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UPDATED JANUARY 20, 2010 |
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This month's articles Fronteras | Year In Review | Lorca's Hold | Fiddle | Sevilla Memories |
 Willie & Lobo concert at Center Stage in Midtown Atlanta on Jan. 30 |
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The Show In 2010
This year, a show of creativity swells even before the show begins. Artists are invited to enter a design contest for the 2010 Fronteras show poster. The winner gets two show tickets. And, of course, the winner's design will be featured on the 2010 Fronteras Student Expo poster.
Look Back at 2009
Las Letras LorqueñasSee what's behind the influence of Federico García Lorca over both a 'rumbero' and a 'rapero.' By Erica Poole
It all started with the voice of one, local Atlanta 'guitarrista'/'cantaor'(guitarist/singer) named Guillermo Maduro-Vázquez. He sang at a monthly social of Atlanta Peña Flamenca, held in the patio of a local restaurant. Guillermo was sharing pages of typed lyrics with anyone who wanted to sing along with him. His strong, melodious voice captivated me while he commenced with the rumba, "Verde, te quiero verde." That day, no one explained the origin of that song; all I knew is that I liked him singing it, and that I faintly recognized the refrain from a quick, poetry reference to Romance Sonámbulo from a previous workshop for AP Spanish language teachers. As a high school Spanish language educator, I cannot say that interpretive poetry analysis has been an interest of mine, yet hearing the writings of Lorca set to music made me want to know why flamenco musicians to this day still pay homage to these verses. The day following the social, my current AP Spanish language student Noemi, from Barcelona, told me that she would bring me some more flamenco music. She asked me if I had ever heard of a singer nick-named 'Manzanita' (Little Apple). His full name is José Ortega Heredia. When she inquired, Noemi had no idea of my experience the day before with Lorca's Romance Sonámbulo (Ballad of a Sleepwalker). And, slowly, I began to understand that this legendary pioneer of nuevo flamenco, Manzanita, offered one of several tuneful interpretations of that very poem.
In 2005, local flamenco teacher Martha SidAhmed speaks of the 'green pallor or a dead gypsy girl,' the subject matter of Manzanita's song "Verde." She said, "I discovered that the song, says 'Verde, te quiero verde,' and it is based on Lorca's poem "Romance Sonámbulo," which is so grim. The girl's dead and that's why she's green, and it's this happy little rumba...it's really odd that Manzanita picked this really grim poem to set to such a happy piece of music, and I wondered if it was that contrast that he was going for…kind of fun with pretty grim subject matter." A Spelman College concert influenced by Lorca brought to light more about the poet's connection to flamenco. Dawne Dawson wrote of the concert, entitled, "La Luna Asoma," in a 2008 article on jaleole.com, "...and in the midst of this composition is the haunting sound of 'cante jondo', a flamenco vocal style notably revered by Federico García Lorca himself." In order to arrange more pieces to my puzzle, I researched the biography of Manzanita (1956-2004), and found a discography of at least 16 CDs. The song "Verde" was included on the CD entitled, "Los Gitanos Cantan a Federico García Lorca." I learned of Junior Míguez when searching the website youtube for the hook line, "Verde, te quiero verde." He is a self proclaimed street poet of hip hop and was born in Málaga. Junior Míguez's third CD, "Indomable = Untamable," is the result of a lifetime of influence by Lorca. Míguez was inspired since childhood to want to pay homage to Lorca via his poetry. This CD included a new hit single in 2009.
Rapper Junior Míguez was ill with cancer and returned once he regained his health as he relayed in a live interview on the TeleMadrid network. In the book, An Anthology of Spanish Poetry: From the Beginnings to the Present Day Including Both Spain and Spanish America, compiled and edited by John A. Crow, he notes that in this poem "Ballad of a Sleepwalker," "The young smuggler is fatally wounded by the Spanish Civil Guards, and as he staggers back to die of his wounds, the gypsy girl who loves him commits suicide by drowning herself in the cistern. Lorca's gypsies represent the primitive, spontaneous life urge, and the civil guards are the repressive force of civilization." European Writers: The Twentieth Century, by George Stade, reveals that when Lorca was invited to visit Columbia University in New York back in the 1920s, he felt culturally isolated. To escape, Lorca often went to Harlem to live among blacks, whom he considered gypsies of New York. "In Spain, he had lived and written of the outcast gypsies, the Andalucian dispossessed, written of them romantically, mystically. Now, he himself had been transformed into a displaced, gypsy-like outsider in New York and better understood the plight of blacks," wrote Stade. In essence, what this mini-research project shows me is the colorlessness, universality, and timelessness of triumphing 'jondo' experiences. Manzanita himself has been quoted as saying, "I don't consider myself a discoverer, but I have been researching from the start." The spark of first hearing the sung interpretation of Atlanta's own Guillermo Maduro-Vázquez, leading to reading of Manzanita and his unsuccessful attempt at the flea market business, to watching Junior Míguez comment on his bout with cancer, to enlacing my own personal strands of what I feel when I dance and sing flamenco, each experience is sustained and carried on the shoulders of Federico García Lorca, which instructs me not to sleep walk through life.
Fiddle me flamencoFiddle and flamenco guitar duo Willie and Lobo play Atlanta. By Andrea Herskowitz
Swinks first saw Willie and Lobo perform live in concert in Gainesville, FL, a few hours' drive from home, and was accompanied by a sprouting flamenco aficionado, his 18 month-old grandson. This young baby boy already had the knowledge of guitar, violin, and the sweet sounds of flamenco. In fact, he wouldn't even sleep unless Willie and Lobo's album, "Mañana" was playing in the background. "The ticket man said, 'We've been waiting for you. Your seats are front row center,'" says Swinks, recalling the fond memory of their interaction with the doormen at the show, who apparently had already heard news about this young little fan and his grandfather.
How exciting for Alton Swinks it is to have them play in his own hometown. "Whether we call it a market or an appreciation, it's an opportunity to share (this music) with people," Swinks explains in a modest voice. Swinks has already shared this music with his entire family, and is now looking forward to sharing it with many others. Swinks describes the magic of Willie and Lobo's music saying, "[Willie] doesn't have to sing, that instrument sings for him. The music is an extension of his voice and his heart." Alton went back a second time to see Willie and Lobo at the same venue in Gainesville, but this time with his 5-month old grandson as well as the rest of the family. Swinks fondly recalls watching his little grandson tapping his mother's watch to the music during the entire show. Bringing flamenco music into other people's lives seems to be Alton Swinks' new drive. Music most definitely brings people together. So when you see Willie and Lobo perform in Atlanta, know that the show is held in the spirit of good old family fondness.
The Power of Saying "...one day"Atlanta flamenca shares her travel memoir of Sevilla, España By Erica PooleThis is the third of a series of reports on Erica Poole's recent trip to Spain. Read her previous report in the jaleole.com archive. Chapter 7: Tablao
Every paso that Sabarea grounded made the stage vibrate. Not only was she powerful, but she also had lots of personality in her dance --- there was nothing cookie cutter about her flamenco at all! Her cuadro performed a malagueña, bulería por soleá, tientos/tangos, and alegrías, to name a few. She danced her alegrías in a white bata de cola while working with a lavender mantón, and when she turned, her bata de cola dress literally brushed my face, and it felt like a "bendición." Wouldn't you know that out of all the times for my camera and video camera batteries to die, it was that night? No worries, because with the few photos I did get, that night is forever etched in my mind. There are two other remarkable things about that night. I was expecting the audience to give jaleos throughout like you wouldn't believe, because the entire cuadro was giving its all…but nope --- not a peep out of the audience. I kept looking around the room, and the countenances remained serious and steadfast until fin de fiesta. Meanwhile, I could not stop myself from tapping my foot on the floor and patting palmas on each elbow with my crossed arms. The following day, I asked our cultural tour guide, Antonio why that was. He replied that out of respect for their art, it is common to keep silent during a performance. At the end of the show, a sevillana came up to me and inquired, "You really enjoyed that, didn't you?" From across the room, she could see it all over my face! Also, I had the opportunity to meet Noelia Sabarea after the show. She is just as warm, receptive, friendly and gracious as she is talented. That encounter will stay with me always. <Chapter 8: Passing the baton
During Poveda's presentation, he lamented the passing of Chano Lobato as well as La Paquera de Jerez among others. Yet Miguel Poveda took great pride in sharing the stage with a young man who seemed to be a pre-teen not listed on the program, but someone with whom he wanted to share the limelight. I saw it as Poveda's way of passing the baton, ensuring that flamenco will thrive well into the next generation. I also envisioned what that young man did NOT say. He obviously did not say, "There is no way that I can follow you, Poveda!" He took his seat and owned his cante, which detected splashes of Poveda's style. It's the same gesture that we as teachers wish for our students, to go forth in the language creating personalized conversations hopefully never forgetting who passed them the baton. Another element that I valued about this concert was the need for very little equipment. Poveda had two palmeros, a guitarist with shiny, shaggy Bee Gees reminiscent hair, quality sound equipment, and the God given talents of those on stage. Less was more! Chapter 9 -In search of flamenco classes
Lakshmi's schedule was flexible enough to fit the small windows of free time that I had and her whereabouts during the day allowed for her to meet me either close to home or school. She was the perfect solution! I attended my teacher workshop those days dressed in my active wear with flamenco shoes in my bag.
Lakshmi Basile is a phenomenal dancer with tremendous compás, control and creativity. She inquired as to what I would like to work on; I replied arm/foot coordination and upper body energy. Atlanta, one thing I can say for sure is that the instruction that we are receiving in Atlanta is pure, nothing watered down at all! Whenever Lakshmi taught me new combos, if any footwork came out "sucio," (dirty) then it was back to the basics of técnica: lift my tacones; make my taconeo round and equal sounding; BREATHE; pull up from the abdominals; keep in mind the "drawing that I want to present;" Slow and clean matters; never speed; play palmas so that I understand where I am in compass; always cierre any footwork, preferably on the 10; and keep a spiral twist in the body. Over the course of those 3 days, we worked hard; it pleased me to hear her say, "Allí va!" (There it goes)
Chapter 10- Geography: A Blunder and No Barriers
Well Atlanta, I goofed big time. There are two place names that are termed, Cádiz, the beach city approximately 1.5 hours from Sevilla where we were headed, and then there is the province Cádiz which houses the city of Algeciras which is where Sabarea was. Algeciras practically kisses North Africa. I had confused the wrong Cádiz, but hey, no pasa nada, right? While in Cádiz, my classmates and I did some shopping in the open air markets. One of the kiosk workers had thick dreadlocks and a notable Portuguese accent; I spoke to him in Brazilian-Portuguese and realized that he was from Angola. There were two Chinese women at his booth trying to ask him questions about his necklaces and rings. The three of them weren't communicating, so he asked me if I would be his interpreter. I said sure, if he promised to cut me a deal on anything I might buy. It worked out beautifully, the two women made purchases as a result, and I walked away with a half price souvenir gift for a friend. It was on the trips to Cádiz and Córdoba, while passing endless fields of sunflowers, that I could sense how small the world really was. As we were riding on the bus, I heard reports of Michael Jackson's passing; the chauffeur had his radio tuned to a station that played an "homenaje" to Michael Jackson's career hits. I was in Spain singing along to "The Girl is Mine," "Wanna be Startin' Something," and "Off the Wall!" Truly amazing how one person's music literally rippled around the world and language did not have to be a barrier. Chapter 11: ¿Olé?
At the Miguel Poveda concert mentioned in Chapter 8, he closed with a medley of songs, one of which was my favorite: "Alfileres de Colores." It's a poetic bulería with imagery of a corrida de toros. As I peered into the bullring this particular Sunday, I tried to envision Poveda's letras. It's just that I couldn't "coser un olé." (give an olé) Visit jaleole.com again and see the next chapter of Erica's memoir that includes a flamenco packing list.
© jaleolé.com 2010
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