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Guajiras at the London Pena
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Ron.M
Posts: 7051
Joined: Jul. 7 2003
From: Scotland
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RE: how do dancers practise taconeo (in reply to Ailsa)
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quote:
I'm not sure why English dancers sometimes struggle with their footwork, but I think you are right. I dunno myself Ailsa...but it's not just England we are talking about here... My theories are this... 1. Flamenco dancing schools overseas seem to attract more women than men. Maybe it's because men see dancing as a bit gay or something, I dunno. Anyway, in my own experience I have always found women to be wowed out by the whole visual thing, the poses, the attitude etc. which I must admit looks great and is certainly a big part of Flamenco Dance. (which the Gays probably like as well! ) 2. I'm not too sure on my facts here, but I read that Flamenco Dance for women traditionally revolved around upper body work, abrazos, manos, facial expression and skirt work, the mould being broken by Carmen Amaya with her disregard for "Trajes de Flamenco" in favour of tight fitting trouser suits and vibrant heel work on her tour of America with Sabicas. I sort of doubt this on seeing archive film where poorly dressed Gitanas in villages in Andalucia show an exceptionally good knowledge and ability of taconeo. I tend to think that maybe this was the fashion for "Opera Flamenco" or "Public Flamenco", where such displays by women were thought of as crude or scruffy. 3. Taconeo for women is definitely with us now. Yerbabuena is a great exponent of this and it really is exciting to watch. The best way to listen to taconeo is on an audio-only medium...no visual. The best Spanish dancers have this complete "even-ness" about the triplets and sextuplets that I don't hear in "extranjero" dancers I hear on the internet. (Much like the "El Tempul" rasgueado, where you can't quite work out what's going on, since everything sounds so even and no particular finger favoured.) 4. I think this is entirely solveable, although I know nothing of dance. Flamenco is not Singing, Dancing and Guitar as separate items, but a different aspect of the same whole, with more things in common than separates us. Tight triplets are very important, both in guitar and dance. So IMO, practising 1-2-3, 1-2-3 and 1-2-3-4-5-6, 1-2-3-4-5-6 with various combinations of punto-tacon are the essence of this and provide a great foundation to building up a great choreography IMO. I never seem to hear this in "extranjero" dance. This is very similar to the problems on the guitar as well! Of course, as a dancer you still have to get to grips with all the other stuff of moving around etc. I just wonder if foreign dancers really ever consider taking the piece apart bit by bit and working on each bit as it needs, or just kind of takes on the whole choreography "in general" and mainly more as a visual thing? Just my thoughts...no offence to anyone! I love talking about Flamenco technique. cheers, Ron
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REPORT THIS POST AS INAPPROPRIATE |
Date Apr. 18 2008 20:26:37
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Mark2
Posts: 1881
Joined: Jul. 12 2004
From: San Francisco
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RE: Guajiras at the London Pena (in reply to Ailsa)
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Hi Ron, I worked with a dancer for years who made a trip to Spain for almost a month every year. I played for her classes and worked with her on her material as well. She tore everything apart, and we would practise bits of a dance that were difficult until she felt it was right. I think in her case, her feet were better than her upper body. She loved the complicated, syncopated steps and they were fun to accompany. Her classes had tons of footwork, and her students also seemed more developed in that area, as opposed to another local professional dancer, who seemed a bit more refined. Both dancer's classes concentrated on parts of the dance, as opposed to the whole dance. One teacher would often run just a few compas for 1/2 hour. Most of the students would never reach the point of being able to perform the 8-10 minute routines by themselves that were being taught with any kind of dominance, or in most cases, at all. The difference was that the teachers were pros who made their living teaching and performing, while many of the students just didn't put in the time needed outside of class. To be fair, these teachers were teaching stuff from the top maestros-stuff they themselves spent hours/days/years on to be able to pull off.
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REPORT THIS POST AS INAPPROPRIATE |
Date Apr. 18 2008 20:43:24
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