leave that fast or stay rehearse at Amor de Dios. We started to take long walks throughout Madrid; then we went to Sevilla, Córdoba, Granada, and back to Madrid. We went weekly to Peña Charlot, a flamenco singing club, many tapa bars where much flamenco of the moment was performed, and basically soaked up Spain, its streets and people. I started to teach an escuela bolera class and a flamenco class at Amor de Dios,

along with regular rehearsals, when a friend of mine introduced me to Victor Monje ‘Serranito’, who asked if I wanted to cometo the tablao Café de Chinitas and do a number or two (a polite way to ask for an audition). Serranito, besides being a fantastic

guitarist, was sort of the director of the

shows at Café de Chinitas. I came the next night, met the owners, and

then

Luis Carmona (one of the Habichuelas).

The singer, El Moro, Indio Gitano, and I

| Dancing with La Chunga at Café Chinitas in Madrid

talked over a rehearsal. I decided to do seguiriyas as everyone in the preceding cuadro was doing soleares and alegrías. | followed the first cuadro. It was very exciting, on the bill were María Vargas, Serranito, Carmen Casarubios, and Teresa Maya,

who I had met many years before when she was with Greco; what an artist! With only a talked-through rehearsal, I don't remember what I did, but it felt good and the

owners asked if I wanted to start the following night as a soloist with my own cuadro. I almost fell over with surprise, delight, and I am not ashamed to say, ecstasy. My previous trips to Spain were all very fruitful with much timely luck, as I was guest artist with Pilar López and concertized throughout Spain and Europe. But I had never worked in a class tablao with so many superb artists, and as a soloist yet. I was in

101

Flamenco Heaven.

The first day there, I went into the men’s

dressing room, where six guitarists, five singers,

and myself were squeezed into a small room. They were all practicing, running scales, singing, telling jokes, and involved in “who sings better than who’ conversation. I hung up my costumes, took my clothes off to change, and did a few stretches and bending exercises. All of a sudden, everyone stopped and stared at me. They asked me what I was doing. There I was in my dance belt, warming up with some stretching exercises. They did not comprehend a bailaor preparing like that. From the start, I got along well with all of the people, who were mostly gitano. They said that I could not be American to dance the way I did,

and since my parents were from Hungary, I

became “El Húngaro”. It is so typical in the flamenco world to be given a nickname. I did an alegrias in the opening cuadro, and following Serranitos’ solo spot, I had my own spot. I danced seguiriyas, tarantos, and soleares with two guitarists and usually El Moro singing or Chato Amaya. When 1 was there, the artists were excellent and serious and my memoriesare

of real joy. After being there about one month, La Chunga came back from a tour of Galas and opened in the Café de Chinitas. She was also part-owner. She asked if I would partner her in a few numbers and there began another very joyousartistic relationship. She isa serious artist and allowsno unnecessary guasa that is so prevalent in tablaos. Everything was of high caliber. In between shows, downstairs in a sort of waiting room, many fine artists would come in and jam with Serranito who isa real giving artist (we became fine friends). My experience working in Café de Chinitas, a tablao in Madrid, was

one of growth, of meeting fine artists, of being treated with respect and being judged on my art, not who I was. I was there for nine months. Then we went south for a visit and then came back to the United States where we had a cross-country concert tour to complete. Going to Spain, even on short money, should be spent not only in the studios, but in absorbing the ambiente, feeling, atmosphere, the weather, the land, the food, and conversation. The ab-

sorbing of this totality, by some form of osmosis, gives that special inner ingredient to living flamenco.

102

shoemakers are Artists, Too: Asa young person, l already realized that life was more than just eating and making a living. I was very interested in positive thinking and spiritual things. At a very early age I was influenced heavily by ‘The Prophet’ by Gibran. My own personal philosophy is that we are all born with some kind of a creative outlet. Everything on earth, except a human being does, basically, what it does. The human being quite often tries to be something that I feel he’s not even born to do. I feel it not so much as destiny, but we all have a certain draw, a certain individuality. When I found flamenco, right away I was emotionally and spiritually moved, touched on an inner chord. I had an experience when I broke a boot in rehearsal in Spain, and I went to a shoemaker. This guy had a little hole-in-the-wall shop, no electric tools, everything done the old way. Iran in like a typical hurrying person and asked if he could fix the rip, sew it up right away for me? He said, “After lunch”. He was just closing up for

the siesta, and I said, “Oh no, no, no, I need it

right now.” “No,” he said, “I’m going to do it right. Come back this afternoon.” I could've given him a thousand dollars, but he had a certain pride about him, so I said, “Okay, okay.” I came back when he told me to, and his wife

was sitting in the corner knitting or something.

And I said, “Is my boot ready?” Yes, and he

hands me the boot, and the way he handed me the boot was incredible. He just picked up this

boot like he was picking up a Stradivarius violin

or a baby. He had a beaming smile on his face and he showed me my boot, how he had fixed it with such pride. He had the stitching beautifully done, it was glued, it was in place, and I think he charged me 754 or something, but I’ll never, never forget this

man for as long as I live. He was an artist, he treated that shoe repair as if he were retouching the Mona

Lisa. This was his creative outlet, he

had such pride in his work. He was just as much an artist ... it was a

humbling thing, because I was the dancer run-

ning in, and I want my boot fixed right now because I’m so damned important. Well, he was important too, and he taught me humility. He was a craftsman and an artist. That was his art.

I don’t think people want to live to work, I think they want to work to live. And I think flamenco spirit has a lot to do with that kind of concept, of trying to make an art out of living. The flamenco outlet is a physical expression of that. That’s the way I approach it anyway. The point here is to become intune with your creative spirit. The dance is just a vehicle. Flamenco to me isa vehicle to get intune with some positive emotions and positive feelings. And if you can multiply that by the type of person you want to be — I'm trying to reflect this attitude to my students, wherever I teach — then maybe you canreacha certain co-creativity with nature. A lot of times I talk about creativity and art, and right away people separate that from everyday life. People say, “You're a good dancer, what do you do for a living?” The point is that creativity is in anything you do! A message

might be — find the creative as distinguished

from the destructive, as opposed to being in neutral. If you look atsociety, there are a lot of neutral people out there, people that just get up in the

morning, do a specific task to make some money

to pay the rent and food, go home, watch the tubeand fall asleep. There’s a multitude of them,

and I feel that a lot of alcoholism, drugs, vandalism, a lot of that kind of boredom, comes from

this. If they only would just say, “Who am I?” and be willing to take the chance to find out. What if it would happen that by some miracle, people are willing to say, “Damn it, I’m going to pick myself up, and before it’s too late, find out who I am. I’m going to blossom, I want my flower to blossom.” I feel we’re here because we have to express something, and if we don't,

then we’ve wasted our purpose and our existence doesn’t mean much. The reason people are doing more negative things, going into alcohol or whatever as an

escape, is because

they are not encouraged.

think society encourages things like productivity, kind of a drone aspect. Go to the factory and crank out those parts, make a buck and go spend it at the company store and with the government.

I

Even though America was built by selfemployed individuals, today’s society doesn’t

103

encourage real individuality. So it's a strange phenomenon of trying to be an individual in a society thatdoesn'thelp you withit. And yet,that could bea key to some kind of reversal of all this chaos in the world. There's a proverb in Japan which translated, says, “Nail sticking out must be pounded down.” So it's not just our country, it's all countries. The salvation, as I see it in my own miniscule world, is that the universal language is the various arts. Nobody agrees on religion, nobody agrees on politics. When I met the Kirov Ballet in Los Angeles in 1958, it was fantastic. They were rehearsing in the same studio, getting ready to perform at the Hollywood Bowl. I got to know two of them real well. They gave me some slippers, I gave them some fruit; we were together as much as we could be until the last. I was watching them

dance, my door was open, it was an amazing immediate thing like children getting to know each other or dogs or cats. The arts do that. The arts are that universal language. Your message as a performer is the same message you give asa person, hopefully. It’s just an extension. Instead of a one-to-one basis, you're communicating on another level. Spiritually speaking, you have to give. If something doesn’t give, then that’s where the negative starts to sneak in. You forget the reason why we're here — which is to give something back, I really believe that. I do know that someone who is into the spirituality of their particular focus and is doing something creative for mankind, then they’ve served their purpose here. As a positive drop of water in this gigantic ocean.

Becoming Professional, Being Professional The word ‘professional’ usually signifies someone who has put ina great deal of time and effort to become an expert in a chosen field. The true meaning of professionalism goes far beyond just getting paid for what you do. It is a responsibility toward what you do. One’s profession is synonymous with spending a great deal of time with that profession, studying that profession. Perfecting and refining it and dealing with the business of a profession so that it will be a benefit to all concerned. In the case of flamenco, like all performing arts, the benefit goes beyond the artist, beyond the sponsors, buyers and public and even beyond the art form; for it should benefit the feeling, the meaning of the art of flamenco as a whole. Flamenco dance as a profession holds a very special place in the world of dance. Although flamenco dates way back, it has only been in the last century, (more or less since the rise of the café

cantantes), that flamenco dancers have been performing in a time and space, professional manner, with set-type shows, receiving some sort of salary, performing in front ofa public that has come to see skilled artists performing good flamenco, with knowledge and understanding

of the art. Flamenco also holds the distinction of being one of the few dance-performing-art forms that can be performed in almost any space — from a very small tablao to concert halls, in the

round or in literally any space big enough to movea bata — hopefully witha resilient, woodentype floor. This has been both good and not-sogood for the art form. Art, by its very definition, is one of the highest levels of human expression. The art of flamenco is one of these highest levels of human expression and communication. To approach flamenco as a professional wanting to express flamenco in its highest level of serious artistry, is a great responsibility, for you are a representa-

tive of this great art form that is often misunderstood. The very flexibility of the performing possibilities of flamenco have unfortunately drawn many people who are not ready to represent this beautiful art to its fullest potential. Many beginners feel that after a short time of study they can put on the costume, dance their routines and clichés and think that the public does not know the difference. This sounds very basic, but too many people fall short of representing flamenco because they have picked their talents ‘too green’. The approach to the profes-

104

sion of flamenco is no different than any other serious art or profession. It takes great respect for the art itself, which is one of the keys to crossing over to the professional level of the art. The profession of flamenco or any art is a primary use of one’s time, of one’s life and focus. This has been lacking, with the fault of this lack lying on many levels.

sional, they should be willing to goall of the way — with patience, sincerity and a great respect for the art. Don’t be in a hurry. Get your ground work and keep your love of the art alive. Dance a thousand benefits to get experience. Go to hospitals and do shows (even La Chunga does that),

been used primarily for tourist attraction. They encourage the clichés of flamenco with often

other clichés, basically tourist-oriented,

Dimes shows and anywhere else that you can polish your performing level by giving of yourself to the art. Dive into your apprenticeship. I do not pretend to be able to know when the transition from the so-called amateur aficionado to professional performer will come about. It is different for everyone and each person’s experi-

the old tablao, ‘La Zambra’, where they had fla-

Get to know flamenco. As a dancer, approach

Flamenco in many of the tablaos in Spain has

times mediocre talent. Some tablaos emphasize

the bevy of gorgeous girls in slinky leotards, paradinga few pasos or soleares or alegrías. Others emphasize the fast, furious stomping of the floor and

passing it off as flamenco puro. Oh, how we miss

menco with dignity, class and integrity. An important thing to realize is that the general public may not understand the compás or thé art form itself, but I do not underestimate

the public’s inner feelings of what is good and what is mediocre representation of flamenco.

This has been learned the hard way, especially

by dancers coming to the United States who have thought that the Americans did not know the difference between good and mediocre. This attitude has only hurt the art form, and the potential of the fine artists that are trying to keep flamenco a living, breathing, vital art form with as many opportunities for the artist and public as possible. Basically, there is no shortcut to arriving ata level of flamenco professionalism. You have to give a great deal to the art before you expect to receive. If someone studies in college, say in medicine, they must go through the basics over and over for years. Who would go to a doctor who has only studied six months or a year? Why should people who have studied a few months feel that they can represent flamenco as a profession? When is the respect for the art and for themselves as a true representative of this art going to be realized? This chapter may ruffle a few personal feathers, but let us realize that flamenco can be at a thousand levels. If a person wants to be an aficionado, a lover of flamenco, and in general,

live flamenco night and day — this is beautiful, fantastic, go for it. If one wants to arrive ata level of representing flamenco as a serious profes-

retirement homes, schools, PTA’s, bar mitzvahs,

weddings, wakes, juergas, churches, March of

ence and life. There are basics for all, however.

flamenco as a dance, a singer, a musician, with

good technique, pride of body, knowledge of all flamenco forms and your relation to the singers and guitarists. Learn programming if you are setting a show. Do notshort-change in good costumes with good taste and class. Have good publicity materials made. Learn staging, lighting, and basic stagecraft. Theprofession of flamenco goes way beyond being a good dancer. You are a representative of the art itself, and 1 cannot overemphasize this enough. Since many people of this generation have never seen flamenco, and maybe only have heard about ‘flamingo’ dancing, it is up to the contemporary up-and-coming artists to see to the rebirth of flamenco in its true glory. It can be

done if represented to its fullest potential, its fullest power of communication. Many potential bookers and buyers of flamenco are out there if they can be educated and given an awareness of the positive side of fla-

menco. That it is indeed a serious and beautiful

art, an entertaining art and that like other performing arts it can be worthwhile to represent in their art series. The word ‘professional’ should be synonymous with quality. A person that wants to grow into the profession of flamenco should be willing to ‘pay their dues’ in the search and growth of quality in their representation, and to maintain their quality. You, asa performer, are the art of flamenco itself, so that deep personal respect for the self and theart should shine through atall times. The possibilities for professional flamenco

105

artists are there if you are a survivor. You will begin to see them, apart from teaching, which is another great responsibility. Thereare too many people teaching flamenco who do not yet know what flamenco is. For one example, I have met a person several times who

knew very little of the compás, the art, and her total understanding of flamenco technique and interpretation was minimal. Yet she is teaching, and worst of all, as a rationale for her ignorance, “Well, Iam only teaching beginners and intermediate students.” That is the worst abuse of flamenco, because it is the beginners who need the best training for developing good habits and understanding. This is one example of trying to

be professional too soon, just to make

a buck

from the art and feed the ego. Oncea person arrives ata level of professionalism, then the packaging of their approach to the art is of prime importance, if they are indeed going to have a career in flamenco. Their true individuality as a performer, business person, entertainer and all of the other facets of professionalism must be nurtured. I emphasize artist, performer, business person and entertainer because these are the ‘flowers’ in the profession that need constant care, along with the individuality and uniqueness in them. No sponsor is going to pay for an art just because it is an art. It must say something unique through the artist. Flamenco,

the entertainment

of flamenco,

cannot beoveremphasized. Yes, flamenco should entertain as a performing art and on many levels. It cannot just be the deep message of flamenco. Balanced programming is important — just as a balanced meal is important for one's health — for the health of a good flamenco performance. I mention the business of flamenco. The business of flamenco is, for one thing, the total communication between potential sponsor or buyer, flamenco artist and/or their representa-

tive, and the public that will pay to see the artand artist. Nothing should be taken for granted, for your knowledge and expertise of the art must be translated to the buyers in terms that you both understand, which will best represent you the

artist, the sponsor, the performance and the public. Talk — know what you both might want and need to make a successful engagement. And this goes farther than just the fee. As I mentioned, good publicity materials are a must. Spell it all out tastefully. Learn the possible potential sponsors and when to contact them. The ‘product’ of flamenco should be packaged as beautifully as you possibly can, with great integrity. Develop the philosophy of delivering a great total show, so that you will have return customers. Egos,

temperaments,

jealousies, envy

and

so-called competition are as much a part of the flamenco world as any other. This only works against the profession. Giving is the most professional attitude, and with individuality and true artistry, there is room for all. Thisis often proven in other professions. There should only be positive attitudes toward the art and fellow artists. This may seem naive, but if everyone lifts the profession of flamenco up by rising above all of the petty thoughts and actions of today’s fast world of technology, then there truly will be a profession of flamenco. It will be a sought-after profession, not only by the artists but by the public and patrons of the arts. The art of flamenco as a performing art is the highest focal point, worthwhile reaching for as a profession if that is who you are and it is in your blood. It is also maintaining a professional attitude that cannot be taken lightly. It is like a garden that needs constant care and respect. But like a garden, it will give rewards of beauty, joy, drama,

emotional

and

spiritual

approached with truth and love.

satisfaction if

106

Inspiration — Carmen Amaya Like the word

art, duende has been

quite over-used, and I hear it used in the most casual ways, as if it were something to buy or receive after a few of life's experiences. There was, however, a person who was the essence, the living example of art at all times. This was recognized by anyone who

ever saw Carmen

Amaya,

or

should 1 say, experienced one of her performances — duende to spare! In every art there are the few originals, the inventive creators who inspire others, who change the art or re-direct its natural,

traditional evolution. Carmen Amaya was a very powerful force in the art of flamenco. Her originality inspired many and her artistry became international flamenco,

traveling to all corners of the world. I am writing this not only to present my experience of seeing and knowing Carmen, but to share with people in fla- = comen Am aya and Teodoro Morca, 1958 menco today who never had a chance to see her, the intense feeling that I hope comes across and inspires that search for someexperience I had had. She had the magic ability thing special in flamenco. to ‘become’ whatever she was doing, and yet she I met Carmen Amaya when she came to Los had such humility off the stage. Angeles in the mid-1950s, and I can truly say that I cannot take all the space that would be she was the single most inspiring influence in needed to explain each of her dances, but she my search for what! felt and feel about flamenco ‘was’ whatever she was dancing. Whenever she in total. The one word that describes my first did her soleares or siguiriya, you felt like you impression of her is energy. She had such an were being crushed inward, and her ability to involve the whole audience was awesome. intense energy in and around her being that it instantly filled an auditorium. She was the only When she sang and danced bulerías, with person that I ever saw receive a standing ovation Sabicas playing, you felt like a charged battery upon just dance-walking out to the center of the and felt like leaping up and joining in — almost stage, and not only by aficionados — my own a revival meeting atmosphere. When she came mother was crying and she had never before outin thecuadroto do her alegrías, usually dressed seen Carmen. It was instant turn-on! in pants, shirt and vest, she literally created total I was awestruck with the energy she radiated converts, not only to herself and flamenco, but to in just walking, with that tiger-like way of the joy of living, because it was really an ecstasy of the moment. movement; the energy, power,emotionand total spontaneous control were things that immediShe was a total dancer, a master of the bata de cola and her physicality was a complete integraately etched into my being and itis the essence of tion of the total body. Her ability to ‘become’ the that totality of artistic, individual force that so dance at almost every performance was infecinspired me when I first saw her. tious to any public. In 1978, while doing a concert at the UniverShe stayed in Los Angeles for quite a few sity of Maryland, I met a person who had seen months and performed at the old Casa Madrid, that same Carmen Amaya concert twenty years where nightly she danced miracles. I can say that before, and he described to me in detail the same

107

those months gave me some of my most important lessons in flamenco — just watching that energy, that emotion in motion — not the steps, but Carmen becoming or being the essence of the feeling of flamenco. She was an individual, an innovation; she

danced, acted, and sang with her total body and soul — movements and rhythms and interpretations that are still copied and re-copied by today’s flamenco artists. Her greatest lesson should be — ‘seek your own originality’. Carmen was so generous off-stage as well as on and would give benefit performances for needy causes, such as dancing in the old Plaza Church in downtown Los Angeles and accepting only a bouquet of flowers. She let me watch her rehearsals, and I found her knowledge of all forms of Spanish dance to be incredible. She loved the classics and seemed to be a perpetual student of all forms of Spanish art. The last time I say Carmen in person was when she came to see me dance. I did not know

she was there, as she came in with a big party of people and sat next to the stage, right in the center. I came out to dance alegrias with our late beloved Pepe Segundo singing and Benito Palacios and Rogelio Reguera playing guitars. When I looked down and saw her, my knees almost

buckled, but she had such a giving smile, as if

saying, “I’m here to enjoy!”, that I lost my inhibition and danced as full-out as! could. After the show, I joined the long table of people and, as soon as I sat down, Carmen passed me her personal glass of champagne. I will never forget those months of experiencing a person who lived a beautiful art — off and onthe stage, the living essence of life and art. She will never die because her soul lives on as living flamenco; energy and feeling do not die. Carmen Amaya was the essence of art, a univer-

sal inspiration to all. She was a comet, to be enjoyed as something beautiful and unique. Her art is timeless and, hopefully, her energy will always live on.

The Many Other Faces of Spanish Dance The Folk Tradition To many people, thinking of dance, Spain means only Andalucia, flamenco, but Spain is comprised of many smaller countries or regions, each with its unique customs and (often) indigenous language. There are 13 principal regions within three main climatic regions. The northern third of Spain is green, rainy and mountainous. Beginning in the west, its six regions are Galicia,

Asturias, the Basque provinces (Alava, Biscaya and Guipuzcoa), Navarra, Aragon and Catalonia. The central section of Spain, a high and arid

plateau, contains Leon, Estremadura, Castilla Vieja, Castilla Nueva, Murcia and Valencia. The

southernmost region of Spain, and the most important in terms of Spanish dance, is hot, dry Andalusia. It would take volumes to describe in detail each and every regional folk dance style. But by examining just the highlights of some of the dances of each region, we can begin to understand the great variety in cultural traditions. In the northwest corner of Spain, the Gal-

icians or Gallegos, speak a unique language, a blend of Spanish and Portuguese. Yet the first time you see the favorite dance of the farmers and fishermen of this rolling mountain land, you are left contemplating Galicia’s links to the British Isles. La Muniera (a name derived from the Galician word munino (mill), is a couples' dance symbolizing a courtship ritual. The woman plays a passive role as her male partner executes a series of leaps around her, accented by Celtic

yells. This is the Irish Jig of Spain, a highland dance accompanied by the music of drums and bagpipes. In fact, the gaita (bagpipes) were found in Spain before they were ever identified with the Scottish highlands. To the east is Asturias,

the mountainous

Cantabrian Sea coastal region thatis the home of the vaqueros, the original cowboys. Asturias was the only part of Spain never to fall to the Moorish invaders. Perhaps because of its relative isolation, it claims the oldest dance in Spain, La Danza

Prima.

|

There are many theories about the origin of

108

La Danza Prima. Prehistoric cave drawings show men and women in basically the same stances and patterns as dancers follow today. Some say it was created as a religious dance; others maintain it was a battle dance of the Pyrrhic Wars. Whatever

its genesis, La Danza

Prima

is a

simple round dance performed to the accompaniment of singing. Dancers form a circle, each

holding the little finger of his/her partner. The

circle moves slowly counterclockwise; the usual footwork is one step forward, two steps back. Sometimes, in an allegedly older form of the same dance, the men make an outer circle sur-

rounding an inner circle of women, reflecting a theory that priests insisted on separating the sexes. The Basque provinces are home to the richest and most original dance tradition in northern Spain. The Basque people are neither Spanish nor French in ethnicity, they are purely Basque, and they live this fully. Some anthropologists believe they are the Original Iberians. Indeed, the Basques trace their history as a people back 5000 or more years. Their language, one of the most difficult on earth to master, is completely different fromany other known tongue, linguists have been unable to trace its origin. These people of the lower Pyrenees have literally scores of complicated and highly developed dances. Remarkably, in this ancient dance tradition, one can see all the techniques and steps later employed in classical ballet. The foot is not pointed nor is the upper body carried like that of a ballet dancer, but the five basic ballet

positions are there, along with pirouettes, all

types of batterie, rond de jambe, battements, cabri-

ole, jeté, tours, and so forth. Much of the foundation of modern ballet can be seen in Basque dance. To the Basque, dancing is more than mere pastime; itis ritual. Dances symbolize the healthy

life of the village and might with justice be called dances of collective security. The main musical

instruments are the chistu (a small three-holed flute) and tambour (drum).

The most important Basque dance, the Aur-

resku, is a composite communal dance made up of a series of seven variations. The leader of the dance, the aurresku (first-hand), sends four men

to fetch his bride or chosen partner. He dances an elaborate array of complicated steps, jumps

and leaps, showing off his strength and mascu-

line grace. His foil is the atzescu (tail), who shows

off his most athletic bounds at the opposite end of the line. During this zortzico (a dance variation

in 5/8 time) the dancers forma

circle around the

aurresku, who continues his aerial jumps and turns. In the desafio (challenge), the aurresku and

atzescu each try to outdo the other in his most

complicated steps. The energetic arin-arin, similar to the Navarran Jota without castanets, con-

cludes the dance.

Another series of dances, structured like a play in five acts, are called the Espata Danzas.

These sword dances go back centuries to the

province of Guipuzcoa. Several male dancers,

each witha sword in his right hand, cross and recross the arena with jumps and rapid steps. After an increasing flurry of floor patterns in which the dancers barely miss the others’ weapons, they interlock swords at shoulder height, and carry him off toa symbolic death. This finale indicates a ritualistic sacrifice. Between the Basque country and the old kingdom of Aragon is Navarra, encompassing much of the rugged western Pyrenees. Los

Navarros, like the Basques, have a unique lan-

guage totally unlike Spanish.

Their Fiesta de San Fermin, held in the Navar-

ran capital of Pamplona in early July, has more fire and excitement than any other fiesta in Spain. Ernest Hemingway wrote about the running of the bulls through the city streets in “The Sun Also Rises”; little has changed since his day. The main dance of Navarra is the Txun-txun, not

unlike the Jota of Aragon. It is danced with a different grace and costume, and is a bit slower and fuller. La Jota, a courtship dance of Aragon, may be the most exciting Spanish dance regularly seen outside of the country. It is a highly developed folk style, energetic and athletic, danced in copla form to the accompaniment of singing and ban-

durria (similar to mandolin) music. Usually a

dance for couples, it can be performed in groups or solo at certain fiesta times. Many feel that the flamenco alegrias came from the jotas. The most popular form — La Jota Alta of the valley of Anso — is Spain’s answer to the Highland Fling. It is characterized by arms held in an open position to the side, with hands held upward, “Like sausages hanging from a wall”,

109

according to an old Aragonese saying. The castanets (called pulgaretes in Aragon) are played on the center finger. Dancing La Jota is an art. There is great emphasis on complicated footwork and control of frequent sustained jumps, the ‘hitch-kick’ type being especially popular. Knee-drops and pirouettes accentuate the jumps. Rapid movements are dramatized by abrupt pauses, during which dancers hold themselves immobile for several measures. The man does the most energetic steps while his female partner plays a more passive role, seldom jumping but dong a greater variety of foot placements and figures. Male Jota dancers wear knee-length velvet pants with vests and wide colorful sashes. The women wear full peasant skirts with highly adorned blouses. The shoes are called alpargatas (with soles of hemp-rope) typical of those worn by country people all over Spain. Pedro Asorin is the most famous jota teacher of our time. Catalonia, the most heavily industrial region of Spain, is located on the country’s northeastern Mediterranean coast — the Costa Brava. Its capital is Barcelona. Like the Basques and Navarrans, the Catalans like to proclaim their

uniqueness from Spain with theirown language. One of the most important dances of the region, La Sardana, is morea ritual of community spirit, of Catalan unity, than it is a dance. It is as much a part of Catalonia as all the work and industry combined. People from all walks of life dance it in everyday street clothes. La Sardana is a round dance without technical difficulty. At first it looks simple; the circle moves two steps to the left, two steps to the right, in short and long steps called curts and llargs. But the form is rigidly set so that the dancer must come out on the exact number of beats, and on the correct foot. The number of curts and Ilargs are unalterable, and a miscount will throw the

dancer off for the rest of the dance. A group of musicians called the cobla accompany dancers on flaviol (flute) and tambour. South of Catalonia, down the Mediterranean coast, is Valencia, Spain’s Southern California,

with its beautiful orange groves and flowers. The grace and costumed beauty of Valencian dances reflect the love of life of the people. “Perhaps the Greeks left them a strain of philosophy and the Arabs a taste of color,” wrote the great American Spanish dancer La Mer. The

women dress in beautiful pastel brocades with high brass combs in their hair and streamers from their fingers. The men wear satin pants and

jackets. The best-known dances, La Valenciana and

the Jota Valenciana, reflect the long lines of the classical court dances. In fact, many of the court dance techniques derived from Valencia. The arms move in full round positions, much as in ballet pour de bras. The dances are in copla form and are couple dances. There is a gentle aristocracy of movement, and interpretation. The Jota Valenciana is an elegant dance, not so energetic as the northern Spanish dances, not as sensual and fiery as those of Andalucia, but happy and gracious in character. The

region

of Murcia,

wedged

between

Valencia, Andalucia and Castilla, exhibits char-

acteristics of all three neighbors in its dance and folklore. Older dances like the Parranda are still seen in regional festivals, though they are rarely performed by younger people. The Parranda isa round dance to the Seguidillas rhythm, with a change of partners between coplas. More popular today is Las Murcianas (also called Las Huertanas), in which the male partner shows off his acrobatic talents to an Andalusian malaguena tempo. Because many of the dances get their names from the songs accompanying them, there may at first appear to be an endless variety; in reality, there are many variations of

the same dances. This also true of the various dances of Spain’s high central plateau — of Castilla Nueva and Vieja (New and Old Castille), Estremadura and Leon. Many of the beautiful dances, including the bolero, seguidillas, jota and fandango, came

from refining the rich variety of folk dances by mixing them with classical and court dances. Today the most popular folk dances of the regionare the myriad variations of Jota Castellanas. Styles, costumes and interpretation differ mark-

edly from city to city, province to province. It would take many books to go into all of the subtleties; many of the individual regional dances

have the same rhythms, mostly 3/4 or 3/8 time,

and a similar communal appearance. But while many of the dances of central Spain display great similarity, there are a number of curious exceptions. One of the earliest dances performed in Castilla Nueva was El Baile de la Manzana (the Dance of the Apple), often

110

included in wedding festivities in the Toledo area. The bride is obligated to dance with every man who places a coin in the center of an apple which she holds impaled on a knife. In the lower Pyrenees of Castilla Vieja, Las Pasiegas begins slowly with dignified rows of men and women facing each other, then gradually picks up its pace until the men are leaping and kicking as the women remain coy, glancing occasionally at their partners through downcast lashes. There are variations in which partners engage in a lively and intricate duet. Estremadura, which stretches along the Portuguese border, favorsa couple dance of Basque

ography, music and emotion, each characteristic of its region of origin. Some dance aficionados have made a lifelong study of these traditions. The Spanish governmentsponsorsa group called Coros y Danzas de España (Songs and Dances of Spain), dedicated to finding, preserving and revitalizing folk dances. To be aware of the existence of this variety is important to students of dance. Spain’s largest region, both in terms of geog-

dances are influenced by Basque and Castillan

Andalucía. This broad region stretches from the

origin called La Chacona. To its north, in Leon,

traditions. Favorite dances include La Giraldilla,

in which the man leaps and shouts opposite two

serene female partners; and La Charrada, a couple

dance with castanets in which the upper body

and arms are vertical and static while the feet execute a series of fast, intricate steps.

There are literally hundreds of folk dances

native to Spain, each distinct in costume, chore-

raphy and of richness of dance tradition, is

Mediterranean seacoast to the Atlantic Ocean, and is the home of flamenco dance, the subject of

this book.

Exploring Another Dance Style Classical Spanish Dance — The Bolero School

Imagine, if you will, a dance craze in postmedieval Spain to rival the disco-mania of this era. The Yuppies of two centuries ago — socially-conscious thespians and other genteel favorites of the royal court, known as majos and majas — leaped and twirled across the dance floor night after night. In late 18th century Europe, a growing demand for new ways to flaunt social status led to the development of pre-classical dance styles throughout the continent. Dances that were performed in the royal courts of France, Italy and Spain later evolved into classical ballet. The dance style that blossomed in Spain became known as the Escuela Bolera, the Bolero

School. The word bolero comes from the verb

volar, (to fly); in fact, jumps and leaps were an

integral part of the bolero dance, and in fact of the complete school.

Two individuals are generally credited with

developing the Bolero School beginning about 1780. Sebastian Cerezo and Antonio Boliche, (both leading dancers of the period), took up

residence in the royal court and assumed a leading role in crystallizing the dance steps. By combining court dances with folk and classical

styles, they helped form the bolero into a set

dance, with a unique Spanish character and

flavor. The main root forms for the bolero were the old fandangos, sarabanda and chacona. Parts of

the minuet and other elegant court dances were also used, especially for the beginning paseo, the first elegant step.

The Bolero School established the fame of

Spanish dance abroad. It achieved grand success throughout the countries and capitals of Europe during the 19th century, reaching the peak of its popularity about 1850. Ballerina Fanny Elssler, a beautiful Austrian dancer who regularly toured the capitals of Europe, did as much as any individual to hasten the worldwide acceptance of Spanish classical dance. She was among the first to successfully stylize the traditional movements of the Bolero School, to adapt them theatrically to the concert stage without compromising their essential Spanish character. Though recognized as a superlative dancer,

111

arival to the great Maria Taglioni, Elssler did not realize total personal artistic success until she discovered La Cachucha. She first performed this Bolero School dance in her Paris debut of the ballet ‘Le Diable Boiteux’. In La Cachucha, Elssler found the winningcombinationof classical techniqueand earthy charm, a perfect artistic vehicle

for her sense of high drama and dynamic sensuality. When she came to the United States in the early 1840s and performed La Cachucha in Washington D.C.,she created sucha sensation that the government literally shut down as President John Tyler and a bevy of Congressmen flocked to see her dance. Fanny Elssler understood the essence of Spanish classical dance — whatis called in Spain alma Espanol, Spanish soul. It is that joy-of-life quality of ‘becoming the dance’, exuding a sort of human-earthy quality, through movement. Technique says more than steps, more even than style. When

a dancer learns a beautiful

waltz,

mazurka, chardas or other character dance, he is learning more than steps; he is learning movements, dynamics and stylistic impressions from

many different peoples. The dances of the Bolero School are a kaleidoscope of these varied movements, dynamics, elegance and emotion. Pride, body carriage, a beautiful blend of folk and classical tradition —all combine to make the Bolero School a complete form of dance with a total personality and technique all its own. Some of the main dances of the Bolero School are: Bolero Liso or Seco, a solo form of Bolero; Bolero Robado, a couple dance; Bolero de Medio

Paso, which opens with a shortened paseo and follows different music than the other boleros;

Bolero con la Cachucha, in which the cachucha is attached to the main dance; Seguidillas Manchegas, an earlier dance style from which the

bolero evolved; La Cachucha; Los Panaderos; La Malaguena y el Torero; Ole de Jerez; and later, the sonata forms. Most of the dances are in the copla form, closely following musical verse. This form derives from the folk songs which predated their creation. When the social set went on country tertulias (picnics), they often saw peasants performing traditional dances. They copied the

peasants’ steps — refining them, of course, to

dignify them for ladies and gentlemen.

The bolero is usually in three coplas. Often the coplas are performed as duets with solo variations. Each copla begins with the paseo, a very elegant promenade-type entrance step in full 3/ 4 time, followed by the variation and the pasada (or transfer step), which introduces the next copla. The basic paseo and pasada are standard and unique to the bolero. The variations are up to the artistry and imagination of the choreographer, so long as they are in character. Each copla has a feeling and expression all its own. The first copla is particularly grand; the dancer maintains a regal bearing like a strutting peacock moving laterally across the floor. The second copla is a powerful display of virtuoso technique, featuring exciting jumps and turns (brisé, jeté, entrechat quatre, royale, cabriole, tour en l’air) accompanied by the unique arm movements found only in this style of classical dance. The last copla is very fast, built on grace and fluidity. It ends with the famous bien parado, the

definite closing posture typical of most Spanish classical and Andalusian folk dances. The first time one sees a classical Spanish dance, it appears similar to ballet. But the student soon realizes it has a style and flavor all its own. Many of the steps are unique to this dance style: a step called matalarana, (literally ‘kill the spider’); also a brise, tondue and pas de bourre dessous. Technical steps and terminology are similar to ballet, except that the Spanish language is used in addition to French. All Spanish classical dances use castanets. It was during the development of the Bolero School that castanets were placed on the thumb, enabling the adoption of a more musical technique rather than clattering rhythm. The student does not have to take up the art of castanet playing to study the Bolero School, however. The dances rely heavily on developing the presence and grace of thesolo performer. Castanets are merely an added adornment. The Bolero School puts great emphasis on fluid arm movement and flow of the torso, both in technique and style. Regardless of which technique the dancer practices — pliés, tondues, tours, chasses or jumps — the arms are actively used at all times. They are very full, carried high and well-placed, in what might be called exaggerated ballet por de bras. Elbows are held high and back, giving the arms a tensile strength. The arms move closer to the body when passing the

112

torso, making the torso flow and move with the arms in a beautiful motion. The body is carried with an air, pride and style unmatched except by flamenco and some Eastern dance forms. The legs, though executing many complicated classic-type steps, use very little releve in turns and maintain a bit of a plié for quick travel movements. This gives the dancer an appearance of gliding. Spanish classical dances were never originally done en pointé, although in later years some dancers adapted to pointe. Nineteenth century Bolero dancers wore costumes distinctive for the period. The man’s traje de luces (suit of lights), was a direct ancestor

of the modern bullfighter’s garb. The main dancer wore the short Bolero jacket and a redecilla (hairnet). His vest and knee-length pants were made of a satin-type material. His shoes were ballettype slippers with a small heel, called zapatillas. To this day, classical dances are often called Bailes de Zapatillas (Slipper Dances). The woman’s costume usually consisted of a tight-fitting bodice and a full three-quarterlength lace or net skirt adorned with modroños, (silk balls). Ladies’ costumes were always very elegant and were highly adorned with silks and satins. The woman also wore a redecilla, though of lighter weight than that of the man. Similar costumes were worn in performances of the Seguidillas, a forerunner to the bolero but much lighter and faster. A true blend of folk and classical artistry, it retains a traditional festive flavor but lacks the graceful ballet batterie of the

bolero. There are many variations, but perhaps

the best knownis the Seguidillas Manchegas, popularized in La Mancha, the region of southern Castilla from which the legendary Don Quixote came. Other styles include the Seguidillas Boleras, a more classical form; and the Seguidillas Sevillanas, the mother of the famous Andalusian dance,

Sevillanas Boleras so popular in Sevilla. Las Sevillanas is a direct descendant of the Seguidillas Manchegas, although it has been completely altered to become strictly an Andalusian folk dance. This dance is very special is Spain because it is one of very few dances with a completely set choreography. Anyone who knows how to dance Las Sevillanas can dance it

with anyone else. A couple dance in four coplas,

it includes in each copla three variations: the paseo (entrance step), the pasada or pass (the partner step), and the bien parado (complete stop

in a pose). Since 1920, it has been the dance of Sevilla’s great spring fiesta, La Féria de Sevilla. Las Sevillanas has no batterie. Itis danced with

bent knees in a flamenco style with beautiful presence and grace, accompanied by singing,

guitar and castanets (or pallillos as they are called

in Andalucía). This is frequently the first dance taught to beginning Spanish dance students because, althoughitdoes not appear too difficult, Las Sevillanas offers all the coordination, style, posture, rhythm, turns, footwork and castanets

of Bolero School dances, not to mention an in-

sight to the structure and movement of classical dances. The dance masters of Spain formulated a total method of teaching the techniques of the Bolero School and the numerous dances that evolved in the classical Spanish style. Alas, the Spanish temperament is not conducive to regimented and formal techniques. The very crystallization of a whole suite of dances into set forms was a direct cause of the loss of enthusiasm for classical dance in Spain. Another reason for the decline of the Bolero School was Spain's intense regional identity. Classical dance never was able to inflame all of Spaininthe same way individual folkloricdances could each region. As styles changed in the

world of ballet, so the Bolero era slowly faded

out.

The Bolero School has never entirely disappeared. It has persisted in presentations of the dances and ballets of Marius Petipa, Auguste Bournonville and other 19th century choreographers.

Petipa, a Frenchman who settled in Russia

and collaborated with Tchaikovsky on many of his greatest ballets, so loved Spanish dance that he once considered settling in Spain and establishing his own ballet company. Ifhe had, would there have been a Spanish Swan Lake? The Danish Bournonville School to this day has many stylistic similarities to the Bolero School. In Spain, the Pericet family of Madrid, with its Escuela Clasica del Baile Español, has kept

the Bolero School alive for over a century, from generation to generation. The great contemporary Spanish dancer and choreographer, Antonio, has done much to keep classical dance alive and well on the concert stage. His “Suite de Sonatas’, choreographed to a selection of Antonio Soler's ‘Sonatas’ arranged

113

for orchestra, is one of the most beautiful and

exciting classical Spanish ballets. Antonio took eight harpsichord sonatas composed by Soler, a Spanish monk and student of Scarlatti who lived in the Escorial (King Philip's famous fort-monastery). The resulting dance suite is a perfect blend of superb ballet technique, personality and style unique in this contemporary approach to the Bolero School, and the playing of castanets as a true musical instrument in harmony with the music. Antonio’s version of the famous ‘Pas de Quarte’ isa fresh choreographic jewel, worthy of any ballet company. Today, Spanish classical dance is beginning to enjoy a new and revitalized popularity. The dance world is hungry for new material and input. The Pericets now teach dance from Spain to Argentina. Ballet schools large and small are offering popular and very important courses in character dance from different countries, including bolero. The full, joyous arms that seem to defy grav-

ity ... the flowing torso, so alive and vital ... the rippling back, pure artistry in motion breathing life into the dance ... this is the Bolero School,

Spain’s classical ballet. For today’s classically trained dancers, it represents a gold mine of undiscovered elegance, style and movement to broaden and enhance the total dance art. Each dance is waiting to be choreographically adapted to today’s world of performance. Not only is the traditional bolero music appropriate; the music of Scarlatti, Soler, Bach, Boccher-

ini and many others has barely been touched. With the many ballet companies in existence — especially the regional companies wanting to broaden their repertoires and the dance range of their performers — it seems only natural to turn to the Bolero School for a new source of dance. Many great choreographers of Spanish contemporary theatre dance, blend the basic elements of the Bolero School and flamenco and the creative movement of their own invention to create this form of Spanish “Modern Dance’.

Creation of A Style Interpretive

The birth of anew dance style is exciting, like a new island growing out of the waves after a violent undersea eruption. In Spain, from the rich blend of regional folk, classical and flamenco dance, through individual creativity,

came a unique style of contemporary modern

dance theatre, a beautiful, oft-misunderstood

hybrid of the dance world. Whether called composition, interpretive or neo-classical, this complete dance form evolved before the turn of the 20th century on the base of Spanish tradition. Prior to its emergence, all Spanish dance had been traditional unto itself, dealing only with its particular region and style — flamenco from Andalusia, jotas from Aragon, bolero from the royal courts, and so forth. Now,

however, all these styles were blended into a true concert and theatre-type dance form. The importance of this ‘golden age’ of Spanish dance cannot be strongly enough emphasized. There had never been before, nor has

there been since, such a flood of great music as

poured from the pens of the post-classical Spanish Romance composers. The magnificence of Spanish dance traveled quickly throughout the world. Like many cycles in the arts, it was fairly short in years but was very intense creatively. Many great individual artists blossomed at almost the same time. In the latter part of the 19th century, a Catalan scholar named Felipe Pedrell became so enthralled with the rich folk music found throughout Spain that he spent most of his adult life notating folk melodies and composing zarzuelas (operas). He became the greatest authority of his time on Spanish folk music, and helped to inspire a whole new generation of composers, among them Manuel de Falla, Enrique Granados, Isaac Albeniz, Tomas Breton and Joaquin Turina. The works of these and other prolific turn-ofthe-century composers triggered the birth of Spanish theatre dance and fueled choreographic creativity. Most of their compositions drew with great imagination upon the rich melodies and

114

underlying emotions of Spanish folk music. Not only Spanish composers were inspired, at the same time as de Falla, Granados and their contemporaries were creating their masterpieces, composers from Germany, Russia, France, Po-

land and other European countries also were writing great ‘Spanish’ music. In a very short time they too, had added to this rich new style. Spanish contemporary music had become world class, just as the music of Bach, Beethoven and Mozart had. There was a saying after the great French composer Bizet wrote the opera ‘Carmen’, and Ravel and Debussy wrote their Spanish-influ-

enced compositions, that “the best Spanish music

was composed by the French”. That seems a bit snobbish, but at the same time, it should be taken

as a compliment — there was nothing like the richness of Spanish music to ‘set the soul on fire’.

Indeed, it was a meeting of two worlds, a

fortunate couplingof the talents of Spanish music lovers from within and outside of Spain, that created the biggest sensation in the early 20th century dance world. Sergey Diaghilev and his famous Ballets Russes discovered Spanish music

and dance during a tour of that country. Diaghilev subsequently commissioned de Falla to compose a Spanish ballet. It became known as ‘The Three Cornered Hat’. De Falla’s passionate compositions were fired

by his love of Andalucia, with its rich blend of

Eastern and Western cultures. Most of his important works— including his other great ballet, ‘El Amor Brujo’ — reflected the flamenco temperament and emotive lifestyle of the Gypsies. While that element was certainly alive in this work for Diaghilev, notably in the famous ‘Farruca’, de Falla drew on a variety of other folk

influences such as jotas, fandangos and classical seguidillas. Russian choreographer, Leonide Massine stylized the traditional steps for the dancers of the Ballets Russes. Pablo Picasso was commissioned to design the costumes and set. This blend of international talent brought Spanish dance theatre to the world with tremendous success. ‘The Three Cornered Hat’ was probably the largest and best-known Spanish ballet up to that time. De Falla was one of only a few Spaniards to

115

compose complete ballets. He was among the greatest composers of symphonic works, using the dramatics of the string section and piano. Almost every ballet and Spanish dance company has performed his works. Completely different from de Falla in temperament and style was Granados, best known for his musical depiction of the lifestyles of the majas and majos of Goya’s time. His works have more of a classical flavor. His ballet ‘Goyescas’ is a jewel in Spanish music. ‘Spanish Dance No. 5’, from his suite “Twelve Spanish Dances”, set the

present-day style of Spanish composition dance. The ‘Iberian Suite’ and other musical suites written by Albeniz were likewise a treasure for dancers. The works of the great turn-of-the-century composers were a catalyst. Contemporary Spanish dance theatre really got its start in the 1920s with the legendary Antonia Merce - La Argentina.

La Argentina realized the creative potential of putting traditional folk, classical and flamenco movements to the compositions of contemporary Spanish composers. Using castanets and footwork as musical instruments integral to the art of the dance, she created a distinctive, inno-

vative style and devoted her whole life to it. Granados’ ‘Spanish Dance No. 5’ was the first work La Argentina choreographed. Soon thereafter, she choreographed de Falla’s ‘El Amor Brujo” and with it gave the first real theatrical performance of a complete Spanish ballet. Her interpretation of the ballet’s ritual fire dance, inspired by a tale told by the mother of flamenco dancer Pastora Imperio, helped build her legend. In a few short years, La Argentina lifted Spanish dance theatre to the highest levels of artistry. She left an indelible trademark. To this day, very few artists have been able to match her absolute mastery of playing the castanets in complete compliment to the music. A pioneer of the solo concert, La Argentina was a great musician. With only the accompaniment of a pianist, she would give a whole evening’s performance of original choreographies. Anyone lucky enough to hear her records would agree that her in-depth artistry of playing is still unsurpassed in feeling and sensitivity. One of the major events in the golden era of Spanish dance was the Flamenco Festival heldin

the Spanish city of Granada in 1922. Up until that time, flamenco wasseldomseen outside of Spain, then usually only in nightclub and tavern at-

mospheres, and was not taken as a serious art

form. De Falla, along with guitarist André Segovia, poet Federico Garcia Lorca, and other great artists, felt that flamenco was a very serious and important art form indeed, to be exposed to and appreciated by the world. They sponsored this first Flamenco Festival and it became the catalyst which launched flamenco into the outside world. Between the 1920s and 1960s, many great artists among them Escudero, Carmen Amaya, Antonio Triana, La Argentina and Pilar Lopez, Antonio and Rosario, Luisillo and Teresa —

took large companies on tour throughout the world, performing not only the traditional styles of Spanish dance, but innovating and evolving theatre dance as a whole. Thanks to the pioneering efforts of La Argentina, this was the era when castanet playing came into its own as an art form; as a true, total

musical instrument. No longer was it just a

rattle; now, it was an integral part of the dancer, an artistic expression of total dance with nuance,

style and melody.

Footwork as well, became like a musical in-

strument, blending with the total choreographic interpretation. In a remarkably short time, musicians offered hundreds of new compositions; choreographers discovered new techniques of broader arm movement while maintaining the proud carriage and emotional display characteristic of Spanish dance. Ted Shawn was one of the first to present Spanish production numbersin the United States during the era of his Denishawn Dancers (19141931). In his book, ‘1001 Night Stands’, there isa

marvelous photo of Shawn doing a Spanish classical dance with Martha Graham. From the very inception of his Jacob’s Pillow Dance Festival in New England's Berkshires, Shawn always

included classes and performances of Spanish dance. The Denishawn Dance group spawned many other artists who explored ways of adapting the traditional movements of ethnic dances to the concert stage. These artists — Martha Graham, Doris Humphrey, Jose Limon, Jack Cole and Charles Weidman among them — borrowed liberally from classical and pre-classical dance

116

forms; then, with a hunger for a deeply personal approach to individual expression, created or evolved forms that came to be categorized as modern dance or modern jazz. The word modern signified new creativity, not crystallized old tradition. This was also happening in Germany, where Mary Wigman, Kurt Jooss and others were turning their backs on what they called confined tradition. Jack Cole was one of the greatest dance innovators of our time. His work was greatly influ-

enced by East Indian, Spanish and flamenco

dance, along with many other forms. Cole was a genius for adapting the essence of ethnic dance forms to the stage. One of the world’s greatest and most popular dancers, Fred Astaire, gave credit to Spanish

dancer Eduardo Cansino for his smooth and suave styling in dance. Astaire and Cansino worked together on the Orpheum Circuit, and it was through this association that Astaire hired Rita Hayworth (Cansino’s daughter) as his partner in later films. In the early 1950s, there appeared a Spanish dance company that was to become a household word throughout the United States and the rest of the world. This company was led by José Greco, a dynamic personality who created the same sensation as had Rudolf Nureyev when he first appeared on the world concert stage. With fine dance artists and an entertaining, electric repertoire, the José Greco Spanish Dance Com-

pany toured the world for more than 20 years, filling concert halls wherever they went. The late José Limon was magic in his blending of Spanish themes and movements with his special style of strong, emotion-charged modern dance. Among today’s truly inspiring teachers and

dancers in Carmelita Maracci, an artist in her

blendingof classical ballet and Spanish flamenco. Her classes are innovative and reach both the aire of ballet and the soulful earth quality of flamenco. Her teaching has inspired such fine dancers as Cynthia Gregory, William Carter, Tommy Rall, and Agnes de Mille. There are scores of others who have been

greatly influenced by the many styles of Spanish dance. Even though seldom seen in today’s popular danceexplosion, Spanish danceremains the taproot of inspiration to many of today’s dance innovators. Spain remains a very regional country in terms of dance. It is only in the past few years that a national interest in dance has developed. Now the future of Spanish dance looks exciting. The Ballet National Español was created with the assistance of Maurice Bejart and the Ballet of the 20th Century, and during the 1983-84 concert season, Columbia Artists brought the com-

pany to the United States. Directed by the famous Antonio, the 45 artists performed a crosssection of Spanish dance styles as they toured the entire United States, offering many people a first opportunity to see a truly national Spanish dance company.

Spanish dance is really all dance styles. It is

not just the stomping feet, the clacking castanets

and the rose-in-the-teeth that the tourist tablaos

throw at visitors as a poor excuse for what they call fiery passion. Spanish dance offers a vehicle to achieve

technical,

spiritual, emotional

and

mental wholeness. What's more, it provides a

wonderful creative outlet for choreography,

using tradition as a base.

As with all forms of ethnic dance, one must

develop a deep awareness of the meaning of

Spanish dance in order to release one's finest

instincts and abilities. Folk dances are the outgrowth of spiritual drives, the outpouring of feeling, reflected in all daily life patterns. Those

creative individuals who originate new dance

styles must have the same awareness. By their genius and insight, they inspire others to follow, while at the same time, permitting themselves to grow with their choreographic expressions.

Contemporary Spanish theatre dance has

become another beautiful facet of the total jewel of dance.

Just as flamenco

has transcended

Andalucía as a world art form, Spanish theatre dance has transcended Spain, transcended ethnic, transcended any fixed label. Itisdance onits highest creative level, all dance is old, new, modern, timeless.

117

Flamenco Glossary agitanado: Gypsified. Often used to describe a dance

that has become

flamenco.

earthier, more

like

aire: The total body language, style, look, pos-

ture and air of the dancer and the dance, in the

sense of a beautiful carriage. alegrias: See the section on alegrias. ascentao: Bending the knees and releasing the hips, lifting the upper body. (This position is used to acheive smooth footwork without a bounce.) The perfect seated posture that is the basic position of flamenco movement. bailaor and bailaora: Male and female dancer. baile: Dance. bata: Dress; a bate de cola is a dress witha train or tail. braceo:

Arm

movement;

examples

are arms

going up making inside and outside circles and arms down making inside and outside circles. bulerias: See the section on bulerias. cantaor: Flamenco singer. cante: Flamenco singing. careo: A passing movement, usually made facing partner, such as the careos in Sevillanas.

castanets and castanuelas: See the section on castanets. cejilla: The capo or instrument used on the guitar to change tones and keys in which a singer sings, or sets the specific tone of a compas. chico: Small. Used in cante chico, baile chico and toque chico to depict the lighter emotions and feelings of flamenco. cierre: A closing llamada of at least one compás which ends a series of movements ora phrase or copla or section of dance. compás: Rhythm; also, a unit of rhythm; such as

the 12-count compás of soleares with base accents of 1-2-3-6-8-10 and 3-6-8-10-12. Or 4count compás of tango counted 1 and 2 and 3 and 4. The base compás are 4 and 12. Being in compás is more than just staying on the beat. It is the knowledge of the various accents of the particular compás and itsinterpretation. Some 4 compás rhythms are farruca, tango, rumba, zambra, taranto. Some 12 compás rhythms are soleares, alegrías, bulerías. contra-tiempo: Counter-rhythm, working within

the base compás in a variety of ways, both audible and visual. copla: A verse relating to the song, or the song/s relation to the dance. It is often used to describe the various sections of Sevillanas, fan-

dangos and other forms with definite set song; patterns. cuadro flamenco: A group of guitarists, singers, dancers and jaleodores who comprise the performers of flamenco. desplante: A climactic point in the dance, consisting of two or more compás. The desplante is usually introduced by a llamada.

duende: Soul, spirit, become

the dance, being

possessed by feelings of the dance. entrada: Beginning or entrance. escobilla:

Brushing

steps.

Also,

a section

of

footwork in a dance such as the secobilla section of alegrias. A footwork series, or a series of taconeo that is a balanced variation of footwork.

estampa: A strong flamenco presence, a personal stamp. falseta: Variation. Often the melodic section or specific musical variation of the guitar. Many guitarists make up their own falsetas, composing a version with their unique sello or stamp.

farruca: See the section on farruca. féria: Fair. The Féria de Sevilla is Andalucia’s most famous spring fair. flores and filigrana: Flowers; these words are often used to describe the hand movements of flamenco. gitano: Gypsy-like, artful. golpe de tacon: The heel struck as a hammer-

type movement, with the accent up.

gracia: The personality, charm, flavor, nuance

and dynamics of the dance and dancer, a joy and pride. Aire and gracia are used together to capture in words the ‘total feeling’. hondo: Serious, deep or profound. Cante hondo and baile hondo are song and dance that depict the more serious feelings and emotions of flamenco.

ida: A transitional an alegrias and a jaleador: One who ping hands and

step or movement between bulerias. encourages dancers by clapgiving jaleo.

118

jaleo: Clapping of hands and verbal encouragement for dancers, singers and musicians — ‘Ast se baila’ juerga: A flamenco happening. A fiesta, usually

with the elements of music, song, dance, jaleo

and many aficionados. llamada: A call or communication by the dancer

and guitarist, visual and audible, of at least

one compás. It usually opens or begins a series or phrase of movement or footwork. manton: A shawl or mantle.

matiz: Shading, example: soft to loud footwork, fast to slow, etc.

mutis: Silent exit of a dance. Going off or leaving the stage at the end of a dance.

palillos: Castanets or castanuelas, as they are

usually called in Andalucia. palmas: Flamenco hand clapping, including palmas sordas (softer clapping) and palmas secas

brias (sharp, loud clapping).

palo seco: Without musical accompaniment. Songs and dances without guitar. Sometimes, palmas or the tapping of a stick or cane provide rhythm. pasada: A passing movement or step. paseo: The specific step or movement of a dance,

a moving step. e.g. paseo de Sevillanas.

paso: Step or movement of a dance. pelliscos: A spontaneous movement with a specific flavor. Literally, ‘a pinch of personal-

ity’.

pitos: Finger snapping. The rhythmical snapping of fingers is used in flamenco. plano: A flat stamp of the foot, emphasizing the heel. planta: The ball of the foot. punta: A strike of the toe, usually with the accent

up.

punta por detras: Toe beat in the back, left in the

air.

redoble: A short footwork break that usually has four or five beats compressed into one or

two counts. Literally, ‘to redouble’. It is often used ina llamada, desplante or cierre to begin or

end

a section, or to add

dynamic

accents

throughout the dance. remate: A finish or abrupt change; an ending,

like a plano to finish a phrase. salida: Entrance/exit of a dance, song or music

accompaniment. Seguiriyas: The mosthondo of flamencorhythms. Sevillanas: See the section on Sevillanas. silencio: Silences. Soft parts of a dance, such as the slow section of alegrias. Sometimes called falseta. Soleares: See the section on Soleares. solo de pie: A footwork section without guitar accompaniment. tablao: A small stage or platform. A flamenco club or restaurant where flamenco is performed. tacón: The heel of the foot. taconeo: Heelwork. With zapateado, it is used to describe flamenco footwork. taconeo seguido: Continuous footwork, a single step that is continuous. traje: A man’s suit. Traje corto is the traditional man’s flamenco costume of high pants, short vest and jacket. tocaor: Flamenco guitar player. toque: Guitar playing. volantes: The ruffles on a flamenco dress. vuelta: A turn or turning movement. Some basic turns in flamenco are vuelta por delante (front

turn), vuelta por detras (back turn), vuelta de

pecho (upper arched chest turn) and vuelta

quebrada (back bend turn). zapateado: Footwork. With taconeo, it is used to describe flamenco footwork. There are many, many more words, sayings and terms that could be put into this glossary, but that is not its purpose. The reader will want to search and learn, and this small list can be a beginning.

About the Author Teodoro Morca has enjoyed a long and productive career as a dancer, choreographer, teacher, lecturer and author.

He has starred in

his own companies, 'Morca Dance Theatre' and ‘Flamenco in Concert' in performances all over the world and in every state in the U.S.A. Morca has been guest artist and choreographer with Pilar Lopez, touring throughout Spain, England, France, Belgium, Holland and Italy. He was featured dancer at the Cafe de Chinitas in Madrid with La Chunga. He has appeared as guest artist and/or choreographer with Lola Montes, Jose Greco, Pilar Lopez,

Luis Rivera, Maria Benitez, Tony Alba,

Alba

Teresa,

and

many

Maria

other companies.

Morca won the St. Denis Choreographic Award in 1982, a choreographic award in Spain in 1971 and has received various fellowships from the National Endowment for the Arts in the U.S.A. He has been on the faculty of many universities, on the advisory panel of the NEA, and is a commissioner of the Washington State Arts Commission. He is a writer for the Flamenco publication JALEO, and a guest writer for DANCE Magazine. Each summer, Morca offers the only "all flamenco” workshop festival in the U.S.A.

Teodoro Morca lives as dance. A composition in movement, a cycle of change.

Teodoro Morca, dance, crisp and rhythmic, is a footpace, a footfall,

clipping and sliding — thrust. Ordering direction, demanding attention, Teodoro Morca, one dance. Widened eyes, dance stares and glares.

Hypnotizing the hurried eyes,

hassled from crowds and streets.

Dance's eyes mesmerize prisoners

— chained to new magic movement. Cobra arms protracting coils.

Unwinding, through foot cadence,

in endless circles, whirling and twirling.

Stop.

The footfall changes. Quicker. Skeletal fingers, voice of the dance, Teodoro Morca, stretching, contracting in shape-

shifting rhythm, expanding the air around a billowing hood, above sensuous hips — thrust.

Twisting a sigh,

uttering a cry, OLE!

|

Y

y

a Ñ J

|

4

Heel — ta-ta-, ta-ta, ta-ta. Spits a staccato burst!

Awakening, ejecting Teodoro,

dance. Clacking momentum, heel work compels body's rhythms. A lashing turn, a foot slap down, rippling waves swelling

to every eye. Morca dance,

10,000 parts,

one dazzling dance.

Complete in the Tao, poised at the

peak,

he snaps out and strikes. Silence.

[€]

KENDALL/HUNT

Dubuque, lowa

PUBLISHING

COMPANY

oa

ISBN

O0-8403-S8&44-xX