We are on Creative Capital's radar!!!

Check it out folks...we're in... http://creative-capital.org/onourradar?id=26182 We are thrilled! More to come on the fundraising campaign for The History House. In the meantime, here is a link to Dinorah de Jesus Rodriguez's blog on mujer_cita_MIA, a new work that I had the honor of being a part of. Dinorah will be part of The History House this coming Fall. http://mujercitamia.wordpress.com/2013/04/25/still-from-mujer_cita_mia-featuring-niurca-marquez

Updates

I realize it's been a while since I last updated my blog. Trying to construct the upcoming website has taken all my time. However, I think it's important to list the latest events and highlights. The best one yet is being included in Creative Capital's "On Our Radar" http://creative-capital.org/onourradar?id=26182 This is no easy task and considering we have to do some major fundraising to get this project off the ground, this is a really great start! In March we participated in the Art Center South Florida's "winningART" Fundraiser. I was asked to choreograph a site-specific piece on a staircase. I have to say it was quite challenging. Staircase and Bata de Cola make interesting bedfellows, but the draw of the space was too much to resist. It was a total success and we had a great time being part of it. That was followed by various presentations of "De la Esencia y el Tiempo/Of Essence and Time," for which Steve Malagodi was kind enough to write a review. We had a little conversation afterwards about why we call it Nu...more on that later... Friday's concert of Nu Flamenco [hey, this isn't hip-hop, let's spell Nuevo correctly!] at the Dade County Auditorium was indeed superlative, and made so by its intelligent restraint. With compositions by Flamenco guitarist Jose Luis Rodriguez (Spain), Flamenco dance by Niurca Marquez (USA/Cuba), and singing by Susana Behar (Cuba/Venezula), it was definitely Flamenco. Of course Flamenco is a cultural form loaded, often overloaded, with Mediterranean melodrama, and melodrama is something I can always do without, particularly if it's supposed to be music. But the principals never went over the top. Behar delivered the songs, which in Spanish must have revolved around love, longing and exile, freedom and death, etcetera, without weeping all over the place. We got the poignancy without the puddles. Her voice was clear, comfortable and solid ; always in range without any sense of strain. While I am in no way qualified or even capable of saying anything about dance, Niurca Marquez gave us dance not drama. Stern-faced but not tragic, arms articulate but not flailing, the timing of her percussive footwork, particularly on the opening duet with Rodriguez, was perfect, at least to my ears. Now about the Nuevo parts. There was no attempt to force something Nu here. There was the unmistakable base of Flamenco, but the addition of violin virtuoso Federico Britos (Uraguay), percussionist Romulo Bernal (USA/Equador), bassist Renyel Rivero (USA/Cuba) and Reza Filsoofi (Iran) on setar and Middle Eastern percussion made for a music that was entirely historic and natural. Thankfully there was never any kind of forced fusion into something hip and modern. From Spain, through North Africa and the Levant, it all worked together in an integrated music that was an organic expression of the people, the centuries of people, who actually lived, worked, loved and traveled together for thousands of years. You don't create that sound out of nothing, and if you try, it's worthless. Or rather, it's the equivalent of eating a strange 99 cent industrial meat burger versus a complete culinary composition at an old café with friends. I think a lot of the success of this anti-Nu, Nuevo Flamenco has to be credited to the composition of Jose Luis Rodriguez. The massive talents of Britos and Filsoofi seemed intentionally constrained to the compositions, which allowed the deliberate structure of the music to work. If the composition itself were not so well crafted, or if the individual musicians were allowed to run free, the whole thing would have been a mess. As it was, it produced a music that was exactly what its marquis declared, the historical Essence of great and varied peoples and the rhythmic Time of their cultures, together. Which leads me to my one complaint which really isn't a complaint at all. On that stage were some amazing, masterful musicians. Rodriguez on guitar is absolutely world-class. When he plays the notes just fall out of his guitar. The most intricate runs and arpeggios seem to materialize out of sound itself, with no apparent effort on Rodriguez' part; without facial expression, without histrionics of any kind, almost without any movement on his part at all. He does not try to own the notes with gestures. Federico Britos is another master I have had the pleasure of hearing in jazz ensembles or playing Piazzolla tangos; on violin playing that music, no one is better. Those two, with Filsoofi on setar along with percussion and bass had me longing to hear them really work as a musical ensemble themselves, without having to be the platform for the songs, which was the form for the evening. Not a complaint really, but a desire. So let's find a venue for these musicians to work together steadily, where they can let this Nuevo happen; a space where something can grow naturally, without having to be forced by industry into fabricating something Nu and shiny. Miami, you are not Berlin, you are not London. Factories don't suit you. In fact, except for the water and the lack of camels, you're much more like Morocco than Munich.

I don't have an MFA ....and?

I am still grappling with my degree situation, but it has now taken on a very different light*. I have discovered much in the past few months, not the least of which are a number of things I already knew, but have now floated to the surface. In essence I'm taken aback by the fact that educational institutions seem to think that an art form like flamenco should be taught by someone with the "right" degree, independently of whether they have any idea of flamenco or not. And here I must say that being a wonderful flamenco artist does not immediately make you a good teacher, much less fit for a university setting, though there are exceptions. I am speaking merely of your mastery of the form and in-depth knowledge that would lead to making you an adequate instructor for students who have never come in contact with the form before as is the case with most University students. Putting it in perspective, Flamenco has only become a section of the National Conservatories in Spain in the past 10-15 years, there are no university studies in flamenco, other than a purely theoretical master's degree in Seville and there are no signs that there will be in the near future. They have no idea what to do with a University degree in Dance as they do not have an equivalent (as a matter of fact, they offered to validate by BA in Dance from the US with an Art History Degree). In short, the country where the art form comes from only takes into account your tacit knowledge and professional experience. Now we return to the US. The only University Dance program that offers a degree with a concentration in Flamenco is UNM in Albuquerque. And guess what, the founder and director does not hold an MFA OR a PhD, furthermore, she completed her BFA after she was already on the faculty because that university saw the importance of her "life experience" and professional achievements. Kudos to UNM. Yes, times change, but the reality remains. In all of Spain, there is ONLY 1 Flamenco artist that holds the equivalent of a BFA...yes, you read correctly ONE! He also happens to be the founder of Flamencos Empiricos, a group of contemporary flamenco artists based in Spain that are looking at Flamenco in the 21st Century and what it all means. I am the only US-based flamenco artist featured in the collective at the moment…and ironically, despite being linked with the most progressive, well-educated group of flamenco artists in Spain, in the US I am not considered qualified to teach at an institution of higher learning. I am grappling with what it means to come from a traditional art and position what I’m doing in Contemporary Flamenco within a post-modern aesthetic, but I’m obviously not qualified to teach a flamenco technique class as an adjunct. Maybe my perspectives are too broad. After all it’s evidenced by what came up a few weeks ago. One of my colleagues in the Feldenkrais Method Teacher training I am currently enrolled in asked me to work with her on the idea of being able to experience grief without it being a debilitating experience through movement. She went to see a flamenco performance of mine and was fascinated by what it was causing in her own body and asked me how it was possible to experience such powerful emotions, grief, longing, loss, and not have it be a debilitating experience. It was at that moment that it connected for me in a very real and tangible way. I had had this question from students and had found ways to explore it (through the Indian Razas, archetypes and other tacit patterns intrinsic to flamenco, not to mention drawing from my interdisciplinary studies), but this was the first time an audience member was approaching me with the same request. As many of my students tend to do, she pointed to her chest, shoulders and thorasic area. But I don’t have an MFA, so what do I know about the performing body? I’ve only lived with this art, so what do I know about research, questioning, methodology and pedagogy? Much of my work with making Flamenco accessible to a multitude of audiences revolves around the breath and functional movement, a way of making Flamenco less mysterious and bringing it back to its true nature, grounding, instinctive, connecting, expressive, flowing, continuous. Eliminating the exotic other, and instead exploring the interior landscapes of the dancer through a flamenco lens, but you’re right, what do I know about applied theory and research. The result is worlds away from what you would expect. I have had students that have been dancing for years (10 to 15) suddenly understanding some of the most basic principles of flamenco. So in the end, where is the answer? Who knows? Dance departments continue to disappear, dancers continue to fail in today’s economy, more and more voices are lost. But hey, what do I know, I don’t have 18 graduate credit hours in dance. *For those of you who have not been in the loop, I hold a BA in Dance and an MA in Latin American Studies, Cultural Studies Track. My thesis, which received an honorary distinction, was on Dance as a repository of religious cosmology, in particular it focused on the Arara in Cuba. Due to University regulations, I had to register my Thesis credits under the then Director of LACC who happened to be in the Political Science Department. In essence, my 13 research credits now appear as POS and not as Dance credits. I only have 3 of those at a graduate level. So, despite having lived in Spain as a professional working Flamenco artists, a 15 year professional career in the art form, and having taught numerous workshops around the US and Europe. I cannot teach a simple Flamenco technique class as a local college or university.

Latest Concerts: Of Essence and Time/De La Esencia y El Tiempo

It's been a whirlwind of a time since I returned from Tallahassee (and yes, all these posts are on the same day...I've had a hell of a time with technology lately). On September 1st we debuted "Of Essence and Time/De la Esencia y El Tiempo" alongside Susana Behar and a wonderful cast of musicians including Ariadna Barbe-Villa, Reza Filsoofi and Romulo Bernal. The work was commissioned by the Guava Rugelach Festival and Next @ 19th under the direction of Jenni Person. In it, we explore the common roots shared by Sephardic Music and Flamenco.

About the concert “Of Essence and Time” is a concert commissioned by Next@19th that seeks to expand a traditional aesthetic without loosing the essence and authenticity of Jewish culture present around the world, taking special interest in Sephardic manifestations. This concert utilizes common elements present in both Andalusian and Sephardic cultures, transforming and shaping them in order to create a new sound and visual universe, an integral part of the musical life of the artists that make up the ensemble. In J. L. Rodriguez’s compositions, we can appreciate the innovative and experimental character of this project, both in the use of the voices and audio archives rescued from various parts of the Mediterranean geography and Andalusia, as well as in original compositions like “Fuego y Jazmines.” The artist’s search for new compositions born of contact with other artistic voices is evidenced in the medieval poem “Katav Stav”, where original music was created for Susana Behar’s voice, therein joining flamenco and poetry aesthetics. The evening also includes several traditional Sephardic songs (La Serena, Los Bilbilikos, Adio Kerida) adapted and recreated for the style of this concert, as well as several Andalusian popular songs that are believed to have Jewish origins (Seguidillas Biblikas, Peteneras). The vision is in encompassing them all in a current musical aesthetic. This concert would not be complete without Niurca Marquez’s choreography and dance. Her visual representations are a reflection of this cultural memory as transformed through the centuries. Through the de-construction of traditional flamenco elements, they illustrate how this culture’s essence is alive and present. This aesthetic, somewhere between contemporary flamenco, traditional Sephardic music, popular Andalusian music and other Mediterranean influences, creates a new and particular sound that results in “Of Essence and Time”. Thank you to all who came out and shared such a wonderful evening with us. And now we find a way to tour this thing! Take a look and tell us what you think...http://www.youtube.com/watch?v=cY9YHst1E-4

Residency with Liz Lerman and Jawole Zollar

For those who have been keeping track, just wanted to share some pictures and thoughts with you. I was asked a few months back to work with Liz Lerman and Jawole Zollar in one of their "Must Do Now" Residencies. In this case we were in the wonderful facilities at FSU in Tallahassee. I am still surprised they were willing to face the challenges of including a flamenco dancer in the group of artists. Yes, the usual, shoes were an issue to work around, sound was unexpected and didn't always fit and the many ways in which the body is present was constantly evidenced. All in all though, it was an amazing experience. The work which looks at Poverty and its implications has given me much to think about. Primarily as it pertains to issues of gender and the allostatic load. I wonder about how we position ourselves and what that means in the larger scheme of things. On a structural level it's brought me to wonder about positioning what I do as a Contemporary Flamenco artist in a post-modern aesthetic. The process was expansive and I'm still dusting myself off. Overall just thinking still and formulating...more to come on this in the future. I'm sure the fact that Ralph Lemon was also sharing space with us has something to do with it all. For now the pictures... In them you'll see Keith Thompson, Amara Tabor-Smith, Martha Whitman, Samita Sinha, Nia Shand and the wonderful FSU grads/students who so graciously gave of their time and artistic voices. Thanks Lauren, Tabytha, Trent and Yamal! All photos were taken by Aubrie Rodriguez

From Liz Lerman's Website: I have known Jawole Willa Jo Zollar of Urban Bush Women for over 25 years. Finally we are doing a project together. Initiated by the Shalom Center to honor the friendship of Dr. Martin Luther King, Jr and Abraham Joshua Heschel, we have becme inspired by their texts to make a dance, a lecture series, and to animate with performance prayer breakfasts, teach ins, freedom schools and other organizing tactics fo the civil rights era. The project began in New Orleans last summer at Urban Bush Women's Summer Leadership Institute and picks up again in January with a week in residence at the Manhatten JCC. In April we will be at Center Stage in Baltimore. Follow the project here or at UBW website link. Here is my current favorite text from Rabbi Heschel: "It is customary to blame secular science and anti-religious philosophy for the eclipse of religion in modern society. It would be more honest to blame religion for its own defeats. Religion declined not because it was refuted, but because it became irrelevant, dull, oppressive, insipid. When faith is completely replaced by creed, worship by discipline, love by habit; when the crisis of today is ignored because of the splendor of the past; when faith becomes an heirloom rather than a living fountain; when religion speaks only in the name of authority rather than with the voice of compassion--its message becomes meaningless." ― Abraham Joshua Heschel, God in Search of Man: A Philosophy of Judaism. Jawole will also be in Miami at the end of October. For those of you who are around, check out the information through the South Campus of Miami Dade Colllege!

Residency at Inkub8, Houston and much more!

Hello all.It's been a very hectic few weeks, but we are enjoying every minute of it as much as we can.We are currently in Houston where I have been busy with another segment of my Feldenkrais Training, teaching classes and preparing for our upcoming performance. All the information is below and we are really looking forward to it! Please do call and make your reservations as it is filling fast.




The concert at the Colony Theater on April 21st was a wonderful success. Many thanks to Mary, John and Gary and all the others at Tigertail and the Colony for making this happen. Neil de la Flor (whose pictures you are seeing) was kind enough to review the show. To see what he had to say visit:

http://www.knightarts.org/community/miami/rodriguez-and-marquez-are-nu-flamenco

It was a bitter-sweet good-bye on the 29th of April as Bailes Ferrer gave it's Farewell Concert at the Rose and Alfred Miniaci Theater in Davie. After 18 long years the company has closed it's doors. In many ways the company is responsible for the fact that Jose and I are working together today, so I take a moment to say thank you to Damaris Ferrer for her years of support and most importantly friendship. I'm sure this isn't the last we'll hear of her, but for now...

I finished the residency at Inkub8 and I must say I am very proud and happy to have gotten most of what I intended done! I don't have the videos of the final showing, but here are some pictures. I would like to take this moment to pay tribute to one of the dancers who was working with us who passed away recently. Sharoni you will be missed. I only hope to capture some of your spirit in the final piece.







Here is a link to Neil's write-up on the month:
http://www.knightarts.org/community/miami/miami-made-marquez

Artist-in-Residency at Inkub8 Performance Space

It's been a while...mostly because we've been so busy.

In a nutshell:

February 11 and 12th we debuted "Resonancias" our new work about the elements of memory that linger in our work at the University Center for the Performing Arts with Susana Behar.

Februrary 20-March 11 I attended ACA's Residency with Liz Lerman. Wow is all I can say...what an incredible experience! Jose came to visit during the last few days and we got to dive into much of the touch-ups on "Resonancias" and some of the ideas for "the History House."

and as soon as I got back we jumped into editing "the History House: Huelva." Take a look:

http://www.youtube.com/watch?v=Cd-59_N6qNY

An in April...

http://www.inkub8.org/Inkub8/Residency.html

Just past the half-way point of my residency and it feels like a month already. I must say work on "the History House" is going much better than expected. Murky possibilities are now clear ideas that I can tackle and actually turn into something tangible. The labs were incredibly informative and gave me a taste of what it would be like to keep some of this work as ongoing investigations in movement here in Miami. Thank you, thank you, thank you to all of you who came and were so willing to dive right into this "deconstructed flamenco." I am amazed by the layers of information that surface and the multiple narratives that happily coexist in our city and its dancers/performers.

So far I've had visits by a few visual artists interested in getting inspired, or simply spurred by their curiosity who have generously shared space and ideas. Some of us may even experiment with some 'interference' in some of the final showings. After all, you don't know if it works unless you try it.

2nd Saturday was a great place to start putting some of the work out there. Some of it worked, some of it didn't and some will have to wait till June to be revisited. Nonetheless, I FINALLY FOUND THE FLAMENCO STANDARD I WANT TO USE! Yes, it was elusive, but finally it's here...and I'm loving every minute of tearing it apart.

Last Sunday we had a wonderful, draining and incredibly informative workshop. Thanks to three very generous actors, I was able to re-inhabit some spaces I had stepped away from since arriving in Miami. They actually put themselves at the mercy of my experiment and I must say it did not turn out half-bad. We explored sensory awareness, self-perceptions and spontaneous movement first and then moved on to tearing apart some of the text they are working on. A special thanks to Liz and the Dance Exchange for their Toolbox and thank you to Jose Manuel, Pepe and Luis who were willing to dive into their own personal narratives with such gusto. There is more to come and I will keep you all posted.

Thus far the critical inquiry has been extensive and I am looking forward to this very packed stretch. I have a feeling there are many more ideas and unexpected turns ahead.

UP NEXT:

"Deconstructing Flamenco and what it all means" facilitated by Elizabeth Doud and with a small improvisation to highlight some of the undefined spaces we're inhabiting to discover more about who we are, what are we trying to say and what does it mean in a city like Miami. TODAY, April 18 at 6pm.

I've invited a little of everything...traditional, conventional, experimental and totally unrelated. It's the only way to really get the conversation going.

also looking forward to the Critical Response Process on Monday April 23rd at 6pm, facilitated by Jenni Person (Artistic Director, Next @ 19th). Jenni has also worked with Liz and has been so kind as to dive into this undefined space to help us make a bit more sense of it. I don't want it to become about the work, I'm more interested in making the process accessible to artists in Miami who have not had a chance to experience it. I love that both audience and performers are active participants in prompting critical inquiry. It really is a great system to get your juices flowing and I'd love to have you participate.

I'd love to make this a regular happening, so don't miss out on the conversation!

Off to do some more research on cultural memory...tonight I get to watch a movie...


AND THIS SATURDAY...