PUBLISHED SEPTEMBER 8, 2005

This month's articles | Hurricane | Road Trip | Workshops | Martha

Hurricane Katrina affected many people, including various flamenco communities in the South. There are some flamenco friends in New Orleans whose safety are not yet confirmed, but many Atlanta flamencos strongly hope that their friends are on the recovery track. There is good news from the following individuals:
-Solangel "Lali" Calix, La Cristina, John Lawrence and other flamencos from New Orleans are safe. Read their stories at planetflamenco.com.
-Dancer John Jaramillo and his fiancee Therra Gwyn rescued Therra's family from Biloxi, Miss.
-Dancer, Julie Baggenstoss' parents in Slidell, La., were unharmed by the hurricane despite fallen trees.

To help friends and family affected by Katrina, Baggenstoss is hosting a fundraiser to benefit a number of local charities in the Gulf Coast States. "I'm hosting the event with several other people who are from Louisiana. We're serving dinner and showing multiple football games at a location in Roswell on Oct. 1," said Baggenstoss. Attendees are asked to make a donation as their admission to the afternoon of gumbo, jambalaya, red beans and rice and, of course, football, according to Baggenstoss. Anyone who would like more information or who wishes to attend may contact Baggenstoss at julie_galle@yahoo.com.

Back to top

¡¡¡Viva El Arte!!!

Three Atlanta flamencas journey to the Gloria de Jerez bulerías workshop in New Orleans by Dawne Dawson with collaboration by Ruth Petit and Carolina Colin-Antonini

"¡Toma que toma! ¡Que guapa!..."

The jaleos are first issued forth tentatively amongst those of us seated in a circle in the classroom on a humid summer's day in New Orleans. Some of us are preoccupied with identifying 12-count compás in the accompanying music. Others are concentrating on pronouncing the jaleos with as much authenticity as possible. Suddenly, the energy shifts palpably in the room as a regal flamenca steps to the center of the circle, joyful emotion on her face as she executes vueltas effortlessly, arms aloft and hands twirling "como palomas" in the air. Gradually, the jaleos increase in confidence and volume as she dances, and then...we fall silent, mesmerized by the artistry of it all. The flamenca tosses her head, laughs heartily, and shouts in a throaty voice, "!JALEOS!", reminding us that we are to use what we have just learned...and so we resume with declarations of "¡Arza!", " ¡Eso es!", and "¡Viva Jerez!"

 
...but I am getting slightly ahead of myself in sharing this experience from the recent Bulerías de Jerez workshop in New Orleans. Thankfully, "getting ahead of oneself" was not an issue for those of us in attendance for two incredible days dancing under the extremely talented instruction of Gloria de Jerez.

My journey to New Orleans was shared with two other dancers from Julie Baggenstoss' Tuesday classes in Decatur. The three of us hail from distinctly different backgrounds, yet we have been united by our love for flamenco, our remarkable and gifted instructor who inspires us weekly, and the continuing desire to learn more about this art form. When Julie first announced the workshop during class, the three of us exchanged delighted glances and nodded in unison...tacit agreement to share this wonderful opportunity to study with Gloria de Jerez, acclaimed Flamenco performer, teacher, choreographer, and lecturer from Jerez de Frontera, Spain.

The journey was not without its delays, however. After a significantly postponed departure from Atlanta due to inclement weather, scant hours of sleep after an evening of laughter, shared confidences and anticipation of what we would learn...as well as an unnecessarily protracted cab drive through the Garden District, we arrived at the workshop just a bit tardy and more than a tad out of sorts. We immediately joined Gloria's warm-up, absorbing all that she stated about achieving proper "flamenco" posture, developing recognition of 12-count compás, and keeping our "third eyes" aligned. All the while, we were entranced by Gloria's energetic, engaging personality, which virtually filled the room. As she led the class, she would stop from time to time to greet prior acquaintances with enthusiastic hugs and showers of cheek-kisses. Her energy was contagious...but within minutes, our muscles were beginning to throb a bit. And yes, this was just the warm-up.

Next came taconeo, which began steadily but quickly took on a rapid-fire pace. Exertion and concentration was etched on the dancers' faces as we moved in synchronicity to the rhythmic count: "un DOS, un dos, TRES...cuatro, cinco, seis, siete, ocho, nueve...un DOS...".

Gloria then patiently led the class in vueltas across the length of the room. If any of us previously thought we could escape constructive criticism, such ideas were quickly dashed. My titian-haired classmate, Ruth Petitt, was affectionately referred to as "Red" by Gloria...as in, "Red! Elbows up, shoulders down! ¡Eso es!". Classmate Carolina Colin-Antonini gracefully completed her turns across the room "under the radar", so to speak --- but I was not so fortunate. My vuelta efforts were received with an indulgent smile and pat on the back from Gloria, followed by the disheartening statement, "Nice try...you can keep practicing if you would like...". Suffice it to say I never lost sight of humility during the workshop. However, I need not have felt out of place, as dancers of all levels encountered some type of challenge during the two days of learning.

The morning concluded with Bulerías de Jerez choreography, which was challenging and exhilarating in equal measure. Whenever Gloria caught a look of bewilderment on any of our faces, she would encourage us by saying, "Is difficult, no? But you can do it!". The three of us had seen bulerías before, but we noted the distinct Jerez form, which appeared unabashedly coquettish at many points in the dance, with effective use of braceo...and even some exuberant thigh-slapping...to convey emotion.

After lunch, we returned to class to learn jaleos y palmas. Exclaiming phrases and clapping hands may initially appear easy enough, however... learning when to say what, while keeping compás AND witnessing a masterful dancer can be quite challenging! The jovial spirit was positively contagious amongst the attendees during this portion of the workshop in particular.

 
Day Two began similarly with the warm-ups, taconeo, and vueltas, but an added handicap for the three Atlanta "flamencas" was apparent as we tried to mask the cumulative effects of our previous 12 hours: a sumptuous French Quarter meal, a rambunctious evening spent in the Storyville Jazz Parlor (where "Red" became the unwitting recipient of unabashed adoration from a certain blues singer), and a filling breakfast from Mother's Restaurant. We weren't exactly light on our feet, but we were soon swept up in learning the concluding bulerías choreography and accompanying palmas.

Much too soon, the workshop came to an end. Reflecting on this trip during the heart-wrenching aftermath of Hurricane Katrina, we three Atlanta attendees are taken with how fortunate we were to have had this amazing learning experience just over a month ago in the captivating city of New Orleans, where we were welcomed by fellow flamencos such as Krystine "La Cristina" Statho, "José de Guadalupe" Giocamea, and Solangel "Lali" Calix with genuine warmth. The workshop was a perfect complement to our weekly classes in Atlanta, and we are ever-grateful to Gloria de Jerez for all that she shared with us as we continue on our journey toward finding the ever-elusive duende...

Back to top

Working In Workshops

Atlanta is rich with learning opportunities.

	UPCOMING WORKSHOPS
	Arte y Compas with Gloria de Jerez and Rocio Soto   Teo Morca
	PREVIOUS 2005 WORKSHOPS
	La Meira Jerry Fields August 2005 Barbara Breton Ulrika Frank Jerry Fields July 2005 Marija Temo Ulrika Frank March 2005 Paco Pena  Company February 2005

You could call Altanta Workshop City this last half of 2005. From July to November, Atlanta will host five workshops taught by international dancers Barbara Breton, Ulrika Frank, Gloria de Jerez, La Meira, and Teo Morca, plus our own percussionist Jerry Fields. Add to those the earlier, winter workshops with Marija Temo, Ulrika Frank and the Paco Pena Flamenco Company, for an impressive six workshops in one city in just one year.

This is Atlanta's second consecutive year to enjoy a high number of workshops. 2004 brought seven workshops to the city, including two taught by Andres Marin and Antonio Hidalgo. It's a sign of Atlanta's growing reputation, nationally and internationally. With a little luck and continued success, that trend will continue in 2006.

It's enough to make flamencos around America green with envy, because most U.S. cities do not boast so many rich learning experiences. It works in Atlanta for one reason: Atlanta is a city of strong, talented flamencos who are eager and able to learn from the world's best artists.

But attending workshop after workshop requires some planning. Care has to go into finances, busy schedules, and most importantly, a learning track. Over recent years, instructors have offered two kinds of classes: communication or choreography. In the latter, teachers present beautiful, moving choreographies that help students connect technique and movement. Communication teachers convey the roadmap of the music, allowing students to understand how to create their own choreographies.

 
It's easy to mark development as a dancer by attending workshops. For example, footwork that seemed difficult to a student in one workshop may not be as difficult when it pops up again in a later workshop, because a student practiced the required technique between. A student nagged by the same critique in workshop after workshop will find the problem corrected after months of habit breaking. And, there's nothing like hearing a workshop teacher tell a student how much he or she has improved since the last time they saw each other.

 
No matter the kind of workshop, instructors challenge students to the highest bar of flamenco and then leave them with new movements, drills and aire to use in regular class and practice, plus choreography for performance. For some, counting the number of new steps provides satisfaction for learning. For others, mastering a whole choreography for stage marks accomplishment. Yet, for others, the sheer act of learning, face-to-face with a strong teacher will drive students back to class time and time again.

 
Regardless of the motivation for learning, workshops are an integral part of flamenco education. They bring Spain to Atlanta through dance steps, in the feel of the classes and through the cultural diversity of the teachers. While Atlanta is rich with opportunities for these experiences, each one is unique. Having so many choices for workshops provides a bit of a learning experience in itself: Students learn by attending class which teachers are their favorites and which ones push them to -- frustration, tears, joy, the next level.

Back to top

A Student With Her Teacher:

An Interview with Martha SidAhmed, Part IV: The teacher learns By Rebecca Money Johnson

R: You mentioned how overwhelming it was near the end of your time in Spain. Your brain had received its fill and you were ready to step back and absorb all you learned. Here is the wimpy side of that for me: After the Marija Temo workshop with Ulrika (Frank), there was a point on Sunday where I just hit a walI, I just hit a wall! And I was thinking "My brain stopped working"ŠI just wanted that space and time to just congeal it in my head and have some journal time to make my deductions and conclusions.

M: But every time you go through something like that, with workshops, etc., you find the wall gets farther and farther away. You can go farther before reaching the wall. The experience of hitting the wall is an important one as a test of your capacity. It parallels the importance of drills for building strength and speed. If you don't push until your muscles tighten and your knees lock and your arms ache, you will never grow or improve.

For people that are in it the first time it can be really daunting and it takes courage and confidence and just stick-to-itiveness to hang in there until the end and not feel defeated. It is never easy. One needs to get stubborn with flamenco.

R: that's everything

M: And just feel, "Okay this is a lot, but I can do this and I need to do this. I need to see the depth of what I've gotten myself into." Because otherwise, you hugely underestimate it.

R: And just stay moving too. I just find it important to stay moving. Don't give up and sit down-just stay moving. It doesn't matter if you mess up, stay moving. Because if you sit down, you know you aren't going to go anywhere with it. But if you stay moving, you know you are going to get something, right?

M: If you sit down, you become passive and you are not part of the process anymore. But if you're on your feet, you are better off, even if you don't know what you're doing. I had a new student that came into an existing class. She knew nothing about flamenco. I can't remember what, if any other, dance she had done, but not much. And bless her heart, she not only kept her feet going, but arms too! I mean, I was just amazed that she was just going for it, trying to grasp the whole moment of movement very much the way a child will. A child learning doesn't have that monitor that says, "okay, let me figure out what is going on and then I'll get involved"

R: It's sometimes as early as 9 as I learned at an art camp last summer, and 11 years old for sure. And its sad.

M: Isn't it awful? I mean what can you do to get around that?

R: I think you just have to keep telling people its okay to make mistakes. I think that was the message I kept trying to offer.

M: It's wonderful what children have that they just see and do. If it's a turn, whish ! and they may fall down. I mean, how many times do you see an adult falling down in class? Most adults just don't "go for it".

But you do have to be child-like in that way. Try to connect one on one with the instructor and don't worry about what is going on around you, looking at other students, thinking "she has it, why don't I have it?" - looking over your shoulder. Its not a "looking over your shoulder thing." If you're looking over your shoulder you're missing the whole point. You need to be watching and learning, just like everyone else. When I've taken a class, I don't know who's around me, half the time. I can't tell you how people around me are doing. I know what I'm watching and looking for, what I'm needing to translate and download into my system.

Sometimes there's anxiety about being in the front row. But that's where you want to be - that's where you need to get picked on, because that's when the instructor validates your presence there: "This person is trying so hard, and she may not know it all yet, but damnit, she's up there in the front row and trying; and I'm going to help her because she's asking for it!" That person hiding in the back, get up here! Show me that you care and want attention! If you are back there, maybe you don't care or you're not taking this seriously. So why should I waste my time if you are not taking this as seriously as I am? If you are hungry for this, you need to get up here. Then I'll feed you!"

R: when one of my friends came to your class with me, she told me before we went, "don't watch me!" and I said, "Don't worry, I won't have time to watch you!" The only time I"ll look at other people is to get their interpretation, sometimes, or to get another vantage point because I'm not getting it, and just to look around and somehow I'll deduce what is going on from all the other responses. But for the most part, there's just no time in the process to worry about what they are thinking of me. And that helps me relax, because I know they don't have time to watch me, either!

M: And then after class, you can get together and say "I totally lost it on this - did anyone get it?" Then you can start exchanging information and pooling. Because then its "groupthink". In class it's communal but individual effort.

R: Just a different dynamic or pressure. I think when you are on your own doing it together that you are somehow cloistered; and you suddenly find you are not alone in being confused about something because you can finally verbalize your thoughts and through that new level of communication (verbal), you begin identifying with each other. In class you are limited to one way of relating to each other. Another thing is, despite the knowledge that "most people probably have the same question you have, so ask it," there is still this feeling that you are the only one and you will hold up the class.

Afterword, M: In our Western culture we grow up with social group dancing (ballroom, square, folk) or academic dancing (ballet, modern, jazz). With the exception of exhibition or solo work this is largely group oriented with safety in numbers. Street dancing, like hip-hop or crumping, comes closer to flamenco in individual expression.

It is necessary to experience, expect and learn how to handle the 'risk' factor in flamenco that Rebecca refers to, the 'being put on the spot'. It is individuality that is at the core of flamenco - the exposure and celebration of the self as it realizes the essence and nobility and power of this art and the active support of the witnesses to this event.

This is the final part of a series by Rebecca Johnson. She intereviewed Martha SidAhmed in the spring of 2005 and spent the summer sharing her conversation with jaleolé.com readers. Read parts one, two and three of the interview in the jaleolé.com archive.

Back to top

© jaleolé.com 2005