It's here... Mercedes Ruíz | The second interview - La segunda entrevista

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It's here... Mercedes Ruíz | The second interview - La segunda entrevista

Yesterday Mercedes Ruíz shared her thoughts on being a soloist, how her life and dancing after becoming a mother, and what it's like for her to work with her husband.  Today we learn a bit more. Oh, and that strange thing that absolutely must do each time before getting on stage that I promised to share with you today, you'll find it below.  Actually, you can hear Mercedes explain it directly.

And the interview continues...

Cuándo empezaste a bailar? A los cuatro años.  Y a los seís entre en a formar parte de la compañía de Manuel Morao. Un gitano de Jerez, una compañia que se hizo de aquí de flamenco.  Estuvimos casi seis años.  Y estuvimos en muchas partes de Europa.  Y en Nueva York tambien estuvimos dos meses y medio.   Entonces pero allí realmente yo bailaba y lo disfrutaba pero me lo tomaba como, era como un juego no?  Una niña que quería bailar y como un juego.   Y luego con doce o trece años que ya realmente dije quiero dedicar a esto profesionalmente.  Quiero seguir aprendiendo y  hacer de mi baile pues algo que me llene no?

When did you begin dancing? When I was four years old.  And when I was six I started joined Manuel Morao's company.  A Roma man from Jerez, a flamenco company from  here.  We were in it for almost six years.  And we were all over Europe.  And we were in New York too, for two and a half months.   But really there I danced and I had fun, but I treated it like a game.  A girl who wanted to dance for fun.   And later when I was twelve or thirteen I said that I seriously wanted to do this professionally.  I want to keep learning and doing my dancing, something that fills me.

Y en las compañias de niña todavía ibas a la escuela? Sí, a la escuela ibamos.  Y cuando nos ibamos mucho tiempo pues nos metían en el colegio español y todo el rollo.

And being in companies as a child, did you still go to school? Yes, we went to school.  And when we were gone for a long time they put us in Spanish school and everything.

Hiciste tus estudios principalmente en Jerez antes de entrar en las compañias? Sí en Jerez pero ya luego también mucho en cursillos que venían a Jerez.  Javiar LaTorre, Yerbabuena...  Y allí aprendía todo lo que podía.

Before joining the companies, did most of your studying take place in Jerez? Yes in Jerez, but after I also learned a lot in workshops with people who came to Jerez.  Javiar LaTorre, Yerbabuena...  And there I learned all that I could.

Y con quién estudiabas en Jerez?Empecé con Ana María López.  Y ya luego con doce años me fui al conservatorio de Sevilla.  Estuve en Sevilla un año.  Y ya luego estuve con Chiqui de Jerez.  Estuve cuatro o cinco años.  Y ya de allí también estudié con una profesora que hay en Cadiz que es buenísima que se llama Charo Crúz.  Es una profesora genial.  Ella me abrió muchas puertas.  Me abrió mucho la mente.   Y a raíz de ella también estuve en contacto con el Cordobés, un tablao flamenco que hay en Barcelona que es el mejor que hay en España.  Y entré en ese tablao y ya a raíz de allí que fue el principio.

And who did you study with in Jerez?I began with Ana María López.  Then when I was twelve I went to the conservatory in Seville.  I was in Seville for one year.  And then I was with Chiqui de Jerez.  I was there four or five years.  And from there I also studied with a teacher Cadiz who is wonderful named Charo Crúz.  She is an amazing teacher.  She opened many doors for me.  She really opened my mind.   And through her I got in contact with El Cordobés, a flamenco tablao in Barcelona, the best tablao in Spain.  I started at the tablao, and this was the beginning.

Y ahora la cosa tan rara que tiene que hacer antes de subir el escenario...

¿Tienes algún costumbre o ritual, algo que haces ántes de subir el escenario? Realmente soy muy supersticiosa.   Entonces siempre tengo las mismas cosas en el camerino.  ¿Sabes?  Las mismas fotos de hace años y

Hay una cosa que no puedo subir el escenario sin lavarmelos dientes.  No puedo. Imposible.  Hay que ver eh?  Como si fuera que voy a una boda.

Risas.

And now for that very strange thing that she absolutely must do before going on stage

Do you have any rituals?  Is there anything you do before going on stage?  Really I'm very supersticious.   So I always have the same things in the dressing room.  You know?  The same photos from years ago, and

There's one thing it's that I can't go on stage without having brushed my teeth.  I can't.  Impossible.  Can you believe it?  As if I were going to a wedding.

Laughter.

Mercedes and her ritual - Click here to listen

Stick around for tomorrow's installment when Mercedes tells us about her family and their lack of interest in flamenco.  How they really have no idea what level she is on.  And, she tells us about why she loves to teach.

A side note.  Something I didn't mention to Mercedes.  She will laugh at me.  Reirás de mí Mercedes.  But there was this little part of me that didn't believe that I had actually been communicating with her over the past year while planning the upcoming trip to Spain.  That all of those emails back and forth were between me and some impostor who'd hacked into her email and was only pretending to be Mercedes.  I know.  I know.  But it all just seemed too good to be true.  Anyway, after our chat last Friday, that part of me has calmed down.  And recognizes that yes, it really is happening!

And she's excited too!

Listen

(That means, How cooool...)  Get the details on the Spain trip here.

Ok, your turn.  Do you have a question for Mercedes? Leave it below.  We'll be doing more interviews in the coming weeks, so tell me what you want to know!  Como siempre, other comments are also welcome.  I'd love to know what you think.

Déjame saber que piensas abajo.  ¿O tal vez tienes una pregunta para Mercedes?  Déjala abajo.

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Mercedes Ruíz | I get up, I eat breakfast, I eat lunch, I eat dinner, I dance.  -  Me levanto, desayuno, como, ceno, bailo.

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Mercedes Ruíz | I get up, I eat breakfast, I eat lunch, I eat dinner, I dance. - Me levanto, desayuno, como, ceno, bailo.

An interview with Mercedes Ruíz: From the time I became interested in flamenco I've been curious about the artists. Their lives.  And flamenco's role.  Hence the interviews on this site.  Because I figure you're likely interested as well. So, today we have the first installment of interviews with Mercedes Ruíz.  La primera entrevista con Mercedes Ruíz.

She talks about how being a mother has changed her dancing, and her life, what it's like to work with her husband.  She talks about when she first knew that she wanted to dedicate her life to flamenco.  She shares some thoughts on frustration.  And, yes, even she encounters this feeling.

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Viernes con una Letra | a favorite from Mercedes

Having Mercedes Ruíz sing you a bulerías is not a bad way to start the weekend... That's what happened today.  It was at the end of our interview, which I'll be posting in the coming days.  I asked her to share a favorite letra with me.

She rested her chin on her hand and thought for a moment.

"Me gusta mucho la bulería de Camarón, la de... "

Then she stopped.

"Pero te la tengo que cantar?"  And she smiled.  No, no?"

Ha, no.  Just tell me how it goes.

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The Accidental Jaleo...and a list of some common ones

We know that jaleos are words of encouragement to call out to the dancer, singer, guitarist,  to anyone participating really.

And flamenco is not flamenco without them.

So, below you'll find a list of a few common ones.

Every now and then this weird thing happens and a jaleo in English sneaks out of my mouth.

What in the world?!   I can't help it.  English is my first language, and it happens.

Like the time in class when I suddenly heard someone say enthusiastically, "This is!"  and quickly realized that someone was me.

Yep.  We still laugh about that one.

I guess the question is,  Is that still technically a jaleo?

I'm going to say yes because it was heart-felt and encouraging, and

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Do you know what just happened?

In class I'm often saying that soon the body will just know what to do, without having to think about it so much. Because it's true.

Take the hands for instance.  Las manos.

Hand movement is one of those elements of flamenco that seems to get just about everyone.  Even professionals who come to flamenco from other dance forms have told me this aspect drives them crazy.  Getting them to look good is one thing.  Then how much harder steps become when we add hands… and fingers,  Ay!  Another thing.

Still, there comes a time when they just start moving on their own.  Fluidly.  Doing things we didn't know they could or would do... It can be surprising when this first happens.

But there is a catch.

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What about Castanets?

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What about Castanets?

Read on for a short glossary of castanet sounds, a video, and a story...

Las castañuelas. Each finger movement has its own sound. And this is good.

With this we have a language for communicating what our fingers are supposed to do. So we can say the combinations (even if we can't do them) something I have found quite helpful to the learning process. Plus, it's fun. Another layer!

So a key needs to exist on this site, a mini-glossary of the sounds we make with our fingers on the castanets. You'll find that below (along with an incredible video.)

I waited a long time to start learning to play castanets

Not because I didn't like the sound. Not because I wasn't interested. Mostly because it just seemed like too much. I wasn't ready for the challenge. What with so many other things to figure out. So many other things to work on.

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How to know what to dance and when to dance it

Today a video of Belén Maya and Joaquín Grilo from Carlos Saura's movie, Flamenco, along with an explanation of the two main types of flamenco.

Many of us learn and study long choreographies.  They are challenging and, as I said, long. Then we learn short snippets.  Which, by the way, are also challenging.

So, how to know when to dance what?

I'll get to this soon.  But first...

We've been doing a lot of tangos this year.  Mostly in a por fiesta setting.

And it's been fun.

Lots of dancing, lots of smiling, lots of attitude.  Attitude in a good way, that is.

So last week during teoría we were talking about how the dancer responds to the cante.  Well, how everyone responds to the cante, when a really good question came up.

A student wondered how everyone knew to transition in the movie Flamenco when Belén Maya came out to dance.  I absolutely love that segment.  And not just because my boyfriend is in it. There are so many reasons to love it

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How to Survive a Flamenco Festival

As most of you know I went to Albuquerque earlier this month to Flamenco Festival Internacional.  Festivals are intense.  Intense can be good, but it can also be, well, fuerte.  Preparation can help. So...

1. Choose a festival hosting artists you want to see and learn from.

Artists I admire = inspiration and motivation.  Sure, I get a bit nervous at the thought of studying with these most amazing artists, but it usually goes away after awhile.

2. Go with a group of people.

You may know them before.  You may not.  You may travel with them.  You may meet up there.  Either way, having a small community within the bigger festival community offers support.  Plus it's just so much more fun with other people.  Think laughter, lots of laughter, therapeutic laughter.

3. Choose your learning tools.

There are many available.... An audio recording device to help you recall the sounds. A notebook for notes and reflections on class. Going over the choreography or tricky steps with another student after or before class. Getting centered and staying present.

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Viernes con una Letra | Bulerías de Jerez

This week, let's look at some more Bulerías de Jerez. Because they're wonderful.  And because tomorrow when I'll be releasing the details of the fall trip to Jerez...where we will hear lots and lots and lots of bulerías.  

In the meantime, here's a letra for inspiration and a video of Mercedes Ruíz with El Londro singing it.

Bulerías
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Como crujía la leña 
La leña de los leñeros  
Porque así van a crujir mis huesos
De tanto como te quiero

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Viernes con una Letra | Jaleos

Here I am at the 25th anniversary of the Festival Flamenco Internacional de Albuquerque. Seeing fabulous artists perform every night.

Taking classes from some of them, Pastora Galván and Olga Pericet.

And doing it with friends.  The very best way to do it.

I've been wanting to tell you about it all week.  I'll definitely tell you more later...

We've been working on jaleos in Pastora's class.

Here is one of the letras we're dancing to and a video of Pastora Galván dancing.

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Viernes con una Letra | Cantiñas

Cantiñas con abanico.  That is what we're doing in one of the workshops with Emilio this weekend.

And I am inspired beyond belief.

We're dancing to Miguel Poveda's Casa Pavón.  Here is the first letra...

Donde están los colegiales 
Plazoletilla del Rey
donde están los colegiales
al punto de la oración
unos entran y otros salen.
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