www.aniaflamenco.com
Tuesday, August 25, 2015
New website!!!
Hello!!! If you made it to my blog, please take another moment and visit my website!! On the website you can stay up to date with information about my shows in Atlanta and Seville as well as classes and booking information. See you there!!!
Monday, October 21, 2013
Happy fall everyone!!!
Big news!! New class! I just started teaching at Dance 101 studio on Briarcliff Rd. I have taught two classes so far over there and it's going great! :))))) The class is an open level class. Every Monday at 8pm!! For more details on the class and on how the studio works check out their website http://www.dance101.org/
Save the date! I have a performance coming up on the Decatur Square on November 2nd. I will be dancing with other Atlanta-based flamenco dancers. More details to come!!
Like my page! I just created my facebook page, so if you are connected please like it :))) www.facebook.com/aniabartelmusflamenco
Tuesday, September 3, 2013
Thursday, June 27, 2013
New flamenco classes in Atlanta!
I just moved back from Seville to Atlanta and starting to teach flamenco classes!
Location: Several Dancers Core, Upstairs Studio. 519 N. McDonough St, Decatur
Start: September 7th, 2013 - December 7th, 2013
11am - 12pm : Flamenco for beginners
12pm - 1pm: Flamenco technique intermediate/ advanced
Cost: $15 drop in or $60 per month
Important: Please use the side entrance from the 519 N. McDonough St to enter. There is a small parking lot right by the building where few parking sites are available and you can also park for free at the Court House parking lot on W. Trinity Pl.
Start: September 7th, 2013 - December 7th, 2013
11am - 12pm : Flamenco for beginners
12pm - 1pm: Flamenco technique intermediate/ advanced
Cost: $15 drop in or $60 per month
Important: Please use the side entrance from the 519 N. McDonough St to enter. There is a small parking lot right by the building where few parking sites are available and you can also park for free at the Court House parking lot on W. Trinity Pl.
CLASSES OFFERED:
Flamenco for beginners: In this class a student begins their adventure of discovering flamenco dance. A student will be introduced little by little to the magical world of flamenco, its compases (rhythms) and palos (musical forms) through flamenco technique. A class will focus on developing strength in feet and arms needed for flamenco, proper posture, turns, hands movements and coordination of all of these elements. To strengthen the technique, small pieces of choreography to different palos will also be taught. Overall, not only will we focus on creating a strong base of technique but also on understanding the flamenco music and it's culture.
Suggested attire: flamenco shoes* or character, closed-toe shoes and long flowing skirt.
Flamenco technique intermediate/ advanced: This class is designed for students that have already taken some flamenco classes before and are ready to push their technique even further. A class will be focused on strengthening exercises as well as improving dancer's compas, coordination, developing proper posture and turns. Small pieces of choreography to different palos will be taught. Overall, not only will we focus on creating a strong base of technique but also on understanding the flamenco music and it's culture.
Suggested attire: flamenco shoes* or character, closed-toe shoes and long flowing skirt.
Flamenco technique intermediate/ advanced: This class is designed for students that have already taken some flamenco classes before and are ready to push their technique even further. A class will be focused on strengthening exercises as well as improving dancer's compas, coordination, developing proper posture and turns. Small pieces of choreography to different palos will be taught. Overall, not only will we focus on creating a strong base of technique but also on understanding the flamenco music and it's culture.
*Flamenco shoes suggestions:
1. Menkes - a reasonably priced option for professional and semi-professional shoes available to order from a store in NY.
http://www.menkes.es/flamenco/
2. Roberto Garrudo -very reasonably priced and dependable professional and semi-professional shoes but available only through order from Seville. One of my favorite shoes. Shipping charges are also not bad and the shipping is very fast.
http://www.zapatosdebaileflamenco.com/catalogo/familia/1/2/professional-dance-shoes
3. Artefyl - if you are looking for very professional, high quality shoes. My personal favorite and best :) You can order them from the store in CA.
http://www.taconesylunares.com/shoesboots.htm
http://www.menkes.es/flamenco/
2. Roberto Garrudo -very reasonably priced and dependable professional and semi-professional shoes but available only through order from Seville. One of my favorite shoes. Shipping charges are also not bad and the shipping is very fast.
http://www.zapatosdebaileflamenco.com/catalogo/familia/1/2/professional-dance-shoes
3. Artefyl - if you are looking for very professional, high quality shoes. My personal favorite and best :) You can order them from the store in CA.
http://www.taconesylunares.com/shoesboots.htm
For more information on how to register email me:
ania0925@gmail.com
About me:
In the fall of 2011 Ania started the intensive professional flamenco training at the “Centro de Arte y Flamenco de Sevilla.” On June, 2012, she was awarded the CAFS grant to continue her education there through December 2012. In CAFS, from October - December 2012, Ania gave repetition and technique classes at the beginner level. She studied under direction of Esperanza Fernández (cante), Miguel Vargas (baile), La Choni (baile), Carmen Ledesma (baile), Francis Nuñez (ballet for flamenco), Sara López (castanets), Jorge Pérez (palmas and cajon), Jesus Aguilera (baile), Nazaret Reyes (baile) and Antonio Ortega (theory). In March, 2012 Ania performed during the “II Festival Solitario de la Fundacion Vicente Ferrer” in Aracena, Spain. In May, 2012 she performed as part of the Festival “Cruz de Mayo en Pumarejo”, in Seville. In June 2012, she performed during the "Fin de curso de CAFS" in Seville.
In 2013 Ania started studying in Seville with Rafael Campallo, Juana Amaya and Nazaret Reyes. In June 2013, Ania performed in tablaos Sala Garufa and Caja Negra in Seville. In July 2013 Ania performed in Chiasso, Switzerland.
Ania used to be part of the Atlanta-based flamenco dance company “Caló Gitano”. For several years, they performed throughout the Southeast and Atlanta. Along with “Caló Gitano” Ania was also featured on the PBS station’s program “This is Atlanta” and performed on CBS's "Better Mornings Atlanta". In August 2011, Ania performed in the “Caló Gitano Theater” debut production titled “Raices, a flamenco journey.”
About me:
In the fall of 2011 Ania started the intensive professional flamenco training at the “Centro de Arte y Flamenco de Sevilla.” On June, 2012, she was awarded the CAFS grant to continue her education there through December 2012. In CAFS, from October - December 2012, Ania gave repetition and technique classes at the beginner level. She studied under direction of Esperanza Fernández (cante), Miguel Vargas (baile), La Choni (baile), Carmen Ledesma (baile), Francis Nuñez (ballet for flamenco), Sara López (castanets), Jorge Pérez (palmas and cajon), Jesus Aguilera (baile), Nazaret Reyes (baile) and Antonio Ortega (theory). In March, 2012 Ania performed during the “II Festival Solitario de la Fundacion Vicente Ferrer” in Aracena, Spain. In May, 2012 she performed as part of the Festival “Cruz de Mayo en Pumarejo”, in Seville. In June 2012, she performed during the "Fin de curso de CAFS" in Seville.
In 2013 Ania started studying in Seville with Rafael Campallo, Juana Amaya and Nazaret Reyes. In June 2013, Ania performed in tablaos Sala Garufa and Caja Negra in Seville. In July 2013 Ania performed in Chiasso, Switzerland.
Ania used to be part of the Atlanta-based flamenco dance company “Caló Gitano”. For several years, they performed throughout the Southeast and Atlanta. Along with “Caló Gitano” Ania was also featured on the PBS station’s program “This is Atlanta” and performed on CBS's "Better Mornings Atlanta". In August 2011, Ania performed in the “Caló Gitano Theater” debut production titled “Raices, a flamenco journey.”
Wednesday, June 5, 2013
My last month in Sevilla...
My last month in Sevilla has begun and I cannot believe how fast time passes. My 18th month stay in Sevilla is ending. I still cannot imagine how I will go back to my life in Atlanta but I know for sure that it will be fuller in flamenco than before. Now I feel closer to flamenco.
One of the best things that I discovered upon my return to Seville in October 2012 was the school of Juana Amaya. At that time, the school I was taking classes with invited a new teacher who was Nazaret Reyes, the daughter of Juana Amaya. The classes with Nazaret were amazing and incredibly difficult. I realized how much more I have to learn and learning with her was so easy. Thanks to her I learned about Juana Amaya's school and where they both give amazing classes. I've heard about the school before but what I heard was that it was very footwork- intensive and for advanced dancers. I only found the second to be true and I know that if I tried to take a class with them during my first months in Seville I wouldn't be able to follow the class. I met them at the right time. Classes with Juana Amaya are magical. She teaches a step and it feels like it is impossible to absorb it with the complicated sound, superb technique and precision that it requires. The magic happens and the entire class gets the step eventually. When I joined her class this January, I thought I would never get certain aspects of their technique and now I do those things easily. It's incredible! I have never felt that I advanced before I joined this school and now I feel like every minute in their classes count. The class with Nazaret is also magical and on even higher level, on professional level. Her class is as much of an intense physical as mental exercise. It takes a lot of mental effort to put the steps in compas. Overall the students that come to their classes include many professional dancers from Spain and abroad that have been dancing many years and it's so inspiring to see them.
I realized that I don't need to study years of ballet to learn how to turn and how to do vueltas quebradas.
One of the best things that I discovered upon my return to Seville in October 2012 was the school of Juana Amaya. At that time, the school I was taking classes with invited a new teacher who was Nazaret Reyes, the daughter of Juana Amaya. The classes with Nazaret were amazing and incredibly difficult. I realized how much more I have to learn and learning with her was so easy. Thanks to her I learned about Juana Amaya's school and where they both give amazing classes. I've heard about the school before but what I heard was that it was very footwork- intensive and for advanced dancers. I only found the second to be true and I know that if I tried to take a class with them during my first months in Seville I wouldn't be able to follow the class. I met them at the right time. Classes with Juana Amaya are magical. She teaches a step and it feels like it is impossible to absorb it with the complicated sound, superb technique and precision that it requires. The magic happens and the entire class gets the step eventually. When I joined her class this January, I thought I would never get certain aspects of their technique and now I do those things easily. It's incredible! I have never felt that I advanced before I joined this school and now I feel like every minute in their classes count. The class with Nazaret is also magical and on even higher level, on professional level. Her class is as much of an intense physical as mental exercise. It takes a lot of mental effort to put the steps in compas. Overall the students that come to their classes include many professional dancers from Spain and abroad that have been dancing many years and it's so inspiring to see them.
I realized that I don't need to study years of ballet to learn how to turn and how to do vueltas quebradas.
Tuesday, March 19, 2013
How do they see us?
Flamenco comes from Andalusia, and therefore it is more natural for people from here. Coming from a foreign country, I cannot help but wonder what the Spanish flamenco artists think about foreigners wanting to become professional flamenco artists. Over my time in Seville, I have heard and read various interesting opinions on that subject.
The truth is, gypsy or not, the people of Andalusia grow surrounded by flamenco, even in a family that has no artistic background. Once grown up, they already have the basic compases (flamenco rhythms) interiorized and can dance, clap and often sign naturally since at most Andalusian fiestas there is a guitar, people sign, dance and do palmas. In my eyes, Andalusia is a land of fiestas where any reason is a good reason to party, so the opportunity to sing and dance comes plenty! Flamenco is part of their culture, therefore they understand it better than us and this is giving them a major advantage over us, foreigners. Not to even mention children born in a family with flamenco background. As Esperanza Fernandez put it one day, as children her and her brothers were exposed to flamenco from the early age, taken to flamenco fiestas, rehearsals and wanting or not they interiorized the complicated rhythms. As they grew up and decided to dedicate to flamenco professionally it was only a matter of reaching out for what they have already knew and put it into use.
Nowadays, any given day of the week, there is a flamenco show somewhere in Seville which includes foreign professional artists. It still surprises many people of Andalusia as it is a pretty new concept. A few years ago it was almost impossible for a Polish girl like myself to dance anywhere in Seville but on the street. In 2007, a group of foreign flamencos created a group "Son de Afuera" and decided to make a street their tablao. Seeking jobs in a tablaos they met with rejection for a reason of not being Spanish. The prejudice that you have to be from Andalusia, or at least Spanish, to be able to succeed in flamenco still exists, but it is not as strong. People are more open.
Carmen Ledesma told us on several occasions that people of Andalucia do not appreciate us, foreigners enough because we are what is keeping flamenco academies business buzzing. It has to be true, because in every flamenco class I have attended so far there was no more than a couple of Spaniards. In early February, I went to Bar Sol to reserve a date for my performance, and every weekend until the end of April was reserved for shows where the majority are foreigners. Recently, an excellent article has been published on this subject in NY Times. One of the most important message of this article is that “The survival of flamenco depends on its internationalization.” (said José Ruiz Navarro, a professor of entrepreneurship at Cádiz University and co-author of a study on the economics of flamenco)
On the other hand, we are criticized for our attempts and I believe there is some truth in this. I like the way Andres Marin put it in a recent interview made by my friend Linda. He said that foreigners are perfectly capable of becoming successful artists, but as he sees it, many times we are reaching for the easy and most accessible and not really getting to the roots of this art. He made a comparison to a well and a sea. We look at the well and and think, it's nice, we like it, we are stopping right there, enjoy what we see and splash around. Yet, we do not want to explore the well, and see what is below the surface. We do not want to take the risk of finding ourselves in the darkness of the sea bottom, where there is less fish, they are not as colorful as the ones closer to the water surface and everything is different. It can get scary, so to avoid it, we stick to splashing around.
I have heard from many maestros here in Seville that we should focus on deepening our knowledge about flamenco rather then just copying their dancing. Above all, I have learned that there is no way to dance flamenco if you do not know of cante (signing). There is no way to dance flamenco if you do not know where that cante comes from, why is it sung like that, what emotions it transmits. The cante was first, before toque (guitar) and before baile (dancing) and we are supposed to dance to signing and interpret it using our own emotions. We should listen a lot and become fans of the cante. And it's not only about listening to contemporary flamenco singers, but it is about starting with the roots; Chacon, Mairena, Pavon, Nina de los Peines, to name a few great signers. We should know who sang polo first, who created granaina and many more things. We should be familiar with history of flamenco. Many of us if asked where flamenco comes from say India, because that is where the gypsies come from, but flamenco does not come from there. We should know why the bata de cola used in dancing, who introduced it and why, how was the first flamenco dancing described... It is important to look back before looking forward. If we are what is the future of flamenco, we need to try harder and preserve it and continue it the proper way.
The truth is, gypsy or not, the people of Andalusia grow surrounded by flamenco, even in a family that has no artistic background. Once grown up, they already have the basic compases (flamenco rhythms) interiorized and can dance, clap and often sign naturally since at most Andalusian fiestas there is a guitar, people sign, dance and do palmas. In my eyes, Andalusia is a land of fiestas where any reason is a good reason to party, so the opportunity to sing and dance comes plenty! Flamenco is part of their culture, therefore they understand it better than us and this is giving them a major advantage over us, foreigners. Not to even mention children born in a family with flamenco background. As Esperanza Fernandez put it one day, as children her and her brothers were exposed to flamenco from the early age, taken to flamenco fiestas, rehearsals and wanting or not they interiorized the complicated rhythms. As they grew up and decided to dedicate to flamenco professionally it was only a matter of reaching out for what they have already knew and put it into use.
Nowadays, any given day of the week, there is a flamenco show somewhere in Seville which includes foreign professional artists. It still surprises many people of Andalusia as it is a pretty new concept. A few years ago it was almost impossible for a Polish girl like myself to dance anywhere in Seville but on the street. In 2007, a group of foreign flamencos created a group "Son de Afuera" and decided to make a street their tablao. Seeking jobs in a tablaos they met with rejection for a reason of not being Spanish. The prejudice that you have to be from Andalusia, or at least Spanish, to be able to succeed in flamenco still exists, but it is not as strong. People are more open.
Carmen Ledesma told us on several occasions that people of Andalucia do not appreciate us, foreigners enough because we are what is keeping flamenco academies business buzzing. It has to be true, because in every flamenco class I have attended so far there was no more than a couple of Spaniards. In early February, I went to Bar Sol to reserve a date for my performance, and every weekend until the end of April was reserved for shows where the majority are foreigners. Recently, an excellent article has been published on this subject in NY Times. One of the most important message of this article is that “The survival of flamenco depends on its internationalization.” (said José Ruiz Navarro, a professor of entrepreneurship at Cádiz University and co-author of a study on the economics of flamenco)
On the other hand, we are criticized for our attempts and I believe there is some truth in this. I like the way Andres Marin put it in a recent interview made by my friend Linda. He said that foreigners are perfectly capable of becoming successful artists, but as he sees it, many times we are reaching for the easy and most accessible and not really getting to the roots of this art. He made a comparison to a well and a sea. We look at the well and and think, it's nice, we like it, we are stopping right there, enjoy what we see and splash around. Yet, we do not want to explore the well, and see what is below the surface. We do not want to take the risk of finding ourselves in the darkness of the sea bottom, where there is less fish, they are not as colorful as the ones closer to the water surface and everything is different. It can get scary, so to avoid it, we stick to splashing around.
I have heard from many maestros here in Seville that we should focus on deepening our knowledge about flamenco rather then just copying their dancing. Above all, I have learned that there is no way to dance flamenco if you do not know of cante (signing). There is no way to dance flamenco if you do not know where that cante comes from, why is it sung like that, what emotions it transmits. The cante was first, before toque (guitar) and before baile (dancing) and we are supposed to dance to signing and interpret it using our own emotions. We should listen a lot and become fans of the cante. And it's not only about listening to contemporary flamenco singers, but it is about starting with the roots; Chacon, Mairena, Pavon, Nina de los Peines, to name a few great signers. We should know who sang polo first, who created granaina and many more things. We should be familiar with history of flamenco. Many of us if asked where flamenco comes from say India, because that is where the gypsies come from, but flamenco does not come from there. We should know why the bata de cola used in dancing, who introduced it and why, how was the first flamenco dancing described... It is important to look back before looking forward. If we are what is the future of flamenco, we need to try harder and preserve it and continue it the proper way.
Thursday, March 7, 2013
My Rockethub fundraiser has ended yesterday; however, if you would like to donate to my project the possibility still exists!!! You can do it by going to my project's profile on Fractured Atlas* website:
https://www.fracturedatlas.org/site/fiscal/profile?id=7295
I'm offering the same small gifts as I did on Rockethub!!!
I'm working on my new blog entry about how Spanish flamenco artists view foreigners coming to Seville to study flamenco... Coming soon!!!
Thank you all sooo much for your support!!!
*Fractured Atlas is the country’s largest arts fiscal sponsor, 501(c)(3) entity, that works with thousands of artists and arts organizations to provide education and support for raising funds.
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