How to dance flamenco, flamenco travel in Spain, flamenco dance students and their experiences, interviews with flamenco artists, translations of flamenco letras (songs) from Spanish to English
Viewing entries in
Stories & Interviews
In the previous interview with Mercedes Ruíz we heard about her favorite dancers of today and about how she interprets the cante. In today's interview Mercedes answers more of your questions, shares her thoughts for students of all levels, lets us in on her idea of long term plans and even shares with us what she dreams about.
Last night Mercedes danced in a way that was basically unbelievable. To be expected, as it’s her usual way. We already know that she eats, sleeps, and drinks flamenco.
But last night was even more unbelievable than normal.
So today we begin with a new round of interviews with Mercedes Ruíz. In today's interview, Mercedes talks about the longest amount of time she's gone without dancing, how she interprets a letra, and shares who some of her favorite flamenco of today dancers are.
oday in bulerías at Los Cernícalos I heard Junquerita sing this letra, along with this one, and a bunch of others. Because he sings and sings and sings and sings as people dance and dance and dance and dance. It is great.
Then Ani wanted to teach everyone some new moves. She talked about how changing your bulerías moves is kind of like changing your clothes. You might put on a different shirt one day but wear the same skirt from the previous day. Or perhaps you'll change both. It just depends.
The point is you choose.
It's the final installment of the interview series with Perico Navarro. Today he shares some advice for all students, talks about what inspires him, talks about the role of cajón in Jerez, and tells us how he feels about audiences in Jerez and beyond. You'll also see a video with Mercedes Ruíz dancing to Paco Cepero's guitar with Pedro accompanying.
¿Qué te inspira? Yo como percusionista flamenco siempre voy acompañando algún artista.
It's more from the interview with Perico Navarro. You can catch the previous segment here.
Today's interview, I have to warn you, gets a bit technical. But just keep reading, I think you'll be glad you did. Pedro talks about outside influences, playing with incredible artists - You'll see an great video of him playing with El Torta and Jesús Méndez in Jerez - and the beginning of his career with Mercedes Ruíz and Santiago Lara.
Not really. It may be called Beginning. Or Advanced.
And that name might tell me about the pace of the class. Or about the type or amount of information and material that will be given.
But what does it really mean?
Is what I view as beginning the same as what you view as beginning?
Can I expect to find people all at the same skill level because the class is called intermediate?
Does the name of the class tell me where I belong?
No and not necessarily.
I have some thoughts on figuring out which class you "belong" in and some more thoughts about what to do should you find yourself in a class that feels like the wrong level.
Perico Navarro.
I've mentioned him before.
Should you ever meet him you'll see what I mean about his eyes.
And you'll see that he's nice, so nice. I mean it, súper simpatico.
I interviewed him last fall in Jerez. That's where he's from. You can read the first segment here where he shares some thoughts on bulerías.
Today we talk about how he first became interested in the cajón, how he learned to play, and when he started getting into flamenco.
Another story from Jerez...
I told them how it terrified me. I told them I was terrorized by it. But they still wanted to go.
I took them there even before our first class with Mercedes.
I needed for them to see it. I was hoping they would want to take it too. I was worried they might think it was too much on top everything else.
Physically it is not demanding. So, that would be no issue.
But mentally, well...
They were ready for certain things.
You've heard me talk about Ani and her bulerías class and about bits of wisdom I've learned from her. I want to share another bit today.
It's one of those things she said that sent me scurrying to my notebook. I didn't think much about it when she said it. I just knew it was importante and that I wanted to write it down.
In bulerías class you learn steps.
But you don't have to do them.
You can. Or you can do your own. Or someone else’s.
So, yes, you learn steps.
But you're really there to learn concepts.
I wrote and posted this story about two years ago. I was so inspired by Akiko that I wanted to repost it today, with a few adjustments. Today when I am feeling overwhelmed and stressed out about all kinds of things.
Today when I am feeling shut down and scared to perform this weekend, as I so often get.
Today when I need grounding and inspiration.
Allow me to tell you a bit about Akiko, one of the many inspiring people I've met during my time here in Jerez.
Not too long ago Akiko began taking classes in Japan from Harumi, an incredibly graceful flamenco dancer from Osaka who básicamente seems to have mastered las bulerías de Jerez. She even co-teaches with Ana María López at la Peña los Cernícalos when she is in town.
But back to Akiko.
A video interview with Ricardo López to calm your nerves...
Not behind his back, don't worry. We do it both when he's here and when he's not. We pretend we're him, and we walk around with intense looks on our faces, vigilando.
Other times we just pretend he's there in the room with us, looking like he looks.
It's fun. You should try it.
In the video below, you can see for yourself.
I ask him about getting nervous before a workshop. Because the thought of studying with an out-of-this-world amazing dancer from Spain who is used to dancing with the best of the best can feel a little bit intimidating to some of us around here.
It was November 2012, and I was in Jerez. My exotic pets had all gone home, except for one that is. And I kept getting messages, important messages... November 7, 2012
I started getting them about a week ago, the messages. Or that's when I started hearing them.
They were sent on various occasions.
But always during class.
And they were all more or less the same.
Things changed in bulerías this week.
Dime que no estoy sola
When I have to stop what I'm doing and close my eyes. Cerrar mis ojos y pararme.
Because I hear something too beautiful not to. Not to stop. To listen, to take it in, to feel. And to let myself cry.
Close my eyes and stop
to
just
listen.
And then do it again.
Here's a video of Jesús Mendez from that show we saw the final night of the Spain Tour. Go to 10:15 to hear today's letra and to see Jesús's mother-in-law sing it. Watch her.
Watch it all. You'll see lots of good stuff. Like Perico playing cajón and palmas.
Bulerías
Popular
Que cosita más sensible
es pelear con la muerte
y alcanzarla es imposible
Another story from Jerez...
One day in bulerías class Ani asked me to tell the ladies that getting in is the hardest part.
And so I did.
I told you I'd tell you about green bananas. And so, a short story from Jerez. A story including yet another tip.
Tú vas a comer un plátano verde?
This is what Ani asked Ana.
Ani is Ana María López, the bulerías teacher.
Ana is a student from Russia.
Un plátano verde is a green banana.
That's what Ani told her.
Last Saturday was the holiday fiesta. And we did bulerías. In our way.Which reminds me....
I told you I'd be giving you more little tips from Ani's class.
Because you learn a lot of steps in in bulerías class.
You could say they are just steps.
To play with.
To practice.
To try out.
To hold on to. (If you like.)
They can even be thought of as tools for understanding how the conversation works.
En continuación... (of the bulerías series, the little goodbye to Jerez) A few words from Mercedes Ruíz on bulerías.
¿Qué es lo que te gusta de la bulería? A mí me gusta porque es un palo muy festero y que puedo improvisar mucho.
She likes that it is a festive party palo, and she can improvise a lot.
¿Por qué crees que a nosotros extranjeros nos cuesta tanto bailar por bulerías? A los extranjeros creo que les cuesta porque la bulería es mucho de escuchar el cante, y hasta que no entienden eso no se puede bailar con naturalidad.
She thinks bulerías is hard for foreigners because listening to the singing is such a big part of it. Until this is understood, one cannot dance in a natural-way.
To watch a video with some insights from Perico Navarro, her cajón player, about why it's hard for us...click here.
And, if you want to read longer and perhaps more fascinating interviews with Mercedes, click here, here, here, here, and then here.
What are your thoughts? I myself used to hate bulerías. But not anymore. Do you like this palo? Why? Do you hate it? Why? Stefani was just telling me the other day about how much she didn't like bulerías, because of the cante. But I think she really likes it. Anyway, tell me what you think by leaving a comment here.
A new series begins in January. Stay tuned for details.
..................................................
Right now the zambombas are going on in Jerez. Zambomba is the name of an instrument but also the name of a party, a Christmas party. The zambombas happen in Jerez throughout the month of December, as Christmas Eve approaches.
When you're in Jerez there are a few things that everyone seems to ask you. At least they always ask me these things. Have you been to the fería? Have you seen Semana Santa? And...Have you gone to the zambombas?
