¿Que Hay?

FLAMENCO FRENZY IN TORONTO !

2012-01-17T11:16:00.005-05:00

April and May is going to be a very busy time of year for the Flamencos in Toronto.

April 19-22, Esmerelda Enrique is presenting her 30th Anniversary performance at Harbourfront. Then April 23-25 Compania Carmen Romero School of Flamenco Dance Arts will be presenting a Flamenco Workshop with Domingo Ortega and Fernando de la Rau. Just and FYI there is a strong possibility for a Cante workshop as well. AND! DOMINGO ORTEGA his sister IMMACULADA ORTEGA, DELARA TIV, FERNANDO DE LA RUA and more will be performing at the CBC Glen Gould Theatre on Thursday April 26th, 2012. Hmmmm, there's a little surprise in there too. I'll let you know soon. Wait ! There is more, ROCIO MOLINA workshop is scheduled for May 19-24 Hosted by Sonia Munoz and Mariella Hernandez .

In the past 6 years, especially the last two years there has been a great flamenco scene in Toronto. Lots of workshops, Juergas (Thanks to Dennis and cohorts) and the vibe is good. Lots of energy, creativity and evolution of a Flamenco Community. Ok, I'll stop here with that, as this is a whole other ball of wax that needs it's very OWN post. Keep it up Toronto !

So, I'm super excited about all that's going on. Of course, I have a special interest in the Domingo Workshop as I have professional working experience with him and it's been too long (almost 10 years) and I am looking forward to seeing him and his crew here in Toronto.

SO ! This April 23-25th,Domingo will be giving a flamenco dance workshop along with Fernando de la Rua who will be accompanying the classes and giving a flamenco guitar workshop.

I have made it SUPER easy to sign up: just go to Eventbrite .

Check out the following links to get to know DOMINGO ORTEGA & FERNANDO DE LA RUA.

IF YOU ARE INTERESTED IN A CANTE WORKSHOP PLEASE CONTACT ME ASAP!

If you have any questions contact me either through FB or email: carmen@carmenromero.ca or call: 416 292-5733

Looking forward to it !

Compania Carmen Romero School of Flamenco Dance Arts Winter Term Schedule

2012-01-02T19:51:00.001-05:00

Carmen Romero School of Flamenco Dance Arts FIESTA DE NAVIDAD

2011-12-12T00:27:00.002-05:00

COME ONE COME ALL.....A GREAT TIME TO BE HAD!

SUNDAY DECEMBER 18, 2011 AT MAD FOR DANCE STUDIO (263 Adelaide St. W)

from 3-6pm.

Students from the School will be performing their latest works in progress and Carmen Romero and Company will be performing as well. Look out for Pamela Briz, Luisa de Ronda, Leona Cortes and Ali.

Tickets are $10.00 in Advance and $15.00 at the door.

This year we are selling ticket OnLine. It's easy and quick. Be sure to bring you printed ticket.

Purchase Advance Tickets

Looking forward to seeing you all!

Saludos,

Carmen Romero

Flamenco The desire to explore

2011-10-17T12:24:00.001-04:00

Flamenco

The desire to explore

by Carmen Romero

Flamenco–dance, music, and song–is a living art form originating in Southern Spain. Celebrating the amalgamation of people from diverse cultures, creeds, and stages of life, flamenco is an art form that nurtures the mind, body, and soul. One needs merely the courage and the desire to explore.

As a dance artist, teacher, and former therapist, I have gained an appreciation for the many and varied benefits of the flamenco art form. Whether one chooses to dance, play guitar, or sing, flamenco demands a body trained to move, a mind trained to concentrate, and a soul trained to navigate its emotional content.

Triple Treat

Flamenco is expressed through the triple vehicles of dance, music, and song and offers physical, cognitive, and emotional benefits.

Dance A series of repetitive exercises such as footwork drills, arm elevations, and hand- and torso-twisting combine to challenge gross and fine motor skills and muscle memory.

One learns to isolate movement, strengthening each part of the body while refining proprioception, an inner sense of our bodies that informs us to know how, where, and what each part of the body is doing at all times.

Guitar While learning to play flamenco guitar involves mainly fine motor activity, it offers many of the same benefits as flamenco dance. Neuroscience research is beginning to show that the brain can continue to grow throughout life. However, it needs to be challenged to do so. Flamenco is an art form that can contribute, in a fun way, to healthy aging.

Psychologically speaking, cognition refers to the way in which we process information. In flamenco, one must be able to maintain concentration and be able to divide attention to learn and remember movement sequences and chord progressions.

Song When dancers and musicians progress to a stage where interpretation of the song is required, a whole new set of skills begins to develop and the doorto culture and tradition opens.

Songs originated from poets and dynasties within different regions of Andalusia. One must research, view performances, and listen to the music in order to learn about the culture of flamenco song, and become familiar with the differences in order to interpret them.

Once in motion, dancers always need to know where they are within the song. They must keep track of the tercios (divisible sections of the song) and listen closely to the caida del cante (fall of the song) to know when to “punctuatewith movement.”

Dancers intellectually navigate, organize, and interpret song information. They associate physiological responses that must accompany the reaction to the song. The same holds true for the flamenco guitarist. Furthermore, this needs to become an automatic response so that one’s soul comes into play and colours the physical sights and sounds with emotion.

Triple Discipline

I coach and encourage my students and fellow artists to continually work on many levels of consciousness. One part of the brain is alert to the actual physical environment (the floor, the ability to physically endure the dance, and knowing when to rest or move explosively).

Another part of the brain–memory–needs to keep track of the music, while yet another controls endurance in a way that permits dancers to sink into the body and access their emotional world.

For some, flamenco is a way of life; for others, it is a temporary escape from the norm. For all, it is an expressive art form that feeds the mind, body, and soul, and fills the world with beauty.

Serious Fun for Adults

Adults and seniors can equally experience benefits from all that flamenco has to offer:

Relieves stress, thanks to the concentration needed for repetitive movement
Improves balance–known to universally deteriorate with age
Wards off memory loss in older adults by continually challenging their brains through learning about new cultures, new dances, and new songs

Child’s Play

For children and adolescents, getting to know their bodies through dance enables them to understand and navigate the world around them:

Helps to build self-esteem
Prepares them academically, as movement has foundations in math, science, language, and social studies
Teaches them about feelings–to be able to enjoy happiness and tolerate sadness

About the Author

Carmen Romero is a performing artist and the artistic director of Compañía Carmen Romero in Toronto. She has 16 years experience as a therapist in brain injury rehabilitation.

Flamenco, Carmen Romero

2011-08-26T23:37:00.001-04:00

Here is an article that I was asked to write about the fitness values in Flamenco. My friend Nancy who works in the field of gerontology also assisted me in this article. Enjoy!

Flamenco, Carmen Romero

MERCADO FLAMENCO

2011-08-14T09:04:00.001-04:00

DISCOVER YOUR PASSION !

2011-07-31T12:59:00.001-04:00

Fiesta de Verano

2011-06-14T22:59:00.002-04:00

Saturday June 25th, 4-7pm at Mad for Dance Studio....mark it in your calendar, post it on your post it note and stick on the fridge. What ever works for you, just don't forget it!

This is our end of Term Recital. It is informal, educational, entertaining, genuine and fun. Dance, Guitar, Singing....we have it all!

Students will share with you what they have been working on. There will be special performances by Compania Carmen Romero artists, a final (for now) performance of Flamenco dancer Ryo Okada who is leaving for Boston, we'll miss him. and more.

Raffels are done and perhaps you will win a discount card or a summer scholarship to all the classes for the 2011 Summer School Program!

Tickets are on sale and limited, you know what I mean........:)

See you all soon!

Carmen Romero

The Cuadro Flamenco Takes the Stage

2011-04-27T10:10:00.001-04:00

Discount offer for Concha Jareno's Workshop!

2011-03-20T12:01:00.004-04:00

Due to the demand in taking multiple classes a 10% discount is being offered if you take for example: the Solea and Bulerias workshop plus the Bata de Cola Workshop.

Or if you take the Bulerias and the Bata Workshop.

The discount does not apply to drop in classes.

Here is the updated poster and registration form.

Check out my previous post on What Impact will Concha Jareño will have on Toronto.

What impact will Concha Jareno leave on Toronto?

2011-03-18T23:43:00.006-04:00

She is quick, compact, witty, sensuous and a ball of energy.

Madrid born

Concha Jareño is one of the most outstanding Flamenco dancers. She has participated in the most important Flamenco Festivals around the world and in the most well known tablaos in Spain. Trained in Spanish Dance, she gained the National Awards “Matilde Coral” and “Mario Maya” for Flamenco Art in Cordoba 2007. She has worked with renowned artists such as Rafael de Córdoba, Yolanda Heredia, Belén Maya, Rafaela Carrasco, and Isabel Bayón, among others. She choreographed the jazz-flamenco work “Herencia”. In March 2008 she created her first show “Algo”, which premiered in the Flamenco Festival “Flamingo”, Helsinki, Finland. She has participated in the “Bienal de Malaga”, “Flamenco viene del Sur” and “Festival de Jerez” as a guest artist for the “Flamenco XXI: Café, Copa y Puro” of the Compañía Dospormedio. She presented at Sala Triángulo, Madrid, “Algo” and “Simplemente Flamenco” that show the artist’s Flamenco skills from traditional to a more contemporary style. Since 2004 she is one of the resident teachers at the Amor de Dios academy of Flamenco in Madrid, training many professional and non-professional dancers from all over the world. She also often travels to other countries to deliver workshops. Concha Jareño won the Flamenco Choreography Prize “Certamen de Coreografía de Danza Española y Flamenco de Madrid”, and second prize “Cante Flamenco de las Minas 2008”. In 2009 presented “Algo” in one of the most prestigious Flamenco Festivals in Spain “Festival de Jerez” where she was awarded with the “Premio revelación” and received rave reviews and a fantastic response from the festival audience.

Toronto has had the opportunity to take workshop with Joaquin Grilo, Maribel Ramos, Manuel Betanzos, Oscar Nieto, I hope I didn't leave any others out. Now Concha Jareno is on her way. Each of these flamenco artists are so different. They each have their unique qualities and we have been so fortunate to have been exposed to it in the flesh. These are all high profile artists, so good at what they do that they teach with pride and a willingness to leave a positive flamenco print on the upcoming flamenco's that live outside the Mediterranean border.

If I were to describe my experience with these artists I would say that Maribel was about whip like head and body shots that played with the musical interpretation. She was Positive and encourage individuality. Joaquin Grilo is all about savouring the moment and using movement as a way to "taste" the sensibility of the moment. Nothing was left untouched. His technique was disguised in an earthy, from the gut experience of time and place. Manuel Betanzos reminded the pros "to suck it in" and work, work and never give up until the last note is dropped. It was about presenting and always being ON !

I was in a discussion with someone with regards to training. In my opinion diversity in training is necessary. You need a good and a bad experience to know the difference. Your own teacher was taught by many other teachers and if they are self taught, well then life was their teacher.

You need different explanations for the same thing. The body, mind and soul crave diversity. Any athlete knows that you must cross train to keep the body strong, the mind nimble and the senses stimulated. It is true, that sometimes, you need to shut out the multitude of stimuli and focus or refocus your work, development and reason for being involved in a form that demands your dedication and self-truth.

Concha Jareno has put in the time and she has been rewarded for her work and continues to develop it. In discussions with regards to the workshop, I asked her what she likes to teach and if she was willing to teach absolute beginners, hence the Flamenco Movement class. Her response.....I like to teach what people want to learn. I am happy to teach beginners' if this is something that inspires them to start their flamenco path. She is eager to share what she has learned in her training and but given her diverse training, study, personal interests, we are in for a real treat!

If you have never seen Concha dance check this out the following link:Video

Concha Jareno's workshop is April 8-10th, 2011.

If you would like more information or a registration form contact Carmen Romero at carmen@carmenromero.ca or call (416) 292-5733.

So glad you read this and looking forward to sharing the experience with you!

Hasta pronto,

Carmen Romero

PS: pass this on!

Oscar Nieto In Toronto

2011-02-18T21:42:00.004-05:00

7 Days to Oscar's workshop!

There are two different classes. The Cante is just singing and the Cante por baile is geared to dancers.

If you need the registration form or information please email me: carmen@carmenromero.ca or call me 416 292-5733.

This is going to be a lot of fun !

See you all soon!

Carmen

Learn to Sing and Dance Flamenco with OSCAR NIETO

2011-02-07T01:07:00.004-05:00

I am happy to announce that Registration has begun. Space is limited. First Come, First Serve! Let me know if you have any questions.

Meet OSCAR NIETO

TO REGISTER FOR THE WORKSHOP, PRINT THE FORM AND MAIL IT IN WITH A CHECK OR IF YOU NEED TO PAY IN CASH CALL CARMEN ROMERO AT 416 292-5733.

iFlamenco - Practice session / Sesión de prácticas

2011-01-23T01:38:00.000-05:00

Wow ! more apps for my phone. I'm getting ready for the Taller de Jaleo y Palmas.

Taller de Jaleo y Compas Sunday Jan, 23rd. 2-4pm.

2011-01-21T22:22:00.002-05:00

Hello,

I am so happy that a lot of people are showing interest in the workshop and have been asking for the registration form.

I am posting here the registration form. Please print it, fill it out and bring in with you with payment enclosed in an envelope with your name on it.

Please email me or Facebook me and let me know that you are coming so that I am prepared.

Hasta Pronto!!!!!!

UP-COMMING WORKSHOPS !

2011-01-10T14:47:00.005-05:00

Hello,
I had made a few errors in the first post. These are the corrections:
1. OSCAR NIETO'S DATES ARE: FRIDAY-SUNDAY FEBRUARY 25,26, AND 27, 2011. TIME AND LOCATION TO BE DETERMINED.
2. CONCHA'S NAME: CONCHA JAREÑO.

Thank you for letting me know. :)
Looking forward to seeing you all.
Saludos,
Carmen

Updated Message:

Hello everyone and Happy New Year!
As we are still getting ourselves back in the swing of things and I will let you know that if you still interested in joining either the Saturday or Tuesday Beginner Flamenco Dance Class, there is still room. The Tuesday class is pretty much at capacity, but there is still room in the Saturday class. If you would like a schedule and registration form please email: carmen@carmenromero.ca

Also, we are still trying to get the Cajon class going. In the Original Schedule we have it listed as Thursday nights, although we can run also on Monday nights. Please let me know if you are interested.

Call to musicians: we are looking for people who play instruments other than guitar and cajon and would like to learn how to use their musical skill in Flamenco. It would be for the Cuadro Flamenco Class on Tuesdays from 8:15-9:45pm. If you play piano, cello, violin, percussion, flute, sax and so on please contact me: carmen@carmenromero.ca

UP-COMMING WORKSHOPS !

SUNDAY JANUARY 23TH, 2011. PALMAS AND JALEO: . TIME: 2-4PM. LOCATION: MAD FOR DANCE STUDIO. PALO: TANGOS. LEVEL: OPEN TO ALL. COST: $30.00/Person.

Details: this will be a two hour workshop with a specific focus on how to accompany either a dancer, guitarist or singer with Palmas and Jaleo. I am teaching this workshop because the flamenco community needs people who can do this "SKILL/Art". Do you know that in Spain there are people who do this for a Living?.

Pre-Registration Required: Please email me for the form.

Deadline: January 21st, 2011.

FRIDAY-SUNDAY FEBRUARY 25-27TH, 2011. CANTE Y CANTE CON BAILE TALLER: SINGING AND SING 'N DANCE WORKSHOP WITH OSCAR NIETO ! In the cante worhshop you will learn how to create the sound, learn about the compas and more. In the cante con baile you will learn how to sing your dance. MORE INFORMATION COMING SOON.

Oscar Nieto Youtube video

FRIDAY-SUNDAY APRIL 8-10TH, 2011. FLAMENCO DANCE WITH STAR OF THE NEWLY RELEASED CARLOS SAURA FILM - Concha Jareño ! MORE INFORMATION COMING SOON.

Concha Jareño YourTube Video: Guajiras

IF YOU HAVE ANY QUESTIONS PLEASE DO CONTACT ME (416) 292-5733 or

Email: carmen@carmenromero.ca.

SALUDOS,

Carmen Romero

Jose Feliziano y Feliz Navidad

2011-01-06T16:43:00.006-05:00

Hola todos,

hope your holidays were we good.

I alot of you were asking how our performance at the Jose Feliziano concert went. I'll first tell you a little about the event.

Margaret Maye is a Mezzosoprano who produces the Cure For Epilepsy Concert. It is an opportunity for her to bring Epilepsy to the for front as well as raise funds to support activities that go towards finding a cure.

The event was held at the Queen Elizabeth Theatre in Toronto. I was asked to open the show. I performed short Alegria. Miguel de la Bastide accompanied on guitar, Gina Tantalo sang and Pamela Briz did palmas. Later I performed to Spanish Dance numbers to Margaret Mayes songs. We completely improvised it. One was La Paloma and the other was Maleguena. It went very well. Too bad there is no video of it. We were not the only opening acts, Los Mariachis also performed and then they had the opportunity to perform with Jose himself. It was awsome. As well Pavlo performed with his band and they were great and fun to watch. Pavlo knows his performance craft. It was a pleasure chatting with him backstage.

Finally the greatest pleasure and honour was to share the stage with Jose Feliziano. He was very down to earth and easy going. What a phenomenal presence. His voice is warm and earth on and off stage.

I did not take a personal picture with just as I had not with Shakira. I felt embarrassed and did want to bother them, especially when so many people were around. However, I do have some video footage from my vantage point in the wings. Enjoy! Feliz Navidad.

Enjoy,

Hasta pronto,

Carmen

2011 New Term Class and Schedule

2010-12-15T10:28:00.003-05:00

DISCOVER YOUR PASSION !

2010-09-09T10:33:00.005-04:00

SHAKIRA. Ask the Universe and you shall...

2010-09-05T00:22:00.000-04:00

Life is busy, as a self employed Artist and Single Parent even more so. I some times manage to flip through and read a few pages of "Simple Abundance" a way of forcing myself to take Note-Inventory, Reality Check and so on. I actually need to force myself to slow down just to take note of all I have done in a day, a month, the past year and sometimes I go as far as a lifetime. I had an unbelievable opportunity and experience this past week that made me take note of what I have done in my lifetime. The birth of my daughter doesn't count in this as her presence in my life will always at the forefront of my concience and will always be monumental to me. The experience that I am talking about is, that I had the honour to work one-on-one with the Latin Pop Star "Shakira". I was brought in to further assist Shakira with her Flamenco movement for a piece that is in her upcoming international tour that opens in Montreal September 15th. The choreography was already set I just came in to help her clean it up and perfect her movement. Before I tell you the amusing story of how it went down, I will first talk about the saying.... ask the universe for what you want and you shall receive it. Scary...given some situations I have been through in the past few years, yet unbelievable too.

I seldom watch TV and I'm not up to scratch on a lot of pop culture, but I remember watching Shakira perform Hips don't Lie, (how ironic I have a video flick called Feet don't lie (2002) and thinking to myself, "Wow she's Hot...good for her she actually managed to commercially cross over a traditional art-form into Pop Culture...wonder how she did it?." That's all and I went on with my day. Fast forward a few months to August 28th, 2010.

I am driving towards the Toronto Beaches with my daughter and her best friend Chanelle and her Mom. The girls are singing in the back seat and my cell phone rings, just as I answer the battery fails on my ear piece and I hand hold the phone as I simultaneously navigate through down town Toronto keeping and eye on police so I don't get nailed for driving and holding my phone (which is illegal in Toronto). While I'm driving and looking for a place to stop and chat this woman on the phone asked if I was Carmen Romero and if I was a flamenco dancer etc...she then wanted to see footage of my dancing I directed her to YouTube. Then she says to me " can you come on Sunday (next day) to work with Shakira on her movement at her hotel?....I said "No, because I thought it was bogus and there is now way I'm just going to show up at the Four Seasons unescorted to work with "Shakira" I told her I would think about it and had to make arrangements first for my daughter. When Shakira's Management company Live Nation (One of the largest Artist Management and Booking companies) contacted me to work out the details I new it was the real deal. I worked one on one with Shakira on Sunday and then was asked to return this past Thursday during their stage rehearsals where they work out the technical elements of the show. I have worked in the past with high profile people, but I have to say this one was quite the experience. While I can't say I know the secret to Shakira's success I can tell you this. She is HARD WORKING, she knows what she wants, she is focused. From the moment she entered the building to over twelve hours later she did not take a break and even in the the eleventh hour when Shakira and everyone else was starting to show signs of fatigue, she still used her Please and Thank You's. She was warm and down to earth and so too where her staff. Maite her choreographer (the person who called me) was extremely open to the suggestions I offered on various parts of the choreography. What a treat for me to be able to talk shop at such a high level. The drummer, Brandon was also open to suggestion as we talked about the aspect of musical and visual communication in flamenco so that he could accompany Shakira on Cajon. To the guitarists who had to accompany Shakira with Palmas, I gave them a crash course on how to create the sharp sound of the "Clara" and the subtle sound of the "Sorda" and to use the tension in the hands a like a string instrument to change the sound of the Palmas. They were amused. The other interesting feature in Shakira's personnel is that everyone came from different parts of the world yet they were all hand picked by Shakira because she knows what they are capable of and she knows they will support her a 100% and they do.

To top off the experience was when we were running the piece and I was on stage with Shakira and her musicians. I had suggested Jaleo during her piece Gypsy, so while she sang I did Palmas and Jaleo for Shakira. What a thrill it was for me to rhythmically shout her name in Compas and see her light up and respond as a flamenco artist would to the heartfelt cry of encouragement. Wow, what a ride!

I arrived at 2am in Toronto after rehearsals I didn't fall asleep until 3ish am and had to be up early to get ready for the Company's Annual performance at the CNE. I thought I was going to be a wreck, instead I was inspired and energized and appreciative for what I had experienced and achieved. Most importantly I have first hand experience of what happens when you ask the Universe.

Thank you Maite for the opportunity. Thank you Shakira for the experience. Thank YOU for being apart of the Universe. I leave you all a video of Gypsy.

Saludos,

Carmen

Your heart is you personal RHYTHM machine.

2010-08-18T23:27:00.004-04:00

I few weeks ago I was at the Toronto Zoo, I love it there, because not only do you get to see animals that you wouldn't normally unless you have the opportunity to go on Safari's, the Toronto Metro Zoo is creative in how it educates the public on Wild life and Global/Enviornmental Issues. I decided to go check out one of their shows the DRUM CAFE, I was REALLY excited when in the outdoor theatre I saw at least 40 Djembes set up for the audience to play.

I wish I knew the drum leader's name, he was Brilliant. He knows is craft and his performance craft well and was able to encourage the shy drummer. He managed to lead the audience through a fun drumming session that was not as straight forward as one might think. The rhythmical phrasings were rather complex. He managed to do this because his first task was to create community amongst all these strangers, as percussion is a tribal act. Here is what he said that I thought demonstrated to me his understanding for rhythm and his Love for it. He asked us to tap our chest once....there was a resounding "thump !" He asked us to do it again but this time "thump thump ! " and then he said it is the rhythm of your heart and WE have rhythm. DONE ! Everyone was sold on the idea that they could do this.

The past two weeks I have been running a FLAMENCO RHYTHM WORKSHOP. This workshop had two parts to it, you take one hour of dance and one hour of cajon taught by Paul Ormandy. The combined effect was to develop rhythm using different skills. In the cajon workshop, new neural pathways were being generated as students had to learn how to coordinated their hand movement patterns on the cajon and tap their foot at the same time. They also learned how to read percussion notes and read them while they played until they didn't need the notes anymore. In the dance class, we experimented with musical patterns of 6's, 3's and 2's. We created short routines and then learn to manipulate them in different time signatures. Students learned the difference and impact of using a 2 beat phrase in 3 beat phrase and vice versa. Furthermore the ultimate understanding comes in the knowledge that when dancing in flamenco you need to be able to multitask and divide your attention and be able to do this while navigating the emotional terrain.

My observation on day 1:students are struggling with rhythm phrasing....having difficulty hearing it.

Day 4: Students "get it and enjoy it". They are understanding how to weave the rhythmical poly-rythms, using the idea of their heart beat. In my words, I explained, it is you personal rhythm machine. It goes where you go.

By the way....yes, we will do this again;)

Saludos,

Carmen

Culture Days | Celebration Schedule | Introductory Flamenco Workshops

2010-08-05T12:51:00.001-04:00

Hello,

here is your official invite to an OPEN HOUSE event that we are hosting. MARK IT ON YOUR CALENDAR....SATURDAY SEPTEMBER 25, 2010. TIME: 4-6:30PM AT MAD FOR DANCE STUDIO 263 ADELAIDE ST. WEST. Bring your friends, family and most importantly yourself. Make sure you are all ready to give it a Go! No worries....you can just watch too!

Culture Days | Celebration Schedule | Introductory Flamenco Workshops

FLAMENCO RHYTHM WORKSHOP

2010-07-27T16:56:00.001-04:00

FLAMENCO RHYTHM WORKSHOP: Schedule for: August 9^th-20^th, 2010. This is a Dance and Cajon class. So for each level you would be taking two hours of class for three nights in two weeks. In this class we will work in an 8 and 12 beat compas in a type of drill class. You will learn the different divisions of rhythm and how they are combined to create rhythmical phrasing. This is a SUPER important skill/understanding to have. The Dance class will be taught by myself, Carmen Romero and the Cajon class will be taught by Paul Ormandy. The Fees for both Workshops are the usual fees as listed on our website on the school page. www.carmenromero.ca

Monday	Tuesday	Thursday
6: 15-7:15-Elementary Flamenco Dance	6: 15-7:15-Elementary Flamenco Dance	6: 15-7:15-Elementary Flamenco Dance
7:15-8:15 Introductory Flamenco Dance	7:15-8:15 Introductory Flamenco Dance	7:15-8:15 Introductory Flamenco Dance
7:15-8:15pm Cajon	7:15-8:15pm Cajon	7:15-8:15pm Cajon
8:15-9:15pm Intermediate Flamenco Dance	8:15-9:15pm Intermediate Flamenco Dance	8:15-9:15pm Intermediate Flamenco Dance

EMAIL CARMEN:carmen@carmenromero.ca to receive the registration form or more information.

See you there,

Carmen

FLAMENCO FOR KIDS

2010-06-23T23:19:00.003-04:00

Long before I became a MOM, I have always enjoyed interacting with Kids. It gives me a good excuse to be a bit goofey and play. It is in play that creativity takes hold, given a chance, kids can open up a whole new world that is very interesting and long lost to adults. I have been dancing for over 30 years, and while I believe one must continually train to keep up with the evolution of the art form, one must be even more careful not learn so as to replicate someone's style and lose self-identity and personal creativity. I enjoy teaching the young as Flamenco offers many new exciting stimuli for the senses. I love it when you ask I child what "Fuera" hands look like and they say....Butterflies or swirling clouds. I am their Muse and Flamenco is my Craft. On Saturday July 3rd, Carmen teaches kids Flamenco class at 2pm. Bring the kids and join in if you like. It's going to fun!

If it aint broke don't fix it

2010-06-23T23:16:00.002-04:00

ok....so I was going to just post something and instead I changed the lay out of my blog. I'm not crazy about it, and I don't know how to change it back and neither do I have the time to research message boards or help. If it aint broke don't fix it.

It all comes together.

2010-06-08T23:46:00.009-04:00

If you have been taking flamenco for just a short while or a long while and wonder what happens from here or what do I do with this dance, the answer is that the Cuadro Flamenco class is where it all comes together. The singers have either participated in the Introductory Singing classes then went into Cante por Cuadro and then further to actually sing in the Cuadro Flamenco performances. The guitarists all started out as students of Miguel de la Bastide and then augmented their training by playing for classes and then brought their skills and knowledge to the Cuadro Flamenco class where they now get to develop their creative ideas. The Dancers all started off one day long ago, learning "planta - Tacón", then moved through the different levels of classes as well as the Flamenco Theory class where they learned more about the language of flamenco and then were taught how to use it. They further pursued training with international artists, through workshops. The Dancers use the Cuadro Flamenco class as a means to learn how to create the "Vision" of their dance. Guitarist, Singer and Dancer they all come together to create a piece and a performance.

As Artistic Director of the School of Flamenco Dance Arts, I am happy with how the school is evolving. For years I have been developing my own personal pedagogy on teaching the art of Flamenco. With the assistance of my colleagues we have now contributed significantly to the Flamenco tapestry using our own natural and local resources. We now have singers working in the community and dancers and guitarists working with the singers in creation and performance. There is still more to come as Compañía Carmen Romero School of Flamenco Dance Arts is ever evolving. Check out our Summer and Fall Class Schedule there is lots coming up. It's all really good and there is something for everyone. The Website will be updated some time this week if you would like the schedule immediately, just email me.

Take as many classes as you can. Pick and choose the classes that complement each other. If you don't know which ones just ask.

It all comes together.

SOL Y SOMBRA -Three New Artists on Deck.

2010-06-02T21:36:00.003-04:00

On Saturday May 29th, 2010 the Cuadro flamenco Class once again took to the Bread and Circus stage a trendy cabaret performance space in the heart of Kensington Market (Toronto) and hit the boards with true sincerity.
The new artists on deck were Meital La Blanca/ cante, Sonya Grundy/cante and Lia Granger/baile, all three added a new sense of danger. For Meital la Blanca this was her first public singing performance, otherwise she is well known in the private and familial settings. I was delighted when her energetic father approached me and congratulated me on my work with Meital. He was surprised and proud of is daughter and I too was proud of Meital as when she came into the Cuadro she was soooo quite you had to almost tilt your ear towards her to hear her. Almost three months later and after numerous "who can yell "Stop" the loudest (Vanessa won:)) there on Stage sang a loud and confident young woman.
Lia Granger hails from Vancouver. A dancer that has obviously come across some awsome training to complement her natural sense of movement and sentiment for flamenco. I love to watch Lia dance. She is quick, accurate, smooth and sensual. I am 5"4' Lia is "not". For a tall dancer, Lia belongs to the few tall dancers that I have seen that can defy physics and spin as quick as any "spit-fire"and move low across a floor with fluidity. Watching her rehearse in the cuadro she managed to convince Sonya Grundy to throw caution to the wind in their cante jondo.
Flamenco is a complicated Art Form. I believe the most difficult to study for a non-Spaniard is the Cante/singing. Sonya Grundy is a professional singer. She knows her instrument very well and from time to time has offered excellent suggestions to others on how to produce sound using breath etc. Sonya took on a very difficult Palo and that was the Sigueriya. She listened carefully to the melismas work diligently on her diction. When Sonya took to the stage to sing for Lia, She demonstrated very clearly that it takes courage to do this and passion to emote. I felt the smile on my face the entire time she sang the tragic song because she sang it and made it through each transition and nailed the "Macho". Bravo.
Before closing this post I must comment on: Hugh Smiley, who delivered a soulful Solear, Donna Sneddon; your Alegrias made me believe that you live in Cadiz, "Iri" your Alegrias was beautiful, you dance with your whole body, it's all ON. Christina, the choreography for your Tientos was well thought out and put together. You managed to prevent a flamenco "train wreck" . Toivo, you are solid on guitar and keep them all in line. Ben can not only play a wicked Bulerias,but also point in compas.
Once again I am flattered and honoured to work with you all. Thank you for bringing your artistry to class. And Thank You-for coming to the show.
If you are interested in participating in the Cuadro class, don't hesitate to contact me. Presently I am looking for "other" musicians meaning, Wind, Violin, Chelo, Bass.
See you all soon.
Photo Credit: Vanessa Guillen (photographer)
1st photo: Benjamine Barrile and Sonya Grundy
2nd photo: Carmen Romero, Lia Granger, Iryna Gorden, Christine Pavan, Meital La Blanca.

"both dance and architecture are performances"

2010-02-17T23:43:00.006-05:00

Dancers: Iryna Gordon, Luisa de Ronda, Christine Pavan.

About three years or so ago Cristina Zanchetta, gave me a printed copy of something she found online comparing dance and architecture. Unfortunatly, the author is unknown; if anyone recognizes it, let me know and I would be happy to give credit.

Lately I have been working more on the concept of "line" as it applies to dance. Line refers to the shapes that we create with our bodies and the effect it has on the dancer and audience. During rehearsals for the Cuadro class up coming performance Fire and Frost: Flamenco in February, I have been taking pictures of the group, specifically the dancers and noticing the lines they create and how each of them are so different even though they employ the same technique. I will share this piece of writing that I received from Christina and I am posting a few pictures from rehearsals. Take a look and see what you think. Does it mean anything? Is line somehow apart of how you perceive your daily experiences?

It can be argued that dance, more than any other art form, more closely resembles the fundamental characteristics of architecture.
As in architecture, it:
1. Traces space, time, and movement, relies on light, content, context, structure and timing for order.
2. Is constructed of the human figure and occupied by the human spirit.
3. Involves a relentless struggle with the natural forces of gravity and the individual limitations of human physicality.
4. Employs the illusionary effects of procession, perspective, pint-of-view, color and light.
5. Demand precise technique and craft.
6. Requires knowledge of it traditions, history and theory for substance and orientation.
7. Stimulates an awareness of the reciprocal line between the body and mind.
More importantly, like architecture, dance as movement is a central feature of human existence, a medium through which inner attitudes are displaced, learning is achieved and by which experience is enlarged.
Both dance and architecture are performances.

So what do you think? Let me know.

Saludos,
Carmen

Fire and Frost: Flamenco in February

2010-02-10T10:33:00.005-05:00

Cante, Baile, Toque the three cornerstones of the Flamenco Cuadro.
Cante por Cuadro and Cuadro are two unique classes that are offered at the Compania Carmen Romero (CCR) School of Flamenco Dance Arts. These two classes consist of guitarists, singers and dancers as well as "other" musicians such as percussion, violin and who knows what next. These students are in the advance stage of their domain and come to further their understanding of flamenco. In the cante por cuadro, the singers work on their pieces that are being used in the cuadro class. It gives me an opportunity to work on their singing, looking at issues of tonality, structure, compas and delivery. In the Cuadro class each of the participants come in with their individual projects and then we discuss how we are going to integrate the individual projects. In the present cuadro group, Christina had a Solear that she learned in Spain, Claudia wanted to learn to sing a Solear, so between Christine and Claudia they selected the letras for the Solear and the Bulerias, then Ben came up with the guitar arrangements. This is how it works. My role is to guide them in all aspects of their projects. I help them problem solve sections that don't work, pay close attention to technical issues such as compas and pitch etc. My main objective in this class is to go beyond learning the steps, chords or letras and think about what it all means as they work together.
After running this class now for over three years, I have decided to produce a show for these artists to give further performance opportunity and life to the work they create. They have created the Title and poster of the show and they are almost ready to go! They work hard and they are passionate in what they do. It it a pleasure for me to work with them all! Don't miss it! Come out and see the Cuadro Class perform in:

Fire and Frost: Flamenco in February
Date:Saturday February 27th, 2010.
Time: 8pm (1hour show)
Place: Bread and Circus (in Kensington Market)
Tickets: ON LINE ONLY www.breadandcircus.ca (look at show tickets page)
Cost: $10.00 in advance $15.00 at the Door

Revisiting an old conversation "Charla"

2010-01-03T23:07:00.004-05:00

Charla is the name of a work that Bharatanatyam dance artist Lata Pada and myself originally created in 1996. Charla is the spanish word for "chat". I originally contacted Lata as a result of being absolutely spell bound by a piece of music I heard by Amalgama. I couldn't believe how beautiful, dynamic and intricate the Indian chant was and how it effortlessly flowed in and out of the flamenco vocals. After a brief chat on the phone we got together and shortly began to work on the piece.
I had never collaborated with another artist of a different dance genre before and the learning curve was quick and exciting. We created the dance first and then the music, another first for me as I am inspired by music. However, the way in which Lata and I worked was very musical. The common elements of musical phrasing in the movement was obvious and the sound from our feet only enhanced the visual. Our dance was our means of communication and so to entitle the work "Charla" seemed fitting. But, there is more to this "chat". Lata and I had never known of each other before that fateful call of mine in 1996, however, we not only developed a dance yet also an endearing friendship. We were in the earlier stages of our careers, Lata was more established than myself. She told me about her personal tragedy having lost her Husband and two daughters in Canada's worst terrorist attack. I'll never forget the word that came to mind as I looked at her when she told me about the tragedy, the word was Courage. I told her about my life and we learned a lot about each other as dancers and as two women. Charla was completed and presented at the Kalanidi festival in Toronto. It was very well received, however, shortly after Lata and I became very busy with our own ventures, but always kept in touch through out the years. Thirteen years later, now in the year 2009 Lata calls ME and proposes to rework "Charla" for a high profile event in Toronto, but this time using dancers from each of our companies and so we revisit and old conversation. So much has happened in Lata's and my life. Lata became a conferred member into the Order of Canada for her work in the South Asian cultural sector and I had developed my company to tour in parts of Europe, Asia and North America and the most profound development in my life was the birth of my daughter and becoming a mother. Lata and I had more to "Chat" about as our lives and work had evolved and in three long rehearsals on the May 24 long weekend we shared our conversation with the dancers and new life was infused into the work. For Lata and I the ideas came easy as we had so much experience to draw from. The dancers were quick in picking it up, having to work in time signatures that were unnatural for each of the groups. For the flamenco dancers we had to assimilate an alternating 5 and 7 beat cycle like a 12 beat compass por Bulerias and then switching back to an 8 beat compass. Meanwhile the Indian dancers organized movement and rhythm in their own system for time and space. The two different styles of movement is a visual feast for anyone who loves architecture as I find the Bharatanatyam form very geometrical yet dynamic. Bharatanatyam dancers change levels constantly. Flamenco dancers in comparison are more fluid and articulate smaller body parts. The two forms together counter-balance each other. During these intense rehearsals the new generation dancers had their own conversations and got to know about each other and learned more about themselves. The original chat has now evolved into a dialogue among six women and their life experience.

On Saturday January 23 at the Fleck Theatre Harbourfront Centre in Toronto Sampraday Dance Creations and Compania Carmen Romero will present "Charla" during the DanceOntario Dance Weekend. Our performance is at 5:30 pm. I hope you come out and see it as it is a stunning work, quick, colorful, insightful and powerful.

Just enjoy!

2009-08-27T12:46:00.005-04:00

Sunday August 30th, 2009 from 2-5pm we are having a closed Juerga. What does this mean? Usually we invite friends and family to attend so that we could share what we have worked on in the past term. This time however, I have decided to close it to the public at large, so that we can get to know who else is in the school and have an opportunity to just do what we do without worrying about performing. So we bring some snacks/tapas and perhaps a refreshment to share. We will spend the afternoon, singing, dancing, playing guitar and percussion. Perhaps a chat on the side with our fellow flamencos and find others who share the same interest and passion for this wonderful art form.

I look forward to seeing you all there. Don't be shy, no pressure, just enjoy!

This Thursday July 30th, 2009

2009-07-29T11:10:00.002-04:00

Hello everyone,

just want to remind you all about what is happening this Thursday July 30th, 2009.

Lula Lounge: I will be performing with Santarias. I will do the first set only. It starts at 9pm.

If you are coming you should be there between 8 and 8:30 to get in and get a seat.

As a result I will not be teaching this Thursday.

Workshop on Thursday July 30th, 2009. Adrian Galia will be presenting a 2 hour workshop at the Esmerelda Enrique Studio, from 5:30-7:30 pm. It should be good, I advise you to give it a go. Here is the info.

Clase magistral ADRIAN GALIA ONE-DAY WORKSHOP in TORONTO

WHEN: Thursday July 30, 2009

TIME: 5:30 to 7:30 PM

LOCATION: Academy of Spanish Dance

401 Richmond St, West, Suite B104

Toronto Ontario M5V 3A8

FEE: $130

LEVEL: High-beginner to advanced dancers.

CONTENT: Pilates technique indicated for Spanish Classical Dance & Flamenco. (30 min.)

Flamenco dance technique (footwork, arms and turns). (45 min.)

Choreography on Solea por Bulerias. (45 min.)

REGISTRATION: You can register online at www.flamencodancelondon.com indicating from which school you are coming from (if applicable).

You can register in person at any of the participating schools of flamenco in Toronto:

* Academy of Spanish Dance. Contact Esmeralda Enrique at T. 416 595-5753

* Carmen Romero School of Flamenco Dance Arts. Please register through Cinta or Esmerelda Enrique.

For additional info call us at any of the above numbers in Toronto or 519-673 5671 in London, Ontario. Or email us at FDSL@flamencodancelondon.com.

You can register either at the studio or visite londonflamenco

Finally, I remind you that I will be away from August 2-9th as I am teaching a workshop in Victoria B.C. therefore none of my classes will be running during this time. Pamela Briz's combinations class will be running during this time.

Take care and see you all soon.

Saludos,

Carmen Romero

Flamenco Theory Class-Foundations to understanding

2009-06-30T22:35:00.003-04:00

Twirling skirts. Pounding feet. Fluttering hands.

It all looks so good.

Actually, Carmen makes it look so good. She creates the choreography and teaches us the steps and we practise it, week after week, until we're ready to perform at least a section of the dance. And we do, and the audience members clap.

And there's certainly a rush to doing that (and even genuine emotion and passion). But I don't feel like I really know the dance and how it fits together with what the guitarist is doing, and what the singer is doing, or the people clapping or playing the cajon (box drum).

So I started taking Carmen's theory class. And I froze.

I can't remember if it was a Bulerias, or a Tangos. It doesn't really matter. Because I simply couldn't dance a step.

Though it has been evolving into a stage-art form, traditionally, flamenco was communal and improvised. So, maybe at a wedding, or in a cave in Granada, someone would start singing, people would clap along, the guitarist would strum, and someone would get up and dance. And they would all mesh together, even if they never saw each other before in their lives.

That's what I wanted to learn.

But what my body can do, and what my ears can do are two very different things. Because being able to improvise with the guitarist or singer or other musicians has more to do with the ear than the feet.

Slowly, I'm learning to hear the "fall of the song" (when the singer's voice descends to end a phrase) and hear it as the opening for me to make a punctuation with my feet. Slowly, I'm learning how to mark a few steps without looking like a deer caught in the headlights while waiting for the guitarist to finish a phrase. Slowly, I'm learning how to look at the beautiful moves Carmen and other teachers have taught me as making sense in the language of flamenco.

Carmen and more advanced students talk about the need to let go of your instinct of control, in order to feel the spaces where you can dance, rather than thinking too hard: "I should be doing this here."

But I don't even feel I'm there yet. I feel like a small child who is learning about letters and knows that has something to do with books, but is far from reading yet.

While Carmen's theory class is on hiatus for the summer, I would strongly encourage any flamenco singing, dance, guitar or cajon student to try this class, because it lays the foundation for really understanding what you're doing.

Written by Christina Varga (photo: Christina)

PERSONAL BEST

2009-05-24T23:55:00.001-04:00

At CCR School of Flamenco Dance Arts we are in the process of getting ready for our "Juerga". These Juergas occur at the end of each Term and are informal performances where students have the option to perform or not. Friends, family and the public at large are invited to attend. We all bring in some kind of “Tapas” to share and have a very pleasant time. The audience Love these Juergas. They enjoy the natural and relaxed environment. They really enjoying seeing the students as who they are.

In the last month before the Juerga, I begin to prepare the students to present. My focus is not on how the performance appears so much in making sure the students are able to communicate in the flamenco language. This takes time, dedication and perseverance, but most of all the courage to try and the time and effort to invest in themselves.

In class I train dancers, musicians and singers to be able to employ the language of flamenco. For example: I explain the structure of the palo, what the various structures are and how they change the song/dance/rhythm. Simultaneously I work on the emotional content, as this is what ultimately navigates a flamenco performance at any level of proficiency. Be it singer, dancer, guitarist, percussionist or other musician, they need to be able to work in a live “reality” situation. They need to get out of their head and into their body and trust the instinct that has been developed through, class and practice. With out the production values, sound, lights and fancy costumes they are required to be who they are and do the best they can…and they do!

I am always flattered when I see students coming in on their own time either alone or with other classmates to practice, or to receive emails with questions about the material in class or concerns. I like to hear from my students as I learn from them as much as they learn from me. It demonstrates that they think and care about what they are learning and what they are doing and not me, pushing them to work.

Not all the students perform at the “Juerga”, because not everyone who takes flamenco has a desire to perform, but these people are also very conscientious about what they are learning. They do flamenco for themselves and I am also very pleased, as they have no public responsibility to consider yet they take flamenco as seriously as those who do perform.

I believe that whether you choose to learn flamenco for recreation or profession you might as well do it to the best of your abilities. As a teacher I walk into class with an objective in mind. I sense the mood of the class and work though the student’s physical or emotional hurdles to achieve the objective in 60 or 90 minutes each week. I take personal interest into each student’s abilities and interests and with care guide them to meet that class’s objective.

So whether you choose to examine the path of personal or public best you might as well do it well. Otherwise why would you get involved in an art form that is so demanding, physically, cognitively and emotionally. Besides which, your spending your hard earned money on either local classes, trips to Spain, shoes, castanets, guitars etc. It is an investment and it’s a good one. It’s an investment towards your personal best.

Welcome!

2009-05-20T10:41:00.001-04:00

Hello and welcome to my blog!

Over the past few months The School of Flamenco Dance Arts has gone through some changes not only in venue but also curriculum. We have added dance technique classes, flamenco singing classes and the "Cuadro class". With so many changes in so little time the need for instant communication has inspired me to start a Blog.

I am excited to share up to date information to the students who are presently enrolled and Welcome new students to check out what's going on.

I look forward to keeping in touch.

Saludos,

Carmen