PUBLISHED NOVEMBER 24, 2005

This month's articles Noche Flamenca | Workshop | Spread

Noche Flamenca at Rialto Center for the Performing Arts on November 12th. By Julie Baggenstoss

Noche Flamenca raised the bar of flamenco in Atlanta with its performance at the Rialto Center for the Performing Arts on November 12. Since I moved to Atlanta in 1999, I have never seen a flamenco company receive multiple standing ovations as Noche Flamenca did, with the first happening before intermission. I've never heard an Atlanta audience so noisy with cheers of appreciation and praise, called "jaleos," as I did at the Rialto. And, it's been a long time since so many aficionados have had so many great things to say about a single performance.

So, what happened at the Rialto? Flamenco is supposed to move you, but it went beyond that when Noche Flamenca took the stage. It shook the Rialto on Saturday night. It was the kind of rare show that is made when great performers meet an excited audience, and together they build the sprit of the night.

"(It was the) quality of the performance from all points ­ baile (dance), cante (singing), toque (music)," said Kim Christopher, a member of Perla Flamenca dance company who has studied flamenco extensively, taking classes in dance, guitar and singing for years.

"We are a more educated flamenco audience now and we know a good show when we see it. Other shows in the past were fair to good and we certainly appreciated being able to see any flamenco at all in Atlanta. But, when your expectations are exceeded - you are ecstatic and I believe this was our experience with Noche Flamenca."

Noche Flamenca has a reputation for intertwining all parts of flamenco - the song, the music and the dance - to create a sincere representation of the art as it was first celebrated by the gypsies. They do so without hauling a trailer of stage sets or elaborate costumes. Noche Flamenca gives a simple flamenco that proves the everlasting truth about the art: You don't have to do anything to flamenco to make it exceptional. It is exciting, sensual, passionate, gripping, because it is flamenco.

And so was the case when Noche Flamenca performed at the Rialto. Performers entered the stage and took their seats in a semi-circle of plain black chairs. There was no sophisticated set design, no fancy lighting. Just a blank palatte that came alive with energy from the moment the music started.

The energy built from music to the singers' voices to repeated expositions of dancers' strong bodies. The group paused for intermission after a riveting alegrías.

"Alegrías is very expansive. You kind of float on top of it. It's a lighter dance, but what Juan Ogalla did with it, he brought it together... The contrast between the melody and the tightness of what he was doing created some kind of tension, and the singer gave the release to it at the end," said local dancer Melissa Stiers.

Conscious of that tension or not, the audience reacted to what happened on stage during and at the end of act one. When the audience jumped cheering and clapping to its feet, I wondered if everyone realized this was only act one. hoped the theater would not thin, because certainly the second act would only get better.

The standing ovation that closed act one was repeated again and again after intermission, when El Chupete embodied a soleá por bulerías in a very intimate, personal style and when Soledad Barrio brought a solemn siguiriya to the audience through her very rooted body movements.

While the dance took our eyes' focus, it was not center stage on this night. Music of guitarists Eugenio Iglesias and Pedro Cortez, singer Manuel Gago and percussionist/singer David Rodriguez Jimenez shared the spotlight throughout the show. The company shared its big moments through guitar and song solos, displays of fast footwork and moments when all the elements ­ dancers, guitarists, singers and the percussionist ­ played with one another to draw in the audience and then let it explode with excitement.

Christopher was surprised when the audience got on its feet time and again to applaud Noche Flamenca. "At other shows in the past the ovations were almost embarrassing because the caliber of the dancing in my opinion (and others) did not merit the ovations. This time I felt we were responding appropriately, we couldn't help ourselves. This company truly gave us a piece of themselves and we were open and ready to feel it."

Before Noche Flamenca performed at the Rialto Center for Performing Arts on November 12, Julie Baggenstoss gave a pre-show lecture on the evolution of flamenco. Her lecture notes are transformed into educational reading for jaleole.com visitors. Click here >>

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Teo Morca unlocks treasures and learning in his second workshop in Atlanta. By Martha SidAhmed

"Teo unlocked yet another impediment for me with flamenco when he said, 'Flamenco can really be broken down into five simple building blocks,' and then through his method answered the question, 'Am I allowed to do this in my dance?'"
-Testimonial from last year's Teo Morca workshop

What are those magical five simple building blocks? Attend Teo's 4 days of workshop November 17-20 and he will reveal them to you in person!

Those who have studied flamenco for even a little while have become familiar with names like tangos and sevillanas. Those bitten by the bug have gone on to learn names like bulerías, soleá, and alegrías. Those now hopelessly imprisoned by flamenco with no chance of parole have become acquainted with seguiriyas and tarantos.

But even in advanced circles, how many know of or have even seen garrotín, caracoles or zapateado? An aspect of flamenco that keeps it such a "mysterious art form" - I just heard this description on the radio promo for Noche Flamenca as I'm writing this - is it's restless and shapeshifting nature.

Years ago, flamenco was performed as only one third of Spanish dance repertoire, sharing the stage with suites of provincial dances from Aragon, Galicia, Valencia, Castilla la Vieja, Basque area and castanet choreographies interpreting the Spanish classical masters de Falla, Albeniz, Granados. Companies were huge, with lavish costumes and set design and layered musical support. They were the River Dance of their day. But flamenco always finished the show and brought audiences to their feet.

An all flamenco show was less expensive to produce and was still successful. Next we saw the whole rich platter of just Andalusia displayed in a mix of regional and flamenco dances - alegrías, caña, caracoles, colombianas, farruca, fandangos, garrotín, guajira, peteneras, serranas, sevillanas, tanguillos, verdiales, zapateado. And it was now the more gypsy flamenco palo of bulerías that was ejecting us from our seats at the end of the evening.

Today's flamenco performance strives for the authenticity of traditional gypsy repertoire of soleá, seguiriya, alegrías, tarantos, tientos, martinete, and of course bulerías, and audiences are on their feet for much of the adrenalin busting experience. Many artists are examining the poetry and literature of Spain for thematic material. They are beginning to rummage through the flamenco attic rediscovering, in the forgotten and ignored, overlooked possibilities for new expressions.

Teo Morca is our flamenco attic. He has created and performed and taught everywhere with everyone. He has been there through all the fads and fancies and caprices of our beloved mercurial art. I, for one, can't wait for him to pop the lock on these treasures that he preserves and safeguards:

Garrotín, with its sly gracia and tangos compás, will be attainable for beginners and yet fun for all. Caracoles should prove a wonderful upper body workout with fluid armwork over a 12 count compás. And feet will ride the galloping pulse of zapateado in a precision drill like they've never known. If participants want to try working a hat with garrotín or a bata de cola with caracoles, then they are welcome to the challenge. Small sticks simulating the traditional riding crop will be provided for zapateado.

Last year, the entire state of Vermont was declared an endangered site by the National Trust for Historic Preservation. If the Trust ever decides to extend it's protection to people, Teo should be on that list.

Registration is currently underway for Teo Morca's workshop. Classes are open to dancers with at least two months of flamenco dance experience. Visit jaleole.com's events page for more details about the workshop.

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Flamenco dance teachers spread out across Atlanta with different styles, different flavors. By Gloriela Rosas

Have you tried all the different flamenco dance flavors around Atlanta? If you haven't, now is your chance. Flamenco dance has spread across Atlanta and is being taught at key points inside and outside the perimeter.

Only about five to six years ago, the selection of flamenco dance instructors was limited to two or three. With more students flocking to the art, today there are at least five different instructors and locations offering classes.

Many students have experienced the different styles of most of the instructors in Atlanta, and flavors range from a very authentic taste to the very spicy side and to the sweet side.

In Atlanta resides one of the most experienced flamenco instructors, Martha SidAhmed. Martha started teaching flamenco dance in Atlanta back in the 1980s. Many students have gone through SidAhmed's teaching.

Kim Christopher has taken classes from Martha for many years now, and she describes Martha's class as "chocolate - rich, satisfying and addictive."

For more information about Martha's background and her knowledge of flamenco, check out the jaleole.com archive. Martha offers classes in her private studio at her home. To contact Martha about her classes and fees email her at: molybones@earthlink.net

Atlanta also has one male flamenco instructor, John Jaramillo. He has performed nationally and internationally since 1983. Flamenco dance student Alessandra Favoretto says, "John's class can be compared to Spanish saffron, a traditional and precious spice that intensifies any dish's flavor and color with just a little bit of it. His teaching technique combines traditional dance moves, while focusing on proper posture, challenging zapateo, and powerful marcajes, all in what resembles a mini-workshop giving intensity to each class."

John Jaramillo has been teaching flamenco in Atlanta for several years. After a short break, John is returning to teaching.

You can find more about Jaramillo's background, schedule, fees, and teaching location at www.johnjaramillo.com.

From great instructors come new ones. There are four new instructors that have flourished in Atlanta in the last three years. Each of these instructors brings to the table a specific flavor, a flavor that very much describes their personality.

Karina Martinez's classes are "like salt. Without Salt, your food will be bland. Without good posture, floreos and braseo you'll be eating those patada chips salt- free (yuck!)," says flamenco dance student Rebecca Money Johnson. Martinez, originally from Mexico city has 6 years of flamenco experience. Currently a member of Perla Flamenca dance company, she recently decided to teach others what she knows best: floreos, beautiful arms and hands movements to accompany your choreography.

Contact Martinez at luka25_99@hotmail.com or 404.432.9536 for information about her classes.

After nearly one year break from teaching group lessons, Rina Menosky is ready to share her knowledge of learnig flamenco again. She has recently opened up a new technique class with a theme "Be clean, be strong and be coordinated". Originally from Japan, Menosky was a member of Perla Flamenca dance company. In June of 2005 she left the company to become a solo artist and to pass on her experience to Atlanta flamenco fans. We look forward to hearing about her style from her new students.

Contact Menosky at 404.457.3775 or bailerina@comcast.net for her class schedule.

Julie Baggenstoss, from New Orleans, has over 20 years of dance experience under her belt. She was also a member of Perla Flamenca dance company and decided to go solo a couple of years ago. Since then, she has been teaching, choreographing, and organizing events helping the flamenco art increase in Atlanta.

Her student, Rebecca Johnson says "Julie's classes are sweet, like dessert. Improvization is the perfect finish to learning technique. And just like dessert, you look forward to improvizing after your savory 'patada chips!'".

Julie's class schedule can be found at www.flamencoclasses.com.

Last but not least is Gloriela "Loly" Rosas, a native from Panama with over 20 years of dance experience, six of them in flamenco. Currently a member of Perla Flamenca dance company, Loly started to teach a little over a year ago spreading the art of flamenco in the metro area of Atlanta.

One of her students, Linda Perez describes her class as "fresas con crema. Una vez terminas, puedes quedar hastiado, pero te queda en la boca un gusto que te hace querer más y más." One of Loly's classes has created a large reaction to the students - Zapateos 4/50. What's zapateos? It's basically footwork, technique, but according to Alessandra Favoretto, "Gloriela's zapateo class is like exotic spices that are intriguing and make you sweat before you even taste it. It's a spicy flavor you want to challenge yourself with since her zapateo expertise and talent shines through in her teaching. Her determination to bring out the best "zapateadora" in each of her student will leave you craving for more!"

To get information about Loly's classes, fees, and locations, contact her at glomaros@comcast.net.

There you have Atlanta's flamenco spread. Its here for you to have a taste, or as Rebecca Money Johnson says, "Eat a balanced meal! Take classes from everyone!" Now it's your turn to taste and see for yourself this variety of flavors. I can assure they are all to jaleo for!

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