Flamenco Adentro

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Posted 2018-07-15 by Cecelia Hopkins ⇒ follow

Fri 13 Jul 2018 - Sat 14 Jul 2018

is a production by a multicultural arts group. It was performed at the Port Norlunga Arts Centre on 13 and 14 July 2018 at 8 pm. The name "" means "fire within", and the various artists involved compose music, teach dance, tutor in Spanish, and facilitate Yoga, as well as perform.

If you are used to thinking of flamenco as a dance form, it is important to understand that it is also a musical form, dominated by the passionate rifts of the flamenco guitar, and the serenading tones of the singer.

The group sings primarily in Spanish. This is challenging for the English speaking listener, like myself, but even when I could not follow the words, I found that the dance, gesture and tune remained. if you are like me and have limited Spanish - please don't perceive this as a barrier to enjoyment!

According to the programme, their first piece, "Sevillanas" was based on "Indialucias' Nagur". The male band members were seated, and the three dancers performed turns and twirls. They wore coin festooned scarves around their waists and the effect was something reminiscent of tribal belly-dance.

The second piece, "Zambra" was an instrumental. This was Aloysius' original composition "Luz de Vela". It was a fine guitar solo that showcased his acoustic skills. The third piece "Tientos", featured Kristy dancing to a 4/4 rhythm. She tapped confidently with her feet, and wore a red tunic over her flamenco dress. The effect of the costuming was vaguely Indian.

The last piece in the first bracket was "Cana". Laura danced this piece. Her costume was a traditional flamenco dress, with a fitted bodice and ruffled lower skirt. She tapped energetically and I suspect that some male moves were incorporated into her strong choreography.

(Traditionally, the bold, bullfighting moves and proud arrogant stance were assigned to the male dancer, while the female dancer was more confined, graceful and flirtatious. However, why should the modern artist accept this limiting dichotomy?)

At the end of this piece, El Titi, the lead singer, announced "Coffee time". There was an interval in which the bar was open, and the audience could move around.

After the interval, the fifth piece, "Tangos Chuflas" commenced the second bracket. This began with the ladies clapping, followed by acapella singing and then the guitar joined them.

The sixth piece, "Alegrias" commenced with the ladies singing "le,le.." acapella. They were then joined by the violin and the guitar, with the violin taking prominence, which was good to see for variety. Ana danced this dance, circling the singer using interactive movements almost reminiscent of 'partnering', as the group had no male dancers.

The seventh piece, "Mi Amor" featured some fantastic drumming on the Spanish drum, creating a rhythm that reminded me of 'bossa nova'. This was followed by guitar and violin movements. "Mi Amor" was another original composition by Aloysius.

Now I'm not sure whether I missed a change of piece here… the last piece was called "Bulerias" and featured variations of the 12 count rhythm. I'm not sure whether it commenced somewhere here or later... given my lack of Spanish - and the little joke the artists seemed to be sharing with the audience towards the end.

Several ladies rose and danced energetically, and it looked as though they were tapping and 'shimmying' at the same time, which I would have thought was a complex combination. There was a little by-play and movement on and off the stage. Then El Titi called all the artists forward to bow and take a curtain call.

Just when they had given the impression the show was all finished – El Titi started singing and Samba stepping and generally challenging Ricky Martin at his South American best. The audience were loving this, and it was finished all too soon!

If you would like to learn flamenco contact Kirsty Manuel at Casa de Flamenco school.