Latin Dub: 10 Sep 08

It was an EP launch party for a Latin band, held in Brick Lane for free entry as long as you booked in advance. I managed to put my and my husband’s names on the guest list. Although it would start at 7pm, we got there about 8pm. We were still allowed to enter, while some people weren’t due to the fact they hadn’t booked beforehand; the guest list was full.

The venue is famous in Brick Lane, open to various sorts of events and parties, with a proper bar serving nice pints. We could also enjoy some South-American nibbles while waiting for the party actually started – it hadn’t started yet at 8pm. I presume it actually kicked off about 9-ish, when my husband had already been bored. As the time passed, more people came in to make the place get jam-packed.

The main reason why I wanted to go to this party was there was supposed to be a flamenco live set as one of the supporting acts. I wasn’t sure what it would involve, and thought it could be just a DJ set with some flamenco-ish Latin music. But it turned out that it was a pair of professional flamenco dancer and guitarist. I recognised both of them, the dancer from other events and class, the guitarist from a London-based flamenco website.

The party started off with the flamenco show. As soon as the beginning of the party was announced, quite a few of the guests rushed to the front, pushing each other. I ended up standing behind a bunch of young girls, who were more interested in chatting than watching the flamenco showcase. I had to peep at the dancer through their hairy heads, trying not to be disturbed by their nonsense blabbing. I honestly wanted to kick their ar**s, but I decided not, because I didn’t want to ruin the show. Apart from the bitc**s, the people kept being noisy so that they didn’t quite appreciate the sounds of flamenco guitar or castanets. I felt sorry for the flamenco artists, but both of them did their best. I suppose they are used to such a situation in which not all the people pay attention to their performances. Besides, it was a late-night party after all.

As for the dancer, I hadn’t really liked her style but last night she was at her best I’ve seen so far. I was impressed with her professionalism. Maybe she could concentrate more than usual thanks to the horrendous audience.

After a couple of tunes, their turn was over, and another supporting act came onto the stage. The female singer was impressive, and the audience seemed to be more glued to the band than to the previous flamenco.

Noticing the dancer and guitarist were leaving the party, I popped out of the crowd to greet them. I was glad she recognised me. I told her I hadn’t expected to see her performing there, then she replied that she hadn’t either. So, I suppose it was a short notice. Both of them are very famous in the London flamenco scene, so it was just by luck both of them were available. On the other hand, I hoped other dancer or guitarist could be given such a chance… Anyway I thanked both of them, but wasn’t happy about the fact that nobody else seemed to appreciate their performances.

The main band finally appeared. We liked every act at the party, so hanged about a little bit longer. It was supposed to be on-going till very late, but before 10pm we decided we had seen enough. It could have been a lovelier evening if the people had respected all the performers there.

‘Ole’ by Opera UK: 3rd April 2008

Seems this blog is going against chronology… Never mind, I just keep remembering things at random.

I went to see this ‘Opera’ as I wanted to know what kind of thing a Zarzula is. It was a UK premiere of a Spanish-influenced music show, so they featured not only Spainish but also South American music.

Maybe because it was the first showing, or for some other reasons, the performers – dancers and musicians especially – didn’t really give a convincing performance. The Zarzuela (or Zarzuela-ish) show consisted of several scenes, featuring an opera singer as the main character and a couple of dancers. It was supposed to be a lyric-dramatic show like an operetta with a taste of good old Spain. Each scene featured different Hispanic music tunes or songs, including some flamenco repertoires (they didn’t sound like flamenco very much, though).

I suppose the opera singer from Puerto Rico was OK, or could have been better if her colleagues did better. But the dancers were disappointing. It was possibly because musicians had a difficulty learning flamenco rhythm… A male dancer didn’t really dance well. A female dancer failed to convince the audience, especially when she played castanets poorly. She kept doing simple pan, pan, pan, instead of combining pan, ta, ria, tin, etc. effectively. The least impressing thing was she kept producing sounds of uncontrolled ‘clink’: the sounds which were not made by controlled plays but made accidentally.

A brave choreography for a man and a woman fighting was interesting to watch, as it was like a wrestling rather than dancing. Overall, however, the dance performance was not really impressing. It was a pity, but this show could improve.

Taste of Spain (2) – Cuadro Pena de Camaron: 27th&28th May 2008

Taste of Spain Festival also offered a real live flamenco show brought over from Spain. I suppose they are normally working at a tablao or restaurant somewhere in Spain. I saw quite a few Spanish people, either tourists or residents in the UK, enjoying the performance.

The open-air stage was set in a restaurant square off Regent Street, where the show kept going on with some breaks between. There were 2 female dancers, a guitarist, a cajon player and a female singer who chose to wear a suit like a man. As female flamenco singers normally wear dresses like dancers, she looked quite outstanding. But it wasn’t only one outstanding feature of her. Her voice, compas, palmas, energy, passion! Her Rumbas and Bulerias were absolutely excellent. The audience continuously cheered for her more than for the dancers. Only to see and listen to her again, did I go back to the place next day.

Bailaoras were good as well, but I noticed that at least one of them reproduced the same choreography for Alegrias instead of improvising. Their style seemed to be from Madrid or Barcelona rather than Andalusia. I think most of flamenco dancers follow this urbanised style nowadays. Anyway I was impressed to see how nicely they danced flamenco, especially Sevillanas, which they performed with some different formations and choreographies.

For 27th, 2 old ladies from the audience joined dancing Sevillanas, by which the show was concluded. They could be Spanish themselves. It was as if they couldn’t stand being spectators anymore, and burst into a dancing spree. It was fun to watch them, but I hadn’t known that I was going to witness even more exciting thing on 28th.

When the group was performing Bulerias, a skinhead man suddenly appeared between the stage and the audience. He started off dancing to the tune, and it was so professional. I believe he is, but don’t even know if he is British or Spanish or other. The best thing, however, happened later. The show was going to finish off by Sevillanas, just like the previous day. The same guy, before the music started, gestured at one of the dancers on the stage, and she gestured back ‘OK’. Then, he went onto the stage and started dancing Sevillanas with her. I have never seen such a wonderful Sevillanas dance by a male dancer before. His dance was masculine but elegant, as if he was escorting her. It was a pity I couldn’t recognise him, but he must be professional somewhere in the UK or Spain.

Cuadro Pena de Camaron - thank you for the unforgettable evenings.

Taste of Spain (1) – Guinness World Record Breaking Attempt of Sevillanas: 25th May 2008

It was a Spanish Festival celebrated in Regent Street, mainly featuring dancing events as well as stimulating people to go on a shopping spree by discounts offers at many famous shops around the street. The Sevillanas World Record Breaking Attempt was one of the biggest attractions during the festival. The aim was to dance Sevillanas together with as many people as possible, although I couldn’t imagine there would be so many flamenco students or artists in the UK alone. I supposed quite a few people from Spain would be persuaded to come and join as well.

I heard about this event in my flamenco class and our teacher was going to register us as a group, but it turned out that we had to register individually in prior to the event. Each of us was supposed to dress up with a Sevillanas costume borrowed from our teacher. We brushed up the choreography in the class and got prepared.

On the previous day, however, our teacher declared she wouldn’t come because of the wet weather. In fact, it had been raining from the previous night through the morning. I wasn’t sure if I should still have a go, as my teacher wouldn’t be happy if I put on her dress without her being there, especially when the street was still wet. I didn’t own a proper Sevillanas dress myself, and I was told before that wearing a practice skirt at such a sort of fiesta wouldn’t be appropriate. But in the last minute I decided to go there anyway, at least to see how it would go. On the official website they didn’t mention they would cancel or postpone it because of the weather. It meant they would still put the thing on in the rain! I also thought they wouldn’t be able to cancel it since they had invited some artists from Spain. Yeah, OK, here I come – but I didn’t take any flamenco gear as I didn’t imagine I would dance without my classmates or friends there.

Well, actually, I should have brought something, even a practice skirt. I spotted some of my classmates there in either Sevillanas costumes or their practice gear. Just like me, they decided to come in spite of our teacher’s absence. It’s a festival! What a waste staying at home! One of them persuaded me to become her partner, so I made up my mind, went to the registration area and got a red wrist band indicating I was going to be one of those people who would attempt to break the world record – if such a thing has ever existed in flamenco.

The event started off with a demonstration by Spanish guests. They sang and danced Sevillanas repeatedly. Many tourists and passers-by stopped to see the lively show on the street, and some of them spontaneously joined in the performance with party sprits.

It was almost a miracle that the weather stayed alright, at least it didn’t rain during the event. We were divided by two groups according to the colour of our wrist bands, without which nobody was allowed to enter the performing area. After a few rehearsals it finally went off – I suppose we danced 6 or 7 courses of Sevillanas including the warm-up session. Stamping on the hard pavement killed my knees but it was such fun.

It was announced that we succeeded in breaking the record by 456(?) participants. I’m not sure how accurate the information is, or if it was really true that it was the new world record, but we didn’t care – it was a festival! All participants were given a free flamenco hat (cheap, though), free paper fan and specially designed T-shirt to remark our ‘achievement’.

Big Dance (2) – Flamenco Show of Isabel Baquero and Students: 11th July 2008

Another event I went to for Big Dance was a flamenco show held at Bishopsgate Institute, a cultural centre in Liverpool Street. The good-old-British building was impressing, its inside especially, with classical paintings, well-polished floor, chic wooden ornaments. What a huge difference from the shabby places I normally go to for my flamenco class and practice...

As it was a students’ end-of-the-term show, I shouldn’t complain about the quality and level of students. A good thing was that I could see how much they liked their teacher, Isabel, who was heavily pregnant and going to take a maternity leave. She didn’t dance very much herself, but her mother entertained us with her rhythmical castanets play. When Isabel joined in, we were all struck by the crisp and accurate sound of her castanets.

The show included a jota singing as well, for which Isabel’s husband gave an energetic performance by singing while playing the guitar. It was a pity that he didn’t accompany any of the dances. The music from CDs didn’t quite create a flamenco-like atmosphere. We saw Sevillanas 3 or 4 times in total, but they could have done different palos.
At the end of the show, the audience was asked to do clapping to Rumba rhythm like a short workshop. In the end, it was a heart-warming event, if not a real flamenco show.

Tapas Fantasticas – Rioja Wine & Flamenco Show: 29 June 2008

I hadn’t heard of this event before but it seemed to be held annually around this time or year in Brick Lane. It was a perfect summer chill-out, being able to taste various kinds of authentic wines from Rioja region in Spain, to see some live Spanish bands and dance performances. In fact, the weather stayed quite hot, celebrating the Spanish atmosphere.

There was a long, long queue to enter the site, proving that it was such a popular and well-known event. I think it took us nearly 40 minutes until we finally got to the reception area. You can technically enter for free, but if you would like to taste some wine you have to buy a plastic wine glass for 2 pounds, then wine tasting itself is free. If you are also going to try some tapas or buy a bottle of wine, you have to obtain pre-paid tokens to be used instead of cash. As for us, we just got a wine glass for each and a small amount of token for tapas.

We really enjoyed the wine tasting, but our (or mine, to be precise) aim was to watch a flamenco show there. It was organised by one of the best known flamenco dance schools in London. Well, it was a little disappointment. Some of the dancers seemed beginners or not to remember the choreography well. Unfortunately I didn’t find anybody who looked good. One thing is certain, though – they really enjoyed the dancing and their class, which is great - if only they had looked themselves better in the mirror. They were not up to the level they could go on stage.

There was a show by children as well and they were so sweet. The audience including me was fascinated to see a little boy not following the others but doing it in his own style. It was smile-inducing to see older girls, while dancing, looking after small children who were wobbling and toddling.

For both adults and children, I thought the choreographies could be better. One of the choreographies was exactly the same for both parties, which was OK for the children as we do not expect them to show off any skilful movements. But for adults they could have done something better than such a childish dance.

After the show, the teacher offered a free workshop for flamenco tasters among the audience. The show was successful at least in the sense that quite a few people got interested in the art form and wanted to try it themselves,

In general, flamenco students in London only seem to be interested in having fun. They are not really into flamenco seriously. I can’t see any flamenco-like emotions such as pain, sadness, depression, anger, passion, joy from their attitudes or performances. Maybe joy, but not the flamenco kind; more like a party sprit. Perhaps it is fine in London, though. I sometimes miss Japan not only for my family but also for flamenco (I know Andalusia is the best place to learn flamenco, but unfortunately I haven’t had a chance to do it yet. Japan is a better place to see flamenco than London).

At the end of the event, we enjoyed a professional show performed by the teacher from the previous group and artists from other group. The female dancer impressed me the most – I believe she’s the best flamenco performer in London. She could not only sing and dance expressively but also entertain us by her energetic attitude and friendly talk. To be honest I didn’t really like a jazzy number sung in a male dancer in English and the last flamenco rap thing. Still, she made me feel much happier after seeing such a rubbish dance previously. Gracias!

EIKO at La Chumbera: 26 Apr. 2008

Eiko Takahashi is one of the best known flamenco dancers in Japan. She has lived in Granada for nearly 10 years since she was invited by Mariquilla to teach Sevillanas at her academy. Eiko has made the historic Spanish town her second home for her flamenco, living among local ginatos. She has developed her own style of flamenco dancing, with gracious aire and gracia as well as deep knowledge of flamenco cante and folk songs in Granada.

Only in order to see her performance, did I fly to Granada for the weekend. It was a very short stay, but I could still appreciate the grace and beauty of the place – rows of white houses, cobblestone lanes and pretty patterns on them, Alhambra Palace showing its face from any corners, the blue sky, orange trees… I also enjoyed seeing things such as a man horribly singing to a flamenco CD in his house, a waitress clapping and a waiter singing to a Rumba Flamenca CD played in their bar, a man looking up at Alhambra Palace to play the guitar. It was a pity that there were quite a lot of ugly graffiti on houses and historic buildings, though.

La Chumbera, a small flamenco-specialised theatre, is located on a hill in Sacromote area. The backside of the stage is fully glazed, so that you can see through Alhambra Palace. For Eiko’s show, the venue was almost to capacity and there were quite a few tourists as well as local people and some Japanese people staying in Spain at that time. The show started around 9.30pm. Alhambra Palace behind the glass window was illuminated and looked mysterious. Eiko, who danced in front of the beautiful scenery of Alhambra Palace over the hill, was even more beautiful than the treasury building.

She made her first appearance in a bright red dress, dancing into the music which was possibly Fandango de Granada (Maybe something different… The guitar sounded like Paso Doble with triple measure, though). The choreography was in a way modern comparing to her normal style - holding up the skirt then let it go down to the rhythm, turns after turns elegantly… Her turns are so rhythmical and accurate, as if she doesn’t need any effort.

Then, the show moved onto Tango de Granada. She was still in the red dress and remained seated for the first part of the music. She was trying to do the clapping to encourage her band, but she must have got something in her eyes while dancing earlier, as she kept rubbing something off from her eyes. She suddenly stood up and disappeared from the stage, then came back after a few seconds as if nothing happened. Finally she started to dance.

Her gracious Tango de Granada involved a lot of movements representing Granada’s traditional life style, such as sowing a field with seeds, hand-washing the skirt, playing on the swing… Even when she was fixing her earrings while walking, or when she picked up a dropped accessory from the floor and threw it away into the backstage, every movement of hers was fit the music. I could feel her sincere respect for the culture and legend of flamenco. I hope the local people, if not the tourists, could appreciate her deep affection for Granada through her dancing.

As soon as Eiko had gone to leave two singers on stage for their cante solo, some tourists started chatting. They got several ‘Sh!’ from local flamenco fans until they finally became dead quiet and faced to the stage again. I thought it couldn’t have happened if it had been Japan or the UK, in different ways – in Japan, you wouldn’t ignore cante solo like that; in the UK, nobody would give you a sensible ‘Sh!’ so that the site would remain noisy. The first song was Martinetes and the second one was Fandangos or Granainas (sorry, I’m not sure actually).

Eiko came back on stage for la Cana in a shiny green-ish dress with darker coloured rucks for extra flaring.. The song was uniquely characterised with Arabic or Islamic sounding chorus parts like ‘eee, eee, eee…’, which turned the music into something exotic. She received a jaleo saying ‘Que gracia!’ from the audience especially for her trademark of ‘bull-fighting act’ (impressions of fiesta de toros). It matched so well with the music and atmosphere she had been creating.

The show was nearly concluded by Eiko’s speech in Spanish, by which she thanked to the audience and expressed her respect for her second home. Finally, fin de fiesta started off with one of the singers dancing, followed by Eiko. I expected that she would let the musicians dance, including the guitarist by taking away the guitar from him, just like she normally does in Japan. Although this didn’t happen, she entertained us with her recent favourite movements of ‘volaera’, a windmill. I couldn’t help putting a big smile on my face, as big as her volaera circles rhythmically made by her arm.

The show itself was shorter than I expected, but I learned that she is more spontaneous and relaxing than when she is in Japan. I suppose that flamenco artists working in Japan don’t normally know Granada style of flamenco including the guitar and songs, as Granada is a minor place for most of the professional flamenco artists. At la Chumbera, she was like the green scenery, fresh orange scent, pure stream, artistic cobble pavements, reddish sand, bright blue sky of Granada.

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…

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.

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.

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.

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!

My flamenco teacher

Last Friday, I went to see a flamenco show for which my teacher performed as a special guest. The well-known tablao in west Tokyo was rather small, but it was soon packed with affectionados and students of my teacher, the main dancer and the singer.

The show began later than it was supposed to. At first, it started with a cante solo performance with two guitarists. The song by the most famous female singer in Japan deeply resonated with the audience. Then, we welcomed the main female dancer as well as our teacher on the stage. The numero with which the main dancer started to perform was unknown to most of us including me, and none of my classmates knew what it was either. But we soon realised how ‘perfect’ she was, in shapes, movements, rhythms, accents, atmosphere and expressions. Every part of her body seemed to be at the right angle for each movement. I wonder if it was mainly because of the well-made choreography or just simply because of her talent. I became worried about my teacher, who had to perform after this ‘perfect’ bailaora.

My concern proved unfounded. When the group began to play tangos, our teacher didn’t seem to start dancing for a while. Instead, she seemed to be immersing herself into the music itself. After the singer finished the first song, another song with a very little voice came into our ears and we were amazed to find out that it was being sung by our teacher! We were astonished but soon amused with the situation. After her little singing, she finally came out to dance in her usual mature, soft, unique and funny way. We burst into laughing at seeing her first pose which looked like she was doing ‘banzai’, which is quite unusual for flamenco. Then she improvised muy flamenca sorts of lovely movements, all of which entertained every single one of the audience. Actually, she is well-known for her heart-warming and depthful performance like this. None of other flamenco dancers can make the audience laugh and feel uplifting by their performance. I personally believe that even Spanish dancers can’t beat her to it.

After the break, the main dancer came back on stage and sat on the chair in the centre to give us her singing performance, which was another surprise. She was well on-pitch, her voice was loud enough and nicely husky, which was very suitable for flamenco. After this surprising performance, the main singer made us laugh by saying that it was rather challenging to her status as a professional cantaora.

In the second half, the main dancer chose the numero Garotin, which turned out to be another ‘perfect’ piece. She was sharp, powerful and passionate. We could find no weaknesses in her performance. But we were much more impressed by the next performer, our teacher. How smile-inducing, laughter-inducing, tears-inducing she was! Her performance was so communicative, which evoked the co-performers, the guitarists especially, to start improvising. If she played snappy steps, the guitar would respond with crispy sounds. Such a communication is what live flamenco is supposed to involve. In this sense, she was so inclusive.

On the contrary, the main dancer, however perfect she looked, was very exclusive. She was staggering and thoroughly guarded with the spotless choreography. It looked to me as if the co-performers had to obey her queen-like dance, which can be stifling. Our teacher didn’t show off any difficult techniques in particular, but she was entertaining, charming and brought us a delicious breeze by her sweet performance. I found the main dancer’s clapping, both during her own dance and for back ground rhythm to our teacher’s dance, was slightly ear-splitting. She was thoroughly powerful. But our teacher knew the effectiveness level. When the guitar was soft, her clapping and steps became gentle. She was well-balanced.

At the end of the show, our teacher was hilarious by checking her make-up in the mirror on the stage. We knew that her behaviour like this came out subconsciously, and that’s why everyone finds her so sweet. She made us laugh again by saying ‘well, the main dancer seems to be very tired today, so I’ll take over the job to introduce ourselves’, so the guest did! In a way, she was the one who took the initiative in this show, from the beginning to the end.

On the way home, I was chatting with one of my classmates, who was also excited about our teacher’s performance. We agreed to the point that our adorable teacher was the crown-jewel of flamenco. What a pity that I can’t have her lessons after the next week!

A Paella Night

Just a few weeks after I leave for the UK, one of my flamenco classmates will move out of her house in Tokyo and start her marriage life in the south of Japan. So, our class will become even smaller after September.

Under the name of leaving parties, we decided to have dinner twice (could have more, but we’re busy for other things as well, you know): the first one in a Spanish restaurant, and the second one in… well, another Spanish restaurant (just a coincidence). For the second gathering, we will invite our teacher as well, but for the first one, on last Friday, we just had a whale of time only by ourselves.

The restaurant’s appearance was rather like a warehouse, but the food was gorgeous. I honestly think it’s the best in Tokyo, and my classmates would agree. It was a pity that they didn’t have a flamenco show on Friday. Instead, they were playing a series of pop music (not necessarily Spanish) throughout the opening hours and it was quite noisy. Still, we could manage chatting and having fun.

All of a sudden, our chatting was disturbed by an ear-splitting yelling from all the waters. We couldn’t get what they shouted, but it was soon followed by a burst of even louder music. Oh gosh, what’s going on? Covering our ears with our hands, we looked at each other.

Then two waters came along holding one huge paella pan in their hands. We assumed that it was for our table, as we ordered the rice dish. But they walked pass our table, so we wanted to know to which table the gigantic pan would be taken instead. Somebody else must have ordered the same, delicious-looking dish then. But the waters also went through other tables, sometimes tilting the pan to show the inside to each table. We could see the artistic shape of the scorching Spanish sun, displayed with beans and tomatoes, on the yellowish rice. Just when the waiters had gone with the iron pan, the loudness of music went back to normal.

After a few seconds, we burst into a laugh… It was only a show! After all, the waiters’ shout was the announcement of the paella being ready and the holly parade was going to start off.

Back to our chatting for a while, we came to realise that our paella hadn’t come after the parade. Some of us said that the worshiped pan had been served for other tables. But an idea came into my mind… Was it a real dish? So I said, ‘What do you think if that paella was a sample?’

Another burst of laughter – we then remembered that the dish didn’t look ‘hot’ at all, proved by the waters holding the panhandles in their bare hands, and actually, none of us saw the steam which was supposed to be given off from a freshly cooked dish. Oh dear…

Later, our paella was finally served and we enjoyed the exquisite taste, but we didn’t get any beans in it! Well, well…

During our pleasant dinner, the girls who are staying in the class gave me a surprise present. They also gave the same thing to the other girl who is also leaving. We unwrapped our common presents, and there was… a paella pan! They said that they wanted to buy something to make an impact on us. Yeah, it certainly did! Now, I’ve got even more stuff to send off to London… But it was a wonderful present.

Anyway, the dinner was wonderful, and more importantly, we had a lot of laughter that night. I’m going to miss the girls with whom I’ve shared such a happy time as well as the passion for flamenco. Flamenco arts are so profound and it’s a long, long way to go until we ‘master’ them, but we know we’ll never actually do… Still, my classmates and teacher have helped me a lot with motivating myself to keep practising. We promised to meet up in Spain some time next year. Yeah, let’s make our plan come true! I just hope I’ll be able to continue working on flamenco…

Our Wedding Plan

We registered our marriage in Japan, but we agreed to have our wedding ceremony in England some time later this year.

The only thing we’ve decided on is where to have our blessing: in an old church in my husband’s hometown. Apart from it, nothing has to be sorted out, even the date. But we’re planning to do something unusual for an English wedding – he might be doing a DJ and I might be dancing to a flamenco song, although we haven’t decided if we should make it in collaboration. My husband seems to like the idea of me doing some dancing, but he doesn’t want to join me for Sevillanas, so whatever numero I choose, I must go for a solo performance.

My flamenco teacher suggested to me dancing Sevillanas on my own, but I’m not very keen on the idea… In fact, there is a particular numero I’d like to perform for our wedding, which is Guajiras.

I don’t know why but I’m not very fond of Alegrias, which must be the most suitable numero for a festive occasion like a marriage ceremony. Guajiras will, in my mind, rather suit our wedding, because it’s rooted in Cuban folk tradition. My husband lived in Cuba for a certain period of time before, and our first ‘date’, in a sense, was a Cuban music and dance festival in London. More importantly, I like this numero for its elegance and dapperness. As flamenco songs, I’m rather keen on earthy ones such as Bulerias, Solea and Tangos, but for our wedding, I’d like to try this refined tune in an elegant dress.

One of the problems is that I’m not at that level yet… In other words, I haven’t quite learnt how to use a fan (abanico), long shawl (manton) or long-tailed skirt (bata de cola). For Guajiras, however, it’s almost necessary to use one or two of them. I’ve learnt the numero itself before, but at that time we didn’t use such items.

The other problem makes me even more nervous. I’m recklessly trying to choreograph the numero on my own! The choreography I learnt before doesn’t suit any Guajiras CD, but I’d like to dance to a song… I don’t think we can afford to call a live guitarist and singer, so I’ll be dancing to a CD, and if so, I’d have to think up some suitable movements to the particular recording. Hmm… maybe I should just resign myself to solo Sevillanas after all…

All in all, we haven’t decided anything yet. I might have to give up the whole idea of dancing after all…

Another plan I’m thinking about is to prepare home-made snacks to our guests. Maybe it’d be better if we can serve them with a big feast, but if it’s not possible for some reasons, I’d like to cook some light meals for them at least. It depends how many people will actually turn up, though…

Also, I have to think about the dress design as well… Well, let’s see how much or if I can realise these plans!

Flamenco Class Show

I've got mixed feelings about my dance performance at our flamenco class presentation yesterday...

One of the good things is that we felt a sort of sense of unity through the lessons and practices. After the weekly classes, we had extra sessions by ourselves and helped each other for perfecting choreographies and techniques. I don't mean that we actually got 'perfect', but the important thing is that we tried! Also, we enjoyed chatting about flamenco after the lessons, in a cafe or restaurant, which motivated us to keep practising and improve ourselves. We might have developed a sense of friendship.

Another advantage is my actual 'improvement' through the lessons and practices. Perhaps it wasn't really dramatic, but bit by bit, I felt I was actually geting better, and I must thank my teacher and classmates for it. My teacher is one of the best-known flamenco dancers who is working in the area, and she sometimes had to make harsh comments on our crap dancing which was far from her ideals. But her warm personality prevented her comments from ending up as simple criticism or insults, so we knew what she said was out of her kindness or something similar to 'parental love' towards us. She just wanted to make us better! Actually, I personally felt my improvements thanks to her 'to-the-point' or sometimes humourous pieces of advice. I was getting confident little by litle, even though I knew that I wasn't good enough for the show...

Well, nobody is perfect. But you're not supposed to make mistakes once you're on stage. At run-through, I somehow did a wrong footwork which I had never done in the series of practices. Other students seemed to do something wrong as well. But we could laugh those things away as it was just rehearsal. I told myself not to make the same mistake in the real part. Then... how come I did the same error on stage? As soon as I noticed it I tried to correct, so, hopefully, it didn't turn out to be a serious mistake. But still... Oh shit!

After the show, I found out that most of my classmates also made some sorts of mistakes themselves. They were laughing such things away. We're still students anyway... Just try to be better next time!

So, my show exprerience ended up a sort of sweet and bitter memory...