Flamenco news from Australia and around the world.
Flamenco is a family affair for Adelaide flamenco guitarist Aloysius Leeson, his flamenco dancing wife Kristy Manuel and their two-year-old son Gabriel.
Aloysius and Kristy will open for the Sylvan Coda Project at the Dunstan Playhouse on Sunday the 20th of July 2014 as part of the Adelaide International Guitar Festival.
Flamenco dancer Israel Galván recently performed his show ‘La Curva’ at the Regal Theatre in Perth, Western Australia as part of the Perth Festival (21-23 FEB 2014).
The West Australian newspaper referred to him as the Nijinsky of flamenco, but at 90 minutes calls it “too long”.
http://au.news.yahoo.com/thewest/…/review-la-curva/ – The West Australian
The Guardian refered to the show as dazzling but frustrating and calls the dude (Israel) a freak.
“There is too much free jazz and too many moments of deliberately torturous inaction…”
http://www.theguardian.com/…/la-curva-israel-galvan-perth-festival-review – The Gaurdian
Check out my interview with Israel from 2011
…where I give him the more humble titles of “Outstanding, Brilliant & Mind Blowing!!!”
EDITORS NOTE: This is our Translation of an article which was published in Spanish online at EL PAÍS TV along with some photos and Videos. All rights remain with…
This article was translated for the ease of our non-Spanish speaking readers.
The family secludes themselves in the lair of the artist, located in front of the Caribbean, waiting for the repatriation of the body.
This Wednesday, at Paco de Lucia’s beach, only he is missing. About 20 tourists, mostly American, sunbathe in Balinese beds. The neighbors of the artist, also foreigners, bathe in a private pool docked on the sand. They had not heard of his death and received the news with an astonishment face, as if they had never known they were living beside a musical legend. In Xpu-Ha, a place in the Mexican Caribbean, halfway between Playa del Carmen and Tulum, no one notices the signs of “No trespassing, private property” that protect the farm of El Flamenco, or Marta Poot, a friend of the family, who is sitting on the white sands crying. “There won’t be another Paco de Lucía,” she says.
The artist arrived in Mexico on Sunday; he came from Cuba. In the last years he liked to spend time on the island. There, as he used to say, their children, aged 13 and eight, could play in the street as children used to do in Spain in the old days. Those who saw Paco said he looked thinner and he looked a bit anxious; he had stopped smoking two weeks ago. Mexico was, until his last day, his “retirement place”. On a beach with turquoise waters he built a paradise to which he escaped occasionally to hide from touring and the spotlight. Amid lush vegetation and with direct access to the sea, the genius of Algeciras barely left his house.
On Tuesday afternoon, Paco planned to meet with his friend Juan de Anyélica, who was 46 and lived in Mexico, but was born in Madrid and was brought up in Seville; he was also a musician. Juan called him from a fish shop in which he stood by the road. Paco had asked the artist to buy some boquinetes for dinner. They were going to spend another long night working in the studio. El Flamenco had something new in his mind.
In Xpu-ha, the sun sets just before six. At that time on Tuesday, Paco was playing with his son Diego on the sand when he began to feel ill. He went to the hospital of Playa Del Carmen with his wife Gabriela. Juan was already waiting for them there, with fresh boquinetes in the car. Paco clung onto his arm and could barely speak. He still had the strength to cry out for a doctor, Juan said. Then he fainted. The work of resuscitation lasted nearly an hour, but the Master was gone. He was 66.
His family said goodbye to him in the hospital and since then they have locked themselves in his house. They are accompanied by his closest friends: Juan and his wife Marta Poot, who come out at sunset to silently watch the sea, Gabriela, her mother, and their two children. Closed to the public, the corpse of the guitar player awaits in a funeral parlour in Cancun to be repatriated to Spain, where many tributes are being prepared to honour the last of their dead geniuses.
At the Mayan Riviera, not many knew El Flamenco very well, who was visiting the area since the late 80’s, always running away from the masses in his desire to find there the perfect disconnection from his “other” world. His first home was in Playacar, an exclusive area next to Playa del Carmen. Iván Ebergelyi, then manager of the residential area, helped him find it. “He visited it a lot; he did enjoy going fishing and cooking fish with rice,” he says.
In the nearly 20 years that he spent his summers in that property, hotels and tourists multiplied at the same rate than his numerous visits to Mexico. Determined to remain independent, Paco y Gabriela decided to buy a property farther away. The house was built by a Spanish friend of his in 2002 and the artist himself planted all the flowers on the farm, which now only allows seeing the typical straw roof of the house. Until hours before his death, the artist was working in the garden.
Far from the silence of the house, to which not even a curious person approaches, the procedures to repatriate the corpse consumes the time of Javier Marañón, the Consul of Spain in Cancun, , who had not sleep since Paco’s death . The only direct flight to Madrid leaves on Friday and the option of a stop is complicated. Marañón says the best option is taking a private jet that costs, he estimates, about $ 90,000. El Flamenco was insured with the Sociedad General de Autores y Editores 1(SGAE), which will take care of the transfer. “But you know how insurances companies are..,” said the consul.
When the corpse and the family arrive in Spain, what was silence in Mexico will become a bustle, as was Paco’s life. “This seems so unreal that I often think that he can show up at any moment,” says his friend Juan at the door of his house.
In Xpu-ha it gets dark for the first time without the guitarist.
Please visit the original article at – http://cultura.elpais.com/cultura/2014/02/27/actualidad/1393475880_214008.html
Adelaide’s Flamenco Areti will perform during the city’s 2014 live music program.
10 acts will perform as part of the Sessions series running at Adelaide Festival Centre’s Space Theatre in January.
The Space Theatre gets transformed into an intimate cabaret venue.
“It’s a time when a lot of people are on holidays and looking for more interesting things to do than lay in the sun,” says Areti Boyaci.
On Saturday, May 11th, Bandaluzia – with Damian Wright (flamenco guitar) and Jessica Statham (flamenco dance) – performed at the Thirroul Community Centre. Damian Wright grew up in Newcastle and has been studying guitar since he was six or seven, playing everything from folk and rock to classical and jazz before switching to flamenco guitar when he was 18. Bandaluzia also features bass player Steve Hunter and percussionist James Hauptmann, with guest musicians, singers and dancers joining the line-up often.
Full article includes excerpts from an interview with Damian Wright.
http://www.illawarramercury.com.au/story/1490674/flamenco-in-thirroul-viva-the-passion-step – Illawarra Mercury
Flamenco Fire ‘Gypsy Pathways’ is Touring
Sat 16 February – Sat 23 March
Directed by flamenco guitarists, Andrew Veivers and produced by Red Chair, Gypsy Pathways had its premier at QPAC’s Playhouse in February 2012.
Featuring a stunning line up of international and Australian flamenco’s including; dancer Simone Pope, guitarist Andrew Veivers and violinist Shenton Gregory.
“Gypsy Pathways” is a vibrant sho that distils from eight centuries of tradition and captures all of the excitement and drama of the flamenco Romani story.
This is an Australian premier and exclusive to Adelaide only.
Carlos Saura should need no introduction due to his devotion to promoting flamenco via his long list of exquisite flamenco films.
Flamenco Hoy is his internationally acclaimed stage show and hailed as a spectacular showcase of flamenco dance, music and soul-searing cante.
Direction: Carlos Saura
Choreography: Rafael Estévez and Nani Paños
Musical direction: Chano Domínguez
Principal Dancers: Rafael Estévez, Patricia Guerrero and Nani Paños
Soloist dancers: Ana Agraz, Monica Iglesias, Oscar Manhenzane, Carmen Manzanera, Daniel Morillo, Alvaro Paños, Rosana Romero and Oitz Ruibal
Musicians: Ernesto Aurignac, Chano Domínguez, Martin Melendez, Antonio Rey and Isidro Suarez
Venue: Festival Theatre, Adelaide Festival Centre
Duration: 2 hours (no interval)
Tickets are priced from $50 to $109
Bookings: adelaidefestival.com.au or call BASS on 131 246
Vancouver singer and flamenco dancer, Deborah ‘La Caramelita’ Dawson, started learning flamenco dance at the age of 14 and continued to pursue flamenco thanks to a scholarship with Vancouver’s Central Flamenco. After high school, Deborah relocated herself to Spain, for a gap year, but quickly got swept up in a journey that would explore the roots of flamenco and take Deborah Dawson back to her own Indian heritage.
3 years later and Deborah is now performing with French musical group Les Noces Gitanes and transforming it in the process into a more visual and theatrical show featuring a unique blend of Flamenco and Balkan music with a few touches of Indian music, swing, funky hip-hop and a sprinkle of Moroccan and Latin rhythms.’ Very much like the Gypsies from Rajasthan, Les Noces Gitanes pick up local gypsy music to create their own fusion.
While in Spain, Deborah met the Band’s singer/guitarist, Alejandro Ugartemendia and began performing immediately, touring Spain and France with the Band. With so many styles coming together, Les Noces Gitanes is careful not to create an ethnic mosiac, instead they attempt to present a real cultural symbiosis blending drums, percussion, double bass, electric guitar, flamenco guitar, clarinet, saxophone, vocals and dance. Les Noces Gitanes are currently touring North America and their new album, “Gipsy Taxi” should be available on Itunes soon.
http://www.noomiz.com/lesnocesgitanes?clicktag=tracksplay&rnd=107753 – Listen to Tracks
Maria Pages and Sidi Cherkaoui went searching for a form of freedom, when they walking through a Moroccan desert. What they found, is that one can easily get lost when surrounded by so much freedom.
In their duet show, rippling sheets of material become sand dunes, and sand dunes become the metaphor for dance form that are always changing, but are often perceived as being the same under their respective labels.
Thanks to Rachel Gray for connecting us with this article.