Skip to content
1981
Volume 13, Issue 1
  • ISSN: 2040-5669
  • E-ISSN: 2040-5677

Abstract

This article addresses how flamenco functions as both a noun and an adjective and the interplay between the two in the choreographic process. I use practice as research along with theory and historical analysis to further explore how, as dancer, I initially found and created meaning within the (a setting where a solo dancer performs with live musicians, typically consisting of a guitarist, singer and percussionists, and relying on shared knowledge of flamenco’s structures to accompany the dance and for the dancer to interpret the music). I then go on to explain how, as choreographer, improvisation outside the setting and even outside flamenco music opened new movement possibilities and ways to inform, deepen and step back into flamenco structures in my own work. I show how I created new choreography from combining movement knowledge and vocabulary from both inside and outside of the in choreographed flamenco performances for the theatre.

Loading

Article metrics loading...

/content/journals/10.1386/chor_00039_1
2022-07-01
2024-11-01
Loading full text...

Full text loading...

References

  1. Anon. ( n.d;.), ‘ Rocío Molina. ’, Rocío Molina, http://www.rociomolina.net/. Accessed 1 June 2019.
    [Google Scholar]
  2. Anon. ( 2020;), ‘ David Wilde’s “The Cellist of Sarajevo”. ’, Your Classical, 27 May, https://www.yourclassical.org/episode/2020/05/27/david-wildes-the-cellist-of-sarajevo. Accessed 20 January 2022.
    [Google Scholar]
  3. Belmonte, Emilio. ( 2017;), ‘ Impulso. ’, KimStim, https://www.kanopy.com/product/impulso. Accessed 18 January 2022.
    [Google Scholar]
  4. Belmonte, Emilio. ( 2018;), ‘ Official trailer Impulso: By Enrique Belmonte, with Rocío Molina. ’, YouTube, 11 September, https://www.youtube.com/watch?v=gAFi0LHqEYg&t=1s. Accessed 23 March 2022.
    [Google Scholar]
  5. Blumenfeld, Alice. ( 2016a), Chrysalis, Hollins University;, Roanoke, VA:, 19 June.
    [Google Scholar]
  6. Blumenfeld, Alice. ( 2016b), (Des)Encaracolarse, ABREPASO Flamenco;, Albuquerque, NM:, 1 October.
    [Google Scholar]
  7. Blumenfeld, Alice. ( 2016c), (Des)Encaracolarse, ABREPASO Flamenco, National Hispanic Cultural Center;, Albuquerque, NM:, 1–2 October.
    [Google Scholar]
  8. Blumenfeld, Alice. ( 2016d;), ‘ Improv to “Swallow Song”: Yo-Yo Ma. ’, YouTube, 5 February, https://www.youtube.com/watch?v=ed0rxFvkz0s. Accessed 5 February 2016.
    [Google Scholar]
  9. Blumenfeld, Alice. ( 2016e;), unpublished personal journals. .
  10. Blumenfeld, Alice. ( 2017), [ ], Wyndham Robertson Library, Hollins University;, Roanoke, VA:, 2 July.
    [Google Scholar]
  11. Borges, Jorge Luis. ( 1947a;), ‘ Averroes’ Search. ’, Pierre Legrand, https://www.pierre-legrand.com/borges-averroess-search.pdf. Accessed 25 March 2022.
    [Google Scholar]
  12. Borges, Jorge Luis. ( 1947b;), ‘ La busca de Averroes. ’, Obras Completas, https://www.unil.ch/files/live/sites/angl/files/shared/pdf/Crossing_Americas/Borges_La_busca_de_Averroes.pdf. Accessed 25 March 2022.
    [Google Scholar]
  13. Bullock, Jeffrey. ( 2015;), personal conversation with A. Blumenfeld. , Hollins University;, Roanoke, VA:, 2 July.
    [Google Scholar]
  14. Cruces-Roldán, Cristina. ( 2015;), ‘ Normative aesthetics and cultural constructions in flamenco dance: Female and gitano bodies as legitimizers of tradition. ’, in K. Goldberg,, N. Bennahum, and M. Heffner Hayes. (eds), Flamenco on the Global Stage: Historical, Critical and Theoretical Perspectives (trans. K. M. Goldberg.), Jefferson, NC:: McFarland & Company;, pp. 21024.
    [Google Scholar]
  15. Epel, Naomi. ( 1998), The Observation Deck: A Toolkit for Writers, San Francisco, CA:: Chronicle Books;.
    [Google Scholar]
  16. Galván, Israel. ( 2012), Solo, Monasterio de la Cartuja;, Sevilla:, 9 September.
    [Google Scholar]
  17. Goldberg, K. Meira. ( 2015;), ‘ Jaleo de Jerez and Tumulte Noir: Primitivist Modernism and Cakewalk in Flamenco. ’, in K. Goldberg,, N. Bennahum, and M. Heffner Hayes. (eds), Flamenco on the Global Stage: Historical, Critical and Theoretical Perspectives, Jefferson, NC:: McFarland & Company;, pp. 12442.
    [Google Scholar]
  18. Goldman, Danielle. ( 2010), I Want to Be Ready: Improvised Dance as a Practice of Freedom, Ann Arbor, MI:: University of Michigan Press;.
    [Google Scholar]
  19. Hall, Cristina. ( 2011;), ‘ Blackbird. ’, YouTube, 16 March, https://www.youtube.com/watch?v=bMrxzDc05po. Accessed 23 March 2022.
    [Google Scholar]
  20. Hall, Cristina. ( 2016;), ‘ Flamenco classes at Flamenco Abierto. ’, Sevilla:, February–May.
    [Google Scholar]
  21. Hayes, Michelle Heffner. ( 2003;), ‘ The writing on the wall: Reading improvisation in flamenco and postmodern dance. ’, in A. C. Albright, and D. Gere. (eds), Taken By Surprise, Middleton, CT:: Wesleyan;, pp. 10416.
    [Google Scholar]
  22. Hayes, Michelle Heffner. ( 2009), Flamenco: Conflicting Histories of the Dance, Jefferson, NC:: McFarland;.
    [Google Scholar]
  23. Ma, Yo-Yo. ( 1999;), ‘ The Cellist of Sarajevo: A Lament in Rondo Form for Solo Cello Op.12. ’, composed by D. Wilde, Solo, CD, USA:: Sony;.
    [Google Scholar]
  24. Ma, Yo-Yo. ( 2007;), ‘ Yanzi (Swallow Song). ’, traditional composition, Appassionato (International Version), CD, USA:: Sony;.
    [Google Scholar]
  25. Marquerie, Carlos. ( n.d;.), ‘ Caída del cielo; Un espectáculo de Rocío Molina. ’, Rocío Molina, http://www.rociomolina.net/wp-content/uploads/2016/10/CAIDADELCIELO.pdf. Accessed 23 March 2022.
    [Google Scholar]
  26. Martin, Sara. ( 2014;), ‘ La Danza Estilizada ¿Qué Es? ¿De Que Estilos Se Nutre?. ’, Sara Martin Flamenco, 28 October, https://saramartinflamenco.wordpress.com/2014/10/28/la-danza-estilizada/. Accessed 18 June 2019.
    [Google Scholar]
  27. Martinez, Emma. ( 2003), Flamenco: All You Wanted to Know, Pacific:: Mel Bay;.
    [Google Scholar]
  28. McCaslin, Donny. ( 2009), Declaration, CD, USA:: Sunnyside;.
    [Google Scholar]
  29. Millard, Olivia. ( 2016;), ‘ What’s the score? Using scores in dance improvisation. ’, Ausdance: Australia’s Professional Dance Advocacy Organisation, 1 March, http://ausdance.org.au/articles/details/whats-the-score-using-scores-in-dance-improvisation. Accessed 28 June 2017.
    [Google Scholar]
  30. Molina, Rocío. ( 2010;), Dance workshop at Baryshnikov Arts Center. , New York:, 2–5 February.
    [Google Scholar]
  31. Molina, Rocío. ( 2015–19), Impulso, https://www.rociomolina.net/impulsos/. Accessed 23 March 2022.
    [Google Scholar]
  32. Morca, Teo. ( 2008), ‘ Becoming the Dance’: Flamenco Spirit, Taos:: Weisel Creative;.
    [Google Scholar]
  33. Nuñez, Faustino. ( 2011;), ‘ Seguiriyas. ’, Flamencopolis, http://www.flamencopolis.com/. Accessed 28 June 2017.
    [Google Scholar]
  34. Obregón, Pedro. ( 2017;), personal conversation with A. Blumenfeld. , WhatsApp, 15 June.
    [Google Scholar]
  35. Pericet, Olga. ( 2019;), workshop, Festival Flamenco Internacional de Alburquerque. , University of New Mexico;, Albuquerque, NM:, 15–22 June.
    [Google Scholar]
  36. Pacheco, Laura. ( 2017;), ‘ Entrevista a Israel Galván. ’, Danza, http://www.danza.es/multimedia/revista/entrevista-a-israel-galvan. Accessed 28 June 2017.
    [Google Scholar]
  37. Simone, Nina. ( 1963;), ‘ Blackbird. ’, vinyl, USA:: Colpix;.
    [Google Scholar]
  38. Soler Díaz, Ramón. ( 2014;), ‘ Antonio Mairena: Seis Modos De Elegir Las Letras De Sus Cantes. ’, La Madrugá: Revista de Investigación Sobre Flamenco, 11, pp. 63100.
    [Google Scholar]
  39. Temo, Marija. ( 2019–20;), private lessons. , Zoom, October 2019–April 2020.
    [Google Scholar]
  40. Zatania, Estela. ( 2018;), ‘ Creatividad, estructuras y el jondómetro. ’, Estela Flamenca, 3 April, https://www.expoflamenco.com/creatividad-estructuras-y-el-jondometro/. Accessed 15 August 2018.
    [Google Scholar]
  41. Blumenfeld, Alice. ( 2022;), ‘ Beyond compás: Stepping outside flamenco’s performance norms. ’, Choreographic Practices, 13:1, pp. 924, https://doi.org/10.1386/chor_00039_1
    [Google Scholar]
/content/journals/10.1386/chor_00039_1
Loading
  • Article Type: Article
Keyword(s): choreography; dance; flamenco; improvisation; music; process; Spain
This is a required field
Please enter a valid email address
Approval was a success
Invalid data
An error occurred
Approval was partially successful, following selected items could not be processed due to error