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PUBLISHED SEPTEMBER, 2008 |
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Mining the Depths of the SoulLife in a Spanish mining community takes center stage in Atlanta. By Dawne Dawson
Incorporating flamenco mining songs from places such as Jaen, Murcia, and Almeria to convey the turbulence of life within a mining community in Southern Spain, "Flamenclorico" captures a "day in the life" view of three generations in a mining family in the Rio Tinto region of the country. Via dance, vocals, and instrumentation, viewers will be taken on a roller-coaster ride of emotion and expression, as the performance pays powerful tribute to the enduring Andalusian spirit. The Andalusian family which is the focus of this story faces down adversity, the perils and drudgery of mining work, and the foreboding landscape of Huelva, allowing audiences to bear witness to the triumphs --- and the scars --- portrayed as hallmarks of mining life. "These performances are a tribute to the people of Andalucía: they speak universally to all who listen," says Artistic Director Jorge Navarro of this original work. "Flamenclorico" is the first presentation of a "choreo-drama" in Atlanta, weaving the story of the miners and their families in two acts, effectively conveying emotion through movement and music, in the absence of dialogue. "From this show, you will get more than just a normal flamenco show, with great performers dancing solos. There is a drama, a small story line that will transport the audience to the Huelva region in Andalucía, and a family of miners that at the same time could be any miners, anywhere. Probably, many people in the audience will have stories similar to the one we tell," says Antonio Hidalgo of this original presentation, which marks his third visit to Atlanta. Through "Flamenclorico: Lore of the Miners," Pasión Flamenca presents an evocative tale which captures the perseverance of the human spirit. The production is the result of a lengthy professional and artistic union between principal bailaors Jorge Navarro and Antonio Hidalgo, both natives of Andalucía who have each toured globally to great acclaim with his own dance company. "Flamenclorico: Lore of the Miners" is an important moment in Flamenco arts here in the USA…a rare gem of performances, " states Pedro Cortes, Music Director of this production, who hails from a family of Spanish Gypsy guitarists.
"Flamenco" in a WordPartakers of this art form provide their one synonymous sentiment. By Erica PooleWhat's in a word? Everything! Word association provides a window into someone's outlook and thought-process. Upon hearing the word "flamenco," a huge accomplishment for the uninformed would be not to think of a long-legged pink bird. Likewise, an equal feat would be not to pronounce it "flamingo!" Author of "Song of the Outcasts," Robin Totton, explains four general characteristics of flamenco dance in the book: "individual", "forceful", "downward", and "introvert". He also added "abstract", and "ecstatic." Flamenco gives as it receives...feeds while being fed. When someone takes part in flamenco, his outlook will inevitably influence his contribution and his art. Jaleolé asked some indoctrinated musicians, photographers, videographers, singers, instructors, and dancers to provide one word that encapsulates their feelings for flamenco as to why this art form attracts them. Is your association found in Totton's list or even this one? Perhaps…and feel free to add! - Therapy - Maestro Teo Morca - Costa Rica After additional brainstorming, ponder these flamenco synonyms: - Decisiveness There are no finite answers, and each person's list can be ever growing!
Roots and WingsLearn more about the "fabric of flamenco." By Wanda Baker
Very Spanish? Yes and no. While the mantón is very much a part of the living art of flamenco today, its origin can be traced to Manila, capital of the Philippines, and even further back to the invention of silk by the Chinese around 3000 BC. The oriental version of the mantón, featuring spectacular dragons, birds, toads, and curling pagodas, made its debut among the elite women of the Tang Dynasty. Towards the end of the 16th century, trade began to flow from China to Europe via the Philippines and Mexico. In Mexico, the women of Mexico's Nueva España Viceroyalty enthusiastically embraced a version of the mantón referred to as the "rebozo". Arriving on the island of Manila, which was colonized by Spain in the 16th century, the mantón was first received from China and then shipped by galleon to Seville. Legends arose that Chinese silk was used to tie heavy bales of Filipino tobacco together for its journey to Spain. Once there, women called cigarreras (including the legendary Carmen Amaya) working in tobacco factories, cut the unwanted scraps of silk into squares, added fringe, and created the mantón de Manila. Andalusian women of aristocracy and cigarreras alike first used the mantón for adornment and warmth, but as the flamenco arts evolved, the mantón soon became essential wardrobe for Spanish cantaoras (singers) and bailaoras (dancers). The frayed edges turned into long tassels, and the tiny and delicate flowers of the Orient erupted into magnificent roses, daisies, and sunflowers. When they arrived in America, mantónes, also called piano shawls, were used to decorate grand pianos. A heavier weight of lush embroidery and fringe held the fabric in place, adding a colorful mystique and sophistication to the American parlor. A daintier version went vogue among the flappers of the Roaring 20's and then, for unknown reasons, the beautiful mantón seemed to recede from popular culture…but not for long. David Steinberg of the Albuquerque Journal believes that companies such as Pablo Rodarte's "Dance España" are doing what they can "to keep alive the dying tradition of Spanish classical dance. That is why patrons will see castanets, the mantón (or Spanish shawl) and the bata de cola (or dress train) in paired concerts." Rodarte says, "The mantón and the bata de cola are props that are hardly used anymore because the tradition has been lost. Choreographers today think it's too difficult to use them. It's easier to do footwork and not use the body or props." The mantón may have disappeared from view in some parts of the world, but it has remained a jewel of flamenco for many, especially for those of the Escuela Sevillana tradition. Silvia Calado Olivo, of www.flamenco-world.com, writes, "There's a continuity in the use of the shawl across generations of dancers, from veterans such as Blanca del Rey or Milagros Menjíbar, through to younger gems like Maria Pages or Belen Maya." Worn for warmth and adornment, draped over grand pianos or the bodies of talented singers and dancers, used to deck the balconies of Andalusia during lively fiestas, either sublimely delicate or passionate and bold, mantónes have become the fabric of great celebration for women around the world. The mantón is a flamenco treasure, once buried, now reclaimed. Back
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