[PhiladelphiaDANCE.org Listserv] New Flamenco Dance Classes
Pasión y Arte
info at pasionyarteflamenco.org
Tue Jan 3 20:37:09 EST 2017
*Flamenco Classes with **Pasion y Arte Artistic Director Elba Hevia y Vaca*
*Starting Wednesday, January 4*
*Mondays 7-8:30pm [Intermediate/Advanced]*
*Wednesdays 7-8:30pm [Advanced Beginners/Intermediate]-Technique and Phrase
*Saturdays 11-12:30pm [Basic Beginner]*
*Saturdays 12-1:30pm [Advanced Beginners/Intermediate]-Choreography*
Overbrook Garage Studio
6411 Overbrook Avenue
Philadelphia, PA 19151
Drop in $15 or you can purchase a 6 class card for $78 (this card needs to
be used within 3 months from date of purchase). Student and professional
discounts available upon request.
- Study of palos (rhythm family) of Alegrias and Tangos through simple
movement, rhythm training and palmas (hand clapping).
- Understand “colocacion,” the flamenco posture.
- Develop the flamenco “floreo” hand movements that are specific to
flamenco through the exercising of the wrist, palm and fingers.
- Find the flamenco aesthetic of the head and arms through specific
“Braseo” arm exercises.
- Engage the hips and upper body through specific flamenco hip
- Look at sequences that integrate all of these Flamenco components into
Alegrias and Tangos “palos” (flamenco rhythm families).
- Study the basic flamenco footwork by using specific exercises and
explore all of the different sounds that are made with the different parts
of the feet, Plantav (ball), tacon (heel), golpe (whole foot) to create
- Incorporate sequences of footwork adding the body and arm movements.
- Continue the training of the palo of Alegrias and introduce the
Bulerias palo (rhythmic structure) through palmas, paseos and various
marcajes (marking steps).
- Continue the strengthening of the student’s familiarity with the
compas (rhythm structure) using more difficult footwork technique and
creating more complex arm movements and coordinating them with the footwork.
- Study and learn the structure of a traditional flamenco “palo” of
Alegrias, Salida, Verse, Subida, Silencio, Escobilla and Bulerias de Cadiz.
- Overall understanding of “compas” (rhythm structure) of the “palos” of
Solea, Solea por Bulerias and Bulerias and Seguiriyas.
- Further understanding of the “colocacion” (flamenco alignment) and how
it relates to the movement efficiency within the flamenco vocabulary.
- Understanding the relationship between the core support and neutra
pelvis placement in relationship to Flamenco “colocacion”.
- Understanding of the “floreo”(hand movement) and “brazeo” (arm
sequence) technique and the relationship to the whole body.
- Developing support leg and foot strength, and stability in order to
accomplish the complex footwork patterns.
- Understanding and demonstrating concepts of body organization such as
breath support, head and hip placement in relationship to the flamenco
technique and philosophy.
- Gaining an understanding of the Solea, Solea por Bulerias and
Bulerias “palo” structure and dialogue the between the dancer and “verse”.
- Further understanding of the communication between the singer, dancer
and guitarist to the various rhythms.
- Becoming comfortable with integrating “floreo”, “brazeo,” and footwork
to the various rhythms.
- Further exploration of the rhythmic structures and patterns of Solea,
Solea por Bulerias through more complex “palmas” combinations. (hand
- Further understanding how energy is directed in one’s body and
projected out into space through the “brazeo” and “floreo” movement and
into the floor through footwork patterns.
- Ability to assimilate the sequential movement material following the
“compass and begin improvisation.
*A brief history of Flamenco:*
Flamenco’s origins come from a mixture of many cultures, the most important
being the Muslim, Jewish, Indo-Pakistani and Byzantine. Many flamenco
historians believe that flamenco did not develop until the sixteenth
century, when the kingdom of Castilla decided to rid Spain of minority
groups in an effort to propagate pureness of race and religion. All Jews
and Muslims that refused to convert to Christianity were expelled from the
country and all gypsies who would not leave the open road and settle down
were expelled as well. As a consequence, these three persecuted cultures,
with very little in common, found themselves united against a common foe.
It is probable that from the common life of these persecuted peoples that
the first semblances of flamenco as we know it began. Muslim, Jewish,
Indian and Christian religious and folk music blended, developing over the
years into a musical form.
Flamenco dance as we now know it is an expressive art form that has a
ritual significance. It is a mixture and fusion with elements of different
cultures. Flamenco has a diverse range of melodies, rhythms and structures
that together express the deeper and more complex feelings of the human
being with each “palo” expressing an emotion.
Today, flamenco consists of:
Toque – guitar playing
Jaleo- rhythm accentuation and reciting
*About Elba Hevia y Vaca: *
Hevia y Vaca is the Artistic/Executive Director and Founder of
Philadelphia’s only flamenco company, Pasión y Arte. Born in La Paz,
Bolivia, she began her study of classical Spanish dance at the age of five.
She later studied and danced with master dancer Ana Martinez of the Ana
Martinez Flamenco Dance Company in D.C., and danced with Washington’s
Raquel Peña Spanish Dance Company, appearing as a soloist at various venues
throughout the U.S. In Philadelphia she continued her study of modern
dance, jazz, and contact improvisation from various Philadelphia
artists. In 2000, Hevia y Vaca founded Pasión y Arte out of a strong and
intensely personal conviction that highly-stylized traditional Spanish
flamenco dance is a perfect vessel to empower women. These values have
been reflected in the seven original, critically acclaimed works she has
created for PyA, and in the numerous grants, fellowships and accolades
awarded to Hevia y Vaca and PyA under her direction. She conducts master
classes throughout the US, teaches various levels of flamenco at her
Overbrook Studio in West Philadelphia, as well as being and Adjunct at
Franklin & Marshall and Temple University.
For more information visit www.pasionyarteflamenco.org or email Elba Hevia
y Vaca at elba at pasionyarteflamenco.org.
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