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UPDATED JUNE 25, 2009
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This month's articles Travel | Flamenco Friends | Trot | Five | |
 Fronteras / Spring 2009 FLAMENCO EXPO
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Dream Trip Takes Good Timing
Spanish teacher and flamenco student Erica Poole goes to Spain to grow. By Julie Baggenstoss
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Hurray for Erica, a flamenco student and Spanish language teacher who is off to Spain for two weeks, as the recipient of a scholarship from the Centro Mundo Lengua. It's an award that puts Erica in a course to improve her skills as an advanced placement teacher of Spanish language in high schools, and gives her the opportunity of free afternoons to spend in - where else - flamenco class.
"Learning flamenco, we get to hear names. A lot of the names only become real from studying video clips. …. Access is granted at that point, rather than just a video seen on (www.youtube.com), " says Erica of her trip.
Like anyone who is into flamenco, this is a voyage of dreams for Erica, a veteran Spanish teacher who has never traveled to a Spanish-speaking country; a flamenco dance student of three years who is seeing flamenco in its mother country for the first time. While it's a dream trip, it's also a shining example of good timing - and waiting for the right time. "Had this happened any earlier, I wouldn't have been ready for it. I really believe that when the time is right in a person's life for something to happen - you can wish for it and want it, but when it comes to fruition, it's really about timing and being ready for it," says Erica.
"The whole opportunity of perfecting myself on the job, or trying to better myself in flamenco - I couldn't have done that on my own. My faith in things bigger than me is important to me," says Erica.
Faith comes in many forms, faith in a greater force, a higher spirit, a guiding mentor, a sharing teacher. Erica recognizes that those around her helped create her opportunity for this summer's trip that will enrich her in ways she can't yet imagine.
It reads like a sweet nursery tale: Erica's professional mentor encouraged her to apply for a scholarship. She did. Her flamenco teachers in Atlanta gave her a base of technique and theory. She accepted challenge after challenge. Her Spanish language students gave her years of inspiration to continue and grow as a teacher, sending stories of success after class ended. Then, on a plane bound for Sevilla, she sits beside her former student headed for an immersive course in Spanish language on pursuit of career as a Spanish teacher. She'll finally put into real life experience the things that she's spent years exploring in books and lessons.
"What we learn is a concept, but you have to put it in a practice for you, so Spanish becomes real to you. Spanish and flamenco training will become live to me once I hit that terrain," explains Erica. With this, she'll have a personal connection to the lessons she experiences as a teacher of Spanish language, and a student of flamenco.
The Ties That Bind
Flamenco students relish an enduring connection with classmates. By Andrea Herskowitz and Françoise Thenoux
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 One dance, three countries: from left to right: Mexico, Japan and Russia / photo provided by Natalia D'Angelo |
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In a way, flamenco represents an archetype of friendship. The dynamics between dancer, guitarist, and singer rest upon a platform of trust and communication. How wonderful to practice an art form that nurtures the tenets of friendship in this way! A Russian dance student of four years, Natalia D'Angelo, effectively states, "This is an art that connects people, unlike politics, which separates them."
It is true that flamenco has a certain global influence; similar to the migration of the gypsies themselves, this art has taken root and flowered all over the world, bringing many cultures together in a most beautiful way. Historically, flamenco began with tolerance and unity. Research has shown that flamenco was influenced by African, Moorish, Arabic, Greek, Sephardic Jewish, and even Cuban musical expressions. The intimate communion of gypsies --- the "real" flamenco --- takes place behind the curtain. It is not merely the "espectáculo flamenco," where performers share their happiness or grief through baile, cante y musica. It's at the "juerga" or the "fiesta gitana," where the real flamenco takes place behind closed doors. At flamenco socials and fiestas, there are no worries about remembering choreographed steps or "getting it right," because at such gatherings, we relax and live in the moment together. We laugh, dance, play music, and sing as a group of friends, all night and sometimes into the morning!
Because of its multicultural background, flamenco is able to touch the souls of many. It is an art so universal that an abundance of people can relate to it. Flamenco moves and inspires us. Since it is an artistic expression rooted in deep passion, the emotions involved, so raw and vulnerable, allow the bonds of our friendship to strengthen with time.
Trot and Stomp
Finding a flamenco connection in an unexpected setting. By Andrea Herskowitz
The idea came to me when I found myself in Miami, Florida, flopping around not-so-gracefully on a very large, very frisky horse named "Cajun," trying desperately to follow my aunt's lead. She kept gently reminding me to "sit back" in the saddle and to keep my torso straightened and my pelvis "tucked under."
It was then, while cantering full-speed through okra fields and hastening to a multi-tasked sequence of thoughts ("sit back," "pelvis under," "Don't tense up," and "listen to this crazy horse, and he will not drop you!") that it struck me --- it was like dancing flamenco! There was just me and this horse, a united and unspoken operation working together to create a synchronized mode of movement --- in actuality, a dance. The horse's hooves hit the ground in something like a triplet beat, pulsating like a dancer's "zapatos de baile," while my upper body acted as the anchor (or "trunk," as my teacher phrases it), and the two of us were both dancer and accompanist --- listening to and activating rhythm together.
As it turns out, there are many intriguing connections with flamenco and horseback riding. First, there is the importance of posture --- through proper posture, a rider not only prevents injury, but she also uses it to communicate with the horse. The same rule applies in dance, with a focus on engaging the core and elongating the spine. Also, when a rider leans too far in one direction or loses her posture, she loses control of the horse, similar to the way the flamenco dancer can lose control of her movement when her core is not balanced.
Then there are the dynamics of speed. A trained horse will move to the desired speed of the rider, as long as the rider eases in and out of the current speed without abruptness. This is true with flamenco as well, as a dancer cannot simply dive into a speedy "escobilla" right away, because her supporters (musicians and fellow dancers) will need the time to ease into it as well. Depending on how a horseback rider's hips move in the saddle or how her hands move while holding the reins, the rider asserts a specific rhythm and tempo for the horse. So essentially, as long as she is in control of her body, the horse will be in rhythm with her --- which holds true for the flamenco dancer as well.
To me, the horse in this comparison symbolizes a dancer's intuition. Like a competent rider trusts the horse, a dancer has to trust her intuition in order to let go of her mental boundaries and flow with the rhythm. The horse --- and the dancer's intuition --- will likely take you wherever you want it to go, as fast as you want to go, but first, you have to guide it with trust and confidence.
The last connection, a very heady one, is the relationship between human and animal. Connection with an animal requires unspoken or non-lingual communication, and such a connection delves into the deeper parts of our own animal psyches --- fear, intuition, arousal, and so on. My recent experience riding a horse reminded me of the ancient, primitive origins of dance...of how people once used dance as a ritual to connect with the wild, sacred, and perhaps more animalistic parts of life.
¡Brindemos por Fronteras!
Let's toast to Fronteras' fifth birthday by revisiting its early childhood! By Erica Poole
Conception
"Borders"...at what stage of development did you decide to cross over into flamenco?
"Fronteras" is a term in the Atlanta flamenco community synonymous with performing. This annual show has become an expected tradition in which flamenco students, musicians, and aficionados can participate. Yet, how was the Fronteras show conceived? Whose DNA is evident in fostering this embryo into mature development?
Flamenco instructors Martha SidAhmed and Ulrika Frank assisted in organizing the first student expo before the "Fronteras" name was ever born. Their students presented a spring recital, hosted at the Atlanta Ballet's Buckhead studio, lined with chairs and benches and requests for donations of at least $1. Student performers had been taking flamenco dance classes in the adult open division at the Atlanta Ballet, known mostly for its kids' ballet classes.
 Pre-Fronteras flamenco expo at the Atlanta Ballet. |
Julie Baggenstoss and Rina Menosky are co-founders of jaleole.com, which sponsors Fronteras each year. They met while studying flamenco with Frank and dancing in Perla Flamenca Dance Company, founded by Frank. Each decided separately to venture into teaching flamenco, yet co-launched the notion of Fronteras as a unifying element for all flamencos around Atlanta. They longed for a real stage with wings, lights, and a sound crew, and an experience that would push everyone to reach for a new level of achievement in flamenco. They wanted to see all involved cross beyond the existing frontier of flamenco in Atlanta.
Their search brought them to the Atlanta International School in Buckhead in 2004. Bulens fondly recalls, "No one knew what to expect; we all just went to some department store to try to find something flamenco [to wear], and we went with it!"
Birth to Two Years Old : Sense of security and flamenco language development
In 2005, the show was moved to its current location, St. Pius X Catholic High School, because it housed the desired equipment. Two shows were offered on one date, allowing participants to see others dance. This time, performers decided to coordinate colors and costumes with their classmates in hopes of a more unified appearance.
Molly Simmons currently studies under the tutelage of Martha SidAhmed and Jerry Fields. Simmons recollects, "I started taking flamenco classes with some friends as a way to reconnect with my affinity for Spanish culture. Being part of Fronteras' first year was an empowering experience that built my self-confidence while at the same time allowing me to share something I loved with my friends and family. It was a building block that eventually led to my dancing with Perla Flamenca."
Yoko Ellison has participated since Fronteras' inception, and Sabrina Murner participated in the show's second production in 2006. They are both former members of Perla Flamenca. They have their strongest recollections regarding the second year. Like most curious 2-year-olds, they each began to dabble into their own flamenco language development by studying with multiple teachers. Ellison explains, "The year leading up to Fronteras was also a year in which I broadened my flamenco horizons. I was taking classes from different teachers and started going to workshops more frequently. We are very fortunate that the flamenco community in Atlanta is open-minded and encourages students to take classes from different teachers. I had begun to understand the aire of each palo. Flamenco is not all about smiling --- sadness and somberness are parts of it. Each instructor has his/her own take on aire, and I try to find my own."
Murner's 2-year- old flamenco experience got her over the hump of establishing a sense of security. She shares, "After dancing for about 1.5 years, I decided to join Fronteras during its second year. It was very challenging and scary for me. I remember…my legs were shaking; my mouth was completely dry, and I felt panic during the show. I have always been a shy person and participating was truly the first and biggest step as a flamenco student to demonstrate to myself that there is nothing that we want to do that we cannot do. After that day, it was easier every time…to the point that I was always hoping for more opportunities to perform. It helped me so much…not only as a dancer, but in many other personal ways too."
Three Years Old: Pure admiration of flamenco "parents" and the desire to cling to them more
Flamenco student and jaleolé editor, Dawne Dawson, had been inviting me to the annual shows, yet I had never attended. My evenings had finally freed up, so I decided to take Julie Baggenstoss' weekly cursillo that met for 4 weeks in February of 2007, which then rolled over into her adult evening class. I was instantly hooked.
Since there were only 3 months from my start date to the third annual Fronteras Expo, I assumed that the most I could do was attend and aspire to perform the following year... not so! Baggenstoss gave the cursillo beginners the same performance rights as those that had been with her longer. I was floored! I jumped at the chance and performed an alegrías twice that day as the two performances in one day were still in effect.
 Erica Poole dances in Fronteras 2007.Photo by Lidia Torres |
I view my flamenco teachers in a parental, nurturing light, and when given the opportunity, I strive to cling to their "flamenco apron strings" in order to learn as much as I can.
Four Years Old: Expanding your flamenco world and getting ready for "school"
Shikha Valsalan, student of Rina Menosky, had her first taste of dancing in Fronteras during year four. Valsalan states, "After Fronteras, I made up my mind to stay and learn more and infuse a little flamenco, especially into my husband! Recently when he went to his hometown of Trivandrum, India, there was an international dance show where a flamenco dancer performed...I can imagine the excitement on his face when he informed the people around him that it was flamenco that they were viewing and that his wife is an aspiring bailaora!"
 Shikha Valsalan |
Five Years Old: The kindergarten year -- the beginning of a new stage in flamenco childhood
A new school year means seeing new faces and welcoming new classmates. 2009 marks Fronteras' fifth year in existence, when Menosky's newcomers Pamela Caltabiano and Elena Cox will grace the flamenco stage here in Atlanta for the first time. The interesting facets about both of them are their unique link to Spain. Cox is from Granada and although Caltabiano is of Italian descent, she lived in San Fernando (where legendary cantaor, Camarón originated).
Caltabiano went to school in El Puerto de Santa María, took sevillanas classes, and attended la feria in Chiclana --- all part of Cádiz. It was in Cádiz where she witnessed José Mercé sing and Sara Baras dance. In 2007 and 2008, she lived in Alcalá de Henares, about 30 minutes outside of Madrid. She has had the opportunity to attend flamenco shows in Córdoba and Sevilla as well. Caltabiano has had a vibrant "pre-K" experience, leading to comparisons between her two "schools" --- learning in Spain vs. learning here.
She explains, "In 2005, my sevillanas classes in Spain were strictly taught to people who wanted to practice before the ferias…so we could have a little fun. It was a more silly and casual atmosphere. Here, there is much more emphasis on performance and technique."
As for her first time participation in Fronteras, Caltabiano states, "It will be a way to share something I love…I think the real growth for me comes from smaller personal moments that occur during the learning process."
Although Cox never took flamenco classes while living in Granada, she grew up listening to flamenco music that her father liked very much. She now has the time to learn and will perform sevillanas in Fronteras 2009. Cox's greatest challenge has been memorizing and remembering the pasos; she stresses the importance of practicing and finding a classmate whom you can support while doing so.
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Fronteras 2009 |
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May 2 |
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Fronteras is a healthy, thriving five-year-old that with proper nourishment can have remarkable longevity. From all of us, we offer the following birthday wishes:
- "Thank you to all of the organizers!" - Sandie Bulens
-"Felicidades to Fronteras, and many happy returns with even more dancers and bigger audiences." - Molly Simmons
-"I hope this year is another great success with many more to come." - Yoko Ellison
-"I hope Fronteras continues with success for years to come to give this kind of opportunity to all of those that carry flamenco in their hearts. Happy Birthday, Fronteras!" - Sabrina Murner
-"In the translated bulerías letra of Tomás de Perrate's "Compay Diego", '...but when my cousins play palmas for me, I don't know what enters me; I can't avoid it; my body moves involuntarily with a feeling that I can't forget.' May others feel this same vibration!" - Erica Poole
-"Let the word spread, and let there be loads of flamenco to pass around in Atlanta and beyond for many more years!" - Shikha Valsalan
-"I would love for Fronteras to be brought to a more prominent venue where flamenco can have more exposure!" - Pamela Caltabiano
So, raise your glasses as we toast the upbringing of Fronteras!
© jaleolé.com 2009