PUBLISHED NOVEMBER 30, 2004

NOVEMBER 2004 articles | Thanks | Antonio Hidalgo | Strength

A special thank you to flamenco's biggest fans - the friends and family of flamencos.

It's the time of hear to give thanks and send warm wishes to the people who are special in our lives. Those closest to flamenco people have endured our aching muscles, repeated wailing (not about the aching muscles), ceiling-shaking stomping, and missed guitar chords. This year, jaleolé helps some of the local flamencos say "thank you" to their supportive loved ones. They've shared some touching thoughts from and about the people who bring out the soul of and in some cases egg on flamenco in Atlanta. Here are their stories.

SABRINA RINCON is thankful for her fiancé, Al, who has supported her through her first seven months of flamenco dance instruction. Al explains more in his own words:

Sabrina's Flamenco lessons have had a very interesting affect on our home and lifestyle.

Because of Flamenco I know realize that everything in the universe has a count; four count, six count, or even the elusive twelve count. My trucks windshield wipers have a four count while Sabrina's car has a six count. I don't know which is better. Our dog, Cody, walks at a twelve count. I know this seems impossible, but that is what I hear.

Our carpeted floors are no longer sufficient. We must have hardwood floors with mirrored walls.

Our morning commute, which was once filled with Neal Boortz and Dave Matthews, is now flooded with the foreign sounds of Paco de Lucia and Miguel Poveda. It's amazing the Spanish you can pick-up from listening to someone passionately singing the same songs morning after morning after morning.

And finally, our dream of backpacking Europe will now focus on one country to the southwest of France where Sabrina's last two pair of shoes came from.

But in all seriousness, I never get tired of watching her dance around the house and even the office when she thinks no one is watching. I only wish that I had a fraction of the rhythm and grace that she makes seem so effortless. For now I'll be content with listening for the count of my windshield wipers.

MARTHA SIDAHMED thanks her husband Sid, and recalls a recent conversation with him, one that sums up their decades-long flamenco relationship:

Sid: "So, anyone coming today?"
Martha: "Yes, my usual weekly Monday class with Perlas."
Sid: "What time is it?"
Martha: "6-8, just like every week."
Sid: "Who's coming?"
Martha: "You know, the regulars - Rina, Darbi, Loly."
Sid: "Where's Kim?"
Martha: "I think she's in England this week."
Sid: "Wow." pause "I need to talk to Karina about chocolate."
Martha: "She's not in this class, Sid. She's with the Wednesday class."
Sid: "What time is that class?"
Martha: "I'll tell you on Wednesday."
Sid: Later that day (still Monday): "So, do you want to go to a movie tonight?"
Martha: "Sid, I'm teaching tonight."
Sid: "Oh yeah. Well, what time do you want dinner?"

ANGELICA SILVA says, "I want to thank Francisco, my husband, for many things... among them, for starting to build a flamenco-rehearsal floor for me as one of my Christmas presents (he likes woodworking!), for showing me lots of patience in hearing my music everywhere a thousand times (eventough he is fed up with "... y el perejil se ha secaaado", part of my tangos), and for his creativity in changing some of those lyrics. The Rocio Jurado's Sevillanas first copla doesn't start now "Viva Sevilla, viva Triana", but "Viva Sevilla, viva cebolla" (Spanish for onion). That always makes me smile when I am dancing that copla (now you know why!).

MOLLY SIMMONS gives thanks for her friend Germán Forero, who attended Molly's first and second flamenco classes with her.

Molly writes:
Without (Germán's) influence, I might never have started. About two weeks ago, we were both at a co-worker's party, and the CEO of our company, Judy, was also at this party. I overheard Judy say to Germán, "You know, I would really like for you to teach me Latin dancing. When can we plan for me to take a lesson?" Germán responded, "You know, the person you really need to talk to is Molly, because she takes flamenco classes and she is very good. She has been in two shows already!" [Atlanta Ballet open class and spring recital but who's counting]. Of course, the next thing I know, Judy is ordering me to bring my flamenco shoes to the next company gathering. Dance flamenco to keep your job--no pressure there!

KIM NOLTE thanks Mauricio Amaya (que nombre más Gitano!) for his tremendous support to the flamenco community and to her personally. She writes: From the very beginning he has been supporting me in this endeavor. First by putting flamenco music Sunday mornings during breakfast to get me in the right frame of mind to attend my class, then by encouraging (pushing??) me to perform. It is a joy to hear his jaleos while I am performing and it warms my heart knowing I have an ally in the audience somewhere in the darkness. He makes an effort to attend the performances, set up and tear down boards and to become friends with everyone in (Perla Flamenca) and in the flamenco community. He's even gotten up and danced a bulerías!

MYRIAM FARRERO writes, "I am thankful for my children because they are my best audience and never criticize me. They pretend to be toros and we dance around the living room. I hold up the manton and they run through it."

DIANA CORICA, who recently moved here from Switzerland, is thankful for her flamenco class. She says: When I first arrived here in Atlanta I did not expect so many flamenco afecionados, but thanks to the great energy of the class and the determination requested, I can challenge myself every time I'm practicing and all you flamenco people, especially Julie, are giving me the opportunity to improve myself! Thank you sooo much! You are my real supporters, let's continue to cultivate this great passion!

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Man on the Road

Antonio Hidalgo talks about the ups and downs of life as an international artist.

While in Atlanta for a workshop in November, flamenco dancer and choreographer Antonio Hidalgo talked with jaleole about life on the road and working in United States.

Jaleole: How did you become an international artist, traveling - and working - around the world?

Hidalgo: I planned, I tried to be the kind of dancer that traveled around. Not the kind of dancer that stayed in Madrid or in Sevilla or in Cordoba. I stayed in Malaga, working in a tablao. I had my company, I was like 24 years old. I was there and I was successful. I quit the job... I said "I'm going to get to know the world."

I'm doing what I wanted to do, being an artist, seeing the world.

Jaleole: Being on the road has to be tough. Are there times when you just want to say "forget it?"

Hidalgo: You get tired of everything. You get tired of being on the road then you get tired of being home. After you've been home for a month or a month and a half, then you can't wait to get your suitcase and get on the road. When you've been on the road for a month and a half, then you can't wait to see the moment when you get your suitcase and go back home and get your life back.

Jaleole: But, being on the road is said to be a hard life.

Hidalgo: That's the fun part of it for me. Some people cannot take it. That's what I like about this job.

I have seen more people quit (flamenco) because of being on the road than while working in a tablao or being a teacher. I like the performing part of it. I'm really good about traveling. I am good to go back home, get my roots, my tradition, my family, flamenco, fiesta, fiera, semana santa, all that stuff.

Jaleole: How much time to you spend at home and on the road?

Hidalgo: I try to do six months at home and six months on the road.

Jaleole: What do you miss most about home when you're gone?

Hidalgo: I miss my family first. Then I miss (flamenco) music and videos and things. I like to study and search a lot, mostly about flamenco. When you're at home, you can play this thing that you like to see or you can get this book that you want to reread... Also, I miss my motorcycle.

Jaleole: Are there differences between American audiences and those in Spain?

Hidalgo: People (in the United States) are loud. If they like something, they clap. Now it doesn't happen so often. We made the comment sometimes that it was like a rodeo show, when we were in Texas. The people yelled, "Yee-haw, yoohoo!" And, we were like, "hey, this is a flamenco show!" But, there, people knew where to yell, how to do a jaleo. "Ole" is a jaleo, and I guess there, "yee-haw" is a jaleo. (laughs)

Jaleole: Do Americans react the way the Spaniards do, when it comes to flamenco in the theater?

Hidalgo: Flamenco is about feelings, about how the flamenco gets to the audience. In most of the places where you would play flamenco, people would like it. How people react to that is a little bit of what they know. If they haven't seen flamenco, they're going to be quiet, waiting for the last note. A lot of the time when you get an audience that has seen flamenco, they yell through it because they know you can yell. So, audiences in general are kind of the same anywhere that you go.

Jaleole: What U.S. city is your favorite in which to perform?

Hidalgo: For any artist, New York is the capital of the arts. Because, I can do a show in Atlanta and it can get a terrible review, and it will not affect my career. But you can get a great review in NY and it can throw you up.

Jaleole: What two U.S. cities do you most like to visit for fun?

Hidalgo: As an artist, it's very difficult to separate your life from your work. So, most of my places where I know that I've been have been related to flamenco. Two favorite places, aside from New York are Santa Fe and New Orleans. Those are two places where I feel good. Santa Fe is very Spanish. You get that laid back feeling. New Orleans, because I have really good friends in New Orleans and I enjoy those friends. It's a nice place to visit and to be. Those are places where I like to go even when I don't have to work.

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Strong Enough For Flamenco

Flamenco dancer and aerobics instructor Gloriela Rosas shares a strengthening exercise that will build your muscles for flamenco dancing. By Gloriela Rosas

Oblique and inner thighs (use a ball): Lie on your back on the floor. Make sure your entire back has full contact with the floor (tip: pull your belly button down toward your spine).

Bend the knees and keep feet in contact with the floor. Place the ball between the knees, pulling it forward to keep it in place. Hands should be behind the head and elbows wide open. Inhale to prepare. Exhale to curl the upper body, chin to chest.

When shoulders are off the floor, inhale and stay. Exhale to bring the left rib cage across the body as you squeeze the ball between the legs to target the inner thighs and the muscles deep in the pelvic floor.

Inhale to center, with your chin to your chest. Exhale to bring the right rib cage across the body as you squeeze the ball between the legs.

NOTE: Always keep elbows wide open. Try not to point the elbow to the opposite knee, but the shoulder or rib cage. Repeat eight times on each side and return to starting position.

Gloriela Rosas is a Pilates and certified aerobics instructor. She is also a member of Perla Flamenca Dance Company and teaches flamenco dance at Athletic Club Northeast.

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