PUBLISHED APRIL, 2009

APRIL 2009 articles | Fronteras' Fifth | Flamenco Food | On TV |

Let's toast to Fronteras' fifth birthday by revisiting its early childhood! By Erica Poole

Conception
"Borders"...at what stage of development did you decide to cross over into flamenco?

"Fronteras" is a term in the Atlanta flamenco community synonymous with performing. This annual show has become an expected tradition in which flamenco students, musicians, and aficionados can participate. Yet, how was the Fronteras show conceived? Whose DNA is evident in fostering this embryo into mature development?

Flamenco instructors Martha SidAhmed and Ulrika Frank assisted in organizing the first student expo before the "Fronteras" name was ever born. Their students presented a spring recital, hosted at the Atlanta Ballet's Buckhead studio, lined with chairs and benches and requests for donations of at least $1. Student performers had been taking flamenco dance classes in the adult open division at the Atlanta Ballet, known mostly for its kids' ballet classes.

Pre-Fronteras flamenco expo at the Atlanta Ballet.

Sandie Bulens, current flamenco student of Malita Belloso and Julie Baggenstoss, took part in this first ever flamenco student expo in Atlanta. She states, "Ulrika Frank choreographed two pieces for my beginners' class and a beginner/intermediate class. We danced 'por tangos'…It was so much fun! I remember buying my very first pair of real flamenco shoes for it!"

Julie Baggenstoss and Rina Menosky are co-founders of jaleole.com, which sponsors Fronteras each year. They met while studying flamenco with Frank and dancing in Perla Flamenca Dance Company, founded by Frank. Each decided separately to venture into teaching flamenco, yet co-launched the notion of Fronteras as a unifying element for all flamencos around Atlanta. They longed for a real stage with wings, lights, and a sound crew, and an experience that would push everyone to reach for a new level of achievement in flamenco. They wanted to see all involved cross beyond the existing frontier of flamenco in Atlanta.

Their search brought them to the Atlanta International School in Buckhead in 2004. Bulens fondly recalls, "No one knew what to expect; we all just went to some department store to try to find something flamenco [to wear], and we went with it!"

Birth to Two Years Old : Sense of security and flamenco language development
In 2005, the show was moved to its current location, St. Pius X Catholic High School, because it housed the desired equipment. Two shows were offered on one date, allowing participants to see others dance. This time, performers decided to coordinate colors and costumes with their classmates in hopes of a more unified appearance.

Molly Simmons currently studies under the tutelage of Martha SidAhmed and Jerry Fields. Simmons recollects, "I started taking flamenco classes with some friends as a way to reconnect with my affinity for Spanish culture. Being part of Fronteras' first year was an empowering experience that built my self-confidence while at the same time allowing me to share something I loved with my friends and family. It was a building block that eventually led to my dancing with Perla Flamenca."

Yoko Ellison has participated since Fronteras' inception, and Sabrina Murner participated in the show's second production in 2006. They are both former members of Perla Flamenca. They have their strongest recollections regarding the second year. Like most curious 2-year-olds, they each began to dabble into their own flamenco language development by studying with multiple teachers. Ellison explains, "The year leading up to Fronteras was also a year in which I broadened my flamenco horizons. I was taking classes from different teachers and started going to workshops more frequently. We are very fortunate that the flamenco community in Atlanta is open-minded and encourages students to take classes from different teachers. I had begun to understand the aire of each palo. Flamenco is not all about smiling --- sadness and somberness are parts of it. Each instructor has his/her own take on aire, and I try to find my own."

Murner's 2-year- old flamenco experience got her over the hump of establishing a sense of security. She shares, "After dancing for about 1.5 years, I decided to join Fronteras during its second year. It was very challenging and scary for me. I remember…my legs were shaking; my mouth was completely dry, and I felt panic during the show. I have always been a shy person and participating was truly the first and biggest step as a flamenco student to demonstrate to myself that there is nothing that we want to do that we cannot do. After that day, it was easier every time…to the point that I was always hoping for more opportunities to perform. It helped me so much…not only as a dancer, but in many other personal ways too."

Three Years Old: Pure admiration of flamenco "parents" and the desire to cling to them more
Flamenco student and jaleolé editor, Dawne Dawson, had been inviting me to the annual shows, yet I had never attended. My evenings had finally freed up, so I decided to take Julie Baggenstoss' weekly cursillo that met for 4 weeks in February of 2007, which then rolled over into her adult evening class. I was instantly hooked.

Since there were only 3 months from my start date to the third annual Fronteras Expo, I assumed that the most I could do was attend and aspire to perform the following year... not so! Baggenstoss gave the cursillo beginners the same performance rights as those that had been with her longer. I was floored! I jumped at the chance and performed an alegrías twice that day as the two performances in one day were still in effect.

Erica Poole dances in Fronteras 2007.Photo by Lidia Torres

That show ended with area teachers dancing a pataíta of bulerías. Each aire that was showcased that reeled me in even more! Being nervous has never been part of my personality, so what Fronteras did for me was re-instill my belief in giving all or nothing when it comes to setting your personal goals.

I view my flamenco teachers in a parental, nurturing light, and when given the opportunity, I strive to cling to their "flamenco apron strings" in order to learn as much as I can.

Four Years Old: Expanding your flamenco world and getting ready for "school"
Shikha Valsalan, student of Rina Menosky, had her first taste of dancing in Fronteras during year four. Valsalan states, "After Fronteras, I made up my mind to stay and learn more and infuse a little flamenco, especially into my husband! Recently when he went to his hometown of Trivandrum, India, there was an international dance show where a flamenco dancer performed...I can imagine the excitement on his face when he informed the people around him that it was flamenco that they were viewing and that his wife is an aspiring bailaora!"

Shikha Valsalan

Considering that attending school is all about learning and growing, Valsalan affirms that having watched students who were once absolute beginners like herself perform with such amazing grace and passion assured her that performing would make a huge difference in how she began to approach her dance.

Five Years Old: The kindergarten year -- the beginning of a new stage in flamenco childhood
A new school year means seeing new faces and welcoming new classmates. 2009 marks Fronteras' fifth year in existence, when Menosky's newcomers Pamela Caltabiano and Elena Cox will grace the flamenco stage here in Atlanta for the first time. The interesting facets about both of them are their unique link to Spain. Cox is from Granada and although Caltabiano is of Italian descent, she lived in San Fernando (where legendary cantaor, Camarón originated).

Caltabiano went to school in El Puerto de Santa María, took sevillanas classes, and attended la feria in Chiclana --- all part of Cádiz. It was in Cádiz where she witnessed José Mercé sing and Sara Baras dance. In 2007 and 2008, she lived in Alcalá de Henares, about 30 minutes outside of Madrid. She has had the opportunity to attend flamenco shows in Córdoba and Sevilla as well. Caltabiano has had a vibrant "pre-K" experience, leading to comparisons between her two "schools" --- learning in Spain vs. learning here.

She explains, "In 2005, my sevillanas classes in Spain were strictly taught to people who wanted to practice before the ferias…so we could have a little fun. It was a more silly and casual atmosphere. Here, there is much more emphasis on performance and technique."

As for her first time participation in Fronteras, Caltabiano states, "It will be a way to share something I love…I think the real growth for me comes from smaller personal moments that occur during the learning process."

Although Cox never took flamenco classes while living in Granada, she grew up listening to flamenco music that her father liked very much. She now has the time to learn and will perform sevillanas in Fronteras 2009. Cox's greatest challenge has been memorizing and remembering the pasos; she stresses the importance of practicing and finding a classmate whom you can support while doing so.

Blow out the candles and make a wish
Fronteras is a healthy, thriving five-year-old that with proper nourishment can have remarkable longevity. From all of us, we offer the following birthday wishes:

- "Thank you to all of the organizers!" - Sandie Bulens -"Felicidades to Fronteras, and many happy returns with even more dancers and bigger audiences." - Molly Simmons
-"I hope this year is another great success with many more to come." - Yoko Ellison
-"I hope Fronteras continues with success for years to come to give this kind of opportunity to all of those that carry flamenco in their hearts. Happy Birthday, Fronteras!" - Sabrina Murner
-"In the translated bulerías letra of Tomás de Perrate's "Compay Diego", '…but when my cousins play palmas for me, I don't know what enters me; I can't avoid it; my body moves involuntarily with a feeling that I can't forget.' May others feel this same vibration!" - Erica Poole
-"Let the word spread, and let there be loads of flamenco to pass around in Atlanta and beyond for many more years!" - Shikha Valsalan
-"I would love for Fronteras to be brought to a more prominent venue where flamenco can have more exposure!" - Pamela Caltabiano

So, raise your glasses as we toast the upbringing of Fronteras!

Unearthing the connection between tapas and flamenco By Erica Poole

Pictured above, pulpo (octopus) and Crema Catalana, which may be the predecesor of crème brulée, are among the Spanish dishes served at Cuerno. The menu at Cuerno also includes a special selection of tapas each month. The special tapas are influenced by the flavors of one specific region of Spain, and the featured region changes each month. During the last week of each month, the selection expands to include a full dinner, influenced by that month's featured region of Spain, and paired with wines also from that region. This month, the focus is on the Basque Country (also called País Vasco).   AIRE Flamenco is one of the flamenco performing groups that headlines Sunday Flamenco at Cuerno. The show, featuring live flamenco guitar, singing and dancing, takes place every Sunday at 7-10 PM, surrounded by the aromas and flavors of Cuerno's Spanish food. Details >>

In March 2008, Meredith Ford of The Atlanta Journal-Constitution wrote a four star dining review of Cuerno, a tapas and Spanish cuisine restaurant in Midtown Atlanta. Since that article was published, restaurant owner, Riccardo Ullio, has expanded the Cuerno dining experience to include flamenco on Sundays from 7:00 p.m. to 10:00 p.m. These live performances unite restaurant patrons with this art form via Spanish delicacies. Why do flamenco and tapas complement each other so well?

Penelope Casas, author of Tapas: The Little Dishes of Spain, explains the origin of this quintessential part of Spanish cuisine, writing that "sherry, in fact is probably responsible for the development of the tapas tradition in Spain. Tapas as a way of life go back to the nineteenth century and began in Andalucía, where all Spanish sherry is made. Given its strength being over 18% alcohol, it cries out for a tapa of some kind. Originally, the tapa was a slice of cured ham or chorizo sausage placed over the mouth of a wine glass (some say this was to keep flies out of the drinks) and served compliments of the house. The verb "tapar" means "to cover;" thus the origin of the word 'tapa'."

Often, flamenco is revered as a way of life. Casas goes on to explain that "the tapas way of life is completely in tune with the Spanish character. To eat tapas-style is to eat by whim, free from rules and schedules. It is meant for those who wish to enjoy life to the fullest and who love to while away the time with friends." This mindset unearths the roots of flamenco, native to Andalucía as well…people getting together to release their emotions via cante, toque, and baile on a whim. Casas states, "The best tapas in Spain are still found where the tapa originated --- in Andalucía. Sevilla in particular is tapas heaven, and just about every tapas bar there is cheery and gaily decorated; the service is always warm, and there is an enormous variety of inviting, inventive tapas." In Spain, tapas hours typically range from 12:00 p.m. to 3:00 p.m., and again from 7:00 p.m. to 10:00 p.m. These small portions are meant for immediate consumption and gratification, as well as to fill the long hungry hours between late meals and spirited conversations. Cuerno acknowledges these same evening tapas hours, for they coincide with Sunday Flamenco performance times...intentional, I'm sure.

Chef José Andrés, host of the PBS Television series, "Made in Spain," states in his book, Tapas: A Taste of Spain in America, that "more often than not, people in Spain eat their tapas standing in bars and chatting with friends. Tapas are a more sociable and more affordable way of eating than any fancy, sit-down restaurant." I can attest to seeing two freestanding high-top tables without stools at Cuerno before, in order to capture this essence. Sometimes these tables have been moved in order not to block the flow of traffic for waiters or patrons viewing the flamenco performances.

Adam Waller is currently Executive Chef at Cuerno, accompanied by his right hand Sous Chef, Chris Bryant. They are the brains behind the execution of the aceitunas, almendras, croquetas de jamón, gambas al ajillo, brandada, and patatas bravas to name a few. If you are interested in the wine list, Adam Fox, Cuerno's Assistant Manager, is also the sommelier. The Cuerno menu educates the customer by noting in parenthesis which Spanish regions are represented by its dishes. Similar to flamenco palos, Spain's culinary attractions are just as expansive. So much so, that Chef Mario Batali, actress, Gwyneth Paltrow, New York Times writer, Mark Bittman, and Catalan actress, Claudia Bassols savored Spain together by car as evidenced in Batali's book, Spain: A Culinary Road Trip. Thirteen chapters are dedicated to stops made between cities, culture pertinent to the visited city, foods sampled, as well as recipes. Chapter 7 features the Andalucian region from Granada to Córdoba.

	On the Web
	Spain on the Road Again Dining Review, Cuerno, Access Atlanta Cuerno Menu

Using Batali's Spain: A Culinary Road Trip as a guide along with the regions represented on Cuerno's menu, here are some staple ingredients native to these regions:

Galicia- pulpo (octopus), almejas/berberechos (clams), langosta (lobster), percebes (gooseneck barnacles)

País Vasco - the word for tapas here are "pintxos" or "pinchos" because of the toothpick that holds them together, i.e., olive with guindilla sweet pepper in vinegar with marinated anchovy held together with a toothpick. Other pinchos like jamón and grilled vegetables are found on a small slice of bread at times placed on countertops awaiting patrons to help themselves.

Cataluña - patatas bravas served with allioli (spicy fried potatoes with garlic sauce), pan con tomate, cuttlefish a la plancha, and croquetas de jamón

Valencia - paella made with calaspara rice, citrus dishes accented with sliced Valencia oranges, sardinas (grilled sardines), boquerones (anchovies marinated in vinegar)

La Rioja - ternera (veal), patatas a la Riojana with chorizo

Castilla - La Mancha- carne a la piedra (meat cooked on a stone), lechazo a la parilla (grilled lamb)

From region to region, tapas reinvent themselves from a base of essential Spanish staples such as olives and olive oil, tomatoes, potatoes, mushrooms, legumes, peppers, citrus, garlic and onions, rice, cheese and eggs, fish, shellfish, chicken, pork, lamb, and rabbit. Like flamenco, these are a cooks' tools to be savored on a small scale yet to be shared in rounds by many.

So until your tapas travels take you to Bar Modesto in Sevilla, Casa Rafa in Madrid, Bar Bahía in Cádiz, Jaleo in Washington, D.C., or even Café Ba-Ba-Reeba! in Chicago, make Cuerno in Midtown Atlanta a Sunday destination spot where you can matar el hambre while the flamenco dancers, musicians, and singers matan sus pasos, toque y cante!

Local flamenco performers highlighted on PBS By Julie Baggenstoss

Caló Gitano tells its story of flamenco and inspiration in a docmentary set to air on PBS 30 at 10 PM this Sunday. The report will be part of the locally produced show "This is Atlanta," which reports weekly on local art, culture and hobbies that make Atlanta an interesting city. "In the segment that features Caló Gitano, we really wanted to show how a group of people from several different parts of the world could be united through their common love for flamenco. Our diversity is what makes us strong, and our common passion for flamenco is what keeps us going," says Malita Belloso, dancer with Caló Gitano.

While the talent of Caló Gitano will be highlighted in the documentary, the group hopes viewers will take away a bigger message about them. "We really hope that everyone, those who are familiar with flamenco and those who may not be, will be able to connect with the passion, hard work, and fun that Caló Gitano tries to bring to each and every one of its performances," says Belloso. She adds, "Flamenco is not something that should be unapproachable, or something that should ultimately alienate people who are unfamiliar with it, because flamenco really speaks to the common passions, struggles, triumphs, and losses that touch all of our lives. In this sense, flamenco should actually unite us instead of divide us, just as it has united the many diverse members of Caló Gitano."

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