Dance Magazine called this company “The Keeper of Flamenco” and it was honored by the King and Government of Spain with La Cruz de la Orden al Mérito Civil for “all the years of passion, excellence and dedication to the flamenco art.” Founded in 1983, Flamenco Vivo has flourished, premiering more than 25 original works, offering commissions to numerous flamenco artists from Spain and the United States and developing an innovative arts-in-education program that connects Spanish dance and culture with academic curricula while pioneering bilingual education initiatives targeted to immigrant populations, as well as other programs addressing the special needs of students with disabilities. It is a company dedicated to building bridges between people and celebrating “the universal spirit of flamenco with diverse influences from Roma, Arabic, Jewish, Spanish, African and Latin American cultures.”
Appearing at the UCLA Nimoy Theater in Los Angeles, Flamenco Vivo Carlota Santana did not disappoint! This was an evening of fiery, passionate dancing deeply connected to music provided by Calvin Hazen, guitarist, Francisco Orozco, percussionist, singer and Manuel Soto, singer and, intermittently, the four dancers, Fanny Ara, Emilio Ochando, Lorena Franco, and Adrian Dominguez. It is interesting to note that each dancer is credited with choreographing their own dance and the closing number. When dancers were not dancing, they were providing percussion with stamps and claps. The program began with a haunting guitar solo and plaintive vocal. The tempo changed without warning and the four dancers made their entrance. These strikingly attractive women and handsome men walk with a strength, pride and regalness that commands your attention. They move in unison from time to time but even in unison their individuality and uniqueness shines. Each artist performs a solo with intricate rhythms and fast, furious steps. The four dancers become two couples and the transitions between solos, unison movements for four and couples are seamless. The music and dance are one and it is astounding when the music and dance appears to just stop for a second and then continue without a signal or warning. This is a company of highly skilled artists!
Flamenco Vivo Carlota Santana – Lorena Franco – Photo by Chanel Foster.
Lorena Franco takes the stage in Tientos and the mood changes. She begins slow and sultry with her beautiful fan, a traditional prop for flamenco. Her arms are glorious, long, and sinewy and the way she uses the fan is everything but traditional. It swirls and whirls in her hands as her hips swirl and whirl interrupted by kicks and twists. It is in this dance that the African influence is most apparent. She uses the entire stage as she changes rhythms from slow and sensual to fast and furious.
Flamenco Vivo Carlota Santana – Adrian Dominguez with Manuel Soto, Francisco Orozco, Calvin Hazen – Photo by Chanel Foster.
Next came Seguiriya, program notes describe this dance as “a form of flamenco music in the cante jondo – deep song category.” This is one of the oldest flamenco styles and, interestingly, the oldest form of this style was interpreted without music accompaniment. The term is also used to refer to a vocal style that is a form of traditional Andalusian folk music. Adrian Dominguez, in his grey suit and black shirt is stunning. Regardless of the speed with which he was moving he managed to employ clean angular lines and constantly changing dynamics. His movements matched the plaintive cry of the singers, and his movement is characterized by fast, clean footwork, intricate rhythms, and sharp, fast turns. The way he was able to control the rhythm and tempo of the music with his clapping and loud, very loud snapping, was remarkable.
Cante Y Guitarra, featuring the musicians, was exceptionally beautiful. The intricate guitar solo, percussion, clapping, and vocals felt like a roller coaster. The musicians conversed as they played, appearing to connect as old friends and sharing intricate rhythms with one another effortlessly. Prior to this, dancers would participate in making music when they were not dancing. For this portion of the program the singer, percussionist, and guitarist were featured. Music is the essence of flamenco, and it is fitting that these talented musicians have this magnificent moment in the program.
Flamenco Vivo Carlota Santana – Fanny Ara – Photo by Chanel Foster.
The large embroidered Spanish shawl is an essential and dramatic prop used in flamenco. Fanny Ara stepped onto the stage, shawl wrapped around her shoulders, with a torso that seemed to have a mind of its own. She was absolutely captivating. She brought a unique intensity to her dancing that was mixed with intricate rhythms being made by her feet and the sultry and sinewy movements of her hands and arms. The shawl, with long fringes, added another dimension to her seductive torso and beautiful pictures she created throughout the dance.
Flamenco Vivo Carlota Santana – Emilio Ochando – Photo by Chanel Foster.
Alegrias, a dance from the port city of Cadiz is described in the program as “full of life and aire.” Emilio Ochando, an award-winning dancer with a smile that seems to be hiding a secret, and swagger to spare, was the next soloist. He is a master at playing castanets and accentuating the rhythm of the music. He combines extremely fast leg steps with very difficult castanet playing and it is breathtaking to watch. Mr. Ochando makes it difficult to believe that castanets were not first used in flamenco but in the Ballet Romantique where soloists would play castanets along with their dances. Fast, fiery feet brilliantly move him across the stage and somehow, he finds moments to connect with the musicians. There is a guitar interlude that seems to come out of nowhere and disappears into a fast, fast, fast series of complicated feet and leg movements, turns, all while castanets are being played. It is remarkable!
Flamenco Vivo Carlota Santana – Manuel Soto and Francisco Orozco – Photo by Chanel Foster.
The program ends with the entire company on the stage. Everyone is dancing and singing. It is a wonderful celebration with musicians and dancers sharing their signature steps. Dancers are singing. Singers are dancing. The message is clear, these unique soloists with unique gifts and qualities come together to present a unified flamenco presentation. It is as if the artists celebrate, understand, and combine difference until difference does not matter. What matters is excellence, and this company is certainly that.
Special thanks go to Carlota Santana, artistic director, and co-founder of the company. She is an internationally renowned flamenco and Spanish dance artist and educator. Despite the loss co-founder, Roberto Lorca from AIDS in 1987, she has persevered and continued their work promoting flamenco as a living art form and a vital part of Hispanic heritage. In addition to her company work she is on the faculty of Duke University and has taught at NYU and Long Island University. She was the driving force behind two flamenco symposia produced in collaboration with Duke University’s Dance Dent and the “100 Years of Flamenco in New York” exhibit mounted in partnership with The New York Public Library for the Performing Arts, the first-ever curated museum show on flamenco in the U.S. The exhibit ran for five months at The Vincent Astor Gallery at Lincoln Center and received rave reviews and accolades from New York critics.
For more information about Flamenco Vivo Carlota Santana, please visit their website.
For more information about the UCLA Nimoy Theatre, please visit their website.
Written by Leah Bass-Baylis for LA Dance Chronicle.
Featured image: Flamenco Vivo Carlota Santana – Adrian Dominguez and Lorena Franco – Photo by Chanel Foster.
