La Llave y La Clave
Arcángel

Tú eres quien tienen la llave
la llave y la clave de mis melodías

te brillan en la cara dos luceros
no dejo de mirarme en esos dos luceros
que vengan los días, si contigo vienen
se vayan los días, los días y tu te quedes

vino a mi calle el carrito de la fortuna
vino a mi puerta y se paró
100 años dure, duré 100 años mi cazador
quiero a dios, ay quiero a dios
el carrito que de la fortuna vino a mi puerta y se paró

ay el querer que yo te tengo y es firme como una roca, como una roca
y si tu me lo pidieras me quito el pan de la boca
vamos a tener contracorriente contracorriente
este río que nos lleva va desde el mar a la fuente
desde el mar hasta la fuente

You are the one who has the key
the key and the beat of my melodies

On your face shine two bright stars
I can’t stop looking in them
May the days come, if they come with you
The days go, the days, and you stay

The cart holding my fortune came down my street
It stopped at my door
It took 100 years, 100 years it took my hunter
I love God
The cart holding my fortune came down my street and stopped

The love that I have for you is hard as a rock, like a rock
I would give you the bread from my mouth if you asked
We are going to go against the current, against the current
This river that takes us goes from the sea to the spring
From the sea to the spring

Hear Arcángel singing it here.  See a snippet of him singing it live here,…whoa, in this one his voice is sooooo high!

And tomorrow night, Saturday, February 25 at 7pm Diana will be singing it at the Transformational Voice Institute.  (She will be performing many pieces, with with two guitarists, piano, flute, other singers, baile…me)  It’s going to be cool, really cool, soooo many musicians!  $5 at the door.

Yep, you know it, translating challenges me greatly.   This song especially.  I think I’ve decided it is one that definitely sounds MUCH better en español than in English.  Like the ay, quiero a Dios.  I felt like he meant to say I love you, oh God, but I don’t know!  If you come up with a different interpretation, let me know below.  I love how this process keeps me learning.

So, the second time Ricardo came, back in 2007, he taught us some tangos.  And this was one of the letras he set our dance to…

No me pegues bocaítos
Que tú me haces cardenales

Cuando yo voy a mi casa
A mí me los nota mi madre
Tradcional

 

Don’t bite me
because you give me bruises

And when I go to my house
my mom notices
Tradtional

And here is Niña Pastori singing it por bulerías, cool.

Remember, translating is not the easiest thing in the world for me to do.  Should you come up with a different interpretation, or if you simply want to share your thoughts.  Please leave a comment here.

And, the details are up.

The details on the upcoming Immersion with Ricardo.  Olé.  There are many choices, many opportunities!  (Don’t worry, there really is something offered for everyone.)

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A couple of weeks ago we had a performance.  Abby, Julie, and Kikuyo, three members of the PFE Performance Group took part and danced fabulously, absolutely fabulously.  I was so happy to be on stage with them, dancing together, supporting one another.  I loved seeing how they each embraced their performance selves because they really truly did.

As you may know, I love to interview people, so I asked these lovely dancers some questions.  And I thought you might want to hear what they said.

What has been challenging for you in preparing for this show?

J: Remembering all the cues to watch and listen for and adjusting to the little changes made at each rehearsal

K: Having confidence in myself

A: To work on a small amount of material that could seem basic but in fact is not!  It’s like they say, there are no small actors, only small parts.  It’s been both challenging and interesting to work on a few repetitive movements, figuring out how to make it engaging and dynamic.

What has been fun for you in preparing for this show?

J: Both observing and participating in the artistic process of developing a new original piece of performance art, especially when Diana and Nat have been present.  As someone who is only a wannabe artist, it has been fascinating to be a part of that process.

K: Working together to build up for the show.

A: I really enjoy being a part of the “cuadro”, participating as a dancer with the guitarist and singer.  Both are talented and working as a group for me is very enjoyable.  I felt connected as a dancer.

How does this experience differ from you previous performing experiences?

J: It is a less traditional flamenco piece, and normally I perform a whole choreography either alone or with others, but never before just a fragment of a larger piece like this one, which is made up of several distinct “vignettes”.  Also, most of the dancing that Kikuyo and Abby and I do in this piece is not accompanied by music, which is something really different for me.

K: From all the practice and rehearsals I could see how you make a show which I have never seen before.

A: It felt more real, especially since it was a work in progress.  We were showing the progress made in a short period of time, which is different than having a long time to perfect and over think a piece.  Also, I’ve not participated in a piece where the syncopation and footwork rhythms overlapped so much to provide a framework for the main dancer.  Fun!

How are you feeling about Saturday’s show?

J: Excited because every time we practice together, it’s SO MUCH FUN!  We’ve worked well together as a group.  Also a little nervous because I don’t often have the chance to perform in a more professional production like this one.

K: I have never participated in a show like this.  I feel my responsibility like I have never felt before.

A: I remember feeling excited to perform and be in the moment!  I always get to a point where I am no longer nervous, but get into the fine tuning details and have fun.

And then Julie said…

I have learned so much just from watching and listening to Laura, Diana and Nat, and from the little bits of advice and tips for improvement from Laura.  And it’s been fun spending some extra time with Abby and Kikuyo.

And Kikuyo said…

Thank you for giving me this opportunity.

And Abby said…

I want to tell you a good story about Ricardo, in honor of the fact that the schedule for the Immersion is up.  Sí, it’s up!

There are many stories running through my brain

But I don’t feel like writing any of them right now.

So, I’ll just tell you some of the things I enjoy about him being here:

• He makes us laugh.

• He makes us sweat.

• We learn a whole bunch of stuff in a short amount of time. And it’s fun and not competitive like many of the workshops at the various festivals

• He has this energy, that is infectious, that he brings with him, and it is unique to him.  Those of you who’ve taken with him, you know what I mean…

• He knows A LOT, and he holds back nothing.  Nada.

• He challenges us.  In good ways.

• Everybody feels happy when he’s here.  Everybody likes him!

• He sincerely enjoys being here with us.

And just a few additional things I like about when he comes:

• He drives my car.  He likes driving.  I do not.  It’s wonderful!

• He likes to stay up late too, so I don’t feel so weird being me.   Most of my closest friends go to bed early, or perhaps one might say on time?

• He loves to eat soup.

• He is neat and tidy.

• He goes with the flow.

• He is helpful.

Anyway, there is more to come, and further Immersion details will be announced soon.  You can tune in here, in the news, on facebook…

What are some of the things you enjoy about Ricardo being here?  Or perhaps there is something you would like to know.  All comments welcome here.

Last week you read about how his love had arranged to see someone else at la Puerta de Toledo.

And here is the next copla

II. Me decía que iba a misa, mare, y me engañaba

Y me engañaba
Me decía que iba a misa, mare
Y me engañaba

Y me engañaba
Si no llevaba rosario, ni libro
Como rezaba

En el mismo sitio
A la misma hora
Estaba rezando
Con otra persona
Tradcional

II. She told me she was going to mass, mother, and she deceived me

And she deceived me
She said she was going to mass, mother
And she deceived me

And she deceived me
If she didn’t take a rosary or bible
How did she pray

In the same place
At the same time
She was praying
With another person
Traditional

And today in classes, we’ll be dancing some sevillanas if you want to join in.  I probably don’t need to remind you that this is a recipe for fun.  On Wednesday we warmed up with sevillanas in the advanced class,

And it was absolutely beautiful seeing each dancer’s personal interpretation.

Remember, translating is not the easiest thing in the world for me to do.  Should you come up with a different interpretation, or if you simply want to share your thoughts.  (Using church as an excuse to see your amante, ay!  That’s bad.)  You can leave a comment here.

Oh, and in case you’re wondering

Por fín, I got all of Ricardo’s plane tickets taken care of last night.  (I’m not willing to say how many hours this has taken.  Just. to. get. the. plane. tickets.  And you know this has been in the works since October!  We had some issues.  Many had to do with Spain.  Needing to wait for this and needing to wait for that.  You know how that goes.)  But, it’s done!  And the Immersion Schedule will be out tomorrow.

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Ay!  Just got home from performing in Salem with Al-Andalus and realized that I had not yet published the letra.  Y hoy es viernes!!!

So below are some sevillanas.

Some sevillanas that Ricardo and I danced.

Some sevillanas that he actually doesn’t like that much…

And, speaking of Ricardo,

He’ll be here in just about a month.  Stick around as I’ll soon be announcing details of the Immersion and his Show.

For now, here you go:

A La Puerta de Toledo

I. A la Puerta de Toledo, madre, le tengo celos

Le tengo celos
A la Puerta de Toledo, madre
Le tengo celos

Le tengo celos
Porque se cita con otro
La mujer que yo más quiero

En el mismo sitio
A la misma hora
Se estaba besando
Con otra persona
Tradcional

A La Puerta de Toledo, mother, I am jealous

I am jealous
At the Puerta de Toledo, mother
I am jealous

I am jealous
Because she’s going out with another
The woman I love the most

In the same place
At the same time
She was kissing
Another person
Traditional

This is just the first copla.  Perhaps I’ll post the other three that go along with it next Friday.  Until then,  if you want more, come join us in class for sevillanas on Wednesdays, Fridays, or Sundays or listen to Chiquete singing them here.

And you’ve heard it before; translating can be a challenge; if you come up with a different interpretation, or if you simply want to share your thoughts, leave a comment.

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In the past weeks I’ve noticed something.  For those of you who’ve been reading, you know that I am trying to make this year all about noticing.

Anyway, in class I’ve seen people coming in with all kinds of expressions.

Many people wearing the kind of day, or week, they’ve had on their faces.
Class gets going, and there are concentrated looks, which is exciting.

And then, the smiles.

I’ve been seeing lots of smiles!  Especially  in Sevillanas (which in getting into partners, no matter how hard you try not to smile, it kind of becomes impossible to keep a straight face; we are doing them as part of our beginning classes right now.)  Come to think of it, this is true for Bulerías too, and Palmas, and the Performance Class… Hmm, in most (alll?) of the classes I guess.

And there’s been audible laughter.

I really love this part.  And a surprising number of “Oh, this is so much fun,” types of comments.  Sorry, I must sound overly bubbly right now, (and I’m not bubbly,) but it’s truly been exciting!

Anyway, I know this is not new, but like I said, I noticed it a lot in last month, as I’ve been more attuned to noticing.  And that has been wonderful because January was absolutely crazy (and kind of difficult) this year.

Ok, so my point is this.

Flamenco is FUN.  Students are having fun in class.  I am not just saying this because I want people to come join us, although of course I do want for that to happen.  But, honestly it’s something I’ve seen y esto, me encanta.

So, if you’re one of those people who knows what it’s like, and we haven’t seen you in awhile, we’re here whenever you’re ready to come back.  If you’re one of those people who keeps telling yourself you want to get to a flamenco class, come try it out.  If you were in classes in January smiling, muchas gracias for helping me to love my job.  And, if you aren’t really interested in taking classes, that’s absolutely fine too!  (You’re always welcome to come watch, of course.)

It is the beginning of February and we are now at the new studio!  You can check the calendar here.

I’d love to hear from you, as always.  If you were around in January, what was your experience like?  Or if you were at the new studio tonight, what did you think?  Leave a comment here.

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Today we’ll keep it short and sweet.  A little coletilla to tag onto a bulerías letra.  More bulerías classes coming up in February at the NEW studio!

Como ronea, como ronea
delante del novio pa que la vea
Traditional

How she shows off, how she shows off
in front of her boyfriend so that he sees her
Tradicional

I’m guessing we’ll hear Diana sing this tomorrow evening at the Groovin’ Greenhouse at Polaris Dance Theatre.  I hear there are still a few tickets left, but not many!

And you’ve heard it before; translating can be a challenge; if you come up with a different interpretation, let me know, please.  And I’d love to hear any thoughts at all that you have, so  leave a comment!

So, I was taking a walk today, yes, when perhaps I should have been practicing and preparing for Saturday’s show, especially as I’ve been focusing way too much all month on the idea that I haven’t had enough time to dedicate to it, what with the studio floor crisis and all of these things that kept coming up.*  Then, suddenly there is a bunch of TIME, and I choose to take a walk.  But I needed it, and as it turns out, it helped me to prepare.

Actually, most of my practicing for this show has been in my bedroom in a small, carpeted space between the bed and the chest of drawers.  Who says you need a big space to practice, who says you need a floor?  Not me, not for certain things.

So, most of my preparations have been in my head, on paper, and working things out in that little space.  And then, of course, the limited rehearsals with Nat, Diana, and the dancers have been quite productive and efficient, even weirdly so.  And, the last two nights after class Stefani then Brenna each let me show them my solo piece because I felt the need to dance it in front of people to get used to doing it for others.  Last night doing it for Brenna all I could think was, man, my tientos isn’t even 1/86^th as cool as Manolillo’s.  But why would I expect it to be?  Brenna said that was good because it was more me, and, well, that’s the point I suppose.

Ok, so back to the walk.  As I went along I thought, hmm, I should introduce my show in some way to the audience before we begin.  So I began thinking of what I might say…

Hello, thank you for coming and all of that.  I want to tell them I am thankful to the Fertile Ground Festival for allowing for and encouraging works in progress because the work they are going to see is very raw.  Crudo.  That I’m scared to present it in such a form, but I guess that is also the nature of flamenco itself, so it must make perfect sense.

But I wanted to tell them more about it. I started imagining something like this:

I have this thing in me that shows up a lot, Doubt, which I guess comes from Fear.  It keeps me from doing all kinds of things, or has me do things kind-of-sort-of rather than completely.  It bothers and annoys me, though I suppose it might have important things to tell me, perhaps it is there for a reason. I don’t usually know why or what it has to tell me, but I’d like to start paying more attention and perhaps find out.

And then, the tears began to surface.  As soon as I started thinking about this, as soon as I started thinking about all of the fear that inspired the show and that lives inside of me.  Oh, I wonder if that could be part of its reason for existing.

I thought about my family and certain people and how they might think, what do you mean fear?  You do all kinds of risky things, and then I was afraid I would disappoint them by admitting to being so afraid.  I felt sad, sad to have so much fear, STILL.  Sad to allow it to get in my way, still.  Then I started thinking about my sweet nieces and hating the idea of them growing up and doubting themselves too.  I felt sad, muy triste.

So, yeah, I started crying and wondered what I was thinking.  Could I actually introduce this show?  I’ll get too emotional.  It would be like when I sang (tried to sing) my vows at my own wedding.  You can imagine what that was like.  I don’t know; I thought I could do it. 

Anyway, let’s get back to the show.  So walking along I found that even the idea of talking to people about it scares me!  Maybe more than actually performing it?  I just continued walking and playing around with what to say. Perhaps I’ll print out this post and use bits and pieces.  Perhaps I won’t say anything at all.

So, as I was nearing home I looked up and saw a rabbit made of clouds.  Its puffy head was right in front of the sun.  Some people might call it a sign.  You see, Monday was the Chinese New Year announcing the year of the dragon.  That’s when I discovered that last year was the year of the rabbit, my year!  Twelve months had gone by without my being aware of this, and I suddenly felt like I’d missed out on something, though I had no idea what.  But then, there it was, a rabbit in the sky to comfort me.

As always, I love to hear from you.  You can leave a comment right here.

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*By the way, I mentioned the studio above -  On February 1^st we’re moving classes to a lovely new space, the Stomptown Collective, that’s next Wednesday!  The new schedule will be announced in the news tomorrow.

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So, Danica Sena introduced me to this estribillo, from the end of a farruca, which she danced beautifully.  Gracias, guapa!

Báilame Malena

Báilame Malena
tira al viento todas tus penas
rompe ya todas tus cadenas
y olvida tú sin razón
Mira que el cariño que te tengo es de niño
yo te quiero más que a nadie en este mundo 



Dance for me Malena
toss your all pain to the wind
break from all of your chains
and go crazy
Look I’ve loved you since I was a child
I love you more than anyone in this world

This will be incorporated into our Fertile Ground show next Saturday, January 28 at Polaris.

And you’ve heard it before; translating can be a challenge; if you come up with a different interpretation, leave a comment.  (Thank you, Eva, for your corrections and help!  By the way, if you haven’t read Eva’s story, you should…you’ll find it in the comments.)  Additionally, I am not sure who to attribute this too, so if you know, please let me know!