On a recent trip to Spain I had the opportunity of visiting Concha Vargas in her dance studio. Before beginning our chat, she wrapped herself in what my grandmother used to call a piano shawl, a large embroidered piece of silk, trimmed with long fringe. The translator who I used for assistance whispered to me that this shawl puts her in a mood and gives her inspiration.

Concha Vargas is a Gypsy flamenco dancer from Seville, Spain, whose life as on stage is tumultuous, wild, hypnotic, and embodies a charismatic presence that is difficult to ignore. Her career as a dancer began at the age of 12, when she was called to go onstage at one of the festivals, and was presented as the daughter of Quintin Vargas, a well-known horse trader from Lebrija. The day after that first appearance the local newspapers splashed headlines that a new star had been born. And as they say, the rest is history.

Since then, her career has skyrocketed, and over the years she has performed with a broad range of elite flamenco performers such as Mario Maya, Chocolate, Farruco, and many others who no longer live but who are immortalized in flamenco history. Her career includes a performance before the Pope at the Vatican, and one in India for former Prime Minister Indira Ghandi who she later indulged with a private flamenco dance class.

Concha Vargas continued to perform worldwide with the famous guitarist Pedro Bacan and other members of the illustrious Pinini family. In the States we were honored with her tour of shows during 2000 with the singer Curro Fernandez and Macanita. She staged shows and workshops in New York, Chicago and Albuquerque.

In contrast to most other Gypsy artists, who scorn any flamenco that doesn’t sprout directly from their culture, Concha is supportive and sympathetic to foreign dancers. She states that there are among them those who dance with the same passion, emotional commitment and professionalism as the Gypsy artists. In reply to my query about the language barrier, Concha says “It’s true that an understanding of the language is required in order to connect with the song’s content, but I’ve seen dancers, for example from Japan and the U.S., who even without knowing Spanish have the ability to immerse themselves in the music, and to draw from them forceful emotion and tears. It’s true that if you understand the lyrics, you’ll shed even more tears.” Which is good news for the rest of us aficionados: we too can obtain this goal.

When I asked Concha how she perceives modern flamenco (“flamenco nuevo”), immediately her expression went serious and with restrained anger replied that “Modern flamenco is fusion: it’s nice, but don’t call it flamenco, rather jazz. Traditional Gypsy flamenco-or as we call it ‘puro’ (pure)-is eternal. Even after I die, it will live on, as opposed to the modern flamenco, which is pretty now, but will pass quickly from this world.”

Concha is a proud descendent of an old Spanish Gypsy family. As a Gypsy in Spain she has often faced discrimination because of her heritage. One of the particularly offensive occurrences was when parents of the pupils of the school attended by her children demanded that all Gypsy children be expelled. Her struggle against the parents' council succeeded only when she introduced herself as Concha Vargas. Her fame and distinction did the trick, but the biting pain and feeling of rejection from that incident lingers on.

As a career woman with many demands, which calls on her to be away from home and family often, Concha doesn’t play the part of the feminist heroine. “I’ve paid a high price for this with my health”, she conceded.

In conclusion, I include a small anecdote: As most artists have numerous experiences in their satchel of stories, and some of them humorous, Concha still recalls how as a young child dancing at the Tablao (flamenco nightclub), and executing one of those famous turns, she found herself the next minute lying on one of the tables next to the stage, to the wondering eyes of the audience. Of course, she doesn’t forget the little girl standing in front of the audience, bursting out in tears in embarrassment.

Concha Vargas is coming to Northern California with her daughter (singer, Carmen de Quintin) and legendary flamenco guitarist David Serva for a series of workshops and two live performances presented by The Bay Area Flamenco Partnership on August 18th at La Peña Cultural Center in Berkeley and on August 19th at Kuumbwa Jazz Center in Santa Cruz. We look forward to an evening of sublimely spontaneous and deeply authentic flamenco puro as it is rarely seen outside private gatherings of flamenco artists and Gypsy families in Spain.. Both venues will provide the type of intimate setting most suited to this art form where charisma and emotional expression are emphasized.

For additional information about show tickets and dance workshops, go to The Bay Area Flamenco Partnership’s website at www.laninaflamenco.com, or call (510) 421-6419.