London Flamenco Festival: 16 Mar. ‘Viva Jerez!’
This showcase of Jerez-based artists closed the London Flamenco festival 2008. There was nothing wrong with it, but I think I was too satisfied with the Israel’s show to fully enjoy another one in the same week…
Still, Maria del Mar Moreno symbolised very well of flamenco Jerezano by her expressive dances, as if she was wearing and caressing the series of cante sung for her. She also entertained us with her own singing, even when she was dancing bulerias.
Another guest dancer, Mercedes Ruiz, impressed us with her stunning techniques as if she popped out from a dance manual. I could see why many flamenco dance students have taken her as a model, but couldn’t see in what way her style symbolises Jerez.
While I liked the male dancer, who entertained us with his rhythmical and comical performances, I was shocked to find out that I didn’t really enjoy the dances by Angelita Gomez, who also appeared in the show. In fact, I hadn’t realised that it was her until I later checked the programme carefully. Maybe I was blind, or maybe her petite figure and traditional style didn’t really suit such a huge theatre setting. At the finale, a Japanese-looking lady placed two bunches of flowers onto the stage so that two dancers could pick them up as gifts, and I’m sure that she meant them for Maria and Mercedes, but it was Maria and Angelita who picked them up. It was obvious though, because Angelita is their teacher and the greatest among the three. I’m just disappointed with myself that I couldn’t appreciate her style this time…
16.4.08
15.4.08
London Flamenco Festival: 13 Mar. Israel Galvan
It was the show to which I was looking forward the most, but it wasn’t for others - the balcony seats were almost empty. I could have a seat in comfort, being free from pressure of a crowd, and fully enjoy the show.
When you see flamenco shows in London, whether it’s in a restaurant or theatre, you will hear the audience whistle and applaud for the dancer’s footwork. They seem to assume that a performance is over as long as the dance part ends, even though the music has not finished completely. Even if you want to enjoy the music till the end, it might be lost among the noise. If you notice, the guitarist and singer might be confused or even disappointed by the treatment. Although the audience don’t at all mean any harm but just want to show the simple fact that they are enjoying the performance, it often distracts and disappoints me… I have even seen some people busy chatting, ignoring the singer’s singing a solo between dance performances.
For this Israel Galvan’s first appearance in London (am I right?), however, there were luckily quite a few flamenco-literate people in the audience. So, instead of ill-timed whistling and clapping, their jaleos and even laughter came at perfect timings during each performance. I could also enjoy the ‘right’ responses from the audience as well as Israel’s magnificent dancing itself.
His style is absolutely unique and might look even weird. His movements are in a way Byzantine fashion, intricate, avant-garde. For me, however, his flamenco style as such seems to be based on something very simple and pure. His dancing is complicated and simple at the same time - I think his talent makes it possible very easily. The stage itself was so simple as well, with a dancer (Israel), a singer and a guitarist only. Usually I’m not very interested in male dancers, but Israel is special for me. His rhythm, timing, movements, shapes, sounds… everything is perfectly flamenco. I felt very refreshed and happy after seeing his performance.
Comparing to other events at this Flamenco festival, the audience was obviously smaller, and I got worried if he wouldn’t be invited to London again. But he turned out to be audience’s favourite – they requested ‘otra’ twice! Even at ‘Mujeres’ they didn’t call for an encore. It seemed as if they didn’t want to let Israel go home yet.
For encore, I was wondering why Israel sat on the left hand side from the audience. I should have predicted what was going to happen… The guitarist murmured something and passed his guitar to the singer, and the singer started to play the instrument as well as a professional. Then… Israel started to sing! It was a buleria. His voice was so sweet. While we were still excited at seeing such a sport, the guitarist stood up, started to dance, like Israel! I mean, he couldn’t or didn’t obviously dance like Israel, but he showed some ‘Israel-like’ movements on purpose, which entertained us so much. Ole!
Israel somehow reminds me of my flamenco teacher in Japan. When I see them dancing, tears and laughter come out. They make me overwhelmed by a flood of emotions, laugh by showing some comical sides. I feel as if I am experiencing a great world, greater than any existence in this world. Still, both dancers are not intimidating but purely entertaining. Their styles are not the same or similar; Israel is in a way anti-traditional, my teacher, on the other hand, respects the old style of flamenco. Israel shows eccentric movements, while my teacher likes indigenous choreography. Nevertheless, similar emotions swell inside me when I see their performances. I would feel refreshed and warm, as if I’m saved from something negative.
It was the show to which I was looking forward the most, but it wasn’t for others - the balcony seats were almost empty. I could have a seat in comfort, being free from pressure of a crowd, and fully enjoy the show.
When you see flamenco shows in London, whether it’s in a restaurant or theatre, you will hear the audience whistle and applaud for the dancer’s footwork. They seem to assume that a performance is over as long as the dance part ends, even though the music has not finished completely. Even if you want to enjoy the music till the end, it might be lost among the noise. If you notice, the guitarist and singer might be confused or even disappointed by the treatment. Although the audience don’t at all mean any harm but just want to show the simple fact that they are enjoying the performance, it often distracts and disappoints me… I have even seen some people busy chatting, ignoring the singer’s singing a solo between dance performances.
For this Israel Galvan’s first appearance in London (am I right?), however, there were luckily quite a few flamenco-literate people in the audience. So, instead of ill-timed whistling and clapping, their jaleos and even laughter came at perfect timings during each performance. I could also enjoy the ‘right’ responses from the audience as well as Israel’s magnificent dancing itself.
His style is absolutely unique and might look even weird. His movements are in a way Byzantine fashion, intricate, avant-garde. For me, however, his flamenco style as such seems to be based on something very simple and pure. His dancing is complicated and simple at the same time - I think his talent makes it possible very easily. The stage itself was so simple as well, with a dancer (Israel), a singer and a guitarist only. Usually I’m not very interested in male dancers, but Israel is special for me. His rhythm, timing, movements, shapes, sounds… everything is perfectly flamenco. I felt very refreshed and happy after seeing his performance.
Comparing to other events at this Flamenco festival, the audience was obviously smaller, and I got worried if he wouldn’t be invited to London again. But he turned out to be audience’s favourite – they requested ‘otra’ twice! Even at ‘Mujeres’ they didn’t call for an encore. It seemed as if they didn’t want to let Israel go home yet.
For encore, I was wondering why Israel sat on the left hand side from the audience. I should have predicted what was going to happen… The guitarist murmured something and passed his guitar to the singer, and the singer started to play the instrument as well as a professional. Then… Israel started to sing! It was a buleria. His voice was so sweet. While we were still excited at seeing such a sport, the guitarist stood up, started to dance, like Israel! I mean, he couldn’t or didn’t obviously dance like Israel, but he showed some ‘Israel-like’ movements on purpose, which entertained us so much. Ole!
Israel somehow reminds me of my flamenco teacher in Japan. When I see them dancing, tears and laughter come out. They make me overwhelmed by a flood of emotions, laugh by showing some comical sides. I feel as if I am experiencing a great world, greater than any existence in this world. Still, both dancers are not intimidating but purely entertaining. Their styles are not the same or similar; Israel is in a way anti-traditional, my teacher, on the other hand, respects the old style of flamenco. Israel shows eccentric movements, while my teacher likes indigenous choreography. Nevertheless, similar emotions swell inside me when I see their performances. I would feel refreshed and warm, as if I’m saved from something negative.
14.4.08
London Flamenco Festival: 12 Mar. ‘Mujeres’
The show was directed by the veteran Mario Maya, featuring three bailaoras from different generations - Merche Esmeralda, Belen Maya and Rocio Molina. The guest cantaora, Diana Navarro, also performed as the icing on the cake.
Although I wasn’t personally impressed as much as I was by Pastora, all the three dancers proved their own uniqueness and presences.
The guest singer, Nadia, entertained us with her stunningly beautiful and powerful singing. Her high tone voice was muy flamenco (flamenco voices don’t have to be husky) and she even sang a Saeta. She wasn’t much involved in the dancing performances, except when Merche elegantly danced to her singing, using three chairs. Using chairs… It reminded me of the Pastora’s weird choreography, but Merche, in contrast, using not one but three, was ‘elegant’. Even though she pushed two of them down at the end, she was still ‘elegant’.
For baile solos, Belen Maya danced Tango, Merche did Solea wearing a bata de cola, Rocio Molina did Seguiriya. I think the audience’s favourite was Rocio, and even my husband said she was the best, with her complicated arm movements and footwork. Her choreography was full of agogics – sharp contrasts between escalating and slowing down during the music.
For me, Belen was possibly the best. Her style isn’t very feminine, and her movements might be symbolised by her zigzag shaped arms which conservative flamenco fans wouldn’t like. But she seemed to be responding to the songs better than the other two.
As for Merche, I was determined to enjoy her performance this time – in ‘Gala Flamenca’ shown at Tokyo Flamenco Festival in 2005, I somehow fell asleep when she was on. So, this time, I was looking forward to seeing her for the real first time, but, again… Well, this time, I didn’t fall asleep but I realised that I got nearly bored halfway. I really didn’t mean it, though. Maybe her style isn’t really my taste for some reasons… but I don’t know why…
There were some conceptual dance performances between solos, either by the duo of Merche and Rocio, or Belen and Rocio, but they were too abstract for me to figure out. One of my flamenco classmates, who happened to see the same show, later said that she didn’t like it either.
The last performance, Caracoles by all of them wearing bata de colas, was fabulous. Each of them was featured individually in turns, Belen using an abanico, Rocio palillos and Merche a manton. Belen impressed me the most, as I hadn’t known that she could dance that elegantly. The singers were outstanding as well.
At the end of the show, as I expected, Mario Maya appeared on stage, invited by Merche. For fin de fiesta, Belen danced first, then Rocio and Merche respectively, and finally Mario. Some people from the audience didn’t seem to know who he was, but his brilliant una pataita made everyone excited, I believe.
As I mentioned, Belen seemed to be responding the best to the singing. At the fin de fiesta, her palmas were as vibrant as her dancing, as if the rhythm was springing from her well-flamenconised body. Her style might not be for everyone, but in the spirit of flamenco, I think she is one of the ace artists.
The show was directed by the veteran Mario Maya, featuring three bailaoras from different generations - Merche Esmeralda, Belen Maya and Rocio Molina. The guest cantaora, Diana Navarro, also performed as the icing on the cake.
Although I wasn’t personally impressed as much as I was by Pastora, all the three dancers proved their own uniqueness and presences.
The guest singer, Nadia, entertained us with her stunningly beautiful and powerful singing. Her high tone voice was muy flamenco (flamenco voices don’t have to be husky) and she even sang a Saeta. She wasn’t much involved in the dancing performances, except when Merche elegantly danced to her singing, using three chairs. Using chairs… It reminded me of the Pastora’s weird choreography, but Merche, in contrast, using not one but three, was ‘elegant’. Even though she pushed two of them down at the end, she was still ‘elegant’.
For baile solos, Belen Maya danced Tango, Merche did Solea wearing a bata de cola, Rocio Molina did Seguiriya. I think the audience’s favourite was Rocio, and even my husband said she was the best, with her complicated arm movements and footwork. Her choreography was full of agogics – sharp contrasts between escalating and slowing down during the music.
For me, Belen was possibly the best. Her style isn’t very feminine, and her movements might be symbolised by her zigzag shaped arms which conservative flamenco fans wouldn’t like. But she seemed to be responding to the songs better than the other two.
As for Merche, I was determined to enjoy her performance this time – in ‘Gala Flamenca’ shown at Tokyo Flamenco Festival in 2005, I somehow fell asleep when she was on. So, this time, I was looking forward to seeing her for the real first time, but, again… Well, this time, I didn’t fall asleep but I realised that I got nearly bored halfway. I really didn’t mean it, though. Maybe her style isn’t really my taste for some reasons… but I don’t know why…
There were some conceptual dance performances between solos, either by the duo of Merche and Rocio, or Belen and Rocio, but they were too abstract for me to figure out. One of my flamenco classmates, who happened to see the same show, later said that she didn’t like it either.
The last performance, Caracoles by all of them wearing bata de colas, was fabulous. Each of them was featured individually in turns, Belen using an abanico, Rocio palillos and Merche a manton. Belen impressed me the most, as I hadn’t known that she could dance that elegantly. The singers were outstanding as well.
At the end of the show, as I expected, Mario Maya appeared on stage, invited by Merche. For fin de fiesta, Belen danced first, then Rocio and Merche respectively, and finally Mario. Some people from the audience didn’t seem to know who he was, but his brilliant una pataita made everyone excited, I believe.
As I mentioned, Belen seemed to be responding the best to the singing. At the fin de fiesta, her palmas were as vibrant as her dancing, as if the rhythm was springing from her well-flamenconised body. Her style might not be for everyone, but in the spirit of flamenco, I think she is one of the ace artists.
11.4.08
London Flamenco Festival: 10 Mar. Carmen Linares, Miguel Poveda, Juan Carlos Romero, Pastora Galvan
Carmen Linares and Miguel Poveda, acclaimed flamenco singers, were accompanied with Juan Carlos Romero’s fine guitar music and Pastora Galvan’s passionate dancing.
Apart from Pastora, who is one of my favourite bailaora, I was only interested in Carmen in terms of her deep singing, but I was so taken aback by and impressed with Miguel, especially by his almost never-ending, prolific Tangos’ variation and repertoire. He looks young but his songs are so mature.
The most impressing part of the show was where Pastora danced to Miguel’s singing of the original version of Sevillanas created by Juan. Both of them looked dignified, having dominating presences. In many flamenco shows, dancers might outstand but I don’t think that’s the way it should be. I would prefer that each artist can show their presences equally, so I thought that this was one of the few occasions of the ‘right’ way of showing flamenco.
I was looking forward to Carmen’s Taranto (if without a dance, Taranta) the most, as it’s her best piece and Pastora, was going to dance to it. But when I saw Pastora’s choreography to the song, using a chair, I wasn’t initially sure what to think of it, especially of the ending.
It started off very nicely but at the end Pastora started to bend her knees outwards with showing her back towards the audience, and place her bottom on the chair which was facing the front. Then, she turned herself bit by bit and the chair also turned itself accordingly until the back of the chair was shown. Her finishing pose was her front-faced, bandy-legged posture on the chair with its back towards the audience. Bandy-legged, facing the audience… I was very worried if some people could actually see the inside of her skirt.
At first I was confused with this dancing of Pastora as it didn’t really seem sophisticated. But later I realised that it was her uniqueness, being different from other ‘superstars’ such as Eva La Yerbabuena, Maria Pages, Sara Baras or Rafaela Carrasco. These female dancers would never think of doing that kind of weird movement. Pastora is different, cheeky and cute. So, after all I really liked her dancing throughout the show, although the stunning choreography distracted me from Carmen’s singing…
At the fin de fiesta, Pastora was even more stunning. As if her body was made of springs, her movements were kind of elastic, rhythmical, boosting, refreshing and funny. The closing movement with slight diagonal jumping was so cool especially.
As a whole, I really enjoyed the performances of all the artists.
After the show, there was a free workshop for palmas in the same venue. It seemed to be organised by a few flamenco artists working in London. The guitarist was ok and he also sang, but the two female dancers hardly matched up to Pastora, inevitably. Their poor performances made me disappointed as I felt that my dancing was as poor as them, comparing to the real flamenco dancers. Still, the workshop itself was enjoyable. Although this was a part of the flamenco festival, the majority of participants were those who came for general interests in the theatre art. Seeing some nice old people struggling with contra tiempo was smile-inducing.
Carmen Linares and Miguel Poveda, acclaimed flamenco singers, were accompanied with Juan Carlos Romero’s fine guitar music and Pastora Galvan’s passionate dancing.
Apart from Pastora, who is one of my favourite bailaora, I was only interested in Carmen in terms of her deep singing, but I was so taken aback by and impressed with Miguel, especially by his almost never-ending, prolific Tangos’ variation and repertoire. He looks young but his songs are so mature.
The most impressing part of the show was where Pastora danced to Miguel’s singing of the original version of Sevillanas created by Juan. Both of them looked dignified, having dominating presences. In many flamenco shows, dancers might outstand but I don’t think that’s the way it should be. I would prefer that each artist can show their presences equally, so I thought that this was one of the few occasions of the ‘right’ way of showing flamenco.
I was looking forward to Carmen’s Taranto (if without a dance, Taranta) the most, as it’s her best piece and Pastora, was going to dance to it. But when I saw Pastora’s choreography to the song, using a chair, I wasn’t initially sure what to think of it, especially of the ending.
It started off very nicely but at the end Pastora started to bend her knees outwards with showing her back towards the audience, and place her bottom on the chair which was facing the front. Then, she turned herself bit by bit and the chair also turned itself accordingly until the back of the chair was shown. Her finishing pose was her front-faced, bandy-legged posture on the chair with its back towards the audience. Bandy-legged, facing the audience… I was very worried if some people could actually see the inside of her skirt.
At first I was confused with this dancing of Pastora as it didn’t really seem sophisticated. But later I realised that it was her uniqueness, being different from other ‘superstars’ such as Eva La Yerbabuena, Maria Pages, Sara Baras or Rafaela Carrasco. These female dancers would never think of doing that kind of weird movement. Pastora is different, cheeky and cute. So, after all I really liked her dancing throughout the show, although the stunning choreography distracted me from Carmen’s singing…
At the fin de fiesta, Pastora was even more stunning. As if her body was made of springs, her movements were kind of elastic, rhythmical, boosting, refreshing and funny. The closing movement with slight diagonal jumping was so cool especially.
As a whole, I really enjoyed the performances of all the artists.
After the show, there was a free workshop for palmas in the same venue. It seemed to be organised by a few flamenco artists working in London. The guitarist was ok and he also sang, but the two female dancers hardly matched up to Pastora, inevitably. Their poor performances made me disappointed as I felt that my dancing was as poor as them, comparing to the real flamenco dancers. Still, the workshop itself was enjoyable. Although this was a part of the flamenco festival, the majority of participants were those who came for general interests in the theatre art. Seeing some nice old people struggling with contra tiempo was smile-inducing.
10.4.08
London Flamenco Festival: 8 Mar. Marina Heredia
The London Flamenco Festival was over last month, but I was too busy to update my blog (again)… So, starting today, I’m going to fill my blog posts with my impressions from the event.
The festival started off with the performance of Maria Pages, who is supposed to be a contemporary superstar, but I wasn’t interested mostly because I had already seen her ‘Sevilla’ at Tokyo premiere. Unfortunately my husband and I were not very impressed with the show despite the huge acclaim she gained. Her wiggling movements made all the choreographies look similar to each other, although I quite liked her usage of abanicos for Caracoles.
I also gave Farruco family a miss, as I wasn’t still sure what to think about the accident caused by Farruquito. I think I like his brother, Farru, better than Farruquito but I decided not to see their show this year anyway.
Missing out the two ‘most attractive’ shows, the first event I enjoyed at this year’s London Flamenco Festival was Marina Heredia’s cante concert on Saturday 8th March. She looked so beautiful! I got immersed in her passionate and heartwarming songs, including the brilliant Tango de Granada. The letra started off with ‘Que bonita mariquilla’, enabling me to imagine the magnificent scenery of her hometown.
She might not have attracted more audience than the Farruquito’s family who performed in the adjoining theatre, but we really liked her concert of sing-like-talking style, as well as the songs themselves. I found that, for a cantaor/a, costumes and body language are as important as their singing skills. With our big applauds and requests for ‘otra’, she looked so touched and even slightly in tears at the end of the show. Gracias, Marina!
The London Flamenco Festival was over last month, but I was too busy to update my blog (again)… So, starting today, I’m going to fill my blog posts with my impressions from the event.
The festival started off with the performance of Maria Pages, who is supposed to be a contemporary superstar, but I wasn’t interested mostly because I had already seen her ‘Sevilla’ at Tokyo premiere. Unfortunately my husband and I were not very impressed with the show despite the huge acclaim she gained. Her wiggling movements made all the choreographies look similar to each other, although I quite liked her usage of abanicos for Caracoles.
I also gave Farruco family a miss, as I wasn’t still sure what to think about the accident caused by Farruquito. I think I like his brother, Farru, better than Farruquito but I decided not to see their show this year anyway.
Missing out the two ‘most attractive’ shows, the first event I enjoyed at this year’s London Flamenco Festival was Marina Heredia’s cante concert on Saturday 8th March. She looked so beautiful! I got immersed in her passionate and heartwarming songs, including the brilliant Tango de Granada. The letra started off with ‘Que bonita mariquilla’, enabling me to imagine the magnificent scenery of her hometown.
She might not have attracted more audience than the Farruquito’s family who performed in the adjoining theatre, but we really liked her concert of sing-like-talking style, as well as the songs themselves. I found that, for a cantaor/a, costumes and body language are as important as their singing skills. With our big applauds and requests for ‘otra’, she looked so touched and even slightly in tears at the end of the show. Gracias, Marina!
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