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UPDATED MAY 8, 2012 |
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This month's articles Final Fronteras | Cante Festival | Heart Muscle | Betanzos | |
 Fronteras 2012 Annual Student Flamenco Expo
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Final FronterasIt's the 8th and final year for the city-wide flamenco expo.By Julie Baggenstoss
As such, show producers Rina Menosky and Julie Baggenstoss look forward to celebrating achievement again this year in Fronteras 2012. The show is an important part of the educational process for flamenco students. There are two shows: the matinee at 4 PM & the evening production at 7 PM on May 19, both at the Robert Shaw Theater of North Atlanta High School. Afterwards, look for something different for the future of performing as a means to enjoy talent and skill. EnsimismadosSiempre Flamenco's Festival de Cante vocalists turn radically inward. By Erica Poole
For the past six years, Miami had been home to Siempre Flamenco's Festival de Cante honoring this generational preservation of timeless human expression via song. The same spirit of sharing brings this internationally recognized event to Atlanta for the first time ever on May, 12 at Meliã Atlanta Hotel International. Javier Heredia and Jesús Montoya, both from Sevilla, España as well as jerezana, Kina Méndez, niece of legendary singer La Paquera de Jerez de la Frontera, will set their minds to the task of cutting through superficial layers of experience to reach an inner, transcendental core of frustration, anger, anguish, depression, and joy met with sincerity. La Paquera de Jerez is the 'apodo' (nickname) for Francisca Méndez Garrido, born in 1934. Her powerful bulerías were documented in Carlos Saura's Flamenco as she had us at "Ayeo" upon walking towards the camera. When you think of the verb "to interpret", languages may come to mind. In actuality, another definition is to perform or render a song, for example, according to one's own understanding or sensitivity. All three singers at this year's festival will take the opportunity to interpret everlasting letras as their emotions see fit no matter who their relatives may be. Atlantans have had many opportunities to learn letras as a means of supporting one another during improvised baile. What astounds us and keeps us coming back for more is how artists of the caliber of Heredia, Méndez, and Montoya are able to produce an abundance of letras at any given moment and can stylize them with so many melismas - the weavings of the voice around a single syllable coupled with clenched fists and agonized gestures to help them bring about and release deeply rooted emotions that on a day to day basis many people would prefer to numb rather than acknowledge. Kina Méndez was gracious enough to grant jaleolé an interview in which the questions are geared towards introspection
in order to 'ensimismarse' (to be absorbed in thought): With the upcoming cante festival, Atlanta gets a chance to commune around the flamenco table surrounded by a trio of professional cantaores, who continually make their marks throughout Andalucía and beyond. Allow their proverbial letras and individualistic styles to prompt us to 'ensimismarnos' to the extent that 'jaleos' (cheers) and 'escalofríos' (goosebumps) have no bounds. Lo Siento,OscarA personal review of the Miguel Vargas Workshop. By Rebecca Money Johnson
It all felt too good to be true. But, when I asked Sabrina Murner, the organizer of the workshop, what drew her to Miguel Vargas in the first place, I knew it wasn't an illusion. While in Seville in 2007, Sabrina said it was "recommended to visit his school if I wanted to work on body and structure," And what she noticed was "the potential for students to gain from an artist who offered a concentration of components needed to prepare them as flamenco dancers." Consequently, in the spring of 2010, she bought Miguel to Atlanta for the first time, where he offered his unique knowledge of form and feeling; especially to those of us who may never get to travel to Seville. I was fortunate to take Miguel's bulerias class; where everything was stripped away but the beauty of form, 'ritmo' (rhythm), and soul; together making the golden number of flamenco. To execute this Phi of dance, Miguel judiciously proffered only a few simple pasos to play with as he sang several different approaches to the same bulerías letra. You had no choice but to exercise your heart muscle. And I don't mean cardio. I mean duende. I mean feeling. You didn't have to worry about learning some new complicated step. All that was left was the reason I have always wanted to learn this dance: passion. How often have I dissected a favorite flamenco dance on video and found it can be reduced to simple pasos exquisitely executed? Yet, how often do I slow down to learn that way? For some time now, this has been my focus. My teacher, Martha Sid Ahmed, certainly primed me well for the workshop. She, too, is a stickler for form. She gave me the core from which Miguel culled a more believable dancer. As a stay-at-home-mom busy with three small children, my flamenco goals have been pared down to bulerías and sevillanas. I chose these two dances because they draw tangent to my only opportunities to dance: at juergas or in a fin de fiesta. This reduction has been a blessing in disguise, because I am more focused on doing a few things well than a lot of things wrong. Miguel's workshop was marvelously in line with these goals; as well as the realization that, in a way, flamenco has its own butterfly effect. Only your body is the universe in this analogy. One small thing out of place could alter the whole dance. Martha has challenged me to focus on all the components of the dance and to never forgo my core. Consequently, I have learned that form is the soil from which the dancer grows. Miguel is one of many master gardeners we have had teaching us workshops over the years; and his gifts are certainly jewels for the dancer: the fusion of form and feeling. This year Sabrina and Miguel put together a good mix of palos. The two-night bulerías "pearl" thrown into the mix, to me, is a workshop necessity. I don't think I am the only dancer in Atlanta who knows professional flamenco dancer is not her calling; but would, however, like to improvise a more-than-passable buerías when the opportunity arises. So, I found the addition of a small bulerías intensive on the periphery of the main workshop, a brilliant choice. Because on the other hand, it is time to learn some other palos as a community. So, this approach perfectly satisfied everyone's pallet. The mainstays were zorongo and soleá; offering what Sabrina hopes will be a "continuity of what we have studied and learned" with Miguel in the past. She adds, "In the Spring of 2011, we decided to do jaleos extremeños (A type of bulerías from the Extremadura region of Andalucía) and introduced a new compás with seguiriyas. Studying jaleos gave us the opportunity to hear and visualize different buleriás melodies that differ between every region. This Spring, 2012, we studied bulerías to revisit its essence and to reinforce our knowledge; zorongo to keep a connection with the 4 count compás for the level 1; and Soleá to maintain the continuity (of learning 12 count compás)."
Manuel Betanzos: Passion, varietyLa Fani shares an interview with one of her Seville teachers, dancer Manuel Betanzos, who just taught a workshop in the Festival de Jerez. By La FaniFani: Hello Manuel, here we are sitting in Bar Teatro in Jerez de la Frontera, Spain. Let's talk about you. Where do you come from in flamenco? Did the passion for this art come to you from your family? From whom did you learn? Manuel: Okay. Well, I have no one flamenco in my family, no one who sings, who dances, or plays guitar, no flamenco artist. It came as a hobby since my childhood. Like any boy, or any girl in Andalusia.
My father is not from the flamenco world, but yes, he is an aficionado. He put me in a flamenco school in the neighborhood, and then in a professional school. And without knowing it, it became my passion and my profession. I started dancing in 'tablaos' (flamenco performance venues), going to auditions for companies. And, without knowing it became my profession, and I started teaching of course. Fani: As far as dance is concerned, what are the figures that have influenced you the most in your career? Manuel: For my dance, my overall vision in general. Well, almost all have influenced me first. Of course, those who taught me, but much more, those I have taken courses with, and those with whom I have worked. But, both groups have given me something. Well, when I started as a teacher, and a professional dancer, it was thanks to José Galván, who first gave me the opportunity to work and teach what is actually real flamenco. Then, I followed my footsteps with Manolo Marín, and then with workshops, with many bailaores, both in Madrid and Seville. Manolo also shaped me a lot, [in] rhythm, feet, percussion, he forced me to focus on my arms. And then at another level, the choreography director, the dancer Mario Maria, who made a huge difference, which has brought me more things. That's whom I consider my teachers. With others I learned in school. I've worked a lot with Manuela Carrasco and have absorbed a lot of things from her, Manolete, Toná, Matilde Coral, each of them has given me something. Fani: Manuel, I don't know you as a flamenco performer, and I have never seen you on stage. Did you withdraw from performing? And, if yes, what was the reason for that? Manuel: Yes, I decided to breathe from that facet as a dancer, but it is always there. I started dancing at 14 years old. But, at some point, I have decided to open my own flamenco school, and I had the privilege to take over La Academia de Manolo Marín. I decided to devote myself fully to it. Well then, do I consider that the two are very difficult to carry, right? And, the school, it consumes you, sucks you in and it takes a lot of your time and doesn't leave you much time to dance, as I believe you need in order to be a bailaor. And, for now yes, I am dedicated to teaching. I've done some little things here and there, but under very specific circumstances like the tribute to Mario Maya. It was very exciting, very moving. I'd love to return to the stage, but when I can detach myself a little from the school to devote enough time to it. Fani: Which element / features you consider essential in your teaching? Manuel: I have a philosophy that apart from being an inspiration from all my teachers, I have my own conclusion. I think that in order to dance, it is not sufficient to make technical moves, as fine and perfect they are. I believe it is necessary to give it a meaning, a truth, a sensation, and that is for me the most important thing. It is not necessary have to do complicated or fast steps, you can just walk - it depends on the palo - but everything is about interpretation. The technique of course - now without technique, yes, it can be possible to be very good in 'raices' (roots), in purity, but the technique helps you to open up more possibilities, no? And, we need it. A bailaor with technique, and with 'arte puro' (pure art), is much more complete. You have to put a lot of perseverance and dedication, this is very important.
Manuel: Look, my first workshop was in Toulouse, France. With Isabel Soler. Fani: Yes? Really? I didn't know. Manuel: And then in the United States of America, too, in California. I am dedicated to this. I am asked to teach in festivals, and private academies. What I feel and what I learned is that there are many people who love flamenco, that have passion for it, sacrificing a lot of things, private life, economy, family, well they are sacrificing a lot. So, I learned to teach for different levels, and because everyone wants to learn, and deserves it, I give them all a place, and an opportunity. I mean, I defer to the respect they have, the admiration they have for flamenco. That's what stimulates me the most. I learn from them, all that they give, all their interest to learn things here, things, for example, I've noticed, because we have them close, we let them pass by. Here we have them in front of us, often we do not realize and analyze what we do and how we do it. Foreign students research, study the language to keep in touch with us, to understand us, they study, they sing, they listen, all that. Things that we often do not do. It is that dedication that I admire. Fani: I had 2 more questions, but I think you already answered partly : What is the most important thing to learn for a dancer? You've already said a bit: perseverance, and practice. Can you tell us something more? Manuel: Yes, I mention it a lot in my classes: respect to the musicians, humility, dedication, desire to want to learn more. Do not settle for what you have, which is good, but if you can learn more, better. The dedication and the passion. Fani: How do you see the current flamenco scene? This week at the Festival de Jerez in Jerez de la Frontera, Spain, we have seen the show from Israel Galván, very avant-garde, and other more traditional shows. How do you see it? Manuel: I tell you, it is a treat to see this. I think we have a generation of artists with a great personality, in a very difficult time. But, they are defending their style and there are a lot to come. There are a lot of different styles and people, very personal, and those who come after can hold on to this. It is logical. And I love people who have cutting edge arte, who are avant-garde, with great personality, without losing the flamencura. I admire it. Why? Because there is truth. Because, if there is no truth to it, I don't like it. It really has to carry me. Because, well, of course, there are people that want to do something new, but they are not finding themselves, so for me they are like copies or something like that. Well, if it is true you have to follow some artists, but then you have to face yourself and create yourself. But, I support, and I enjoy and love so many traditional flamencos and also less traditional, like the avant-garde. I know who is this one, who is this other one. And I'll go see them. And I want to see this from him or from her, and such a rich range of different styles is what gives us a chance to enjoy even more flamenco today. If flamenco were all modern, it would be seriously boring. If it were all puro, it would certainly be good, but not everything. So, that variety is healthy. When I go to see something, well, I want to laugh, to cry, to feel. I want to be amazed, that sort of thing, and this is what there is today in Jerez and in flamenco. Fani: Do you want to say something else or we end on this? Well, I want to end on something related to the Festival de Jerez. I mean since I am currently here in Jerez for me that's a luxury. I am having a very nice time, being with all my students, and with my colleagues, whom I do not always have the opportunity to see. And, it is very exciting to be here with them. We always say that we have to see each other more, but it's very difficult to do it with our busy lives. And here in Jerez it's possible. And the Festival de Jerez is a great thing, olé to the festival and olé to the organization, the passion that is put here. © jaleolé.com 2012
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Manuel Betanzos teaching.
La Fani and Manuel Betanzos at Bar Teatro, beside Teatro Villamarta in Jerez de
la Frontera, Spain, in February 2012.
Betanzos taught a flamenco dance workshop at the festival.