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.
Friday, January 25, 2013
Dear readers, friends and supporters,
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 have recently launched a fundraiser project to help me finalize my two-year flamenco journey in Seville, Spain. This is an unforgettable journey on which I am able to study with amazing flamenco artists, see the breathtaking flamenco shows and simply live and breathe flamenco.
Here is a list of my awesome friends and supporters who have so far contributed to my fundraiser project:
Rachel Gorwitz
Stefania
Diana Corica
Agnieszka Sulewska
Sheila Satin - check out the beautiful crystal jewelry that Sheila makes! http://www.idigcrystals.com/
Malita Belloso (Calo Gitano)
Claudio Campos
Walter Bartelmus
Oreanna Stanley
Cynthia Devine
Michael Wills
Simone
Aaron and Apple
Again, thank you so much!!! Your support means so much to me :))) I'm looking forward to sending you the gifts I have selected for you and sharing with you what I have learnt in Seville!
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 have recently launched a fundraiser project to help me finalize my two-year flamenco journey in Seville, Spain. This is an unforgettable journey on which I am able to study with amazing flamenco artists, see the breathtaking flamenco shows and simply live and breathe flamenco.
Here is a list of my awesome friends and supporters who have so far contributed to my fundraiser project:
Rachel Gorwitz
Stefania
Diana Corica
Agnieszka Sulewska
Sheila Satin - check out the beautiful crystal jewelry that Sheila makes! http://www.idigcrystals.com/
Malita Belloso (Calo Gitano)
Claudio Campos
Walter Bartelmus
Oreanna Stanley
Cynthia Devine
Michael Wills
Simone
Aaron and Apple
Again, thank you so much!!! Your support means so much to me :))) I'm looking forward to sending you the gifts I have selected for you and sharing with you what I have learnt in Seville!
Sunday, December 30, 2012
Searching for my flamenco style...
One of the most difficult thing to achieve in dancing flamenco is to find your own personal style as a dancer. I've been thinking about my style... Do I have one?
As Carmen Ledesma said, a bailaora has her own style when you see her and know exactly that is has to be her and nobody else. She also said that these days most flamenco dancers dance alike.
Manuela Carrasco has a style, Israel Galvan has a style, Carmen Ledesma and La Farruca as well, and they are not the only ones who have their unique styles of dancing; yet, are a minority. Many bailaoras, even the ones that are internationally acclaimed, copy the styles of others. I look back at all the shows I have seen and agree with Carmen that most of the dancers I have seen were copies of one another. They were doing remates in the exact same places, everything was very predictable and similar. We are taught that here you need to do remate and here you cannot but what I'm seeing is that you have to find originality within a patter rather than sticking to it hopelessly.
Moreover, many dancers think that flamenco is about theatrical gestures, tragic mimics and impersonating gypsies. This has the most horrible outcome in my opinion, especially if a bailaora carries a dramatic face throughout an alegria. Yes, there is some theater in flamenco but it's more according to Stanislavsky's method where a performer, in order to express the required emotion, has to feel it first by going back to their happy or sad memories. Otherwise the acting is false. Same applies to flamenco which is about expressing your own emotions; it is a very personal dance. So my first conclusion is that adding your personal emotions makes the dance more unique and defines a style.
Yet, it's not only about expressing through the face. The style applies also to the manner of movement. I'm starting to see it more and more as I study with different artists. Last year, Carmen kept repeating the following to me: "Agachate! No puedes estar tan recta bailando!" (Lean forward! You cannot be so erect while dancing) I was listening and applying to her suggestions. This year I have a class with Nazaret Reyes and all I hear is: "No te agachas! Tienes que bailar mas recta!" (Don't lean forward! You have to dance more erect!) I was confused at first, but then I realized it is a matter of personal style and they just dance differently. Choni, for example, never tells me to bend down or be more straight but tells me to play more with the upper body and I see her "vueltas quebradas" as more of a game of shoulders than a turn with "cambre." I think a personal style of body movement is even harder to achieve than expressing emotions and I am definitely not there yet, and I have no idea how long it takes to develop a style. Moreover and sadly, I do not even think that everybody is capable of developing their own style because otherwise there would be more unique bailaoras out there. The first step in finding my style is to learn different styles and see what is most natural for my body and what feels best and then go from there and experiment.
As Carmen Ledesma said, a bailaora has her own style when you see her and know exactly that is has to be her and nobody else. She also said that these days most flamenco dancers dance alike.
Manuela Carrasco has a style, Israel Galvan has a style, Carmen Ledesma and La Farruca as well, and they are not the only ones who have their unique styles of dancing; yet, are a minority. Many bailaoras, even the ones that are internationally acclaimed, copy the styles of others. I look back at all the shows I have seen and agree with Carmen that most of the dancers I have seen were copies of one another. They were doing remates in the exact same places, everything was very predictable and similar. We are taught that here you need to do remate and here you cannot but what I'm seeing is that you have to find originality within a patter rather than sticking to it hopelessly.
Moreover, many dancers think that flamenco is about theatrical gestures, tragic mimics and impersonating gypsies. This has the most horrible outcome in my opinion, especially if a bailaora carries a dramatic face throughout an alegria. Yes, there is some theater in flamenco but it's more according to Stanislavsky's method where a performer, in order to express the required emotion, has to feel it first by going back to their happy or sad memories. Otherwise the acting is false. Same applies to flamenco which is about expressing your own emotions; it is a very personal dance. So my first conclusion is that adding your personal emotions makes the dance more unique and defines a style.
Yet, it's not only about expressing through the face. The style applies also to the manner of movement. I'm starting to see it more and more as I study with different artists. Last year, Carmen kept repeating the following to me: "Agachate! No puedes estar tan recta bailando!" (Lean forward! You cannot be so erect while dancing) I was listening and applying to her suggestions. This year I have a class with Nazaret Reyes and all I hear is: "No te agachas! Tienes que bailar mas recta!" (Don't lean forward! You have to dance more erect!) I was confused at first, but then I realized it is a matter of personal style and they just dance differently. Choni, for example, never tells me to bend down or be more straight but tells me to play more with the upper body and I see her "vueltas quebradas" as more of a game of shoulders than a turn with "cambre." I think a personal style of body movement is even harder to achieve than expressing emotions and I am definitely not there yet, and I have no idea how long it takes to develop a style. Moreover and sadly, I do not even think that everybody is capable of developing their own style because otherwise there would be more unique bailaoras out there. The first step in finding my style is to learn different styles and see what is most natural for my body and what feels best and then go from there and experiment.
Wednesday, September 19, 2012
A Year in Sevilla
I've been thinking about writing a blog for a while... And finally, I decided that all the amazing things I have experienced while living in Seville and studying at the Centro de Arte y Flamenco de Sevilla are worth sharing and documenting. My first year in Sevilla has passed and it was an absolutely unforgettable experience. My dream has come true and there I was in the heart of Andalucia living flamenco. Flamenco is not just a dance, a song, and music, it is a culture and a way of life. I didn't understand what it meant before and I still have a lot to learn, but I feel I am closer than before...
I've learnt to listen to cante, I've learnt to hear the guitar and appreciate more flamenco. During my first week in Seville, I went for a flamenco performance to Pena Torres Macarena. It was a Friday, a typical cante night which me and my new flatmates weren't aware of yet. I was somewhat disappointed with the performance and as I set there, I tried to appreciated it but couldn't concentrate. It's because I didn't know how to listen. It took many hours with my amazing cante teacher Esperanza Fernandez and her father Curro for me to start truly engaging in cante and live the emotions with the cantaor.
Some of the highlights of my life in Seville:
1. I've made awesome new friends and studied with great teachers:
2. I performed in the Teatro de Aracena at Festival Solitario with other students of Centro de Arte y Flamenco de Sevilla under direction of Miguel Vargas. I learned what it meant to rehearse in a professional dance company. To perfect one 5 minutes dance of martinete, it took what seemed to be hundreds of hours of rehearsing...
3. I partied at the Feria de Sevilla in an excellent crowd:
Some of the highlights of my life in Seville:
1. I've made awesome new friends and studied with great teachers:
 |
| Photo by John Flury |
It was still a fun experience!
3. I partied at the Feria de Sevilla in an excellent crowd:
4. I have seen so many amazing flamenco performances in tablaos, penas, teatros and festivales. Whenever I was lacking motivation after hours of studying I could regain it easily by watching an inspiring show.
5. I have traveled through Anadalucia, and among many other things, I admired the Alhambra and Mezquita, strolled along Albaicin, Sacromonte, Cadiz, Jerez, and Malaga. Still a lot to see... but at least by discovering Andalucia I came to understand what some flamenco letras (lyrics) talk about and it started making more sense!
6. I discovered my passion for cante flamenco. I had never imagined I would love signing so much. In the year to come I am planning to work more on my voice.
7. I got to live in the wonderful city of Seville!! The city with almost no rain and beautiful sun every day. Every morning I was raising the blinds in my window and I couldn't believe, another sunny and cloudless day! I loved it! The city bustling with life where people are on the streets having fun all day and night long. Well, unless it's too hot and it's time for a siesta. And that leads me to siesta, what an amazing idea! Finally, no need to drive anywhere or posses a car, just bike and walk everywhere.
5. I have traveled through Anadalucia, and among many other things, I admired the Alhambra and Mezquita, strolled along Albaicin, Sacromonte, Cadiz, Jerez, and Malaga. Still a lot to see... but at least by discovering Andalucia I came to understand what some flamenco letras (lyrics) talk about and it started making more sense!
6. I discovered my passion for cante flamenco. I had never imagined I would love signing so much. In the year to come I am planning to work more on my voice.
7. I got to live in the wonderful city of Seville!! The city with almost no rain and beautiful sun every day. Every morning I was raising the blinds in my window and I couldn't believe, another sunny and cloudless day! I loved it! The city bustling with life where people are on the streets having fun all day and night long. Well, unless it's too hot and it's time for a siesta. And that leads me to siesta, what an amazing idea! Finally, no need to drive anywhere or posses a car, just bike and walk everywhere.
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