PUBLISHED FEBRUARY 2006

This month's articles Merging paths | Music clinic | Fronteras | Family

"Por la calle:" Merging paths on the journey to duende

January's flamenco performance was the result of high speed flamenco collaboration. by Dawne Dawson

Those who gathered at the Atlanta International School in the early evening of January 29, 2005, were treated to a riveting spectacle of powerful movement, passionate expression, staccato footwork, melodies which were joyful and heart-rending in equal measure, and…it simply must be said... duende. The event was "Por la calle", a confluence of performers devoted to promoting the essence of flamenco.

Those who witnessed the artistry of this perfor-mance may have believed that this was the result of months of arduous group rehearsals and the synergy gained from many jointly choreographed performances in the past; Conversely, "Por la calle" was a concept developed over the space of just a few months - and many miles - by artists based in various cities throughout the country, many of whom had not met prior to rehearsals in Atlanta during the week of the show. In fact, due to factors of time and distance, the "Por la calle" performers were only able to rehearse as a group over the course of a mere four days prior to show-time.

The unity and proficiency displayed by these artists should not mislead audience members, however - there was much more to this event than the "Hey kids! Let's put on a show!" spirit captured in MGM musicals of yore. Rather, "Por la calle" came about as a fusion of intensely talented and knowledgeable artists fully steeped in the roots of flamenco.

Local dancer, Julie Baggenstoss, although previously based in Louisiana, had not actually met dancer Solangel "Lali" Calix of the New Orleans based "Alianza Flamenca" group until after relocating to Atlanta. After Baggenstoss studied with Calix in New Orleans, an immediate respect for each other's artistry led to discussions of Atlanta-area flamencos and "Alianza" members performing together. Baggenstoss presented the idea of such a performance to Atlanta artists Rina Menosky and Jerry Fields, while Calix discussed the idea with the New Orleans artists. After several e-mail and phone conversations, as well as a serendipitous visit by Baggenstoss and Menosky to an "Alianza Flamenca" performance at the French Quarter venue "El Matador," the concept of "Por la calle" began to take shape.

The devastating aftermath of Hurricane Katrina, as well as Baggenstoss' flamenco studies in Spain in the summer of 2005 somewhat delayed plans for this performance. However, plans resumed in November 2005, and "Por la calle" developed as a celebratory convergence of individuals traveling various paths of exploration of the flamenco art form. To this end, the charismatic "Por la calle" performance resulted from the collaborative efforts of New Orleans artists (dancers Solangel Calix, Masako Numasaki, and Chloe Bragg; guitarist John Lawrence; saxophonist Rob Wagner), Atlanta-based artists (dancers Julie Baggenstoss, Rina Menosky; percussionist Jerry Fields), and San Antonio-based vocalist Chayíto Champión.

A performance of this kind does not exist without unique challenges, including, but not limited to, the issue of a tight window of time for group rehearsals prior to the show's premiere. Upon the arrival of the out-of-town artists in Atlanta, the entire group functioned as a unit, bonding over rehearsals, meals, and shared living spaces during the timespan from Wednesday, January 25 through Sunday, January 29.

Adding to the hectic schedule were weekly classes taught by the Atlanta dancers, a two-day dance workshop, and a musician's clinic, led by Lali Calix and Fields, Lawrence and Wagner respectively on Friday and Saturday. According to Calix, who was visiting Atlanta for the very first time during preparation for the show, the "Por la calle" performers, "Ate, slept, and basically breathed flamenco from the moment we arrived in the city."

However, individual choreography was basically determined prior to the four-day window of time leading up to the show, and the decision of who would perform which palo was left up to each of the participants. Thus, the question loomed large of how these artists would "gel" once group rehearsals began.

Menosky reflected, "I had no doubts of the strong talent within this group of artists, and although the intense pace of rehearsals created some pressure, when you meet people who really love flamenco, the art transcends the details of 'who is based where'... instead, it becomes all about unity and cohesion, and each performer works hard to inspire and bring out the best in each other talent-wise."

The positive and supportive energy that pervaded the "Por la calle" group was particularly evident when one dancer decided to change her choreographed palo just three days before show time. Not only did the musicians accommodate this change, but also the audience was given the opportunity to see a palo that is rarely performed in flamenco shows. Baggenstoss elaborated on this concept, saying,
"The beauty of this effort was that no one demanded control over the direction of the show...no one said, 'I only want roses in this garden', but rather the driving idea was 'let's see how we can make this garden prettier overall.'"

Another considerable challenge faced the musicians, as they were required to learn several pieces in a short time frame. The musicians provided the essential backbone of this performance, for even when the dancers were not center-stage, the melodies and driving rhythms of the varied palos continued.

Champión, for example, was under the weather when she arrived in Atlanta on Friday, yet was required to sing throughout the show. Although the dancers had provided recordings of the selected songs to all of the musicians in advance of rehearsals, the fact remained that Champión had many pieces to master in little time. Ultimately, she more than rose to the occasion, utilizing improvisation to accommodate the dancers and singing with strength and passion regardless of illness.

In addition, Fields, Wagner, and Lawrence all brought solid talent and years of experience into the fold, and even with their diverse backgrounds (most notably Afro-Cuban, Blues, and Jazz), they merged and spoke the common language of flamenco in the "Por la calle" musical selections. As Baggenstoss stated, "Jerry, for example, does not count the beats…he has the beats, rhythm, and melody within, so he can cross over and speak the language of the other musicians naturally." Baggenstoss went on to observe, "The musicians were amazing in that they had to learn music for everyone quickly...like cramming for a major exam in just a few days, then not only presenting it, but doing so beautifully on stage."

...and present beautifully is what the artists of "Por la calle" did, from their rousing entrance to the masterful execution of eight palos during the enthralling program. As Fields remarked with regard to the intense preparation leading up to the "Por la calle" show,"…the process is the goal in a performance like this."

See more pictures of the making of Por la calle and the show.

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Music clinic inspires guitarist

An AIM student who attended January's flamenco music clinic seeks to learn more about the art.

Students at the Atlanta Institute of Music put down their instruments on January 27 to attend a performance lecture on flamenco music. The talk was lead by percussionist Jerry Fields and visiting artists John Lawrence, guitarist, and Robert Wagner, saxophonist. The three musicians took time out of their busy rehearsal schedule for "Por la calle" to play and explain to lecture-goers the basics of flamenco music.

Through the lecture of guitar styles and techniques, such as tremolo and rasqueado, and singers' half tones, AIM student Mark Jutras and his fellow audience members learned about some of the nuances that make flamenco such a distinct art form.

"I've always been into Spanish guitar," says Jutras, who is studying guitar. The Arizona native adds, "My roommate got me into it. I always liked it because it had so much feeling to it."

Jutras writes music, as well as studies it. "Every song I write is an emotional experience for me. That's how I tell the story of my life, through music… Lyrics complete the emotional part of songs," says Jutras.

For Jutras, the flow of flamenco information came together when Rina Menosky gave an unplanned demonstration of how flamenco dance works with the music.

"I really wanted to see the dancers. I've seen movies with people dancing, and that completes the genre. I wanted to see the other part of the percussion," says Jutras.

In fact, seeing Menosky interact with the musicians inspired Jutras to attend "Por la calle" two nights later.

"I'm very into feeling the music and I could really feel everything that came out of the music. It was a very positive experience for me," he says.

Now touched first-hand by flamenco, Jutras hopes to expand his knowledge of the art form through flamenco guitar lessons and attending more performances.

"I want to learn for myself and other people. I can apply (flamenco) to my own music."

The clinic was presented free of charge to the public by AIM.

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Date set for Fronteras

Plans are underway for Atlanta's flamenco student expo.

Sights of Fronteras 2005

Mark your calendars! May 6 is the date set for this year's flamenco student expo. The show, called Fronteras, will be held at St. Pius Catholic High School. All flamenco dance and music students in Atlanta are invited to perform in the show. Their friends and family are invited to watch the second-annual performance.

In 2005, over 70 performers showcased their talent in Fronteras, with over 400 people in the audience. What a show! This year, friends and family will have the choice of two shows: one matinee and one evening presentation. Both will be held in St. Pius' beautiful, state of the art theater.

Visit jaleolé.com again soon or ask your flamenco teacher for more information about Fronteras 2006.

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Family connection

Kids connect with their families while they connect with flamenco.

Find a kid who is studying flamenco and you'll find an entire family that is sharing in the art. Besides taxiing kids to and from class and paying the bills, the parents of flamenco students provide layer of warm support that connects one generation with another - through a foreign culture and images of young women moving beautifully through life.

"Out of the blue, they'll say, 'Mom, Dad, come see what we learned (in flamenco class)' and they'll set up seats for us to sit watch them," says Pam Alayon of her two daughters, 10-year-old Candace and 15-year-old Brittanyanne, who take flamenco dance classes with Rina Menosky once a week.

"We have fun performing (for our parents). Brittanyanne doesn't get nervous because she's used to performing," says Candace.

Flamenco caught the eye of Brittanyanne and Candace's mom while she was honeymooning in Spain. "I was taken by it. It was very beautiful," says Alayon, who is also mother to two boys and is expecting a baby this month. After studying flamenco for over a year in Atlanta, Alayon decided to introduce her daughters to it.

"I believe that things like (flamenco) are an asset," says Alayon. "When you learn a dance like flamenco, you have to learn discipline. I thought it could spill over into their school, housework and other things. It's like sports. It helps them in life. I thought, 'Why wouldn't flamenco be the same?'

And I thought it would be fun. I know they enjoy the tapping of the shoes and the flaring of the skirt."

Mom knows best.

"My favorite part is the footwork. I like to stomp around," says Brittanyanne.

For Candace, satisfaction comes with perfection. "After we learn, we perfect the routine. Then, you really get to do the dance because you already know the steps," says Candace.

But when it comes to showing their dances to the public, Candace can get a little self conscious when comparing her performance to that of her sister.

"I tell her it took me a long time (to learn to dance flamenco) and there are still things I can't do," says Alayon. Her encouragement doesn't end there. She also tells Candace, "Don't compare yourself to your sister. Everyone moves at their own pace."

And, when it comes to pace, Alayon isn't pushing her kids to any lofty flamenco goals.

"Now (flamenco) is new. I just want them to fall in love with it and enjoy it. No one complains about the lessons," says Alayon. She believes giving her girls room to like - or dislike - flamenco actually helps keep them interested.

Meantime, flamenco makes the space between family members smaller. Mom and daughters dance together and they all share the world of flamenco through their eyes, with the men in their home.

This is the first in a series of stories exploring the connection that family members make via flamenco. Watch for the next report in February.

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© jaleolé.com 2006