PUBLISHED MAY, 2011

MAY 2011 articles | Everyday Life | Fronteras | Guitar

Everyday Life

A new flamenco book puts the flamenco world in perspective for Atlantans. By Julie Baggenstoss

Diego del Gastor, guitarist, is center in this photograph by William Davidson. It is one of many that capture flamenco as a past time, in the book The Flamenco Project. This important flamenco guitarist played a key role in the story of the book, which chronicles the experiences of Davidson, editor Steve Kahn, and others, during thier time in Spain in the latter half of the 20th Century. Diego del Gastor is the uncle of Juan del Gastor, a singer and guitarist, who taught in Atlanta in 2010.

You would think it was the time of his life, hearing flamenco guitarist Steve Kahn describe the years he spent in Spain in the 1960s. In that decade and the next, Kahn and a few handfuls of extranjeros (non-Andalusia residents) found their way to Morón de la Frontera, where they studied flamenco with gypsy families who lived in one of Andalusia's then-small rural towns. Now, nearly 50 years later, Kahn's story and those of his compañeros are collected in a new book, The Flamenco Project / Una Ventana a la Visión Extranjera: 1960-1985, edited by Kahn.

The book's stories and accompanying pictures are critical to the growing volumes of flamenco history, for this group of flamenco-seeking travelers from the United States of America and other countries photographed, recorded, studied, or rather absorbed, the pastime of flamenco, among living rooms and bars, at weddings or after long days of work in the fields. Some lived in the same conditions as the gypsies at the time. Some of these extranjeros, including Kahn, became students of the great guitarist Diego del Gastor, uncle of Juan del Gastor, who taught a guitar and singing workshop in Atlanta in December 2010. Among those flamenco travelers was Atlanta flamenco teacher Martha SidAhmed.

"It was like a zip line to memory. It was that fast," said SidAhmed after reading The Flamenco Project. The narratives, the amazingly vibrant photographs, [the book] brought back situations and people as if it were yesterday. I didn't take many photos when I was there, but I've got these photographs in my memory. They would just link up with the pictures in the book." She reflected, "I could feel the heat. It was quiet. Flamenco was not big business. There was just the warmth of people."

Like Kahn and others, many of SidAhmed's experiences and memories were of the everyday life of the people who were flamenco. A festero named Fernandillo, who was known for whipping up a good time, is captured in the book. SidAhmed recalls seeing him in action --- not at the theater, but at someone's house. "Fernandillo's little bulerías that he used the child's song for (adapted por bulerías)… I remember being in his house when this happened and our ribs were hurting from laughing so hard," described SidAhmed.

"This book is the heart of flamenco. I think the students [in Atlanta], or anybody involved in flamenco, equate flamenco with the studio here. We go to the studio and take a class, or we teach a class, and that atmosphere is in the room. Once we leave and go out the door, there is nothing in our society to reinforce that or support it. So we don't go to Starbucks and find somebody rapping out a bulerías with knuckles on a table. For people reading this book, you do get a sense of the importance of how the minutia of daily life supports flamenco."

	The Flamenco Project
	The Flamenco Project is more than a book.   It's also a multi-media museum exhibit, featuring unpublished audio recordings, films and prints from the book.    The exhibit opened in Jerez de la Frontera, Spain, in 2008. Since then, the exhibit has traveled to Badajoz, Córdoba, Cádiz, Utrera, Sevilla, and La Union. It is set to move to Russia next.   A few copies of the book are available at www.flamencoconnection.com.

SidAhmed was pleasantly surprised to read in the book of the embrace that gypsies made of extranjeros who had come in search of flamenco. "I had never seen this written --- how the Spanish reacted to us being there. They felt an affection for these Americans (and people from France, Germany, Australia), coming there to study and get a rarified piece of flamenco. There was an acceptance and an understanding. I didn't realize that at the time. That was really a revelation," she explained.

"I was delighted. It was really charming to read...it is something that never occurred to me --- how did they feel about us. They were very kind. Flamenco wasn't big business. They just were real people. They knew what they had," said SidAhmed.

The entre into daily life by extranjeros may have been the ultimate ingredient in a "perfect storm" that swept up those who had come from other countries at that time to study flamenco in deep southern Spain.

"It was like falling down the rabbit hole," said Kahn of his experience in Spain. Kahn's book stems from the record keeping of his experience in Spain. That process began as the work of a humble student. He recorded fiestas to learn. He took photographs out of genuine interest. "We were right in the middle of what was happening, and they didn't mind us doing it," said Kahn.

Kahn, who is also a photographer, added, "Photographs of any flamenco are only about 25% of the experiences. I know the power of the visual image, but I also know limitations. Sound and video will get you to 75 to 80% max. The other 25% is gone. You can't get it. You had to be there."

And, you had to be there at the time that Kahn and SidAhmed and others whose essays fill the book were there. It was the age when The Beatles, The Doors, Ella Fitzgerald and other outspoken or formative artists filled radio waves. The Cold War brought tension to countries around the world, and Francisco Franco was the Leader of Spain following civil war in that country.

"Flamenco was the reflection of their times, and they suffered a lot. [The gypsies] know how to get in touch with their feelings and they know how to make their music speak," said Kahn. Gypsies these days are online, watching television, and immersed in world connectivity, thanks to technology. It is a different lifestyle than 50 years ago. "How do you bring about depth and feeling as in the music that came out of working in the fields 14 hours a day?" asks Kahn.

The Flamenco Project brought a sense of optimism to SidAhmed regarding this subject. "This is not lost, this way of life. I think it still exists. Flamenco still survives within families, at neighborhood bars, at weddings, and baptisms, at ceremonies. It can erupt at any time. It is an existing and transforming art form. It's a fragile art form, and it won't be lost. People read this book and see how rich and powerful it was. They see how much of this is gone because of technology and advancements in our society, and it can still survive," said SidAhmed.

Besides publishing The Flamenco Project, Steve Kahn is playing another role in the survival of flamenco in Morón de la Frontera. Kahn studied with Diego del Gastor in the 1960s. "It was because of the openness of Diego del Gastor and his embrace of foreigners that this was possible, "said Kahn.

Today, Kahn is back in Spain studying with the great nephews of Diego del Gastor, exchanging music with them. "Pepito Torres, the great nephew of Diego del Gastor, plays something on his guitar sometimes and asks me, 'Is that the way Diego played it?' I tell him, 'Almost.' Diego had these subtle techniques (way of playing things)... you can't get that from a tape," said Kahn.

Their exchange reflects the organic nature of flamenco, which is something to be experienced instead of analyzed via academia or show business. While the world embraces flamenco in classes and on theater stages, with plot, set, and costumes, The Flamenco Project reminds us that flamenco comes from everyday life.

"When the professionals play, the connection with the roots and the culture is gone. We were fortunate enough to have been included," said Kahn. Thanks to Kahn and his compañeros, the world is now fortunate enough to be included in their stories of flamenco in Morón de la Frontera during the 1960s and 70s --- stories that stretch back decades earlier to the parents and grandparents of the gypsies from whom Kahn and others learned about flamenco. Many of these great artists are dying. But, with Kahn's book their story will remain as the world and the flamenco world around Andalusia changes evermore.

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Students without Borders

Discover the reasons why newcomers to Fronteras came to study and witness flamenco in Atlanta By Erica Poole

Fronteras marks annual growth in individuals and the Atlanta flamenco community. Above, dancers and musicians end Fronteras 2011 with a lively performance of sevillanas.   Order the Fronteras 2011 DVD >>   Fronteras 2011 Photo Gallery >>

Since its inception seven years ago, the spring flamenco student expo, Fronteras, has provided a platform for students across all flamenco disciplines to showcase the time, energy, and instruction that have been poured into them during the past year. By participating in Fronteras, students display visual accountability, growth, and pride in what they have achieved individually since their enrollment in flamenco singing and dance classes as well as guitar workshops. Whether you view Fronteras in person or on the DVD for purchase, what is constant throughout the years are the fresh, new faces. Flamenco has a phenomenal way of linking experiences and connecting heritage for those who savor it! This magnetism prevails in these personal excerpts shared by neophyte Fronteras 2011 participants:

Mrs. Jessica Corbitt, parent of 7 year old, Miranda Dominguez, child performer: "Late last year, I was looking for a new activity for my daughter, Miranda, who was 6 at the time. I found an announcement about flamenco classes and was intrigued. After leaving Cuba as a child, my husband and his family lived in Spain for a short time before moving to the United States. Mario's family has many memories of that time, and he and his father visited Spain again when Miranda was a toddler. I thought that flamenco was one way to help her connect to that part of her family history while providing her with a fun activity.

In the beginning, I knew nothing about the costumes or shoes, and Miranda wore completely inappropriate footwear to more than one class! But as I learned more about the history of flamenco, the costumes and music, the more interested I became.

Miranda Dominguez dances tangos in Fronteras 2011.

Although Miranda is not bilingual, she is fortunate to have Spanish four days a week at school. She has also grown up with people speaking Spanish around her, and that has helped her understand the language and culture of flamenco.

Miranda has been shy about sharing her flamenco skills with us and with other family members. Sometimes, I peek my head in during class just to see what they are up to; it has been exciting to see her grow in dance. The Fronteras performance was incredibly rewarding for Miranda and for us as her parents. We loved seeing Miranda's confidence as she took the stage and her clear enjoyment during the performance. As the mother of a young girl, I always say that my job is to raise a strong woman, and it is important for her to see strong women around her. It was very exciting to see the strength and intensity of the very real women during their performances. In fact, everything about flamenco seems to encourage powerful expression by the dancers and musicians. After the Fronteras 2011 performance, the entire family fell more in love with flamenco. ¡Olé!"

Kyle Cantrell, flamenco guitar student: "Actually, it was Paco Peña who first planted the seed of flamenco in my head a little over 20 years ago. I was playing mostly country and bluegrass back then, but I somehow stumbled across a magazine article written by Mr. Peña about this thing called flamenco. Included in the article was a snippet of a rumba of his entitled "Herencia Latina." I learned the piece and played it often, not realizing it wasn't even a complete song. I then went back to playing country and bluegrass, but that little bit of rumba stuck with me.

Fast forward 20 years when, on a whim, I typed "Herencia Latina" into YouTube. What I found simply blew me away. The sound of the music and the playing styles I heard were just fantastic. And just over there to the side were all these links to other kinds of flamenco songs I'd never heard of before. I listened nonstop for hours and hours. As cheesy as it sounds, the music spoke to me, and I couldn't get enough of it. The flamenco bug bit…and it bit hard.

Kyle Cantrell, second from right, accompanies a soleá in Fronteras 2011.

What began next was a long period of trying to teach myself flamenco through various books, including Paco Peña's "Toques Flamencos" and Juan Martín's "Solos Flamencos," but then one day, I found out about and attended the "Flamenco Completo" workshop given by Ulrika Frank and Marija Temo. It was the first time I had ever accompanied dancers, and the experience made everything I'd learned to date simply pale in comparison.

From there, I sought out more of the same and eventually found a cuadro class in Atlanta. It's been a thoroughly enjoyable and gratifying experience, and there really is nothing like the feeling when the dancer, singer, and guitarist are all synced up and in the groove (I'm sure there's a proper flamenco word for that, but it escapes me at the moment). Flamenco is such an evocative and emotive art form and is a great tool for expression. I think that those qualities about flamenco really resonate with me and fuel my desire to be a part of the flamenco community."

No matter your age, length of experience, nor flamenco exposure, Fronteras continues to exhibit upwardly moving targets for accomplishing personal goals and rising to new levels within your own being. So, run for these non-confining "borders," and be grateful for the reasons you crossed!

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The Whole Thing is "ON"

Calling all guitarists (and other string players) to try playing in flamenco style. By Rina Menosky

From few yards away, they sure look the same --- but they sure sound different. Is it like the famous song by George and Ira Gershwin in 1937, (popularized further by Louis Armstrong and Ella Fitzgerald later): "I say 'tomato'...you say 'tomahto'…I say 'potato'...you say 'potahto'…?"

Classical guitar image on The Visual Dictionary

Are there too many differences and disputes that "two – flamenco and classical guitar players in this case – will never be one?" As the song keeps on going, "something must be done....,"

I personally think something must be done about flamenco guitar population growth in metro Atlanta. With two national-chain guitar stores and notable music boutiques peppered throughout town, I know there is a great interest in guitar-playing here. So, where are all of those talented people? We have tons of beautiful dancing students, but just a handful of aspiring flamenco guitar players. So I wonder...can they not try crossing over to the flamenco side, just to see what it is like? You know, it is okay to say "pajahmas" and not "pajamas" sometimes!

Flamenco guitarists at a workshop in Atlanta

"Goodness knows what the end will be" for my recruiting efforts, but I asked tons of questions to a lady who is about to land in Atlanta for a week-long stay. This isn't her first time here and won't be the last either, as she has been a friend and a teacher to Atlanta's flamenco scene over the years. This Peabody Conservatory of Music graduate with a master's degree has crafted the dispute and differences between classical and flamenco guitar playing into an advantage over the last few decades, and she is ready to share her knowledge and artistry with Atlantans yet again. Marija Temo, an Ohio native known as a "triple threat" (modestly), is widely-recognized as a virtuoso classical/flamenco guitarist. Yes, I said "modestly," because if I am counting correctly, the proper identifier should be more like "quintuple threat," as she is also a flamenco vocalist, dancer, and conductor.

But wait --- she is not a threat! She is a wonderful, information-loaded, experience-rich teacher. Just look at how she educated me on the differences and similarities between classical and flamenco guitar in a mere 15 minutes over the phone:

Anatomy:
Generally speaking, flamenco guitar is lighter in weight, traditionally made with cypress (though others construction materials exist, such as a spruce top), and has a brighter sound. Strings are set much closer to the body, which makes it easier for the right hand to do the strumming technique. It creates a more percussive, "buzzy" sound. The neck is wider, but thinner, which makes it easier on the left hand for maneuvering. Traditionally, the flamenco guitar used to have wooden pegs for tunings. The distinctive "golpeador" (tapping plate) is placed on the body of the guitar to allow percussive sound and rhythmic effects to be created.

Classical guitar is totally opposite of that. Again, generally speaking, the classical guitar is heavy in weight, and many of them are made with various types of wood, such as spruce and cedar. The neck is narrower, but thicker. It has mechanical keys ("machine heads") for tuning. Over all, it has deeper sound. The action --- where the strings are set --- is much higher and away from the body of the guitar, unlike flamenco guitar strings, which help the sound to be sustained longer and to resonate more.

Similarity? Both have nylon strings and many flamenco guitars also have mechanical keys now these days...

Techniques:
Good news! All techniques in classical discipline are used in flamenco. However, flamenco has few more:
- different types of "rasgueados"
- "golpes" (tapping technique)
- variety of strumming techniques (i.e., some differences in tremolos and a few other techniques not in the classical world)

The hand/fitting position (the way a player would sit/hold the guitar) is different between the two, which changes the tone and color of the sound. Furthermore, flamenco's left hand is said to accompany singers (chords) and the right hand can be utilized to accompany dancers' intricate and percussive movements and footwork.

Gist:
Flamenco guitar playing is based on a strong rhythmic pulse to accompany singing and dancing. Traditionally, the structure of how the music is formed depends on those elements --- singing and dancing --- as well as "falsetas" (melodic passages) that guitarists choose to introduce in-between --- all in an improvised manner, again traditionally-speaking. Conversely, the focus for the classical guitar is to interpret the composed masterpieces with the concept of harmony, theory, development, repeating of musical themes, etc. In a way, a solo flamenco guitarist has approached their solo guitar playing (without the other elements, like singing and dancing) in a classical way. But in the end, the biggest difference is that a flamenco guitar player's ultimate goal is to have one's own style after learning from others and to strive for the improvisational moment whereas a classical guitar player’s focus is to master the artistry to best express the composer's intention --- and in some cases, with an individual's own interpretation. Of course, both are musically very different!

Advantage ("the plunge"):
For classical player of guitar and other stringed instruments (electric, acoustic, banjo, ukulele, shamisen, etc. --- whoever they are), Temo suggests to cross over between the varying techniques without fear! Diving into flamenco will only broaden a player's style and techniques. For classical players in particular, flamenco rasgueados can be incorporated into their pieces (i.e., classical Spanish pieces). Also, learning interesting strumming patterns and making improvements rhythmically can't hurt anyone for that matter. And for some players, this can liberate their fingers and get rid of the little plastic pick!

Wednesday, May 18, 7-10 PM Marija Temo will be performing with AIRE Flamenco at Fanoos Persian Cuisine. Reservation: 404.256.2099 www.aireflamencolive.com Saturday & Sunday, May 21 - 22 Flamenco guitar and voice workshop with Marija Temo / Contact: Rina Menosky 404.457.3775 / bailerina@att.net info (jpg) Monday, May 23 @ 7:00 p.m. Marija Temo and guest dancer José de Guadalupe with AIRE Flamenco @ Peachtree Ridge High School. Admission: $3.

Best of the both worlds:
So, can a guitarist have his/her cake and eat it too? Why not? Ask Temo personally, who plays a "Marija Temo" model flamenco/classical hybrid™, which she designed with luthier Tom Rodriguez. Women --- you know we get our way! But even if you say "eether," and I say "eyether," or I say "neether," and you say "nyther"…"eether," "eyether," "neether," "nyther..." The whole flamenco "thing" is still going on, and I hope talented guitarists (and other string players) will cross over to the world of flamenco, even if just for a moment.

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