Volume 1, Issue 3: Summer 2010
AS MULTICULTURAL AS CANADA,
AS MULTICULTURAL AS FLAMENCO
#102, 2083 Alma St.
Vancouver, BC
V6R 4N6
(604) 737-1273
flamencorosario.org
Flamenco Rosario
Artistic/Executive
Director: Rosario
Ancer
Musical Director:
Victor Kolstee
Canada is known around the world for how well it has accepted and integrated cultures from many
different countries. Flamenco is another example of multicultural integration. As an art form — it
combined Moorish, Jewish, and Spanish cultures with that of wandering gypsy groups originating in
the Indian subcontinent to create a unique music and dance form.
Canada today is a different place because the combination of ethnic contributions has added a
different flavour to the original Anglo-Saxon, French, and First Nations base. People of many
different cultures and ethnicities have made Canada their home over the past century; however, the
diversity has increased in the past fifty or sixty years. Immigrants always bring aspects of life in their
former homeland to the new one. While some of these aspects disappear with time, many are
maintained and shared with the rest of the population. The languages, foods, music, customs,
dance, and celebrations of ethnic communities are often appreciated by Canadians who are not part
of the particular ethnic group that originated them. There are sometimes tensions between
newcomers and those already here and between some groups of newcomers, but Canada has
shown it is possible to have differences and appreciate those differences in peace.
Newsletter Team
Barbara MacLellan,
Onni Milne,
Jennifer Parisi
Through its approach to multiculturalism, Canada has shown it is possible to welcome and embrace
differences and make them part of a new and ever-evolving cultural whole. The synergy of the
ethnic contributions has multiplied beyond the value of each to achieve something greater than a
single group offers. We all live richer lives because of the diversity that we can enjoy now.
This e-newsletter will
be published quarterly
in spring, summer, fall,
winter. Deadline for
submissions from
contributors is three
weeks prior to
publication date.
In a similar way, flamenco has moved beyond any one of the original Moorish, Jewish, Spanish, and
gypsy cultures, and added influences from others over time. In the fifteenth century, before these
cultures combined, music of southern Spain was already a mixture of many other ancient cultures
from around the Mediterranean. This blending of cultures through flamenco continues to today.
Copies available at
flamencorosario.org
Flamenco Voice
informs members
about local, provincial,
and national flamenco
issues and events and
promotes flamenco
culture to inspire
participation in the
flamenco arts scene.
Traditional flamenco — flamenco puro — is the basis of flamenco and is faithfully performed by
many artists and flamenco groups. However, the art of flamenco continues to evolve. Flamenco
now has incorporated many other influences including music that evolved in the colonies of the
Caribbean and South America, jazz and the blues from North America, even some rock and hip hop.
The dance has adapted some contemporary styles and forms of movement from Europe, North
America, and South America among others. Flamencos have rediscovered the roots of their art
form in north Africa and India. This has also re-invigorated modern flamenco. In this way, flamenco
continues to exemplify diversity and blending of cultures to produce new dynamic art forms that
bring people together in a positive manner.
Flamenco Rosario embodies this dynamic of diversity. Flamenco Rosario’s production, Mis
Hermanas, captures the immigrant experience and exemplifies how influences and life experiences
from different cultures and countries can create a new whole. Flamenco reflects the Canadian
immigrant experience by incorporating the influences of many different cultures into a new and
greater whole while continuing to respect
the original culture and art form. It is
Inside Flamenco Voice
wonderful to see the variety of people from
Noticias (What’s Happening) ....................Page 2
many different ethnocultural backgrounds
who come to flamenco classes and who
Interview with Flamenco Legend Ciro......Page 3
make up the Flamenco Rosario dance
company. Through various events,
Passion for Flamenco: Afifa Lahbabi.......Page 6
Flamenco Rosario proudly offers this art
form to you.
Moorish Spain…………………………………..... Page 7
“Opinions expressed here are not necessarily those of the Board, nor the Organization.”
Comments welcome: [email protected]
1
Flamenco Voice: The Newsletter of Flamenco Rosario
EVENTS REPORT
Second Annual Gala a Smashing Success:
On April 8, Flamenco Rosario held its second annual Gala
Dinner. We were delighted to repeat the success of last
year’s twentieth anniversary event. Thanks to everyone
who attended the Gala and to those businesses that
contributed items for the silent auction. Thanks to our
dedicated crew of staff and volunteers who worked so
well together to make it happen. We exceeded our
expectations for attendance. Once again, we could have
used more space, despite the larger venue. Brock House
was an excellent location for the Gala with its old-world
charm and panoramic views of English Bay. The dining
room featured a wood dance floor ideal for our PTP
performers who delighted one and all with a fine
performance. Brock House served a delicious meal and
their staff was outstanding. All items for the silent
auction were purchased.
NOTICIAS (WHAT'S HAPPENING)
Guest Artist: July 18-29, 2010 at Centro Flamenco
– Andrés Peña: Born in Jerez de la Frontera Spain,
Andrés started to learn flamenco at age 10 under
the tutelage of the legendary Angelita Gómez. As
soloist, Andrés has been presented in the Festival
de Jerez 2000 & 2001, in the Festival de Granada
2001, and the Bienal de Sevilla 2002 where he
won the “Jóvenes Interpreters Flamencos” (Young
Flamenco Talents). This prompted a tour to Italy,
Luxemburg, France, Switzerland, and The
Netherlands. His first length work “Peña”
premiered in the Festival de Jerez 2004. His latest
work, created with his partner Pilar Ogalla, is A
Fuego Lento. He has also taught countless
workshops and master classes worldwide.
Flamenco Rosario held the 2010 gala in honour of our
friend and patron, Dr. Jennifer Allen Simons and The
Simons Foundation. The Simons Foundation has
supported us generously and consistently over the past
five years, making many things possible that otherwise
could not have been done. Rosario and Victor spoke not
only about the contributions that the Foundation made,
but also about the personal interest and support that
Jennifer Simons has provided. The evening concluded
with spirited latin music and dancing. We look forward
to continuing with this event.
March Performances: Flamenco Rosario presented
performances at the Scotiabank Dance Centre and the
Vancouver International Dance Festival. Attendance at all
the performances was at capacity. Responses from
audiences and presenters were positive.
Peñas and Parties: The proposed Sevillanas Peña for
March was cancelled because of the crush of events in
March and the Gala in April. Rosario and Victor decided
to reinstate their Sevillanas Party for Centro students at
the end of April so Sevillanas enthusiasts were not
disappointed. The Sevillanas Party will continue to be a
Centro event. Flamenco Rosario will provide peñas at
other times of the year. We hope to have one in July
after the Artist in Residence program finishes.
Mis Hermanas: May saw the remount of Mis Hermanas
at the Roundhouse. Rosario presented a new version of
the award winning show in preparation for the tour to
Mexico. There were three evening performances and
one matinee. The performance on Sunday evening was
sold out. The Monday matinee (continued on p.3)
Centro Flamenco and Flamenco Rosario gratefully
acknowledge the support of The Simons
Foundation, which sponsors our summer guest
artist.
Performances: October 2010 – Flamenco Rosario
Tour to Mexico: We continue to work on plans for
this exciting event. Check the website for updates.
“Opinions expressed here are not necessarily those of the Board, nor the Organization.”
Comments welcome: [email protected]
2
Flamenco Voice: The Newsletter of Flamenco Rosario
(continued from p.2) and evening performances were very well attended. Those who came to the Tuesday
evening performance heard the Spanish version. This was creativity at its finest with the combination of Rosario's
narrative, significant images screened behind the dancers, and each sister with a distinct personality
corresponding to a different form of flamenco. Some audience members were moved to tears by the production.
We know it will be a triumph in Mexico.
Annual General Meeting: At the AGM on March 28, members passed the proposed Special Resolution to extend
the length of term for Directors. Directors re-elected include Noriko Aramaki, Keiko McArthur, Barbara
MacLellan, Yvonne Kolstee, Allyson de Jong, Hilda Fernandez, and Ian Metherell. Directors newly elected include
Nelson Kennedy and Sascha Westendorp.
FLAMENCO HEROES: Ciro
“Ciro is the ‘Maestro’ that most well known flamenco dancers (Spanish and non-Spanish) have gone to learn from.
A great dancer in the 1960s and 1970s, he developed his own style. This style influenced the way contemporary
artists dance today.” (Rosario Ancer)
This article is a transcript of her interview with Ciro in May 2010.
Where were you born and where
did you grow up?
I was born in 1932 in a small town
in the province of Palencia where
my parents took us to protect us
from the horrors of our civil war.
This is where my father could
practice his profession in the public
treasury. My mother had property
and land there, so we never
endured hardship during the war.
My last name was Diez de Andino
but it turned into Diezhandino
because of a bureaucratic mistake
that my great- great-grandfather
never bothered to fix. Through our
genealogical tree, we know that
can be traced to the sixteenth
century with positions in the
Burgos Chancellery. Therefore, I’m
an old Castilian.
In this Castilian town I had a happy
Amor de Dios studio, Madrid, 1979. Rosario Ancer, her sister Lupita, a friend, Ciro.
childhood enjoying the magnificent
Photo Elke Stolzenberg
panoramic sky and the endless
gold wheat fields, climbing trees to observe nests, riding donkeys and horses.
Yes, this was a very happy time.
Was dancing always your first interest or did you sing or play guitar also? Were you from a flamenco or musical
family? If so, tell us a little about your parents or other family members and their talents for flamenco.
My father was a great flamenco fan and enjoyed playing the guitar. Later, I learned that he frequented the “Café
Cantantes” of that time with friends and flamenco fans in Madrid. There was not a professional artist in our
family. However, all of us eleven siblings had an extraordinary ear for music. We sang in first, second, and third
voice accompanied by our sisters at the piano. (continued on p. 4)
“Opinions expressed here are not necessarily those of the Board, nor the Organization.”
Comments welcome: [email protected]
3
Flamenco Voice: The Newsletter of Flamenco Rosario
(continued from p. 3) When I was seven or eight
years old, I made a discovery that changed my
life. In the attic of my childhood home, my father
kept some records close to a gramophone:
Ramón Montoya, Pepe Marchena, Niña de los
Peines, Cahcón. I was spellbound by that music
and these songs. I spent many hours in solitude,
absorbed in a world that I started to identify with.
Subconsciously, I had decided I’d belong to it one
day. Right there started my battle with all those
who were opposed to it.
At what age did you begin to work professionally
as a dancer?
Ciro on Rosario’s Isadora Award for Mis Hermanas and her
Contributions to Excellence in Dance in British Columbia:
"My Dearest Couple:
You have created a well conceived work, well realized, well
choreographed and well danced!
The idea is very original and brilliant. I think Mexico is going to be a
great success. It is very emotive. Your Solea: mature, grounded, with
the flavour and taste according to your own character (as I told you
will become - when you were my student). I can see Victor's hard work
and collaboration his guitar playing (and his accompanist) just the way
I like it: clean, without gimmicks, with the right intelligent effects for
the dance and "muy flamenca".
I loved the lighting, the voice over, the archival family photos. It was
mesmerizing, enchanting. I sincerely think that the award for this work
is more than merited: CONGRATULATIONS!!!!!
It is a pleasure to witness your growth as an artist. This is the
product of your hard work, consistency and LOVE of what you do
BRAVO!
Ciro, Madrid, Spain
(excerpts of a letter sent by Ciro to Rosario Nov. 30, 2009)
At that time, entertainment in general and
flamenco in particular did not enjoy popularity
among conservative people with Victorian ideas
and a strong bourgeoisie accent where my family
belonged. That a son of yours wants to be a
dancer at age ten can be amusing. If he is fifteen, it turns into a problem, a big problem. Like the rest of my
siblings, I was expected to go to University. My father decided the destiny of our lives and wanted me to become
a lawyer. I rebelled against it. I begged him to be spared to no avail, so I started my bachelor years which would
lead me into law.
Never forgetting my passion, and being away from home, I had the opportunity to introduce myself to the then
great flamenco figure Vicente Escudero, originally from Valladolid. He understood my dilemma and taught me all
he knew about flamenco - the different rhythms, its compas, the importance of arm work and posture. He was a
kind and intelligent man who I’ll never forget. I joined the Coros y Danzas de España where I learned about our
rich folklore. It was then that I made the greatest decision of my life. I left my home, my family, and the
university studies to move to Madrid. As expected, my father cut off all financial help.
It is not necessary to point out the great difficulties I went though to support myself; I did all kinds of work in
order to pay for a meal per day, a modest pension (room), and my classes. Remember that I’m talking about the
Madrid of the post war where hunger and the struggle to survive were all over the city. I studied with Doña
María Ibard in the Circulo de Bellas Artes. She was very strict, disciplined, and had marvelous arms. I studied
ballet with a well known teacher Héctor Zaraspe, with the legendary “La Quica”, with Antonio Marín the greatest
teacher of the epoch and Alberto Lorca (everything in him was art and magnificent technique). He chose me to
dance in the Teatro de la Zarzuela. After that, my financial problems ended, I was 22 years old.
Can you tell us about your career as a dancer, companies you worked with, places you performed and tours.
Joining the company of Antonio, for me the best dancer of the twentieth century, was transcendental. I learned
not only about dance but about choreography, theatrical dramatization, lighting, etc. At the same time, I was
listening every day and absorbing all the artistry of Antonio Mairena and the Morao brothers.
Frequently, I rented an Amor de Dios studio and practiced all I had learned with a guitarist. I got involved in
exploring new steps, releasing my imagination and creativity. I had learned the importance of personal work and
its infinite possibilities. My teachers gave me my foundation. With my passion and endless work capacity, I
developed my own dance, my own aesthetics, which later on reflected my personal style and the way I interpret
flamenco. I have to add that singers and guitarists have been essential in my development as a dancer. This
tireless exploration in finding new ways of expression stayed with me until my last class as a teacher.
My stay in the United States was long, frantic, and exhausting. I founded two tablaos (flamenco performing
houses). I signed a contract with legendary producer Mr. Sol Hurok at the Lincoln Centre in 1970. (continued on p.
5)
“Opinions expressed here are not necessarily those of the Board, nor the Organization.”
Comments welcome: [email protected]
4
Flamenco Voice: The Newsletter of Flamenco Rosario
(continued from p. 4) After his death, I signed with Columbia Artist Management. They were long and hard tours
but I was very happy with the warm reception of the audiences and fine critical reviews. To found, maintain, and
choreograph in your own company is very rewarding work, as is finding the balance to maintain the interest of
your public. I was also the house choreographer for the National American Opera Company under the direction
of the celebrated Sarah Caldwell.
We know you have performed in Western Canada. Would you like to share some of your experiences?
I'll never forget that the audiences from my performances in Canada were always very receptive and enthusiastic.
I remember as if it was yesterday when we were driving to a concert in Vancouver and our bus broke down.
Everybody stopped to help us. We were able to be on time for our performance. This kindness and solidarity
impressed me profoundly.
Why did you decide you wanted to teach?
I enjoyed choreographing and teaching immensely. To teach requires several qualities. Without them, you can’t
teach, they are a must. You have to have a great knowledge of what you are teaching. You need great doses of
love, dedication, patience, psychology, tact, and objectivity.
Many dancers you have taught have become very successful and famous. Can you give us some examples of who
these dancers are?
Many of my ex-students are dancing all over the world and have become famous. Several are Premio Nacional de
Danza (Dance National Award) like Javier Barón, Blanca del Rey, Carmen Cortés, and more. I’m positive they
could not have achieved this without my help. Of course, they will never acknowledge this. Ego, insecurity, and
ungratefulness are all too frequent in flamenco. This is not the case for Sara Baras, also Premio Nacional de
Danza. She was always grateful and kind towards me. Many others, like you, Rosario, have gone back to their
own or to adopted countries and are doing great work in developing and diffusing flamenco through teaching and
performing locally.
Today, flamenco can be performed in a very traditional or pure way. It is also evolving and integrating influences
from other forms of dance, and other cultures. What do you think of the way flamenco has developed up to
today? What do you think will be its future?
It is inappropriate for me to talk about orthodoxy in flamenco. There is not much room for it. I don’t know of
anyone who has written the rules, dogmas and doctrines to define flamenco orthodoxy as it would reduce the
path of evolution and development for this art form. A live art like flamenco has to be open to change and new
forms. I think that the orthodoxy in flamenco is a desire or longing for the traditional. If it does not allow for
legitimate alternatives, we enter the territory of confusion and confrontation.
A tree grows, gives its fruit, and grows new branches without altering its roots. This is my thinking and opinion
about flamenco evolution: to change, to evolve, to push the
USEFUL WEBSITES:
boundaries, but always preserving, respecting and attached to the
Flamenco Rosario - flamencorosario.org
roots. As a flamenco lover, I don’t like the eclectisismo, where roots
Centro Flamenco - centroflamenco.com
and different styles are included in stage productions mistakenly
named flamencos. Today, flamenco is being danced better than ever.
Best general site - flamencoworld.com
It is a logical consequence of evolution. What do the so-called
Flamenco radio 24/7 from Canal Sur orthodoxies have to say about flamenco from the way flamenco was
http://www.radiotelevisionandalucia.es/
danced in the 1950s to the way it is being danced today?
tvcarta/impe/web/enDirecto?canal=ca1
What advice can you give to young, aspiring flamenco dancers?
Yes, I have some advice. Today, dancers are more focused on
technique rather than on the art when it should be the opposite.
Technique should be at the service of the art. This is my best advice.
Program guide for the above http://blogs.canalsur.es/parrilla_cfl/
Cante podcasts - www.rtve.es/podcast/
radio-exterior/el-callejon-del-cante/
“Opinions expressed here are not necessarily those of the Board, nor the Organization.”
Comments welcome: [email protected]
5
Flamenco Voice: The Newsletter of Flamenco Rosario
A PASSION FOR FLAMENCO: Afifa Lahbabi
I grew up surrounded by the rhythmic and magical music of Morocco, my native
land. When I was three years old, my parents took my sister and I to the coast of
Spain during our summer holidays. My father always said I was a lot of fun as a
young child. I never got tired or complained about being sleepy in the late hours of
the night. I just kept asking him one question: "When are we going to see the
flamenco dancers, Dad?" I was obsessed from the moment I saw my first flamenco
show in Malaga. I wanted to see the show every night and would not leave Spain
until my parents bought me a flamenco dress in which I proudly pranced around
when we returned from our vacation.
My great grandmother on my mother's side was Andalucian. To this day, most of my
family members believe that I got all the Spanish genes and they got none! I'm not
sure if it's simply in my blood or if it just touches me so deeply that I truly cannot be without it in my life.
Regardless of what it is, I feel so lucky to have found and excelled in my life's passion.
I started dancing at the age of eight when I begged my parents endlessly to put me in ballet. At this point, we
lived in Toronto. After a couple of years, I begged them just as hard to take me out! It was just not the right form
of dance for me. Next, I moved on to tap dance for a few years and proceeded to drive my family crazy with my
non-stop tapping feet! But to improve, you have to practice, and I have always been one to expect a lot of myself.
After completing my degree in dental hygiene and moving to Vancouver in the mid '90s, I found myself missing
my life in Ontario — my family, my friends — and was looking for something in my life. I looked through the
yellow pages and found an ad for Centro Flamenco. Little did I know what signing up as a student would lead to
fourteen years later — a wonderful dance career being mentored by loving and inspiring people like Rosario
Ancer and Victor Kolstee as well as finding my second family made up of mentors, colleagues, students, and the
dance studio.
Flamenco has gotten me through very difficult times and still does. It
has been a major part of some of the most wonderful moments of my
life. What inspires me the most about flamenco is that there is no
end to the learning process and always so much more room for
improvement. It is the most humbling art form you can imagine. I
continually strive to be a better and more skilled dancer and
instructor. I was asked to be in the Professional Training Program at
Centro Flamenco in 2000 and did my first solo with the dance
company in 2002. Since then, I have been in many Flamenco Rosario
productions. Some of the most memorable moments of being part of
Flamenco Rosario have been with Rosario’s award winning Mis
Hermanas. This production touched me on an emotional level, as I
can identify with so much of what Rosario has gone through being
away from my family and pursuing my own dance career. I also have
happy memories of some of the occasions when we were on road
trips to places like Dawson Creek and Salt Spring Island. Soon we’ll be
going to Mexico. Being on the road together makes you feel even
more like a family. It's work but also so much fun being together
doing what we all love.
Afifa Lahbabi dances at the Vancouver
International Flamenco Festival.
Photo Flamenco Rosario/Lorilee Janine Photography
For me, flamenco is a constant challenge on so many levels: technical,
musical, and emotional. It changes as you continue to grow and
changes throughout your life. There is always a “palo” that you will
be drawn to at different times in your life. It runs through my veins at
all times. Those who know me well are used to my constant tapping
feet and spontaneous dancing. Flamenco is truly a way of life!
“Opinions expressed here are not necessarily those of the Board, nor the Organization.”
Comments welcome: [email protected]
6
Flamenco Voice: The Newsletter of Flamenco Rosario
MOORISH SPAIN: AN EARLY FORM OF
MULTICULTURALISM
WHO IS THIS???
Among the roots of flamenco lie elements of Moorish culture and
music. The term "Moor” is both historic and contemporary,
generally referring to Muslim and earlier non-Muslim people from
north Africa. These people were and are of Berber, black African,
and Arab descent. Moors conquered and occupied a large part of
the Iberian peninsula. Spanning eight hundred years, their presence
was longest and most influential in the south of Spain. Even today,
some Spaniards refer to themselves as “moros” and the term is
common in the lyrics of flamenco cante.
Today, the common view of Muslims and Arabs from the north
European and North American perspective is of religious fanaticism
and extremism, repression of women, and lack of human and civil
rights for many people. This is not the whole story, even today. It
will surprise many to learn that Moorish Spain from the eighth to the
fifteenth century was characterized by relatively peaceful coexistence of Moors and Jews, and the flowering of learning and
culture.
Moors constructed beautiful cities like Cordoba, Granada, and Sevilla
in the south of Spain. Cordoba was considered one of the most
beautiful cities of the tenth century with a population of over one million and a great mosque that is still an
architectural marvel. The castle and gardens of the Alhambra in Granada have a grandeur and charm that time
has not erased. At a time when northern European cities like Paris and London were dark, dirty and disorganized,
the cities of southern Spain boasted miles of paved streets that were well lit with lamps by night. While European
Christians rarely bathed and even regarded cleanliness as a sin, public baths were common in Moorish Spain.
In Christian Europe of the Middle Ages, education was almost unknown and very few people could read and
write. In Spain, the reverse was true. Education was highly valued and widely available. Public libraries housed
hundred of manuscripts. There were more than seventeen universities in Moorish Spain, while Christian Europe
had only two of note. Scholars, artists, and scientists pursued knowledge in the arts, science, and literature
forming societies to share ideas and help advance learning and the spread of knowledge.
The influence of Moorish learning was so great that even as Christians conquered Moorish Spain, they often
adapted buildings to their own uses and maintained libraries and universities as places of learning. Philosophy,
mathematics, literature, music, visual art, food and cuisine, architecture, and the law were all influenced by the
Moors. Many of these influences have come down to us today.
Among these influences is the Moorish contribution to flamenco. Flamenco began to evolve at about the time of
the Christian conquest of Spain. Many Moors and Jews were expelled from the country. Those who wished to
stay were required to convert to Christianity. However,
converting was not enough. The Inquisition was instituted by
the Catholic Church to test converts and stamp out “heresies”.
There was suspicion that converts may not be genuine and might
continue to practice their old religion. Converts were often
viciously persecuted, and many atrocities occurred. Confiscation
of the wealth of these people may also have motivated some of
the persecution. This forced more people to flee and echoes of
this can be heard in the words of some flamenco songs, which
speak of being exiled, pleading for help for unfortunate family
members left behind. (continued on p. 8)
“Opinions expressed here are not necessarily those of the Board, nor the Organization.”
Comments welcome: [email protected]
7
Flamenco Voice: The Newsletter of Flamenco Rosario
(continued from p. 7) Many people tried to hide. Some were successful. It is
believed that some fled to the mountains where they joined people from the Indian
subcontinent known as gypsies or “gitanos” who had wandered across Europe and
arrived in Spain. These people were also cast out and oppressed wherever they
went. But they managed to carve out something of a place for themselves in Spain.
This is the origin of the gypsies of today. Early flamenco was created from the
mixing of these three cultures.
Flamenco music can be seen to be a blending of ancient Mediterranean and Asian
influences. The music of Andalucia shows traces of many ancient cultures whose
people settled at various times in what is now southern Spain: Phoenicians, Greeks,
Romans, Jews, Syrians, Lebanese, and others. Music that flourished in the final
years of the Moorish domination of southern Spain is the origin of today’s
Andalucian folk music. This folk music combined with the sounds of India, brought
by the original gypsies, to create a new art form that became flamenco.
The guitar descended from an ancient Moorish instrument like a lute. Some of the
scale style and ornamentation of the music relates to Moorish music. Echoes of
Moorish Spain can still be heard in some of the oldest examples of solea, in the
peteneras, and in the seguiriya.
Sources:
http://en.wikipedia.org/wiki/Moors
http://www.africawithin.com/blackhistory/overview_chapter18.html
http://www.xmission.com:8000/~dderhak/index/moors.html
Paris, Erna. The End of Days
Pohren, D.A. The Art of Flamenco
SOLEA – AN ESSENTIAL FLAMENCO FORM
DANCE SUPPLIES: Centro Flamenco:
Flamenco #102, 2083 Alma Street, Vancouver,
(604) 737-1273: The home of flamenco in Vancouver.
DANCE SUPPLIES: Avalon Dance Shop: 4532 Main Street, Vancouver,
(604) 874-2461: They have received a high accessibility rating from
Tourism BC – shoes (retail), clothing (retail).
DANCE SUPPLIES: The Dance Shop: 1089 West Broadway, Vancouver,
(604) 733-6116: They have served the dance and theatre communities in
Vancouver for over 40 years.
TRAVEL TO SPAIN, MEXICO, AND SOUTH AMERICA: Creative Travel
Adventures: 336 Robson Street, Vancouver: (604) 685-4374:
[email protected]: They offer personalized service and will
customize every part of your vacation.
La Bodega: 1277
Howe Street,
Vacouver, (604) 6848814: Since 1971,
José and Paco have
been working hard at
serving traditional
Spanish cuisine and
hospitality. A menu
featuring tasty tapas
and a selection of
entrees and
authentic Spanish
decor will transport
you to the very heart
of Spain. Restaurant
reviews: "Best
Spanish restaurant
EVER", December 20,
2009; "Great time
accompanied with
great food", August
14, 2009. Mentioned
by Anya Levykh for
bar food discussion
on On the Coast on
June 7, 2010, see
www.cbc.ca/ontheco
ast/recipes.html
PHOTOGRAPHY: Adam Smith: [email protected], (604) 7671997: He is a freelance photographer in Vancouver specializing in live
event photography. See his photos at:
www.flamencorosario.org/photo.html
“Opinions expressed here are not necessarily those of the Board, nor the Organization.”
Comments welcome: [email protected]
8