 |
|
|
|
|
|
|||||||
 |
|
|||||||||||
 |
 |
 |
 |
 |
|
|||||||
 |
|
|||||||||||
|
||||||||||||
 |
PUBLISHED SEPTEMBER 2006 |
|
||||||||||
 |
|
|
||||||||||
 |
|
|||||||||||
|
|
|||||||||||
Experience LifeA flamenco guitarist reflects on his decision to leave his full time job to pursue his art. By Rebecca Money Johnson
Rebecca: Since the article was written two years ago, where are you now? Stéphane: Although I haven't been back to Spain lately, now have more flexibility in my life to pursue flamenco and other personal interests. Rebecca: Why flamenco? Stéphane: Although the first inspiration was being introduced to the music of Ottmar Liebert and Paco de Lucia, it was when I went to Spain to the Jerez flamenco festival that was really the starting point. Stéphane: I like the playing and the dancing, but now the thing that touches me most is the singing. But ironically, when you first begin to get interested in flamenco, it's hard to listen to the singing. We are not used to it. In a few years I would like to try to sing, but it takes a lot of work since you have to master the language and understand well flamenco to do it. Rebecca: Yes, I think we have a collective sense of longing and that is recognized in the singing. Stéphane: Singing comes from deep inside of you instead of having an external way of expression like in guitar or with your feet. And with all the different styles you have in flamenco, you have the full range of emotion: you can go from complete joy to utter sadness and darkness. Rebecca: It is interesting that you don't feel "the guitar is the best thing." Stéphane: No. It is one thing that I find sad about some guitarists. Maybe they don't have enough experience yet, but they just want to get a hold of Paco de Lucia and focus only on the technical aspect of the guitar. To learn flamenco, you have to know every component. Because in flamenco, you are not the star of a performance. Everyone has a part. Rebecca: I think knowing life is knowing flamenco. Stéphane: It is the same concept in blues. What they call "mileage." Rebecca: So, what are your flamenco goals? Stéphane: At first, I saw myself on the stage and thinking "I will be as good as him or as her." But then, you realize if that is your only goal, you will get discouraged quickly. I simply want to work hard and stay involved as much as possible-small gigs, even small performances for ourselves, just because we like it. I have small goals in the short term. I accepted to do an upcoming show because it is a challenge and forces me to learn new material and practice hard. I also plan to continue studying under El Rubio, my friend and mentor. Mainly, when I feel ready to do something, I do it. I would prefer to do something well then to just go on stage. But sometimes you have to accept the pressure. You also should aspire to gain recognition from your flamenco peers. But you should respect the people who were before you. If you don't respect them, you can't expect respect from them. El Rubio has been playing for 40 years. He has a lot of knowledge to give to people. And it is really important to learn from a lot of people because you can learn different styles and things from each of them. Rebecca: I like to call it our flamenco DNA: the gift of accumulated knowledge of our teachers and their teachers, too. My teachers in Atlanta encourage us to take classes from everyone. Stéphane: This is especially important in flamenco, which is more like jazz--you have to improvise and define your own style. You have to explore and experiment with the work and teaching of different people. You can be technically good, but if you don't bring your own feeling and color to it, it isn't interesting or authentic. Rebecca: I think in some ways, you have achieved a modern gypsy ideal-The gypsy would say, "Okay, you get ahead and what does that really get you?" You have achieved the balance of daily happiness within the modern workplace. Stéphane: Yeah, but it is a constant struggle, because it is never really gained. You have to fight a little for it every day. I have to say, "My day is finished. I reserve my evening to do something else." When I question my choices, I remember my priority is quality of life. When you realize you will be working all your life, you wonder if it will all be pointless. I prefer to enjoy life right now. I go to work, come home, practice, see friends, go out, travel-enjoying these things now instead of expecting them in a few years. Even if you start to do that for one day or two a week, by the end of the year you may end up doing it every day. It's hard in North America, because the mentality is about productivity and getting ahead. Rebecca: My mom has said, when you are writing down your life goals, you should write after each one, "And then what?" Eventually you can no longer answer that question. You get it all and then what? Stéphane After 25 years you get a gold watch or a trophy, wondering, "I've spent all this time for this?" It took me a while to decide to quit my original electrical engineering job. I made a list of the advantages and disadvantages. Eventually, the job had more disadvantages than advantages. Since I made my decision, I have had a few friends who have quit what they were doing to do something else So, if I have inspired people, I'm happy. Rebecca: Well, you have inspired us. Consequently, is there anything more you would like to say to us? Stéphane: At some point you have to be confident that things will put themselves in place. Many people won't understand. It's like everything in life, even if you want to help people, first you have to help yourself. It is important to consider your decision, because you must be prepared. It took me a few months to save money before quitting my full-time job. If you don't have a plan, you will end up wasting your resources. Rebecca: I summed up your choices as "experiences vs. expectations." You would prefer to experience life rather than to live according to the expectations of others. Would you sum it up that way? Stéphane Yes, it is better to experience life than to live on expectations. Sadly, our society lures people into too much expectation, and if they don't get results quickly, they get discouraged and grow unhappy. With a short term approach, you are able to readjust your goals and get a better reward-- instead of waiting for a distant (and maybe non-existent) reward in the future.
Speak My LanguageAntonio Vargas' new flamenco language changes dance education.
"If a person can learn the symbols, it's like learning another language," says Vargas. "They can go happily to any studio or workshop and no one can stop them from having their pads and writing down (information) and they can take it home in tact. Vargas is well equipped to create such a system, with more than 50 years experience as an internationally renowned flamenco dancer who also plays flamenco guitar and cajon. And, it's no suprise that he's got such an invention to his name. Vargas is known as an innovator in flamenco, bringing dance theater to the art, as well as edgy choreography. Vargas says he came up with the idea of the notation system after noticing that most teachers do not want students to video tape class material. "I thought I'd create a notation system for all these people all over the world who go to Spain and to workshops around the country or the world, so no one could argue with you about making notes about the choreography." The system is made of about 125 symbols that are based on music. So a dancer studying in Japan can communicate with a student in Spain and one in the United States. Vargas created a downloadable font so that students can even e-mail each other notes about dances. Vargas' published his notation system in a book and DVD covering sole á. It's the first of five volumes he plans to release about the system. He's working on the second, which covers siguiriyas. He'll cover tientos, tarantos and tangos in his third; alegrías in his fouth; and solea por bulerias plus dance theater interpretation in his fifth. Vargas says his manual will demystify much of flamenco for non-Spaniards - and even more, non-gypsies - who are trying to learn the art. He says, "To get from outside to in (to flamenco) is a hard job. And to get the correct information is a hard thing. To have someone demystify a concept in a way in your own language, that's worth a lot." Come out, come out. Wherever you are!Dancers' endless search for a few good men (and women!?) with a guitar on their laps.
Local teacher Martha SidAhmed wanted to kick and scream when Felipe Codelho left Atlanta to go back to Brazil after months of accompanying her students. "Teaching is so much easier and quicker when one has a musician to interact with. It is invaluable for students to be part of that process, see how it works and what develops - options that come up, discussions, decisions." SidAhmed adds, "They (SidAhmed's students) had been able to experience that freedom and understand and respect firsthand the vast depth of flamenco. It'd been great fun and rewarding to watch this door open for them. But, now we recharge with hopes of attracting developing guitarists who want to participate and grow with our local flamenco scene." Along with other rising flamenco guitarists, Armando Bermudez "El Torito" is rapidly adjusting himself into the world of flamenco "puro." Although he is an established guitarist playing regular gigs at local restaurants, Bermudez now accompanies SidAhmed's class as well as that of another local teacher Rina Menosky. Bermudez is convinced that it's the best way to learn to become an accompanist of flamenco. "I want to learn from people who have gained their own knowledge straight from the source: Spain," says Bermudez. In recent lessons with guest guitarist Arturo Martinez, Bermudez experienced learning compas. "We spent the whole hour on compas - from palmas, to footwork, to tapping on the guitar," said Bermudez of his lesson with Martinez. "I can't move forward anywhere without learning the compas correctly first. It's about the flow of the rhythm. I can get the chords, but I could have learned that from a jazz guitarist. Arturo taught me that whether it is dance, guitar, or cajon, we'll never be able to do a palo (a type of flamenco song) correctly without first mastering the compas, even if you have the chords down. Just like Arturo told me about Paco de Lucia saying 'When it was time for me to play bulerias, I already knew how to play them because I had heard the rhythm since I was born.' When you get the flow of the rhythm inside you, then you're ready to play or dance." There are many other talented guitarists that the flamenco community has seen, but there's a great suspicion that there are more of them out there hiding away. Many of the local dance teachers are eager to meet those who may be interested in diving into the world of flamenco. For those individuals, there are many wonderful opportunities in the near future. At September's dance workshop by Antonio Vargas, all the interested musicians are invited to observe classes free of charge where the interaction between the dance master and guitarist can been seen. John Lawrence, the accompanist of Antonio Vargas, will also be available for private guitar lessons during the week of September 11-17. Don't miss this opportunity - come out, come out, wherever you are!
|
||||||||||||
Stéphane
Boisclair, a flamenco guitarist in Montreal, Canada, left his full time
career to pursue his love for flamenco and go to Spain. His story, covered,
in the UK magazine Bored, inspired many who read it. Stéphane now works
part-time with a friend of ours. So when my husband and I recently went
to Montreal, I was able to talk to him about his admirable choices.
Surely,
the flamenco guitar accompainist must be the most difficult job position
to fulfill, but as they say, isn't it most rewarding? They are like
parents with a stomping toddler (dancer) and a wailing baby (singer)
- no offense, only an analogy - and they just have to coordinate the
"kids" somehow and go on with their lives. They have their
own interests and love, too, yet the "kids" are the one they embrace
and take care of first. So naturally, it takes lots of guts, endurance
and patience for becoming that "parent." Now the question is, who wants
the challenge? 
Timo's
classes had a very interesting combination of palos: tangos & bulerias.
Tangos is counted in a 2x4 or 4x4 meter. Bulerías is set to music with
12 beat meters. By the third day of classes I learned two choreographies
and we were changing from one rhythm to another. Now I know Why Mr.
Lozano is considered as a master teacher of bulerías & cajón. All my
respect for him!! |
Flamenco isn't the only art that Myriam took in while visiting Chicago. See what else she enjoyed and what she learned about Spain! |
|||
|
MILLENNIUM PARK After experiencing a great seminar I had the pleasure to explore some of the Chicago area's many forms of arts with Universal Cultural Legacy. In particular I was most impressed with the predominant of Spanish culture displays at the Millennium Park. One of the pieces in the park is by Spanish artist Jaume Plensam. Plensam designed a non-traditional piece The Crown Fountain for the 21st Century. It is a combination of innovation, architecture, sculpture and technology. Sharing the plaza with Plensam's "Fountain" is the Cloud Gate, by Indian Anish Kapoor. You can see your reflection in the polished steel sculpture, which weighs 110 tons. Another attraction is Wrigley Square, which contains a nearly full sized replica of the semicircle of paired Greek Doric-style columns named a Peristyle. The Peristyle rises to a height of nearly 40 feet. Designed by Edward H. Bennett, Wrigley Square relates well with the Cultural Center across the street. CHICAGO CULTURAL CENTER The Cultural Center is a gorgeous building of beaux art style. Unexpectedly, you can find very rare marble colored stone and mother pearl inlaid in white marble in every direction at the Cultural Center. The interior has influence from Romanesque and Greek style. Louis Comfort Tiffany's mosaics can also been seen there. He created the unique "Tiffany glass" when he tried to replicate iridescence of ancient glass vessels by infusing gold and other metal oxides into the panels of his stained glass window. Work by another glass designer, Jacob Adolphe Holzer, is also on display at the center. Valuated $35 million, his stained glass dome decorated with symbols of the zodiac, is said to be the largest of its kind in the world. |
Certainly, it was an honor to meet him and to absorb part of his knowledge. The classes were exceptionally invigorating with live music accompanied with a famous gypsy singer Paco Fonta and a guitar player. These elements were so helpful for dancers and musicians to understand each other and the compas.
Prior to my classes the Ensemble Espanol jewels were taking classes with Timo. I was so impressed with their technique and powerful footwork, which is provocative with very tremendous sounds that could be heard in the hall when they were dancing. I just said to myself, "I want to dance like them one day!!"
NEIU not just wants to offer flamenco classes. It makes a huge effort to import the best instructors directly from Spain. Examples of the special guests are: Juan Mata, Ana Gonzalez, Carmela Greco and Edo. The most interesting part for me is flamenco courses offered by the University especially for kids. They're held on campus and for all ages. I shared classes with kids.
In my opinion
flamenco dancers are very lucky in Chicago. The best part is that they
do not take it for granted. Their enthusiasm and very deep devotion
to practicing flamenco is highly motivated. This has resulted into a
grand success in the way they present their excellent skills. I have
witnessed that students have so much encouragement that they get to
go from one class to another, studying different rhythms and with different
instructors. I especially felt so proud in Chicago although I am resident
of Atlanta. I invite you to do not miss the next opportunity to experience
workshops at the Spanish Dance Festival for yourself.
© jaleolé.com 2006
