bandicoots, spiders and Vicente Escudero

a newsletter for students of flamenco dance

Flamenco Wayfarer

bandicoots, spiders and Vicente Escudero

I’m house sitting for my aunt this week in the beautiful country town of Margaret River, most famous for its wine, stunning coastline, and tall forests.

While I’m here, I’m tasked with watering the plants and putting out some food (oats) for the bandicoots that have taken up residence in her garden (both front and back) every evening.

It’s been years since I’ve lived in a house, let alone a house with a pretty garden to look after, so having these tasks as daily activities has been very calming for my battered nerves.

On the other hand, I’ve been reminded of my childhood growing up in the country after an encounter with a spider on the toilet seat - always check before you sit!

A theme has emerged this week in the sessions I’ve had with my private students: focusing our attention on one movement, one marcaje.

It seems crazy to think that a whole hour can be spent on just one movement, but with such deep focus, the time flies by.

We take the movement apart and then put it back together with new understanding and, most importantly, with new awareness.

Practising for hours is beneficial, but true improvement hinges on active engagement and attentive participation. Mere repetition isn’t enough; it's the conscious attention to each detail that brings about meaningful change.

As we delve into the intricacies of a movement, we uncover subtleties that may go unnoticed during routine practice. The nuanced gestures of hands, the precise placement of feet, and the subtle shifts in weight become focal points of exploration.

Once these skills are mastered within the context of a single movement, it becomes much easier to transfer them to other steps in your repertoire.

The maxim ‘less is more’ is one that always makes itself known, both in the studio and in life.

Huellas Flamencas

In this section of our newsletter we'll be taking a journey through the history of flamenco, exploring the lives and legacies of the artists who have shaped this wonderful artform.

VICENTE ESCUDERO

Vicente Escudero, is a name that you may recognise as one of the historic figures of flamenco dance. However, his career and style were far from ordinary. Born in Valladolid, Spain in the late 1800s, the exact year of his birth is still a matter of debate. Escudero began his dancing journey in the streets of his home town, drawing inspiration from the sounds of his environment. Interestingly, as a young dancer, he had limited knowledge of flamenco rhythms since he was self taught which posed a challenge when collaborating with other artists.

Seeking to expand his horizons, he travelled to Granada to study with the gypsies of Sacromonte. However, his true transformation as a flamenco dancer began when he met Antonio del Bilbao in northern Spain.

After years of touring Spain, Escudero left the country for Portugal to avoid military service. Eventually, he made his way to Paris, where he won an international dance competition in 1920 at the Théâtre de la Comédie. This triumph allowed him to stay in Paris, where he established a dance academy. It was during this time that he met La Argentina, marking the beginning of his career as an international figure of Spanish dance. One of the highlights of his Parisian career was being commissioned by Manuel de Falla, along with "La Argentina," to stage ‘El amor brujo,’ which proved to be an extraordinary success.

Immersing himself in the avant-garde scene in Paris, Escudero also began painting and sketching images related to his dancing. In his book titled "Mi baile," he declared his fascination with surrealism, cubism, and dadaism, showcasing the depth of his artistic influences. During this time he was at the fore-front of experimental dance, even going so far as to dance to the rhythm of two electric dynamos. Upon his return to the Spanish stage in 1929, Escudero stirred controversy with his bold statements to the Spanish press, asserting that no one in Spain truly knew how to dance flamenco.

Despite the controversies, Escudero continued to push the boundaries of flamenco. In 1939, he became the first to dance ‘por seguiriya,’ a controversial move at the time since it had only ever been sung. Throughout his career, Escudero remained a trailblazer in flamenco, challenging conventions and inspiring future generations of dancers.

This short introduction to Vicente Escudero barely touches on all his accomplishments so I recommend doing some investigating when you have time.

Technique Toolbox

Each week I’ll share something from my technique toolbox that I hope will help you with your dancing.

This week from the technique toolbox I want you to think about the path your arms, your feet or any part of your body takes when you dance.

When I drive back home next weekend I might decide to take the scenic route, or I might decide to stay on the main road which is not scenic at all but will get me home in less time.

Both routes have their place but whether I use one or the other will depend on my intention.

When you are moving your body, sometimes taking the long route will pull you out of compás or out of balance.

Sometimes taking the shorter route will mean you arrive at your destination too early, or you’ll miss out on fully developing the movement that you could have realised in the time available.

Both possibilities may be right or wrong depending on the context in which you do them.

Your job is to understand and be aware of what you are doing and why.

Pay attention to placement when you practise and think about whether what you are doing is the right thing for you and the movement you are trying to do.

This is something we’ll be looking at on Sunday in my live classes which you are welcome to join.

Previous: What practice can do for you.

Get the latest issue of Flamenco Wayfarer sent straight to your inbox