PUBLISHED AUGUST 10, 2008

AUGUST 2008 articles | Competing | Feet | Fronteras |

A summer trip to the annual flamenco festival in Albuquerque, N.M., brings to light a contest that any Atlantan could enter -- and win. By Julie Baggenstoss

Carlos Menchaca dances alegrías in in the VI Concurso Nacional Flamenco at the Festival Flamenco Internacional de Alburqueque. He won second place in the contest this year. Photo by Pat Berrett, Photographer.

They're the two flamenco surprises of my summer: there's a competition of flamenco dancers every year in the United States, and this year, a young man was among the winners. The contest is called the Concurso Nacional Flamenco and is held at the Festival Flamenco Internacional de Albuquerque. The week-long festival is rich on many levels, but the Concurso stood out because it revealed volumes about what's happening with flamenco dance talent in the United States.

Dancer after dancer from all over the country appeared on stage, presenting work shaped by each to the offerings of live musicians in the moment. Some dancers stuck to the basics. Some dancers spiked their presentations with big moves in every possible moment. Some communicated with the audience as well as their accompanists. Some revealed their love of flamenco built a lifestyle of practice at technique. It was clear, even as a first-time audience member, that some dancers had been through this before and some would return. And, it was clear that this contest was not about surpassing a peer. Instead, it was about a sense of personal achievement that comes from applying knowledge and skill to allow judges, who are the likes of Antonio Canales, to measure gumption, as well as talent.

Alisa Alba took first place in the VI Concurso Nacional Flamenco at the Festival Flamenco Internacional de Albuquerque. Photo by Pat Berrett, Photographer.

'Cross-pollination' is a pleasant way to describe the intense collaboration that is part of the preparation for the contest. "You're introduced to your musicians (one singer and one guitarist) two days before the competition... You show them what your ideas are and they kind of put music to it. You rehearse with them twice: 45 minutes on one day and 45 minutes the next day. Then there is the show. So it's just that pretty high pressure experience," describes Alisa Alba of the pre-show rehearsal experience. Alba won first place at the Concurso this year. It was her fourth time entering the contest.

"It really generates a lot of excitement and energy. Nerves for sure… it is something for contestants to push themselves to another level on an artistic plane," encourages Encinias-Sandoval.

While a contest prize is a visible sign of progress, many who enter the Concurso are looking for inward satisfaction. "It's a good opportunity to try out your stuff in front of everybody and with high level artists with whom you don't get a chance to rehearse. You get your one chance to do it," says Mele Martinez of Tucson, A.Z., a two-time contestant and third place winner in this year's competition. "You can't have anything that's overly choreographed. You have to have the basic structure down really well. And then you just have to hope for the best."

"It's just such a good experience to be in that much control, to be in control of your musicians, to create, to be able to showcase your ideas," says Carlos Menchaca, who won second-place in the Concurso this year and dances for the Yjastros American Flamenco Repertory Company. We (Yjastros) have many opportunities to perform. But, they're Joaquin (Encinnias') ideas, other choreographer's ideas."

Martinez adds, "It's a very good challenge, an important one that a lot of flamenco dancers don't have the opportunity to have. This is the way that flamenco is traditionally done. There's a lot of improvisation in flamenco and you don't usually get that opportunity." Martinez should know the norm in flamenco, as she's attended Festival Flamenco annually for 15 years straight.

In 2008's contest, dancers exhibited a range of skill levels, but all who performed with live musicians showcased knowledge of cante and choreography structure. That base is essential, since contestants perform with professional accompanists with whom they are paired randomly. "It gives everybody a common and fair foundation and sort of structure for the whole thing, because even the local people are tied together with someone who they've never worked with before. We try to give it a fair playing ground," says Encinias-Sandoval.

Many of the locals are members of two local dance companies, Yjastros American Flamenco Repertory Company, which is a professional flamenco company, and the pre-professional group Alma Flamenca. Both groups are large and feature highly talented young adults who are intensely studying flamenco in Albuquerque. Even though the majority of contestants are usually local dancers, Californians took first place in 2006 and 2007.

"Since I had begun dancing flamenco, I had heard about the contest. Then I thought I was at a point where I thought I could compete and do what I wanted," says Briseyda Zárate, flamenco dancer, choreographer and director of Alma y Corazon Flamenco in Los Angeles. "I felt like… I had gotten my skills, my confidence, my freedom to express myself creatively and feel like it was good enough," she says of her first-place entry in 2007.

2008 marked the sixth annual concurso, judged by artists such as Antonio Canales, Amador Rojas and Teo Morca. If the preparation process isn't enough to rattle a contestant, knowing the Festival's heavy hitting guest artists are in the judges' panel may just bring on some butterflies. "It's intense because you're dancing in front of judges who know everything there is to know about the art form," says 2008 winner Alba.

Flamenco master teacher and choreographer Teo Morca has judged the contest in Albuquerque for five years. That provides a lot of time to watch a variety of dancers - and know the signs of someone who is good at what they are doing, vs. someone who is great. He says, "I look for good technique, that shows me the dancer is knowledgeable about working with a guitarist and singer, in interpretation and individuality. " He adds, "Also, I look for good choreographic structure, with shading, strength, nuance and balance of making the steps a dance and interpreting that particular palo."

Mele Martinez placed third in the VI Concurso Nacional Flamenco at the Festival Flamenco Internacional de Albuquerque, but says there's more to the contest than the prize. Photo by Pat Berrett, Photographer.

On the impressive end of the spectrum, Morca says, "I look for real individuality, which should be the essence of flamenco and also, a real feel of understanding the palo that is being danced, in feeling, structure and the dancer's true communication with the singers and guitarists."

Judges have the final word on who takes home the cash prizes and bragging rights for first, second and third place. But, contestants know that winning the competition against their peers isn't everything.

"As far as getting recognition, it happens for that day and then afterwards," says Martinez. "The biggest reward is the experience." She explains, "If you're lucky, you have the reward of the artists coming up afterward telling you what they think of your work. I had a good opportunity for that also. That's worth more than money."

Back to top

Proactive suggestions and tips for flamenco foot care By Erica Poole

Photo byJason Kravitz

When flamencas prepare for class, there is one paso we all perform…slipping on our flamenco shoes. Admiring the shoe designs, the leather, and the suede color variations among classmates makes for an easy conversation-starter --- much more pleasant than, "hey…how do you keep corns from forming on your toes?" as an icebreaker. Yet, have you ever noticed what some dancers do almost as a ritual before sliding their feet into their shoes? Somewhere along the line, a personal decision may have been made to prep the feet.

Before purchasing my first pair of flamenco shoes, I was under the impression that they would feel as pillowy as down, considering all of the footwork involved. I've yet to wear a pair with that kind of feel. My remedy has been foam cushion insoles. I had even tried coupling them with gel inserts for heels. However, as I dance, sometimes the heel inserts end up under my arch. Over time, I have witnessed students with alternate approaches. Some dancers prefer that the shoe has a tight fit, and others purposely order a half-to-one size larger to allow their feet to spread inside the shoe. Making continuously clear soniquete has to stem from having comfortable feet. So, jaleole asked fellow flamencas for their foot prep suggestions, coupled with professional advice from podiatrist Dr. Frank A. Sinkoe, DPM, of Atlanta, who also serves as official podiatric consultant for the Atlanta Ballet.

Dancer Andrea Nixon prefers a snug shoe. She puts blister pads on her heels (a special extra-padded bandage just for blister care), and wraps a toe or two in bandages. "When the shoe starts to stretch, as leather does after about 8 or 9 months," states Nixon, "I use insoles to keep the shoe tight."

Instructor Rina Menosky stretches the bottom of her foot to her toes and the top of her foot to the tip of her toes every morning. Then, she wears the shoe inserts that cover the enter sole, preferring those to the inserts that support just the ball or the heel. Menosky shares, "I used to wear double-thick soles, but it seems that I am comfortable enough with single-thickness these days." Every 2-3 weeks, her favorite pedicurist --- or her daughter --- massages her feet well. While in the nail salon, the technician trims her nails and shaves down the calluses which typically form in the middle of her foot on both sides from dancing. Just enough surface is left to provide ample protection for the next golpe.

Houston flamenco instructor Solangel Calix agrees that when a callus forms on the ball of the foot, it is best to not remove the callus entirely with pumice stone, considering that the extra skin acts as protection. For sore feet, she also likes to use Arnica cream in conjunction with a salted foot soak.

Maestro Teo Morca advises dancers to "make sure shoes fit, and wear peds or socks…and most of all, stretch your Achilles tendon slowly, as [flamencas are wearing] high heels, which shorten your tendon and can cause pain."

Tamara Saj, North Carolina-based Artistic Director of Cape Fear Arte Flamenco, says "I'm ballet-based, and with that comes memories of toe shoes, blisters, lambs' wool, and first-aid. I hate to say that the tops of my toes are almost entirely scar tissue after 20 years of pointe. I do not physically prep my feet before dancing flamenco (e.g., insoles, Band-Aids, etc.). However, I do have to take very good care of my feet when I'm not dancing. Because of the taconeo, my little toenails split, and I have to take care of that with regular pedicures, and a great lava pumice stone that I use every day…and sugar scrub…ahh."

Although ballet and flamenco may be distant cousins, they still belong within the family of dance where satisfied souls do not have to have sacrificial soles.

	More Foot Facts
	Dr. Sinkoe maintains a foot care column on the Atlanta Ballet's website and invites readers to submit their questions at doctorfrank@bellsouth.net. In the column, he shares several tips regarding the perfect arch, interdigital corns, and Achilles tendon pain.

The personal care regimens and remedies shared in this article may prevent or postpone doctor visits. In addition, Dr. Frank Sinkoe has made a "house call" to jaleolé readers by being gracious enough to provide his insight as to foot care for dancers:

"Blisters and inter-digital corns are caused by a combination of moisture and friction. If feet sweat, I would recommend an application of prescription Drysol. Drysol helps to greatly reduce perspiration --- and thus, blisters and inter-digital corns.

"Regarding black or bruised toenails, I usually find these occur when the nail is left at a long length. Dancers of all types may feel that bruised toenails are acceptable; however, I stress proper nail care to my dancers. This will prevent bruised --- and subsequently, deformed --- nails. Both nail and skin problems can be prevented with proper care, hygiene, and properly-fitting shoes. If the toe-box [of a dance shoe] is too wide or too long, the toes will slide into the toe-box. This will cause friction, resulting in corns, blisters, and injured toenails. I do not recommend over-the-counter corn or blister medication, as this can burn the skin, especially with interdigital lesions.

"With regard to stretching, the hamstrings and calf muscles need to be stretched well. I always recommend a 30-second static stretch for a few repetitions. Achilles tendinopathy (inflamed tendon fibers attached to the calf muscles of the heel) can be avoided with proper stretching."

"If [the metatarsal heads] are not aligned perfectly, or if we have insufficient fatty padding, we will experience pain in the ball of the foot,"  Dr. Frank Skinkoe, Podiatrist Read more about the metarsals at: www.ourhealthnetowrk.com

Remember how Maestro Teo Morca stressed the importance of stretching the Achilles tendon during his recent workshop in Atlanta! Dr. Sinkoe goes on to advise that proper functional conditioning and felt-padding in the shoes to absorb shock, particularly in the area of the five metatarsal heads, will prevent injury. He explains, "Metatarsal heads are in the balls of the feet --- the area between the toes and the arch. The most important structures in the balls of the feet are the five metatarsal heads (the ends of the metatarsal bones that connect to the toes) and the protective fatty pad that cushions the ball of the foot.

"Each time we take a step forward, we push off with our toes and the ball of the foot, forcing our bodies forward. To do this, we force 100% of our body weight on these structures. If [the metatarsal heads] are not aligned perfectly, or if we have insufficient fatty padding, we will experience pain in the ball of the foot."

Higher-heeled flamenco shoes can potentially shift a disproportionate amount of weight onto the ball of the foot, which can result in chronic pain if the Achilles tendon is not properly stretched and the ball not sufficiently cushioned.

Back to top

Students bamn the audience at Fronteras 2008. By Julie Baggenstoss

Shikha Valsalan dances tangos with intention at Fronteras 2008. Photo by Eugenio Beltran

What a show! Performer after performer, dance after dance was a hit at Fronteras 2008, the fourth annual flamenco student expo on the big stage. The annual all-flamenco showcase took place on Saturday, May 10 at St. Pius Catholic X Hich School. Every number brought out the talent of its maturing choreographers, dancers and musicians. The result was a night of entertaining - and moving - flamenco put to life on stage by students and their teachers. The proof is in the pictures!
 

Above photos by Eugenio Beltran and Mark Baker
More pictures >>

Back to top

Back to Top
Back to Archive main page

© jaleolé.com 2008