I want to share a story with you about how I messed up dancing bulerías last weekend, how it left me feeling not so happy about my dancing, eight important lessons about flamenco (and life) I learned in the process, and how those lessons served me when I applied them to a sticky situation in my life.
So last weekend I took a workshop with Alfonso Cid. He shared bunches of bulerías letras with us (you'll find one below) and gave a very informative introduction to flamenco, with a focus on cante. He had us all singing and doing palmas and even got some of us up dancing.
Toward the end of the workshop someone asked Alfonso to address how to dance bulerías por fiesta, how to dance to the cante. (As you know, this is one of my favorite things.)
Yay! (and Olé).
Some people got up to dance, mess up or not mess up, and learn along the way.
I was one of those people.
And here is what I learned:
Today I'm going to share with you one mom's strategy for improving her dancing from home. It's something you can employ as well. (And trust me, if this busy mom can do it, so can you.) I lay out a simple 4-step process for you at the end of this post, but first, I want to introduce you to Katerina ...
I have a new student.
Her name is Katerina. Katerina had been wanting to learn flamenco for a long time. A few weeks ago she decided it was finally time and signed up for private lessons.
During Katerina's second class I was impressed with how much she'd improved from her first session. The moves she'd been so unsure about before she now danced in sequence with no help from me.
That's when she told me about her routine...
You already know about the two main settings for flamenco.
Today I want to discuss the five main elements of flamenco,
- cante
- baile
- guitarra
- palmas
- jaleos
I’ve chosen to share one video and discuss the five main elements of flamenco within it.
Let’s take a closer look:
Today I want to share a bulerías dancing tip with you along with a letra.
When I'm in Jerez on the Flamenco Tours, Ani offers all kinds of quick and dirty tips.
Here's one
Online flamenco learning opportunities seem to be popping up all over the place.
I find this very exciting.
As you know, there are all kinds of flamenco instructional articles around here, but I'm talking about online video teaching.
While I do not believe one can learn flamenco dance only by online studies from home (flamenco is after all a communal art form), these resources can be wonderful for:
- Supplemental instruction
- An introduction to flamenco
- Practicing from home
- Deepening one's understanding of particular aspects of flamenco
- Those who have difficulty making it to physical classes (many of the students who join me for workshops and trips come from what they often call, flamenco deserts, and online sources can be especially great in these instances.)
- Encouragement & inspiration
Here are a couple of my favorites . . .
Today I'm going to talk about how the same letra can (and definitely will be) interpreted in different ways by different singers. I'll also talk about why, as dancers, we need to pay attention to this. And finally, I'll share a tangos letra with you. (Oh, and at the end of the post I give you an activity to do from the comfort of your own home.)
How the same letra can vary
Depending upon who is singing, how they like to sing a given letra, and even how they are feeling at a given moment, one letra can be interpreted in many different ways.
Let's look at some examples:
Sometimes you want to know a song to go along with the dance form you're studying in class. Other times you want to know the words to that particular flamenco song you like so much. And sometimes you long to know what those words mean.
I'd like to help you with that
Here you'll find a collection of letras (flamenco verses) organized by palo (flamenco form.)
As I mentioned last week, we've been studying caña here in Jerez on the Flamenco Tour (along with bulerías por su puesto). We learned from Mercedes that la caña has six ays (iis) while el polo has five.
For baile, that is.
And there is a set of ays in the middle of the letra and at the end.
For cante, it's more open.
I've got two flamenco learning tips to share with you today. One from Mercedes and one from Ani. We're on day two of Flamenco Tour classes, and the classes have been going like this:
Technique with Mercedes in the morning. Bulerías with Ani right after. Then choreography and castanets with Mercedes after lunch and siesta.
Everybody loves Mercedes. Everybody loves Ani. All is well.
Class with Mercedes
The ladies go in and out of concentrating on the steps and being mesmerized by Mercedes and her magnificence.
I was a junior in college and struggling through Spanish class.
The professor spoke only in español, and I hardly understood a thing.
Feeling confused, behind, and overwhelmed most of the time I did not particularly enjoy the class.
However I am full of gratitude for the experience.
You see, had it not been for this class, I'm not sure I would be dancing flamenco today.
When is it too late to start learning flamenco? Find out below and watch a video of Mercedes Ruíz dancing as a little girl along with a bulerías clip from Carlos Saura's Flamenco Flamenco.
According to Mercedes Ruíz, "It's never too late do what you want to do." Sure, she began dancing flamenco at the age of four, but that doesn't mean the rest of us are doomed.
I began dancing flamenco at the age of twenty three, or was it twenty two? Pat began when she was sixty nine. Becky began when she was forty four. Many of the dancers I know began in their thirties, forties, fifties, and even sixties. Many danced at a young age then stopped for various reasons only to come back to it years later.
We can begin dancing flamenco at any age
And there is no 'retirement age' for flamenco dancing. We can leave it and come back. And we can continue dancing flamenco as long as we want to. This is something that I absolutely love about flamenco.
It is a dance for all ages.
Older flamenco dancers are in fact respected and honored. This is part of the flamenco culture. (See video clips below.)
A younger dancer may have different goals than an older dancer. And one's desires as a dancer may change over time, just as desires around all things in life will evolve.
But the bottom line is this,
Dancing to the cante. It is what every dancer from Jerez does, professional or non.
It is the dancer conversing with the singer.
In order to dance to the cante,
You must become familiar with the letras (song verses) and engage with the singer when dancing.
To gain familiarity with the letras:
1. Listen a lot.
2. Take a cante class, and study the letras.
To engage with the singer when dancing:
1. Observe what other good dancers do. (Hint: Notice the way Carmen responds to José in the video.)
It’s the final day of the Mini-Challenge and time to step things up a bit. That's right, today things get harder. But sometimes harder can be more fun.
And I think you'll find that to be true with this final activity which is all about creation . . .
The creation of a step
Today’s exercise comes directly from our imaginary teacher of the week, David Romero.
David says coming up wtih a step is easy, You just have to do the work.
In other words, it’s not hard as long as we're willing to put forth effort.
(You can hear him talk about this six minutes thirty seconds into his video interview.)
Below, find out how to make up your very own flamenco step by following David's exact advice. (Well, along with a few additional suggestions from me.)
Today I'm going to show you how to learn from a favorite artist of your choosing. Read on to find out how.
David Romero says that we learn from all of the people we study (or work) with. That we hold onto the best bits from each person, that which we like,
Llega un momento en que naturalmente salen cosas en que tú dices, uy, esto por qué? Porque tú ya lo has vivido o la has visto o te lo han explicado.
“A time comes when things start happening naturally. You start doing things, and you say, “How did this happen?”
The process happens over time, David says. After a lot of dancing, a lot of studying, a lot of practicing, your body begins to change.
"And this is good.” he says. “It should change. Because if someone doesn’t change when dancing . . . What are we going to do? There has to be an evolution. And that comes from learning from all of the people who you study with, or all of the people who you work with, and all of the people who you admire.
Woo-hoo, you’ve made it to day three of the Dancing with David Even Though We’re Not With David Challenge! Today's task won't take long, so read on to find a new exercise to help you become a better dancer from home . . .
Learning by observation is one of my favorite ways to learn, and I've learned quite a bit from observing David Romero, noticing both how he dances and how he approaches dancing and teaching.
Today we're going to focus on the approach.
Presence
David gives 100% (if not more) when teaching.
He, the teacher, is there with you, the student, completely.
Which inspires you to be there with him. And to give all that you have to give during those moments.
Sooooo, when you’re in the studio,
Improvisation in flamenco. It's not as tricky as you may think.
Today I explain how to improvise in fiesta style flamenco dances.
If you follow certain principles, you can improvise no matter your level.
So if you think you're not ready to do this, think again…
Today I'm going to share with you a fun exercise (one of my personal favorites) that will help you to become a better dancer from the comfort of your own home. Yesterday we addressed the idea of looking in the mirror and how we need to look at what’s being reflected back to us in order to know what to change.
Today we’re going to go deeper,
Today we’re going micro,
Today we’re going to talk details
But before we do, I want you to take a moment to remember your why.
Got it in your cabeza?
Good.
Now, no matter what your purpose,
Details matter.
Flamenco has a certain aesthetic, and although there is plenty of room for personal style and preference, we must strive to remain true to the aesthetic of this art form.
It's time to begin the Dancing With David Even Though We're Not With David Mini-Challenge, yahoo! Read on to discover today's strategy for improving your dancing from home . . .
Now I know you may not want to, but please, look in the mirror.
Por favor.
This is essential.
Especially when you're at home with no teacher there to correct you, other than the David (for the purposes of this mini-challenge) inside your head.
You must look in the mirror
Allow the mirror to become your imaginary teacher, and listen to his corrections.
Once you’re finished reading this, I want you to get up, go the the closest mirror, do a move, and notice,
How do you look?
If something doesn’t look right, consider your basic technique,
How are you holding your elbows?
Do you need to move your arms farther away from your body, or closer perhaps?
It’s time to become a better flamenco dancer. And it’s time to use our imaginations to help us do that.
You may remember the Dance As If You Were in Class with Mercedes Holiday Challenge. Well, this week begins the Dancing With David Even Though We’re Not With David Mini-Challenge.
In other words, it’s time to pretend
You know how much I like to pretend.
You most likely saw last week’s video interview with David Romero. And you could probably tell by watching that he is a fabulous teacher with all kinds of wonderful information to share. So, for the next week I’ll be channeling David on a daily basis in order to learn from him from the comfort of my own home.
Care to join me?
(Check out the video at the end of this post if you'd like to see David dance.)
Why would I want to participate in this mini-challenge?
- To learn and grow as a flamenco dancer.
- Because it will be fun.
- Because it will not require a lot of time.
How will it work?
Last week you heard the letra that we studied with José 'El Mijita' on the Flamenco Tour to Jerez. This week I want to share with you the coletilla we worked on. (Along with another video snippet)
It is a mouthful.
Not. easy. to. sing.
Getting all of the words in the last line out of your mouth, number one, in compás, number two, while playing palmas, number three, and following the melody, number four.
Like I said, not easy to do. But we sure had fun trying.
See for yourself in the following video snippets
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