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June
2004 + La
Miri LA
MIRI + +
July
3 La Miri & AZAFRAN Flamenco + Miriam
Phillips ‘La Miri’ is director of the school, La Miri Flamenco
Dance, and the performance ensemble, AZAFRÁN Flamenco based in
Marin County. She is a dance teacher, performer and ethnologist with over
two decades of experience in flamenco, and a wide range of experience
in the world of dance at large. As a flamenco professional she has studied
with the illustrious Gypsy maestro, El Farruco and his daughters La Faraona
and La Farruquita, an important flamenco family whom she has known for
over 15 years. She has also studied with masters at the famed Estudio
Amor de Dios in Madrid including, Ciro, El Güito and Carmela Greco,
and in Seville with Manuela Carrasco, Angelita Vargas and Carmelilla Montoya.
Ms. Phillips performed as a dance soloist in Israel, Spain and the United
States and danced in TV commercials and music videos for U.S., Mexican
and Spanish programming. In San Francisco she was a member of the company
of the late Cruz Luna, and soloist in the second (or third) generation
of Los Flamencos de la Bodega when it moved from North Beach’s Old
Spaghetti Factory to the El Greco in the Cannery. In Los Angeles she worked
in the companies of Roberto Amaral and Linda Vega. While a graduate student
at UCLA, she received three University Creative grants, in 1999 she was
awarded a Marin Arts Council grant for Choreography, and in 2003 she was
invited to perform for the opening night of the Latino Film Festival. “I’ve
been involved in the Bay Area flamenco scene for a long time, but the
last several years I have worked more quietly in my own community, which
is Marin County. Until recently, I had taken a break from performing to
focus more on teaching and researching flamenco. I started flamenco at
the Old Spaghetti Factory shortly before it closed its doors. The great
singer/dancer, Isa Mura (mother of Yaelisa) was my first flamenco teacher;
bohemian sculptor and flamenco impresario, Richard Whalen, gave me and
a lot of other flamencos our first tablao jobs. I left the Bay Area for
nearly ten years to pursue graduate degrees in dance, return to Spain,
and to teach at a number of universities. I returned in the mid-1990s. “When
people ask me if I have Spanish blood, I say, “no, I’m Jewish.”
I’ve noticed many Jews, women in particular, are drawn to flamenco,
and I think there is something similar in the passionate, expressive cultures
of the two. Certainly there is a shared heritage of pain; an affinity
with the oppressed. I know my Gypsy friends, when I first told them that
I was Jewish, embraced me for this reason.” “How
did I get into flamenco? It was actually via kathak dance. As a teenager
I was a devout student of North Indian classical dance and singing, as
well as yoga (long before it was a fad). But as I was about to cross the
border into my twenties, something inside me became very restless. Kathak
is a beautifully complex and rich art form with many movement similarities
to flamenco, yet its aesthetic is softer; it’s about transcendence
and a kind of “self-less-ness”. The movements are more contained
and refined than flamenco. After years of practicing this discipline,
something in me needed to burst out of this more demure approach. That
was when someone invited me to my first flamenco performance. I flipped.
I immediately began private lessons with Isa at the Factory. She was so
intense (on top of flamenco being so intense), I had to break my vegetarianism
and start drinking espresso just to get through my lessons.” “Right
at this same time I was just about to finish my undergraduate degree in
modern dance and choreography at Mills College and I was working on a
grant application for the Watson Fellowship to study dance in India and
Israel. I wanted to go to a third country, so when I first saw flamenco,
I knew Spain would be it. What I did not know was how I was going to convince
this foundation of why I needed to dance in these three countries. I could
feel in my body the similarities between kathak and flamenco, but I had
to do a lot of research to write that proposal. Without knowing it, that
was the start of my research into the relationship between kathak and
flamenco. I discovered ways in which three disparate countries were linked
culturally via its people, and these discoveries garnered me a three year
grant to live and study dance in India, the Middle East and Spain. It
was a tremendous gift. Needless to say, I had many awesome adventures,
and these years lay the foundation for my work as a dancer and ethnologist.”
Miriam
is a trained Dance Ethnologist (UCLA) and Certified Laban Movement Analyst
who has applied this training to performance and choreography, college
and community teaching, researching and writing, and arts production and
consulting. She has served on the faculties of UCLA, Cal Arts, the Laban
Institute of Movement Studies, and Sonoma State University. In 1994 she
was specifically invited to Wesleyan University in Connecticut as Visiting
Assistant Professor to teach courses in modern dance, choreography, dance
anthropology and flamenco. She has been a consultant on several multi-media
projects on world dance and computer animation, including from Oxford,
Compton and Pixar. In 1996 and 1997 she was Director of the San Francisco
Ethnic Dance Festival, curating sold-out performances, including the acclaimed:
Hidden Treasures: Dance and Music Through the Islamic World, and Torchbearers
and Innovators. In addition to performing and teaching community classes
in Marin County, Miriam is currently a consultant and writer for the SF
Ethnic Dance Festival, and an “intermittent adjunct professor”
at Mills College. Miriam
has conducted fieldwork in Spain, India and the Middle East on Thomas
J. Watson, Del Amo and American Institute for Indian Studies (AIIS) fellowships.
A long-standing project is a book and performance exploring the movement,
aesthetic and cultural relationships between kathak and flamenco. This
project is a further development of her well recognized thesis: Both Sides
of the Veil: A Comparative Analysis of North Indian Kathak and Spanish
Flamenco Dance. “What
is a dance ethnologist? It is someone who is so curious about why a dance
is the way it is, and wants to know so badly how it got to be that way,
that they are willing to put themselves into all kinds of awkward situations
to find out. More seriously, the discipline is a kind of marriage between
dance and anthropology, but it is much more focused on dance as the central
reinforcer and revealer of culture. Ethnology includes history, but it
is more than history because its about a living event and discovering
meaning. We do it through participant/observation of all sorts of dance
“happenings,” interviews and dancing. “As
a dance ethnologist I have had the opportunity to take my many late night
rompings with the flamencos and turn them into journal articles. One such
time occurred in the middle of my graduate school training where I spent
nearly three months with members of the Flamenco Puro tour, particularly
the Farruco family. After the show, we would go back to the hotel to make
dinner. Practically every night a rowdy fiesta would break out in the
men’s quarter. Fifteen people crammed into a tiny hotel room, whiskey
bottles being passed, dancers singing, singers playing guitar, guitarists
dancing, forthcoming propositions negotiated between vivacious Gypsy men
and beautiful American women. The concierge would call the room five times
in one night asking us to “keep it down,” but it was impossible.
Once the flamenco fever hit (and the whiskey), they were uncontrollable!
I would leave my Gitano friends to sleep while I drove across town to
the university as the sun was rising. The irony was that I was driving
to Spanish class. I missed so many classes that semester I had to fess
up to the teacher as to what I was doing and she agreed to pass me after
I gave a presentation on flamenco. That period led to a couple of articles,
including: The Trained and the Natural Gypsy Flamenco Dancer appearing
in 100 Years of Gypsy Studies. “What
is a Laban movement analyst? This is harder to explain. It is someone
who is simultaneously impassioned by the expressive power of movement
and anal compulsive about being able to understand it enough to describe
it in words and symbols. More seriously, the Laban Movement System recognizes
that all movement is multi-dimensional, and the way a person moves is
expressive of their inner motivations and drives. The training has many
applications for teaching, performing arts, fitness, sports, therapy and
writing. The name of the system is somewhat misleading because it is actually
very grounded in the experience of moving. The training is as much physically
demanding as it is mentally and emotionally. This training led to certain
key discoveries in my work on kathak and flamenco; it has allowed me to
see things that I would not otherwise be able to see. “How
do these studies interact with my flamenco dancing? I have to dance in
order to comprehend what I am researching, and I have to know what I am
dancing otherwise it is meaningless and I am just a body going through
the motions. What connects me to this culture that is not my own? Understanding,
via the research, helps me as a dancer to connect to the spirit of a heritage,
and dancing enlivens my research because there is a knowing through the
body that is unlike any other kind of knowing. “What
draws me personally to flamenco? Its unabashed expression of human emotion.
Its refreshing directness. The immediacy of emotion. It challenges you
to be fully embodied. It’s about dis-covering yourself, or as they
say in Spain, “finding yourself” (encontrarse en el arte). It’s
about meeting yourself authentically, and about giving that discovery
to those around you. Flamenco is about playing in the moment with your
fellow musicians and audience. It’s about seizing the spirit running
through everyone and creating new energy each time. Flamenco is not overtly
spiritual like classical Indian dance is, -- but THIS is spiritual! “I
mentioned that I started out as a kathak dancer. While I no longer perform
kathak, I still keep in close contact with my teacher and take workshops
with him when possible for the purpose of aiding my research. I first
studied kathak with a couple of teachers in the U.S. including Chitresh
Das, the acclaimed Bay Area kathak master. I was very young when I first
went to India. Alone, I walked into a studio of a very great master and
began to weep in his presence because of the depth of artistry and expression
I saw in his students and their connection to him. He took me under his
wing and gave me his closest disciple to work with. That was, and still
remains, my kathak guru, Birju Maharaj, who is like the El Farruco of
kathak dance, only his lineage goes back seven generations to the kathak
masters of the Moghul courts of North India. The history of flamenco isn’t
even that old! Maharaji, as we call him, has had a very profound impact
on my flamenco dancing. It’s hard for even me to put into words.
He has taught me much about the expressive nature of rhythm, the mood
behind even the smallest movement, the power of the eyes, and humility
to the art. Since this is a flamenco page, I will refrain from telling
stories about the many years I have traveled and sat at the feet of this
great Indian master. “But,
you asked me to comment on my kathak and flamenco work. Basically, I’m
looking at the similarities and distinctions between the two forms. I’m
interested in how they can have so many movement similarities, such as
footwork and rhythms, arm movements, body positions, phrasing and choreographic
structure, yet be so aesthetically and philosophically opposite. What
are my favorite findings? There is one in particular that sums it up and
that is the title of my original thesis, Both Sides of the Veil. In kathak
it is as if you are dancing BEHIND a veil, and in some cases you literally
are, the ghunghat is a veil. The way the arms are held in front of the
body, the aesthetics of concealing the body, the face, the goal to transcend
one self, and so forth. In flamenco it is as if you are dancing IN FRONT
of a veil. In this case it could literally be a manton or shawl. The arms
are held slightly behind the body. It is about revealing yourself, embodying
yourself. Curiously, there are many arm positions that are the same in
kathak as in flamenco, but one has them slightly in front of the torso,
the other behind. The arms are a metaphor for the veil, the veil is a
metaphor for the relationship to self (I’m still working on this
one). So my research is less about historical facts, and more about the
actual dance and the embodied experience – both mine and the artists
I interview and observe. There is however, one of my history articles
now available on the internet.You
can get there by going to the World Arts West site:
http://www.worldartswest.org/plm/guide/locator/KFHistory1991.pdf. “In
2001 and 2002 I had the opportunity to return to both India and Spain
to do serious fieldwork again. My goals were to re-experience culture
shock from one country to the other and to cull information from that
experience. But more importantly, I really wanted to hear the dancing
experience from the artists themselves. We did some incredibly moving
interviews where either I or the artist (or both) were moved to tears.
I had support in India to get kathak tapes transcribed, but the flamenco
tapes sit in a box. So if there is anyone out there who has exceptional
Spanish (Andalusian) skills who can translate and transcribe some of these
tapes, it’s a great opportunity to learn a lot about the philosophy
and values of flamenco culture. I have three generations of the Farruco
family, two of the Galvans, Christina Hoyos, Manuela Carrasco, Matilde
Coral, Calixto Sanchez, Carmela Greco, Milagros Menjibar, and a host of
others. “You
asked me to comment on flamenco’s power to evoke response from performer
and audience in big theaters as well as flamenco folk in informal late
night settings. And you also asked me my thoughts on duende. All huge
topics. Once we get access to my very first published article to post
on your website, I address both of these areas including interviews of
flamencos on their thoughts on duende. Where the Spirit Roams: Toward
an Understanding of Duende in Two Flamenco Dance Contexts. Here I actually
compare duende (I love comparisons) in the juerga versus theatrical setting.” La
Miri Flamenco Dance is a community-based school established in Marin County
in 1996. It offers on-going classes and workshops in traditional flamenco
dance, choreography and improvisation in the context of flamenco's rich
historical and cultural heritage. Miri's teaching approach is student-centered.
It enables students to readily access and express flamenco's form and
spirit. AZAFRAN
FLAMENCO is a music and dance ensemble made up of a revolving cast of
dynamic Bay Area performing artists under the direction of Marin County
teacher, Miriam "La Miri". "Azafran" (derived from
Arabic) is the Spanish word for "saffron." As each individual
saffron thread mixes together with other ingredients to create warming,
colorful and zestful flavors, AZAFRAN FLAMENCO extends to audiences a
taste of the power, passion and spirit of Spanish flamenco in a warm and
inclusive atmosphere. “I’m
into accessible flamenco. I feel that part of my work is about empowering
people through movement; facilitating people to connect sprit to body
– their spirit to their life. What better way than flamenco. So I
offer different kinds of classes from a flamenco workout to more in-depth
choreography, performance and improvisation classes, and occasionally
history and culture workshops. I don’t want my students to dance
like me, I want them to dance like themselves. And that is a courageous
act. “In
performance, I’m into creating a space where people are invited into
the mood of what is going on – they can come into the warmth, the
vibrancy, even the anguish of what we create. I like working with lots
of different kinds of people to discover the unique synergies created.
Hence, the metaphor of saffron, and the mixing of individual threads and
ingredients to create different flavors. “Like any art, flamenco is always evolving. I have witnessed a lot of change over the years. Not only has the vocabulary and technique changed, but the style, philosophy and values as well. The foundation of my flamenco dance training was with a certain generation of artist who had a certain philosophy. Part of that philosophy has to do with the form and technique being there to serve the feelings and the personality coming through the dancer. Maestro Farruco and his lineage are proponents of this “school.” In my first trip to Spain I saw Enrique “El Cojo” perform shortly before he passed this earth. He was so old and fat, and really Cojo, that he had to be lifted from his chair by two people and carried down stage. Left alone in the middle of the proscenium of the huge Teatro Lope de Vega in Sevilla, the Soleares began. All he did was lift his arm in four compases and the audience stood up cheering and weeping. Such a simple movement that he did with such grace, such style, such arte, that it really touched people – even three tiers up. Somehow that picture really became etched in my memory.
+ + + CLASSES
AND WORKSHOPS Come
learn the colorful, exhilarating Andalusian flamenco dance, Las Dates
& Times Location
(San Rafael in Marin County) Fees: To
register send check to: ++++ July/August 2004 Class Offerings + FlamencoRobics(tm)
Technique
& Choreography: Intro.
to Flamenco - + La
Miri Teaches at Kosmos World Music & Dance Camp + CONTACT La
Miri Flamenco Dance
|
MONTHLY
LETRA Introducing
the + David
Jenkins
+ FÉLIX DE LOLA
FÉLIX
DE LOLA
- Flamenco Singer He has established himself as a respected and sought after artist worldwide and is considered to be one of Flamenco's rising stars. His recent, extensive touring schedule has brought him to the world stages throughout Western and Eastern Europe, Costa Rica, South Africa and the United States, singing for a list of illustrious flamenco artists such as dancers Juan Polvillo, Belén Maya, Carmela Greco, and Maribel Ramos "La Zambra" and guitarists José Luís Postigo and the prestigious guitarist and composer José Luís Rodríguez, musical director of the famed Cristina Hoyos Flamenco Company.
+ + NEW NEWS! 2 SHOWS TO CATCH
+
June 16 An Evening with Ottmar Liebert and Luna Negra, Tix $35 Seating
available Wednesday, June 16th Doors open at 7, show begins at 8. Great
American Music Hall, SF, Tickets:
www.gamh.com + + + Click
on the show for calendar with full details. Check show information with
venue. +
May
28-29 YAELISA & CAMINOS FLAMENCOS + May 30 ARTE Y COMPAS At Timo's Dancer - Fani Ara, Dancer – Monica, Singer/Dancer - Roberto Zamora, Guitarist - Jason McGuire, No cover +
June
5 AZAFRAN Flamenco + June 5 ZANGRIA presents FLAMENCO! LIVE! With LA FIBI FLAMENCO And her ensemble of the Bay Area’s Finest Flamenco Singers, Guitarists, and Dancers Saturdays ZANGRIA LATIN SUPPER CLUB + June 6 THE FLAMENCO ROOM at the ThirstyBear Brewery Sunday June 6th Patricia Velasquez, El Espigote, La Fibi and Melissa Cruz Two cuadro-style flamenco shows 7 & 8:30pm +
June
6 ARTE Y COMPAS At Timo's + June 12 ARTE Y COMPAS FLAMENCO AT LA TASCA Carola Zertuche (dancer) Monica (dancer) Nina Menendez (singer) Jason McGuire (guitarist) Show times: 8:00 & 9:30 p.m. + June 12 ZANGRIA presents FLAMENCO! LIVE! With LA FIBI FLAMENCO And her ensemble of the Bay Area’s Finest Flamenco Singers, Guitarists, and Dancers Saturdays ZANGRIA LATIN SUPPER CLUB + June 13 ARTE Y COMPAS At Timo's La Fibi (dancer) Monica (dancer) Lea Kobeli (dancer) Patricia Velasquez (dancer) Jason McGuire (guitarist) 7:30 and 9:00 p.m No cover + June 18 La Romera y ¡Duende! Flamenco presents, FIESTA FLAMENCA A spellbinding evening of Flamenco dance, song and guitar Friday 9:00pm, La Romera ~ dancer , Las Duendettes ~dancers , David Gutiérrez ~ guitarist, GUEST ARTISTS Roberto Zamora~ singer/dancer , Alicia Zamora ~ dancer , Nino Sánchez ~ "El Veterano" ~ dancer & percussionist, DON QUIXOTE'S RESTAURANT, Felton + June 19 ZANGRIA presents FLAMENCO! LIVE! With LA FIBI FLAMENCO And her ensemble of the Bay Area’s Finest Flamenco Singers, Guitarists, and Dancers Saturdays ZANGRIA LATIN SUPPER CLUB + June 26 ZANGRIA presents FLAMENCO! LIVE! With LA FIBI FLAMENCO And her ensemble of the Bay Area’s Finest Flamenco Singers, Guitarists, and Dancers Saturdays ZANGRIA LATIN SUPPER CLUB + June 27 THE FLAMENCO ROOM at the ThirstyBear Brewery Roberto Zamora, Seth Hankins, La Monica, Carola Zertuche Two cuadro-style flamenco shows 7 & 8:30pm +
July
3 La Miri & AZAFRAN Flamenco + Feb 12, Feb 13 2005 Cal Performances World Stage 04/05 season Ballet Flamenco Sara Baras Sueños ("Dreams") Sat, Feb 12, Sun, Feb 13, Zellerbach Hall + + + Flamenco every night! Check the Nightlife page for cuadro shows at a variety of restaurants throughout the greater San Francisco Bay Area. Please confirm information with venues. |
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+ + + SF
FLAMENCO.com(munity) |
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