Photo of La Meira by Niko Alexandrou copyright 2004
This interview is offered as an introduction to the upcoming Flamenco History Workshop with La Meira, Oct. 21, 29, Nov. 11, and 18. Please contact Julia at (646) 206-4130, and you will be informed of the location. DO NOT MISS THIS OPPORTUNITY!!!!
An Entrevista with La Meira
FB: How did you come about this idea?
LM: I have always had a lot of interest in flamenco history. I have a doctorate from Temple University in Dance History, and the subject of my doctoral dissertation was Carmen Amaya. I have also lived much flamenco history, being involved in it for the past 35 years. It’s my whole life.
My student, Julia, approached me. I have always offered a bit of background to whatever palo I was working on in class, as many of my students know. I thought that this would be the right time for this workshop, and eventually I would like to offer this as a college-level seminar. The workshop will be held for four weeks, which would be the equivalent of a 14-week course at any university. Yes, four topics, and I will delve into each of them as equally as possible.
FB: Can you give us a preview?
LM: Some of the subjects I will speak on are, for example: a) why does flamenco sound the way it does? There is very specific information about the cante, and how things developed after that; b) what did flamenco come out of? c) What is the history? and so forth. I will speak about the different cultural groups that lived in the region of Andalucia. Also at the workshop will be Basilio and Aurora, (of Flamenco Latino), demonstrating the music as I teach, specifically the Andalusian notational scales used in flamenco music.
FB: What about materials?
LM: I will use video, recorded material, translated passages out of flamenco history books and live music to accompany this lecture series. Most of the flamenco history out there is in Spanish, and if you don’t have a working knowledge of the language, it is difficult to understand its background including the lyrics of the cante.
For the cante I will speak about Camaron, as well Fernanda de Utrera, who has recently passed. This is important as there are different scale notations which are region-sensitive --Eastern vs. Western Andalusia. I will offer a bibliography as well to those students who are interested in further study, and make available portions of my dissertation. On the subject of dance, I’m going to speak on the current scene in flamenco, gypsy and non-gypsy: Belen Maya, Eva la Yerbabuena, Yolanda Heredia, as well as the trend that now looks back at the old style of the 1930’s flamenco opera era.
***********************************************************
An Entrevista with Farruco
FB: Welcome, Farruco. Tell me about your participation in the Lincoln Center Fall for Dance 2006. Were you invited, or did you ask to participate?
F: Well, I’ve known about this festival for a while. I’ve been told that in this festival there are all types of dance involved, and it is something that has always interested me. NY City Center has invited me to represent the Flamenco portion, and I know it’s a very important theatre to be featured in.
FB: Of course. Are you making a way for the Farruco Family to have a presence in New York City?
F: Not necessarily for the whole family. I’m creating a way for myself. If you recall, the whole family was here in 2000, then my brother and I performed at City Center, and now I’m doing this as a solo project, and gaining some life experience in the process. The family is very well known. I’m hoping to plant a seed, to demonstrate to the public a little of what I do.
FB: Yes, I see what you mean. As New York is a unique market for dance in general, for flamenco, and with what you represent, can you tell us about any current project you have in the works?
F: Yes, it is a production that has a lot of ancestry, a lot of tradition, a lot of singing, dancing, playing, without a lot of unnecessary elaborations. It’s back-to-basics flamenco puro. It’s my opinion that we are in danger of losing sight of it. Don’t get me wrong, I am not criticizing anyone. It’s that native essence, that baile gitano puro (distinct gypsy style), which my grandfather Farruco (Senior) danced. The production we’re working is called “Al Natural”. We’re premiering it in November, 2006 in Madrid, with three male dancers and three female dancers, two guitarists and four cantaores.
FB: Will information on this production be available on the Familia Farruco website?
F: Yes, it will be there. [www.farruquito.com]
FB: Since we are on the subject of gypsy-style flamenco, there are many artists who say that flamenco should have other disciplines introduced. What do you think about this?
F: At this stage in my life and the fact that I’m still young, my mind is really open to anything, at this point. Truthfully, I listen to many types of music, and I know how to appreciate the musicality of them all. I greatly respect for example, those who do modern dance. I’ll go and enjoy a flamenco performance that has those elements, where there are violins, where there is an orchestra, because I’m a flamenco as well as a musician.
FB: A phrase I often hear in this city is “el baile gitano”, used as a definition of sorts. Any thoughts on this?
F: That’s hard to answer. I would tell those people...(pauses)...well, before anything else, I can’t even attempt to answer that because I don’t have the experience yet in my life to give an opinion. That before I do, I would really have to ingest much baile gitano, seen much, because to be able to even speak on this subject I would have to have lived much. At 18 years of age, I am not qualified to give an in-depth analysis nor do I have the authority to. I do have an opinion, though. My opinion is that you can dance gitano. Look – people are confused at to what that is exactly. They confuse gypsy style, and flamenco dancing, and puro this and that. I am of the belief that whatever you do with every ounce of your being, from your heart, can be identified as PURO. You understand? To dance gypsy, you have to feel like a gypsy. In Sevilla, there are a lot of dancers, for example, professionals who dedicate their life to this stuff, and they dance more gypsy than many of us who are professionals. It’s due to the following detail: they have grown up amongst the gypsies, and the culture. It’s not that one is better than the other. What you should be looking for, and what I attempt to do is to follow the patterns established in flamenco, to find one’s personality, which is the most difficult. Find yourself amongst the patterns that exist. I’ve been raised up since childhood in a particular pattern of flamenco
FB: At your age, do you feel that you are capable of creating your own shows, or does the family have a lot of input in the productions?
F: Definitely, my family gives me the benefit of their advice, due to their many years of involvement with flamenco. Still, they make sure not to impose and stop me from opening my mind to other influences. You must understand that we’re dealing with different eras. My grandfather in the past, for the most part, didn’t bother with any huge productions dealing with musicality, except for what he knew best, which is dancing puro gitano. He didn’t need anything else. No one danced like him. I’m from a different generation – my family encourages me to go through the journey I’m destined to, but that I am never to forget to take frequent drinks from the deep well that is the family tradition. The truth is that it’s hard, coming from a family of dancers that maintains a high degree of excellence. Your grandfather, your cousin, your brother, your mother, your aunt, you know? For me to choose my own way well, it’s difficult.
FB: Have you ever studied Classical Spanish Dance? Would you be interested….
F: No, I haven’t studied. I wouldn’t mind it, and I would incorporate it in my dance. I also like to watch Classical Spanish dancing, when it’s well done. I love tap, I love Fred Astaire, Baryshnikov, my goodness, what Savion Glover does. I would love to explore other sources that have nothing to do with my dancing.
FB: What do you want to say to audiences here in New York?
F: Know that I come with much love, and desire, to demonstrate for them the art of Andalucia, the baile puro. I have come to show another dimension of flamenco.
FB: A lot of people will say that they bring baile puro…..
F: I’ve anticipated your question. There are people that have their own twist on this. I am not saying that my style is the only style you should be following. I don’t have the right to. I would like to say that I’m not too crazy about the comparisons. The most I can hope for is that the audience would enjoy it, and come and see the different aspect of flamenco that I am bringing to the stage.
**********************************************************
REVIEW: The Sephardic Connection, Story of the Spanish Jews
Alborada Spanish Dance Theatre, presented by the Monroe Township Cultural Arts Commission, Sunday, September 17, 2006 at the Richard P. Marasco Center for the Performing Arts, Monroe Township, New Jersey
Eva Lucena, Executive and Artistic Director, Principal Dancer, Choreographer
Chavela, Asst. Dir., Principal Dancer, Choreographer, Singer
Dancers:
Lisa Botalico, Giselle Revollar, Yloy Ibarra, Dancer
Adela de Principe, Evita Alegria, Claudia Morena, Maria Rodríguez, Elena Reyes,, Cristina Cardenas, Caterina Carrasco, Karina Grace, Ami Otero, Julissa Cadenillas-Ramos
Musicians:
Carlos Revollar, Music Director and Principal Guitarist Jose Ramon Ramos, Guitarist, Dominico Caro, David Castellano, Singers, Peter Basil Bogdanos, Percussion
Guest Artists: The NOGA Group, The Daughters of Sophia Tribal Dance Troupe, Ramzi El Edlibi, Laurie Fechter
Eva Lucena deserves a standing ovation for even thinking up this project, The Sephardic Connection. Let me preface that by saying that this remarkable woman tackled a subject which not too many individuals, especially in flamenco, care to touch. That there is a connection in flamenco, there absolutely is, and it is found in the music i.e., Peteneras, in the letras (lyrics), and in the melodious cantoral scales of the cante. That 500+ years after the fact, Sephardic Jews still have a voice, even though they may not have much success getting anyone to listen? Ms. Lucena did.
To paraphrase from the program, a tientos:
Neither the Jews nor Moors decided to enact the law that was inhuman and devastating in 1499, it was Ferdinand & Isabella!
This was a point by point demonstration of the Sephardic Jews’ departure from Spain, through Mediterranean regions and through migration to Turkey, with historically accurate depictions of the music, dance, song and period costumes. The production opened in Cordoba, 1492, and as Laurie Fechter sang a haunting rendition of the Sephardic song “Cuando el Rei Nimrod” at the opening of the show, accompanied by the NOGA Group, she and the musicians set the tone of the evening, ancient sounds coming from an ancient peoples. This is the phrase that kept going on over and over in my head. Readers, can you tell yet? Viewing this performance for me was personal. Laurie shared with me that as a Spanish language major, she was drawn to Ladino (a combination of Hebrew and Spanish spoken by the Spanish Jews) because she understood the language, although she is of Northern European Jewish (Ashkenazi) background. She was drawn to the Ladino music as well, becoming enamored of it because of its ancient sounds, and having heard Sephardic songs at her synagogue.
The set was simple, yet quite effective. The entire stage was transformed into a plaza, with a water fountain set stage right of center in the Cordoba of Al-Andalus, or Andalucía, as it is better known. Stucco’ed white-washed walls with an occasional terracotta-tiled shaded window contrasted nicely with the water fountain that was set with Moroccan/Moorish tile work. The musical bubbling of this fountain was heard throughout all of the production, a perfect backdrop to the setting of the people groups of Andalucía as they gathered: native Spaniards, Gypsies, Sephardim and even some local harem girls from the Sultan’s palace.
The company moved in a smooth progression from palo to palo, beginning with a light-hearted Bulerías, danced by members of the Company and guest student dancers, moving on through Adio, sung beautifully by Nick Mandoukos of the NOGA Group. What is particular to Sephardic music is the sound of longing, a sound of uprooting. I was taken pleasantly by surprise when the Daughters of Sophia Tribal Dance Troupe danced in with water jugs on their shoulders and demonstrated Sephardic Jewish steps. There are neck movements, isolated upper torso lifts, shoulder shimmies, to name a few, very much a nod to the Muslim countries that Sephardim moved through. Ashtar told me how she invited a group of Sephardic friends from the Ukraine to her home, and over a dinner of pizza, asked them to show her their distinctive moves. She then combined them with her Middle Eastern dance expertise and the choreography for this number was born. There was such a feast for the eyes, beautiful colors swirling throughout the scenery, nothing is ever static while on stage. There is spoken narration at the beginning of some numbers, about the history of the Sephardim, and two phrases stuck out: “the Jewish voice has been extinguished in Spain” and “Flamenco is our voice of protest”. The Alborada Spanish Dance Theatre is known for their theatricality. That means, expect theatre, dancing on a greater scale, a story line running throughout, keeping you riveted until the end.
There was even a celebration of a bris, the ritual of circumcision of a male child on the 8th day of his birth, according to Jewish tradition. This was a perfect backdrop to a Nana, a lullaby by Manuel De Falla, sung by Lisa Botalico in a stunning lavender bata de cola dress, with a lace mantilla head covering while she held and stilled the fussing child. This mantilla was worn by the judías (Jewish women) in Spain, and still worn by many women in synagogues today, in the same style. Ms. Botalico dances with all the pride of new motherhood, kicking her bata out of the way as she executes her footwork. In the Caña that followed, she began showing signs of the beginning expulsion from Spain, as she would hold the train of dress close to her, as if in pain. Yloy Ybarra danced a masterly Farruca, my first time seeing him do this style. I have had the pleasure of reviewing Yloy for other dance companies, and he never has danced the same thing twice. He danced the Farruca “with a growl”, which I highly enjoyed. Most dancers don’t utter a peep; this man interacts with the musicians and makes an effort to connect visually with the audience. That’s flamenco to me. There is nothing like hearing the satisfying thud of feet hitting the ground powerfully in perfect compás. This is Mr. Ibarra’s style. He was dancing in the role of the proud papá of the newly born.
All this time, La Petenera (Eva Lucena), was watching the proceedings, nodding in approval, holding her community together with a touch here and there, but dressed in black and matching black manton, a preview of things to come. There was a bittersweet look to her face, enjoying whatever life was left and still lived in Spain, albeit with a wizened and determined face, looking into the horizon uncertain of what was to come.
I take this moment to concentrate on the cantaores, Dominico Caro and David Castellano. If only you could have heard the powerful vocals of each cantaor, the rich and thick beauty of the letra chronicling the historical record of this era. Ms. Lucena shared with me the many hours of research Dominico put into the letra heard at this performance. Mr. Caro was only 14 years old when he took a trip to Spain, and instead of continuing on to study in college, he became an aficionado of flamenco, being tutored in the tradition by legendaries such as Diego del Gastor, Antonio Mairena, Fosforito and Fernanda de Utrera. He spent that first summer in Morón de la Frontera, living amongst the Gypsies in Moron and Jerez, accompanying guitarists in dance classes and has never looked back. I believe this whole production will be put on DVD, we will post this information as soon as we have it.
The pivotal moment of this production was Peteneras, a palo attributed to the Sephardic Jews, and not performed by many, as the superstitious amongst the singers and musicians refuse to touch this subject. It was visually arresting, to say the least. La Petenera and her attendants, Chavela and Maria Rodriguez as well as the dancers from the Alborada Spanish Dance Group, all whom tended to Eva Lucena. They used their shawls as a shroud for her, covering and uncovering. Each movement was languidly stunning yet painful to watch, and rang true to the storyline. The whole community was in mourning, but none more so than La Petenera, the Matriarch. It is for her that the jaleo (calling out during a performance) “Señora!!!” is used. So regal, so dignified, a menacing, muffled anger rising ever so slowly against the society that has done this to her people. Here is where she bursts, one of her mocitas (young maidens) runs to her and drops on the floor, hugging La Petenera by the knees. I was moved to tears. The letra “mi neshama y mi ventura esta en tu poder” translated says, “my soul and my life are in Your hands”. The concept of community in the Jewish tradition is very, very deep. Your whole life is based on the people you see at synagogue, the yeshiva, the kosher establishment where you buy the food for your family; the candlestick maker that prepares your candles for the weekly Shabbat. This is what Eva Lucena transmitted. A righteous anger at what happened to a people ripped from their land.
After the intermission, the curtains opened to reveal the Dardanelles in the Turkey of 1499. If this article serves its purposes, it will cause you, the reader, to go to the nearest Google or Wikipedia screen and research what has been written here. The Ein Keilloheino (another Sephardic song in Ladino) was sung by Laurie Fechter. It really puts things in perspective when you hear these types of songs sung out of the context of a synagogue. There was a beautiful moment of recognition between Chavela and Eva Lucena. Following that, a Seguiriya danced with authority by Chavela and playing castanets, sharp staccato trills, calling out to La Petenera with her dance; yet she (Ms. Lucena) becomes increasingly agitated and bitter, refusing to be comforted. Time marched on, and the Sephardim picked up yet another musical remnant. The NOGA Group rendered another piece, this time from Salonica. This could easily be music from the inside of a palace. The mood lightened for a bit as Giselle Revollar and Ramzi Edlibi danced to Tangos de Oliva, an original composition by Carlos Revollar, with Peter Basil on percussion. The story behind this goes as follows: he worked about a year ago with Yoel Ben-Simhon of the Sultana Ensemble, and Yoel got to talking about his grandfather, who was an olive seller. It turns out that this grandfather lived on a mountain filled with olive trees, and was a very wise man. Carlos and Jose Ramos put the music together and Ms. Lucena was able to get a grant for this performance based upon the idea and song. Teaming up Giselle and Ramzi brought the audience much enjoyment through the interplay and flirting that ensued. There is something so earthy about the pair – Giselle is very “flamenquita”, with her hip scarves and coins dangling, and Ramzi looks like he took time off whatever caravan he was working with and came to dance with one of the very saucy local girls. She can seamlessly switch from hip movements, belly dance style, to the footwork distinct to Tangos. Ramzi brought out that Egyptian folk feel. There is so much going on in this production it is hard to decide what to write about first!! You can check out Carlos and Giselle on Wednesday nights at Mompou, 77 Ferry Street, in Newark, New Jersey; Thursdays at Euro Lounge, North Arligton, New Jersey. In October, they’ll be at Spain Inn in Piscataway, New Jersey as well as in Spain II Inn in Asbury, New Jersey, check out www.spaininn.net for their performing schedule. Carlos’ official website is www.flamenconyc.com.
There was another piece which premiered at this show, Mizerlou, a blend of Jewish and Greek music, and everyone involved in the company wore an original Turkish-style pant with a vest designed by Claire Spring. Line after line of dancers brought a tribal flavor to this piece. That’s the problem for me. I’d like to see this again and again. It has been an utmost privilege to be at the beginning of a production that has been added to the Alborada repertoire. Yloy Ybarra once again, brought it home in the Solea por Bulerias, heavy and thick with aire de Sevilla. He is in the fifth season at the Thalia Theatre in Woodside, New York with his company Ballet Fiesta Mexicana and works with many public school systems, exposing children to the world of dance theatre. As if he’s not busy enough. He also shared with me that he craves the yearly trips to Sevilla, to participate in the Festival de Rocio, to see the foliage of the region, to experience the aire and the people, that is his injection and flamenco is his raison d’etre. Flamenco feeds him, it centers him. Make me a plate of that, I say.
In the Fin de Fiesta for Bulerías, everyone got in the mix. All I saw was one community, whooping it up, and that they enjoyed this journey. There is such a sense of real convergence, a true kinship between all members, crew and otherwise of the Alborada Spanish Dance Theatre. Each wears many hats, but all work joyously. Did you know that Alborada has their own CD? It’s called Musical Tapas, with Revmenco and Tangos de Oliva which are original compositions by Carlos Revollar. It’s a good introduction for those who don’t know flamenco. They can be purchased by writing Alborada Spanish Dance Theatre, 55 Piersoll Road, Old Bridge, New Jersey, 08857, telephone number 732.255.4071, email is
alboradadance@aol.com
Their website is www.alboradadance.org.
Entrevista with Eva Lucena
FB: How long have you been developing this project?
EL: This has been in my blood. My Jewish background stems from my grandmother’s side, they are Cohen ,[Editor’s note: this means they are priests, and allowed to approach the altar where the Torah is kept]. They were Russian Jews, and on my father’s side, the family is from Valencia and Granada.
The first time I went to Toledo, I sensed a surreally deep connection to the land, and totally knew every street was. My husband and friends thought I definitely had lost it. I knew all of the streets except the new part of Toledo. This project has been about 15 years in the making, and much brooding has been done over the development of the show. Lisa Botalico’s husband, Joel Rudin, who plays the viola in many of our classical and folkloric productions, is Jewish, and had major input in all of the developmental stages. I bond with Lisa Botalico chemically and emotionally. The young and the old on stage make the public go crazy!! Flamenco is for all generations.
FB: What kind of research did you do for this show?
EL: Let me start by telling the story of the Sephardic Jews, I knew their story needed to be told. They are, after all a forgotten part of history. If you remember, the Jewish people were the intellectuals, map makers, poets, etc. A great light went out of Spain when the Jewish people left. Spain regressed to the Middle Ages, when the Catholic Regime came into supreme control... The country of Turkey received most of the people, and they prospered in that land. I began to explore other musical productions, bringing in tango, for example, all the while with this project was constantly in the background of my mind. Also, I brought Mexican dance, as another cross-cultural offering. Other cross cultural projects dealt with India and Egypt, and all in how they pertain and spread their influence to flamenco. The Celtic Connection with the bagpipes and the drums, tugged at my heart. I am deeply connected to each project we put together at Alborada.
I had to pursue the Sephardic past, causing me to become quite emotional. This concert broke everything inside of me. Now-- some of my dancers are busy researching their past to see if they might have Sephardic blood!!! I spoke to Domenico (Caro), Lisa (Botalico), my company members, and I knew that this family, we could put this together!!! We were building on the way, a journey, to achieve something more, to get something more. Many people thanked me, crying on me, at the first performance of The Sephardic Connection. This project has changed so many things within me and in my company.
Ole tu arte, Señora…
**********************************************************************
REVIEW OF ENTRESUEÑO
Peter Norton Symphony Space, 2537 Broadway at 95th Street, NYC,
August 9, 2006
Paul Fradin, Producer
Edwin Aparicio, Artistic Director, Principal Dancer
Eli La Truco, Dancer
Nelida Tirado, Dancer
La Genoveva, Dancer
Pedro Cortés, Musical Director, Guitar
Ricardo Marlow, Guitar
Jesús Montoya, Cante
David Castellanos, Cante
Damaris La Gata writes:
Have you ever wondered how a flamenco dance company structures a production?
I hope to open a door into that world through interviews of the principals
involved and what I experienced sitting out in the audience...
READ ALL ABOUT IT HERE!
***********************************************************
REVIEW OF GAZPACHO ANDALÚ
July 29, 2006
Alegrias En La Nacional - 239 West 14th St., NYC
Alfonso Cid, Cantaor Flamenco, Flute
Arturo Martinez, Flamenco Guitar
Jainardo Batisto, Cante
Gary Raheb, Turkish Cǚmbrǚş, Cuban Cuatro
Toni de Vivo, Percusión
Sean Kupisz, Electric Bass
Barbara Martinez, Baile
with guest artists Maestro Jose Galvan and Carmen La Salao
Hombre, I’m finding it hard to keep still as I write this review. I just popped in Gazpacho Andalú’s Flamenco de Vuelta e Ida, a mini-vacation in the style of Around the World in 80 Days but where the plane ticket reads “One-Way from Andalucia to NY, with stops in North Africa and the Caribbean”.
Their music comes at you in layer after layer, much like the cold soup they are named after, where the flavors are blended and the end result is quite refreshing. I can hear each musician distinctly within their own brand of seasoning. I think in pictures, and I see Don Alfonso as a master gardener -- he takes each of their unique sound/disciplines in seed form, plants them in the soil of flamenco and prunes them accordingly, producing beautiful hybrids. Where Alfonso Cid, Arturo Martinez, and Sean Kupisz form the bedrock, Barbara Martinez is the hot-house orchid, Gary Raheb, Toni de Vivo and Jainardo Batisto the lush, surrounding greenery. Although their music is better enjoyed live, the CD is a wonderful introduction into that world.
I’ll walk away from the garden now (in tangos compás). Alfonso Cid began the night with a martinete a capella addressed to a packed-to-the-rafters first set at Alegrias. The group then proceeded to a tango de Malaga, based on a poem by Samuel (HaLevi) Ha-Nagid, who was the Grand Vizier of Granada after 1027 c.e., and of Sephardic Jewish origin. Andalucía’s arabic name, Al-Andalus, was a region where diverse cultures lived in harmony, and where each spoke each others languages fluently.
This is why seeing a live performance is so necessary. You get an education and at the same time you enjoy culture and tradition. Carmen La Salao (who was discovered as a child by the great Carmen Amaya) was invited up to the stage, a harissa-flavored accompaniment to Gary Raheb’s plucking of the “banjo”, as Alfonso put it. Paul Fradin, who is the producer of the upcoming Entresueños at Symphony Space, said about her “wow, she’s spicy and she’s the real thing. She continues to have a long and enduring career, and Jorge Navarro once told me he coaxed her out of retirement. Next time you think you’re tired in class and you’re over 30, take a look at her, vale? The crowd went wild as she flirted and sang to them, encouraging their attempts at palmas. I was jotting down my notes on the previous number when my ears perked up and I was looking on stage for an oud and saw yes, you guessed it, something that looked like a banjo. What I recognized was the beginning phrase of what I could identify as a zambra, except this sound was its definite ancestor.
(from left to right: Carmen La Salao's husband, Carmen, Jose Galvan and kneeling Jorge Navarro)
By the time it got to Al-Andalus and hung out in the gypsy quarters it was called that. Carmen responded in kind, moving her hips and turning her wrists, belly-dance style. I had an interesting conversation with Gary later that night as he was relating where his roots proceeded from, musically as well as personally. Imagine: Syria, where his people stopped by and picked up his other people on the island of Sicily then onto the final destination, United States. Everyone in the U.S. is some sort of gazpacho, verdad? I told Gary, “If it wasn’t for your people, who are more ancient than Spain, we wouldn’t have certain flamenco melodies and the guitar”. He responded “Yeah, but we’re in New York now, and since it’s such culturally diverse city, we don’t have to prove anything to anyone: Toma que tomaaaa.
A beautiful surprise was in store for all that night. Jose Galvan, the father of Israel and Pastora Galvan, danced a visually stunning Sevillanas with Carmen La Salao. They had everyone gasping. They knew each other as children in Spain, and you could just feel the love and kinship between them as they danced. Ahhh…..
I also spoke to Jainardo Batista, a Puerto Rican singer, who was doing backup to Alfonso that night, including palmas. Understand, readers, this is also a seasoned Cuban Son singer. I asked point blank, “How were you able to tone down your salsa flavor and accommodate your voice to flamenco compas?” What tumbao is to salsa, compas is to flamenco. He told me “I dealt with that too in the beginning, but Alfonso told me to just think in counts of 6”. Jainardo’s musical schoolteachers were the old Cuban masters of the 20s/30s/40s, noticeable in the unhurried timing of his voice. Unfortunately, I was unable to get a hold of Tony de Vivo, who plays a classy set congas/bongo on the CD and Sean Kupisz. His electric bass playing is so rich, both live and on the CD. The New York flamenco scene is indebted to Arturo Martinez’ guitar playing and support of talent within the city. I was interviewing a couple of the artists amidst the cleaning up of the tables for the next set, and plus the musicians had to rest in between. No matter, I know I will be seeing them time and time again. They have gathered quite a following in New York, and I predict a long trajectory is ahead of them.
Visit their website at www.gazpachoandalu.com.
***********************************************************************
REVIEW OF Pasiona Flamenca “En Un Tablao”
Alegrias en La Nacional, 239 West 14 Street, New York, NY
Jorge Navarro, Bailaor
Carmel Shelly, Bailaora
Rafael Brun, Guitar
David “El Rubio” Guitar
Alfonso Cid, Singer/Flute
Peter Basil, Cajon/Percusión
La Nacional is the home of the Spanish Benevolent Society, founded in 1868 to offer a familiar cultural meeting place for travelers and expatriates from Spain, and is the oldest non-profit organization in the U.S. If you’re homesick for authentic cocina española and/or interested in trying, this is the place. It was in La Nacional where Garcia Lorca heard about the Civil War in Spain. One flight up, the “Alegrias at La Nacional” Tablao (www.alegrias.com) is run by notable flamenco artist, teacher and New York entrepreneur Jorge Navarro, who has been featuring quality flamenco companies and artists consistently for the last three years. The original Alegrias was located downtown in the Village and it is enjoying a renaissance at the current location.
Before the show, a minute of silence was observed in honor of the passing of Pedro Cortes, Sr., father of guitarist Pedro Cortes. Jorge Navarro and Pedro Cortes have a long history of working together and more importantly, a lasting friendship through their connection as “veterans of war” in the flamenco trenches of the 1970’s, the Golden Age of Flamenco.
In this writer’s opinion, Jorge is reaching a remarkable ripening, as in the case of a prized element in winemaking, the solera. Wine produced from a solera does not have a discernable vintage date because it is the product of wines from many years. The man commands attention and respect, a dancer’s dancer. I thoroughly enjoyed the Sevillanas between himself and Carmel Shelly, danced the way it should be. Jorge Navarro is dedicated to maintaining a high level of flamenco theatre and we, as the local flamenco public should visit Alegrias at La Nacional often and those who are interested should attend his Sevillanas Workshops and regular flamenco classes. This in essence, is flamenco culture.
Carmel Shelly was indeed delightful, and I knew I recognized her style. She makes it seem as if she is playing to a huge audience, speaking clearly through full articulation of her body and footwork, taking time to tell the story. It takes artistry to make a small stage seem vast. She is originally from Israel, and I found out that she first discipled with none other than the woman responsible for the existence of Flamenco in Israel, Silvia Duran, who was in NY last year to give her workshop at Fazil’s Time Circle Studios. Carmel has also studied with Belen Maya, Rafaela Carrasco, Manolo Marin and Domingo Ortega. She told me she is constantly learning and re-inventing her style, honing her skills and appearing in shows internationally. Prior this show, she was featured as a guest faculty and ensemble member at Ziva’s Institute of Spanish Dance in Washington, D.C., where she resides.
I spoke with Alfonso Cid, the leader of Gazpacho Andalu (see www.gazpachoandalu.com), who told me about their forthcoming CD, Flamenco de Vuelta e Ida. It’s a word play on the palo “cantes de ida y vuelta”. Alfonso is a native of Sevilla and resides in New York. This CD is a symmetrical fusion between traditional flamenco and the diverse musical expressions heard in this City. He stated that when he sings for Jorge, he’ll do a complete letra por solea, for an example, pointing out that it’s not all about the next trend in flamenco but staying true to the roots as a rule. They will be back at Alegrias en La Nacional on July 22 and 29. Look for them also at Lincoln Center Out-of-Doors on August 12. On August 30, they will be featured at “La Casita” on 9th Street and Avenue C on the Lower East Side, which is also organized by Lincoln Center Out-of-Door. Keep checking the website for the latest information on these hard-working musicians.
********************************************************************
REVIEW OF Compañía Flamenca Juan Polvillo presents “De Sevilla”
May 10th and 11th, 2006 at Joe’s Pub, 425 Lafayette Street, New York, New York
Juan Polvillo, Dancer
Maha Akhtar, Dancer
Jose Manuel Tudela, Guitar
Emilio Cabello, Cantaor
Manuel “El Tañe”, Cantaor
Sanju Sahai, Tabla
Northern India and Andalucia. Kathak and Flamenco. Most people are not aware of the connection that still exists between them. In this age of every conceivable flamenco music/dance progression, here was an opportunity to look backwards at an ancient art form, the expression of which is still seen in the sons and daughters of those whose ancestors brought it with them along the migratory route from India to Spain. This production is a taste of what is to be presented in Sevilla, India, and New York in 2007.
Maha Akhtar (La Maha) is one of those daughters, and of royal pedigree. She is the direct descendant of the Maharaja of Kapurthala, who married flamenco dancer Anita Delgado of Málaga and by virtue of marriage, became the Princess of Kapurthala. A new book by Javier Moro, Pasíon India (Editorial Seix Barral, S.A., www.seix-barral.es) , has been on the bestseller lists of Spain, and recounts the extraordinary life of the woman and the major scandal this marriage brought to British India, a true Scheherazade of modern history. This means that La Maha had flamenco built into her DNA, never really knowing why she was so drawn to it, and only found out recently what lineage she was really from. I have been informed that the exclusive film rights have been purchased by none other than Penelope Cruz. Personally, I can’t put the book down, and since I’m not aware of any translation existing in English, either learn the language or hijack one of your Spanish-speaking friends and force them to read it to you.
Maha already knew how symmetrically alike the rhythms of kathak and flamenco were due to her extensive background in kathak dance. She began her odyssey by training in the discipline of kathak at the tender age of 6, and was personally mentored by the “George Balanchine of Modern Kathak”, Birju Maharaj. By the time she turned 14 years of age, she was appearing professionally as a soloist and in larger productions touring throughout India, Singapore and the Middle East. She was a guest lecturer at the University of Sevilla (under the auspices of their Flamenco Department), and was asked to put together several productions demonstrating the bridge between the two cultures. “De Sevilla” grew out these collaborations and the deep friendship between her and Juan Polvillo.
Watching “De Sevilla” was like stepping through an exotic looking glass entering into a warm curry-colored world that when it was over, I didn’t want to leave. Juan Polvillo, a native of Sevilla and a Gypsy, is athletic and fully-fleshed, dancing with a lion’s authority, prowess and mane respectively, completely engaging the audience. He transmits an ancient heaviness, the very air bearing the humid weightiness of a people that traces its migration from India. La Maha and Juan Polvillo danced through the ages, literally. He was La Maha’s strength; she brought out his tender side. Her body language evoked kathak arms and postures, he offered his hands, his feet, and completed the thought with the style that Sevilla is well-known for. You have to see them interacting together. Several people on both nights of the show came up to me and commented that they had never experienced flamenco so up close and personal, that they weren’t used to performers expecting them to participate along with the happenings on stage. It is supposed to be experienced at this level.
Juan Polvillo is the director of Compañía Flamenca Juan Polvillo. With a career spanning over 20 years, Juan has performed in major flamenco festivals, winning prestigious awards, working as well as studying with flamenco’s elite. He has toured every major continent, and performed in front of heads of state, such as President George Bush Sr., Pope John Paul II, the late King Hussein of Jordan, King Hassan II of Morocco, and King Carlos and Queen Sophia of Spain. Escuela Flamenca Juan Polvillo has an ever-expanding international student base, offering a complete workshop package that includes lodging. For details, please go to
www.laescuelaflamenca.com/
The musicians and singers of “De Sevilla” are just as seasoned heavyweights and proceed from equally high pedigrees. I don’t say this to be facetious, but simply to illustrate the life-long dedication that it takes to produce such mastery. Jazz musicians call it “chops”. Jose Manuel Tudela, another child prodigy, started studying guitar at age 11 and has worked with flamenco’s best such as Chiquetete, Paco Taranto and the Montoya Gypsy Clan. Manuel “El Tañe” is from the Moneo Gypsy Clan of Jerez de la Frontera, with a raspy voice that could only be handed down from father to son. He has worked with Antonio “El Pipa” and Juana Amaya, amongst others. Emilio Cabello, is a walking “flamenco palos and letras” encyclopedia. His tours of late have been with Eva la Yerbabuena, Israel Galvan, Rafael Campallo and the great Manuela Carrasco.
The whole audience got a taste of old Sevilla, being privy not to just another flamenco show, but a slice of history in the making. I cannot sum up these musicians and dancers with catchy clichès. I just know that in this lifetime, I have to see them all individually again and again, whether it happens or not. I was told that a sitar player is also included in the project, but the stage was too small to accommodate the rather large instrument. I would not have known this, except that it was pointed out to me. Sometimes, ignorance is bliss. The reason for the preceeding sentence is thus: Sanju Sahai is an exceptional tabla player. His tabla is as musical as a sitar, was the second flamenco guitar, is a myriad of percussion instruments (I will never look at a cajon again), possesses an infinitesimal amount of notes, is the original taconeo that counterpointed both La Maha and Juan Polvillo’s footwork, was the harmonious echo to the singers, and the list goes on and on. Sanju teaches tabla at London University and school throughout Great Britain.
**********************************************************
REVIEW OF When the Road Bends...Tales of a Gypsy Caravan
This was my first viewing of an emotionally arresting documentary. While it is not exclusively about flamenco, it is an important film which merits a thorough study, be it sociologically, anthropologically – slice it into any “ology” of your liking; it is living testament to Gypsy/Roma lives and the countries they dwell in.
At the risk of sounding redundant, WHEN THE ROAD BENDS...Tales of a Gypsy Caravan merits viewing and re-viewing with espresso-fueled roundtable discussions following, ranging from the university level to the man on the street. It is time to reverse stereotypes about the Roma, not simply by stating so, but demonstratively allowing us through the eyes of the camera lens a view into their lives: every tear, callous, wart and belly-laugh.
Cinema heavies Jasmine Dellal ( www.littledust.com ) along with master cinematographer Albert Maysles, and George Eli ( www.elifilms.com ) and with an equally diligent accompanying crew, followed the performers from four different countries: Rajasthan (India), Macedonia, Spain and Romania, and also during a six week tour in the US, as the Gypsy Caravan 2 traveled from one show venue to another.
*********************************************************
REVIEW OF TEYE & BELÉN IN NYC
DATE: Saturday April 8
SHOWTIME: 7:30 - 9 PM
LOCATION: Caffe Vivaldi
ADDRESS: 32 Jones St - West Village, Manhattan
Teye and Belén, two artists who are dynamic in each of their distinctive disciplines, both told me the same thing – “Flamenco is a force bigger than us and the only thing to do is surrender and obey that call”. Need there be any further explanations? I think not.
The show commenced with Bulerías and variations of its themes by Teye, a Viking/Gypsy Soul-Brother (I’ll let that sink in), accompanied by the beautiful and delicate-looking Belén, who made this writer pay attention when she started playing the cajon in rhythmically provocative basso-profundo counterpoint. Their wall of sound instantly let in the warmth of an afternoon in Andalucia, at the time of the setting of the sun, just before the campfire is lit.
All of flamenco’s cultural influences have been fused into Teye’s guitar playing, and it is a very good thing. I heard an oud, I heard part of a zambra, I saw the unorthodox gypsy technique coupled with the dignity of a classical guitarist. He had such a rapport with the audience; I noted that they were taken in simply because he paused between numbers and spoke to them about himself and Belén, their music, where they have traveled to as well as the culture surrounding flamenco in Spain.
At one point he joked about finding a parking space down the block from the restaurant after traveling all night from Rhode Island. Really?!! We’re talking Lower Manhattan, okay? Ask a New Yorker if they would be willing to drive into the City when we have such an extensive transit system, and you will get a blank stare followed by the back of their head as they walk away.
Another anecdote: his parents noticed that as a small child in Holland, he would be playing with his toys and when he heard the Spanish guitar playing on the radio, he would drop his toys, remain motionless until the song ended, thereafter resuming his games; his favorite colors were yellow and red, the colors of the Spanish flag.
Belén, his wife, was also very young when flamenco exerted its influence. A native of Sevilla, which gives her a jump-start if you ask me, would imitate dancers and their steps at the fiestas that her mother would take her to, dancing for hours and hours until she fell asleep exhausted and they would have to carry her home. She entered the dance academy at age 8, and has been dancing professionally for the past 9 years. Belén gets lost in the music, bringing you along for the journey, and again, her delicate physique is transformed into a majestic and commanding bailaora. Her dancing is very earthy, fiery and with no pretense, straight from the streets of Sevilla. She is much like her husband, marrying the raw and the refined of flamenco and does not need to look at Teye, as he reads her and plays accordingly.
She is the force than inspires him!
On the difference between dancing in Spain and dancing everywhere else, she related that in Spain you have prove yourself all the more as audiences there are well versed in flamenco. They come to see the artists with ideologies already formed in their heads as to what flamenco is, especially since they are the people in the nation that spawned it. I am looking forward to next time Teye & Belén pull into New York City.
For more info...Log onto to www.teyeandbelen.com for more info!!!)
*******************************************************************
REVIEW OF:Noche Flamenca @ Joe’s Pub
Starring Soledad Barrio with guest dancer Alejandro Granados
The Public Theatre – New York, NY
Saturday March 11, 2006 – 9:30 pm
This one-hour truncated version of the spectacular show which was presented at the 2006 Boston Flamenco Festival was a delight to behold. Always fiery Soledad Barrio graced the stage in the intimate setting of Joe’s Pub (at the Publick Theatre in the East Village). The place was packed to the rafters with her adoring fans. Noche’s Artistic Director Martín Santangelo told me extra shows were added to accommodate the huge number of people clamoring for tickets. But troupers that they are, the Noche Flamenca cuadro performed brilliantly.
Soledad ‘s finest number opened with singers Manual Gago & Emilio Florida ‘duking it out’ in a vocal joust of cante jondo. As Soledad emerges into the spotlight (set horizontally to flood the stageleft) the shadows which fell on her face and graceful limbs created a scene reminiscent of the Sargent painting “Jaleo”. Haunting vocals, and mesmerizing dance ensued to the obvious delightof the audience. I believe I spotted Masterpiece Theatre’s host Russell Baker behind me, enthralled by the beauty of the café cantante experience.
In fact, Martín told me that Mikhail Baryshnikov was at the earlier show (DaYaM --- missed THAT one!!!) exclaiming his critical praise for Noche’s performance. (Note to myself… pack up, sell the house, husband, and dogs, and MOVE to NYC!!!)
The all-too-short show brought down the house with several curtain calls. Though exhausted, the troupe gave back to the audience and then some!
About the venue: Joe’s pub, named after the late Joseph Papp – Director of the Public Theatre is quite a space. It really resembled a tablao, in the close proximity of audience to stage, and the acoustics were recital-hall quality. They served a full drink/food menu (and I swear every one of the waitstaff was an actor waiting to “happen”)
Check out Noche Flamenca’s website for information on the group, and upcoming tour dates at: www.nocheflamenca.com
*************************************************************************
REVIEW OF:Flamenco de Hoy directed by Pedro Cortes
Alegrias en la Nacional
239 W 14th St. New York, NY
Saturday March 11, 2006 – 11:00 pm
With:
Pedro Cortes – Guitar
La Conja – Vocals, Dance
Nelida Tirado – Dance
David Gregory – Guitar
Shlomi Cohen – Wind Instruments
Special surprise guest Gonzalo Grau – Percussion
Impressario Jorge Navarro has struck paydirt with the arrival of Flamenco de Hoy to Alegrias at La Nacional. This is perfect setting to embrace the jewel that is the latest cuadro to emerge on the NY flamenco scene. Under the direction of Pedro Cortes, this fine flamenco ensemble reads like a “who’s who” of the art.
Pedro has played guitar for over 30 years and his influence on the NY scene is only a part of his talented repertoire. He studied under Sabicas and Paco de Lucia, and has performed as far away as India. A good friend from my days with Amaya Flamenco sin Limites in Boston – Pedro brings the wealth of Spain home to America – his style is truly unique - and while I may not be an expert on guitar – I know what I love to hear and that is ANYTHING this man plays!
Starting with a Bulerías, veteran NY flamenco presence La Conja took the stage and began singing. A multifaceted performer, she segued into a taconeo that nearly ripped the floorboards of the tablao to shreads. Formidable in all ways, she creates an atmosphere akin to danger! “Look out – here she comes!” was probably on many of the audience’s minds. Look out indeed!
New to this reviewer – the stellar Shlomi Cohen, a young musician with a way of handling a clarinet and saxophone that betrays a much older individual. This cat is smokin’!!! Great job Shlomi – please come up to Boston if you can!
David Gregory on 2nd guitar not only kept up with the ‘Maestro” but staked out his own territory with deft handling of his instrument. Pedro after all, selects only the best.
Also – a note of appreciation to Nelida Tirado for an enchanting and fiery performance. She provides the complete duendissimo experience of cara/cuerpo/taconeo. You HAVE to catch her on that stage – a firecracker of a dancer!
My good friend Gonzalo Grau – ubiquitous flamenco personage and bandleader of La Timba Loca – present and accounted for, made that cajon talk in PURRRRRfect compás.
This cuadro will be playing every Friday and Saturday night (two shows, 8:30 and 11:00 pm) for the rest of March. I suggest you catch them pronto. You can call Alegrias en La Nacional at: 917.667.2695 to reserve your table.