{"id":16598,"date":"2019-03-14T02:13:44","date_gmt":"2019-03-14T01:13:44","guid":{"rendered":"https:\/\/www.expoflamenco.com\/archivo\/?p=16598"},"modified":"2019-11-26T02:20:31","modified_gmt":"2019-11-26T01:20:31","slug":"tale-of-a-bailaora-on-her-way","status":"publish","type":"post","link":"https:\/\/expoflamenco.com\/archivo\/en\/signature\/tale-of-a-bailaora-on-her-way\/","title":{"rendered":"Tale of a bailaora on her way"},"content":{"rendered":"

On November 16th, 2018, International Flamenco Day<\/strong>, which commemorates the moment when this art genre was declared Intangible Cultural Heritage<\/strong> by UNESCO, I had a lot of questions in my head. I felt like writing an article about this special date but, like someone important once told me, I can celebrate November 16th<\/sup> today, tomorrow or the day after, as long as I feel like it. That was the whole point, feeling<\/em>. That\u2019s precisely something that\u2019s getting eroded among those of us who want to keep intact that bubble that floats hesitant though the ages, and which is increasingly hard to sustain due to ignorance and lack of respect by many people who haven\u2019t given any thought to whether they\u2019re really worthy of such a unique and fierce art form.<\/p>\n

A year and a half ago, I had the luck \u2014 and my parent\u2019s support \u2014 to enroll in an academy of great renown such as the Fundaci\u00f3n Cristina Heeren de Arte Flamenco<\/a><\/em>, located in the heart of Triana, in Seville. This academy is the dream come true of Cristina Heeren<\/a>, an American woman graduated in comparative literature and member of the Herbert Berghof <\/strong>school, where she studied Performing Arts. Cristina took upon herself developing projects such as the show El Flamenco es vida.<\/em>\u00a0Finally, she created the Foundation in 1993 with the goal of preserving and promoting this art genre all over the world in all its aspects and expressive forms.<\/p>\n

Like everything in life, each place, each situation or experience help us mature, learn, absorb all the possible positive aspects and enjoy each moment to the max. Well, that would be a very proper way to conclude any stage in a person\u2019s life and it\u2019s what traditionally we would tell ourselves to keep going forward, even more so in a world like this, where psychological strength is the most important thing when trying to become part of that bubble I mentioned before. It\u2019s a paradox, because it\u2019s often said that artists are perpetually sensitive and emotional.<\/p>\n

Well, I could write about all the wonderful things and circumstances that surround me in this place where I\u2019m studying my second year of baile<\/em>, but then I wouldn\u2019t be true to myself and the words I\u2019d write wouldn\u2019t be mine. Thus, I\u2019s like to take this opportunity to dissent and point out those aspects that I believe must be renewed, both on the academic and global levels, regarding this artistic expression performed all over the world.<\/p>\n

Professional colleagues, I want to make clear that this is my personal opinion, so I can be totally wrong. Yet, as a bailaora<\/em>, I feel the moral obligation of speaking from the heart, without mincing words. We are NOT athletes, with all respect to all those engaged in this sport, about whom I feel the highest respect I can possibly have, because people very close to me are athletes who spend most of their time engaging in this activity, and that\u2019s something that I really admire. However, no, I\u2019m sorry. We are starting to commit the sad mistake of offering the public, flamenco aficionados or not, a tangle of complex footwork at neck-breaking speed, without the proper modulation of the music we\u2019re enhancing, and which is enhancing us reciprocally.<\/p>\n

Why is that all baile became nothing but the fastest footwork possible, neglecting the intensity we can offer in all its stages?<\/em><\/p><\/blockquote>\n

Aren\u2019t we midnful, for example, of the great Antonio Gades? In this article I\u2019d like to honor him a little and focus on his art. Let\u2019s forget for a moment that, since he\u2019s no longer with us, we cannot learn from him as much as we\u2019d like to. I don\u2019t think this is the case. We must stop for a moment and analyse the visual documents that allow us to get closer to him and read between the lines what he means to tell us through his dance, overflowing with cleanliness, accompaniment, modulation, art and expressiveness.<\/p>\n

Besides, in an interview I\u2019ve taken from the book La voz de los flamencos<\/em>, this master replies to a question about a statement of his friend Juan Quintero<\/strong>, who compared the feet of bailaores<\/em> to machine guns, in the following terms: \u201cIf we just stamp our feet on the earth, it\u2019ll give us nothing, neither wheat or sounds. The earth must be caressed. [Artists must] rely on their emotional state to get from the earth the sound they need. There is too much percussion, and footwork is not percussion, it\u2019s the continuation of a feeling\u201d.<\/p>\n

The continuation of a FEELING. Because flamenco, dear readers, is feeling. And flamenco\u2019s dance expression requires throwing away \u2014 in this case, like a machine gun \u2014 everything that our soul and our heart must get rid of, with no filters, allowing us to be led without reason. Yielding each part of our body to that bit of freedom it needs, without punishing any of them with the prison of stillness and paralysis they don\u2019t deserve. Because it\u2019s not right for a dancer on a stage to move excessively from the waist down while totally neglecting the other half of the body. Like my dear teacher La Moneta<\/strong> says, \u201chay que saber descolocarse sin descolocarse<\/em>\u201d (\u201cWe must know how to move without getting misplaced\u201d).<\/p>\n

I think that the only thing we must give total freedom is our heart, not our arms, our head, our hands, our shoulders or our waist\u2026 Let\u2019s not get confused. Let\u2019s take care of the aesthetic of the rest of our body, which is also part of us and needs to express itself.<\/p>\n

In this regard, we can also refer to that interview of Gades where he\u2019s asked a question regarding the arms of the dancers of that time and he replies: \u201cSometimes it seems as if their arms have been chopped off. The Comedia del Arte<\/em> <\/strong>should be better studied. The hands are gestures, they want to say something. They have a language to ask, and another to reject\u201d.<\/p>\n

I get back for a moment to my current home, the Fundaci\u00f3n de Arte Flamenco Cristina Heeren<\/em>, and I ask myself: why do I feel that everything rejected by first-class dancers, like Antonio Gades in this case, is prized nowadays?<\/p>\n

Every morning, in every break, I look at the main yard of the school from the second floor and all I see is people moving their feet really fast. And I feel sad. I think: what are we doing with flamenco? Have we gone back to Antonio\u2019s time in the 1960s when he gave that interview? Or perhaps we never really accepted the teachings of the greatest artists?<\/p>\n

 <\/p>\n

\"\"<\/strong><\/p>\n

Alejandra Pach\u00f3n Mart\u00ednez<\/strong><\/p>\n

 <\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

Every morning, in every break, I look at the main yard of the school from the second floor and all I see is people moving their feet really fast. And I feel sad. 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