Always Be Dancing Expressive Arts

Yoga and Flamenco for Every/body


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It’s Great Time for Yoga & Flamenco!

882824_10151907518920295_1244060619_oNow is a great time to bring one of Eve Costarelli’s varied mindfulness programs to your school, center or special event. Eve Costarelli will seamlessly adapt her programs to fit yours and your students/residents needs.

  1. ¡Olé Flamenco! Educational Flamenco Presentation:*September 15 – October 15 is National Hispanic Heritage Month. This dynamic, experiential arts learning program can help bring Hispanic cultures to life for your students. Available all year.

    a. With guitarist, Antonio Tiriti

    b. Solo

     

  2. ¡Olé Flamenco! Workshops* & Classes*in addition to or separate from the educational presentation

    a. with guitarist Antonio Tiriti

    b. Solo

  3. In-School Yoga & Mindfulness (working with school districts)

     

  4. Accessible Flamenco & Yoga (for populations who need accessibility and adaptability)

Programs are available for grades K-12; college level; corporate events; senior living facilities and private hire. All programs are inclusive and can be adapted as needed for those with special needs including physical disabilities, medical conditions, intellectual difficulties, or emotional problems, including deafness, blindness, dyslexia, learning difficulties, and behavioral problems.

Please contact Eve Costarelli for scheduling and pricing:

AdamAnt_Eve@hotmail.com or 617-216-1643

All About Eve:

For over 20 years, Eve has been an arts educator, teaching flamenco, tap dance, and yoga to children through seniors citizens of all levels and abilities. She practices a therapeutic and body-centric approach to teaching to give her students both physiological and psychological benefits from these art forms.

Eve is the lead teacher for Framingham’s own Open Spirit Centers Nourishing Teachers, Strengthening Classrooms project, bringing mindfulness into both the Framingham Public Schools and Hoops & Homework, an award winning after-school program for the neediest children in Framingham.

Ms. Costarelli is a familiar face on the Boston dance scene, and along with guitarist Antonio Tiriti, brings educational and experiential flamenco performance and workshops all over New England. Eve and Anthony are past members of Young Audiences of Massachusetts and Celebrity Series: Arts for All!

Eve Costarelli is the creator of Always Be Dancing Expressive Arts: Yoga and Flamenco for Every/Body.

All programs are adaptable, accessible and inclusive www.AlwaysBeDancing.com

 

 

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Thanksgiving Yoga: How To Smell The Roses In Your Poses

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Smell the roses in your poses.

There are so many benefits to feeling and expressing gratitude. People who are encouraged to notice and reflect upon the things they are thankful for experience stronger physical, emotional, and mental health, sleep better, express more compassion and kindness, are less aggressive and have healthier sense of self.

 

Yoga poses and activities can develop emotional happiness, physical calmness and mental alertness and promote the appreciation of the natural world around us through attention to the kinesthetic experience.

A brief note and brief meditation for you:

Every year, an entire day is dedicated to the celebration of gratitude. We are thankful for good food, good family and friends, and a good life. But we do not have to wait till this day to be thankful. Yoga teaches us to practice mindfulness, opening the door for gratitude to be practiced all year-long. Gratitude unlocks the abundance of life. It turns what we have into enough, and contributes to our satisfaction with our own personal riches. Being thankful for little things around us allows us to be present, alive and fully in the moment.

This brings to my mind the phrase “Stop and smell the roses”. If we do stop and smell the roses, we will start to notice the richness that surrounds and inundates all our life’s moments. By taking a step back and being aware of the things in your life that you are truly thankful for, you can bring balance to chaos and calmness to turmoil. Peace of mind can be yours by bringing yourself into the here and now! Notice the veritable cornucopia of things to be grateful for in your life: your family, friends, a roof over your head, working at something you take pride in, a smile or kind word from a stranger, a flower peeping out from the sidewalk, a fresh breeze, the warm touch of the sun, the smell of the earth after rain, the farmers who grow the food, the chef who cooks it…the list is never-ending!

So…stop and smell the roses! Take a moment to look at the trees. Notice their leaves, branches and bark, feel the wind on your cheeks and breathe deeply!

Remember that you need time to relax and rejuvenate too. Take care of yourself, so that you can be the most supportive and effective person that you can be.

A simple mindfulness meditation:

1. Find a quiet and comfortable place. Sit in a chair or on the floor with your head, neck and back straight but not stiff. You can also lie down. Or lean against the wall.

2. Become aware of your breathing by focusing on the sensation of air moving in and out of your body as you breathe. Feel the air entering and exiting through your nostrils. Feel your belly rise on the inhale and fall on the exhale. If needed, the first few breaths you can allow the exhale to express through gently pursed lips-imagine you are fanning the coals. This help to elongate the exhale and the sound is a great focuser. Pay attention to the way each breath changes and is different. Notice that the air is cool as it enters the body but it is gently warmed when it exits.

3. Watch every thought come and go, whether it be a worry, fear, anxiety or hopeful. When thoughts come up in your mind, note them, remain calm and use your breathing as an anchor. Watch your thoughts as if they are clouds drifting by in the sky.

4. If you find yourself getting carried away in your thoughts, simply return to your breathing. I sometimes like to say “Thinking” or “Thought” or I name it “that is the worrying me who thinks she cannot do things…etc. when I notice I have drifted and this helps me come back to the present moment and my breathing. There is not punishment for being lost in thought: allow it, notice it, move on.

As the time comes to a close bring (this can be 1-minute, 5 minutes 20 minutes or more!) bring some more energizing breaths into your body. You can wiggle your fingers and toes. Roll to one side (if lying down). Get up gradually.

Gratitude Attitude Yoga for Kids: 6358626217332020101255530005_thankyou

How should we bring gratitude to children’s attention? Playfully. They can learn how to be thankful by getting to know themselves, physically, emotionally, energetically and intellectually. Using the methodologies of yoga, qigong, and dance, they have the freedom to express this autonomously. The gratitude attitude can be bolstered by our commitment to communicating with them where they are now, by how we act and how we relate to them during our time together. Through various activities in action and in stillness , they can explore their own paths to gratitude.

Activities:

Stillness activity #1: Ringing the chime. Turn taking. Sharing. Listening. Experiencing. Different vibration every time. Building confidence and self-esteem.

Stillness activity #2: Colored glass rocks: creating patterns, shapes, feeling their cool, soft edges…listening to a piece of quite music like “Variations On Twinkle Twinkle by Wolfgang Amadeus Mozart or Joe Cool’s Blues by Wynton Marsalis and Ellis Marsalis.

gorilla-thumpWaking Up The Sense Activity #1: Gorilla Thumps Gently thumping body parts  and meridian points. The chest and just below the collar bones using Aaaaaaaa-Eeeeeee-Iiiiiii-Oooooooo-Uuuuuuuu. Energy booster! Waking up the energy lines. 

Waking Up The Sense Activity #2: Rag Doll Dance Shimmying, shaking, jiggling, flouncing. Feeling light. Waking up. Moving feet. Moving hands. Fingers, Toes. Head. Waking the senses.
Yoga Poses:

Mountain pose. Thank you Mountains for being so strong and stable. 

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Mountain

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Upward Mountain

Sun (breathe in, arms come up the sides till fingers touch at the top. Try to match finger to finger) feeling awake; Moon (hands clasped at the top. Lean to one side then the other) feeling bright; Wind (starting swaying arms, let them gently tap your body as your spine twists side to side) feeling free; Rain (add finger wiggles) feeling fresh. 

Waterfall Bend over and touch the floor. Feel the cool water running through your fingers. Feel calm. And Kind of sparkly. 

Squat like a frog. Sit still, like a frog. Breathe quietly, like a frog. Then hopping ribbit, ribbit, ribbit (and then back to your lily pad) 

Cow and Cat-Moo and Meow grounded to the floor. Stable like a table! 

Breathe in, lift up, Snake. Hissssssssssssing down on the exhale. Repeat. Strong arm muscles pushing you. Notice your hands on the floor and push up.

Woof. Down dog. Lifting one foot for a tail. Switch. Barking. Feeling joyful

Tree Pose. Standing tall and balanced on one foot. Friend Tree: Do it with a friend. Family Tree: Do it with the whole yoga family. 

Challenge Pose #1: Single sided bow pose. Switch sides. Then try traditional bow pose.

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Challenge #2: Pointer Dog Pose

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Challenge #3: Dancer’s Pose. Hold hands with a partner and be each others support. Try it on your own to test your inner balance.

Resting Poses:

Floating On The Sea: On your back, the mat is a calm blue sea. Gentle waves rocking you as you let your body relax and float. You feel weightless. Hear the seagulls. Hear the waves lapping. Feel the warm breath of the sun. Smell the beach air full of ocean, sun and sand.  Your belly is the ocean. On each inhale, allow the belly to fill up and on the exhale, let the belly soften. Take your next few breaths into your veer softening belly. Drift. 

Crocodile: Belly time (EVERYBODY needs belly time!). Now the mat is a river.  Crocodile is gliding slowly in the river. Feel the warm water all around. Head down. Can rest head to one side or the other. Or use hands as a pillow. Can bend one knee or the other (if knee is bent head should be looking to that same side or straight down.)  Feel belly on the floor. Pressing in as you inhale. Feel your back softening on the exhale. On each inhale, allow the belly to fill up and on the exhale, let the belly soften. Take your next few breaths into your veer softening belly. Glide. 

Sleeping On A Cloud: Belly or back time. Can you imagine clouds in the sky? Imagine you could rest gently on top of one. Feel the soft cotton cradling you gently. There is a little sway and bob as the cloud floats through the sky. In your imagination,  look at the other clouds as they float by. See them drifting by. See their shapes. What shapes do you see? When you start to look at or think about other things, gently go back to looking at the clouds. It is o.k. if you do. When you do realize you are not thinking about the clouds, gently start noticing the clouds and their shapes. Float.

Games and Books:

Game #1: Let each child call out the name of a living thing and then create a pose to go with it. For example, T-Rex. Stand up. Make “little” arms like a T-Rex, and then do mat walk. Walk all around the outer edge of your mat-while acting like T-Rex-in one direction. Then reverse your direction to get the most brain balancing effect.

Game #2: Tape numbers (1-10, or less) around the walls and tape a yoga pose card next to each number. Easy version: everyone goes through poses in numerical order. Challenge option: Pair up the students. Give them each a pose order card (numbered 1- 10, but not in numerical order). Each group heads off a deux, and does their poses in the order specific to their card.

Game #3: Another version of the above game (my fall to game in every class) is putting one, two or more cards under each mat. Student pull the cards out and arrange them, either as they like or numerically. Students then have an allotted amount of time to do their pose(s). At the signal, everyone moves clockwise and arrives on a new mat, with a new set of cards presented to them. Continue until everyone is back on their original mat.

Book #1:For younger kids, check out My Amazing Day: A celebration of wonder and gratitude by Karin Fisher-Golton, Lori A. Cheung and Elizabeth Iwamiya (please check out my review of this book here). This book can be read and easily adapted to yoga poses to go along with the things the baby is grateful for. 

Book #2: This is one of my favorite all time books that I read to my son almost every day. It is so beautiful and the kids just can’t get enough of the surprise and the anticipation and it is so sweet and lovely: The Lion and the Red Bird by Elisa Kleven. Here is a fabulous YouTube of Elisa Kleven reading her beloved book. Elisa came into this hospital to share her wonderful story with fantastic illustrations. The patient, Ashley, sure had a lot to say about the story! Enjoy this children’s book classic.

 


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Flamenco Arms

flamenco armsFlamenco Arms

There are many different styles of arms, elongated and elegant; strong and sinuous. There is the classic style, lifting from the elbow or the modern style, with elbows bent and lowered first, riding tight to the body. Some arms are wild and unschooled. While still others are technical and calculated. All styles, when they are compatible with the dance, are authentic.

Your arms are never just your arms. They are an expression of your art. Next to facial expression, arms and hands are the most expressive element in flamenco dance. They capture attention as they create line, rhythm and feeling. They are the most difficult technique to master.

Learning to use your arms as part of your overall body line is of utmost importance, no matter what your style is. The arms must be extensions of the shoulders, chest, hips and legs. Arms held overhead are rarely held high enough and droopy arms are distracting and are definitely not flamenco!

 

To create the sweep for classic flamenco arms you must grow wings! Spread your back wide and lift your arms. Keep this image of wings as your back body spreads open to cradle the front body. As arms rise, shoulders must stay down and back. Not wrenched back, so that the shoulder blades pull in, but spread wide open to make the arms even longer than they already are. This is the key to the elegance and gypsy arrogance held in flamenco dance. Elbows must remain high throughout the movement as the shoulders remain down.  Feel the the initial extension of your wings from deep within muscles between the shoulders.  When you arrive at “T” position, shoulders must drop over the back of the rib cage. This will cause the front body, around the collar bones, to open wide, like a display case. There you will imagine that you are wearing a beautiful diamond necklace. This area is your display case, lift it up and display your necklace! Wear it proudly.

The arms must have energy all the way to the fingers; use Dynamic Tension. Feel your arms moving with the strength and unity of the whole shoulder girdle. 
Feel your arm pits are deep caverns with vaulted ceilings. You can create a small hollow opening inside as if to cradle a very ripe, very juicy apricot (do not squish it or drop it).

The passage of the arm must go through all the “stopping” points (3, 6, 9, 12 n  clock face) and create the shape necessary at each point (ie Never just bring your arm up with out passing through:  low “v” to “t” position to high “v” etc…). In low “v” & 6 o’clock,  make sure you do not compress the arm pits. 

Arms must always be controlled. Never throw them around as if you are directing air traffic. Arms are under constant tension. You can imagine from the torso to the wrists, as your arms rise, that an elastic band is pulling tights. Feel the tension, but do not show the tension. There is a buoyancy as they rise, like they are pushing through water. Keep the gently descending line from shoulders to elbow to wrist to finger tips. This picks up again as the arms pass through “T” position and then again the dynamic tension is created from the arms back into the body.  Make sure your arms flow.

A little about hands:

Hand movement are very personal and your hands are an extension of your personality and the emotional content to your dance. They are the fine sable hairs at the end of a paint brush. They add flourish, punctuation and can pull energy into your field or press it away. They add the final important details to your dance. the hands move from the circling of the wrists. The wrist circles do not involve any other part of the arms-so pay attention to your elbows!

 

There are two hand movement styles:

  1. Gypsy: The little finger leads the way in opening and closing the hand-like a fan opening and closing.
  2. Classic: The middle finger leads.
    • Keep thumbs in as you turn your wrist.
    • SEQUENCE: palm, fingers, wrist, fingers
    • Bend wrists as much as possible. Bring your finger tips towards the very inside of the wrist before making the rotation. That is your accents point. The unfurling carries the rhythm till the next accent.
    • Hands move with rhythm not randomly.

 


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Cultivate Your Flamenco Body

Cultivate your flamenco body

My yoga teacher, Barbara Benagh used a metaphor for cultivating a plant in relation to growing a pose in yoga. This metaphor really resonated with me and I brought it with me to flamenco class this week.

At the beginning of class, we explore the body structure to be held during flamenco and  I describe the process physically:
*Feel a long lower back
*In return you will feel a response in your belly, a lifting in your belly
*Bring your belly into your spine, so you fill out your lower back
*Feel your side ribs lifting
*Have deep arm pits
*Lift your shoulder girdle up and then drop it over the top of the rib cage
*Do not pull your shoulders back, instead open your upper back wide
*At the same time, open your chest up wide too
*You need a micro-bend in your knees and elbows
*Pull the back of your cranium into your neck for a long straight line from tail to crown of head
*Eyes are down cast (hooded) in a far off type of way (do not look at the floor)

This week, however, I led the class using visualization to allow my students to create new habits in forming the flamenco body:

“When you want to plant a flower, you first need to till the soil, nourish it, plant the seeds, water it, and then sit back and wait to see the blossom….now in relation to the flamenco body. If you imagine that the soil line is at the hips, so your legs and your feet are the roots below the surface. The roots grow down and ground the dance to the earth. From the waist up is the blossom, growing from the soil line (which is your hips). This is the blossom.With good, strong roots, you then use the upper body to create the shapes and lines true to flamenco, building out of the hips and allowing the legs and feet to move separately.”

This is a much different image than if you imagine the feet are rooted to a soil line right below them. In this scenario, the legs are not rooted in the soil. But with the soil being at the hip line, you can instead imagine the legs to be strong roots growing deeply down into the soil and then allow the feet to hold you to the earth.


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Eve Costarelli’s preliminary teaching and performing schedule for 2016-2017

Dear Students & Families: past, present and future,

Welcome to my preliminary teaching and performing schedule for 2016-2017. All programs are inclusive and are adaptable.

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  1. This year, as lead youth/teen yoga and mindfulness instructor at Open Spirit Center, Framingham and their Nourishing Teachers, Strengthening Classrooms project, I am aiming to bring yoga and mindfulness to target populations of students and faculty at Framingham High School and Hoops and Homework, an award winning After School and Summer Program serving the most under privileged kids in Framingham, MA. *** My ability to reach these populations is determined by grants and private donations though the Open Spirit/ Nourishing Teachers, Strengthening Classrooms Project. For more information, please visit our donation page.
  2. I will be at Mini Miracles Childcare Center with Eve’s Awesome Yoga for ages 15 months-6 Years. Classes here are only available for center enrollees. 
  3. Anthony Tiriti Tran and I continue our educational program, ¡Olé Flamenco! with both Young Audiences of Massachusetts and Celebrity Series: Arts For All! We can come to your school or community gathering! All programs are inclusive and adaptable.
  4. On the performance front, I will be dancing for the Boston Arts Consort and Song Caravan. On the stage, you will find me either dancing traditional flamenco or my beautiful creative gypsy-freestyle, which blends my life of dance into my own artistic expression.
  5. I am available for *private and semi private work, site specific choreography, educational presentations and master classes. *My private lesson slots are filling fast.
  6. This summer, I had the awesome opportunity to bring yoga to a BINA Farm/Warrior Thunder Foundation event and I hope to do more work with both organizations.
  7. On Saturday September 24, 2016, I will be participating in Open Spirit Center’s Day of Spirit. Please join me for my gypsy-freestyle class and how mindful movement assists in freeing your artistic voice. Check Open Spirit Center/ Day of Spirit for more details
  8. Just throwing this out there: I am looking to create a 11+ yoga boys class. If you are interested or know of anyone, please share my information with them.

Please contact me for more information. All programs can be tailored to fit your needs. 

Thank you and Remember to Always Be Dancing!

¡Olé Namaste!

Eve

 

 


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Dance In The Schools 2016: Baldwin School Wrap-Up

Cue in Dance In The Schools 2016!

I had the ultimate pleasure of working again with the Maria Baldwin School in Cambridge for this year’s Dance In The Schools Month. I began forging a relationship with the second grade teacher’s 6 years ago and it only keeps getting better each year I go back. This year I had the extra enjoyment of bringing not only my yoga program but I also brought flamenco to the music classes. Together these two classes make up the basis for Always Be Dancing Mindful Movement. This opened up a whole new angle to me for bringing mindfulness into this school. Pairing me up with the music teacher only enriched my musical knowledge, so it was truly a win-win situation for all! The second graders received a veritable cornucopia of mindfulness through dancing, Yoga posing, breathing, and meditating.The positive responses I gathered from the students and the teachers were full of positive remarks and full of enjoyment.

Please comment on what worked regarding the content of this program, e.g., use of theme, connection of movement/dance to curriculum, etc. Did you or the Classroom Teacher notice any changes in any of the students’ behavior, focus, ability to do whatever you were teaching? Please describe if possible.

The kids were all so connected to learning-it is a great environment. The staff and kids are very engaged and even the few children who are on the spectrum or emotionally developing interact with the group and learn alongside their peers. I often work with special needs and other high risk populations and I have developed a compassionate and effective way of bringing what I am teaching to these groups. I appreciated that every student tried what I offered to them. The music students learned about the history of flamenco and the gypsies, styles of flamenco, the emotional content of flamenco, the art of clapping, singing, dancing rhythmically and also rhythmic footwork.  In yoga, we used the basics of yoga, breath-work, poses and meditation, to reinforce emotional control. In the end, they students created a book for me which reinforced their engagement with both my yoga and flamenco classes.

Did you share any materials, resources, music, ideas, props with the Classroom Teacher so they could continue after your last session? If so, what?

MUSIC: I sent a musical link and we made a video of our dance. I also created a special document that gave the history of flamenco and wrote out a simplified version of the choreography for reference.

Here is the document I created for music: https://docs.google.com/document/d/1gpZnnLeYRu33aZqIooSvV5tm7mTxjAdOMu_qOCr_HEo/edit?usp=sharing

YOGA: https://docs.google.com/document/d/1IKRDDtAAfwcO4vL3EmU381SCi8YEGRAY0g2X2FOlk0o/edit?usp=sharing

Describe the nature of your collaboration with your Classroom Teacher – before your sessions (interaction with teacher, co–planning of materials, other), during your sessions (co-teaching, assessing the process, altering plans), after you finished (examples of follow-up lessons created by you and/or the Classroom Teacher, other)

MUSIC: After reaching out to the music teacher, he sent me some ideas for how we could collaborate his music and my dance class, which really helped me to mold my program.

We came up with:

*Phrase *Form *Different rhythmic values *Dynamics (volume) *Improvisation/Composition

 We worked with each throughout the classes, him adding in his teaching methodology (using the Takadimi system) which opened my eyes to new ways of being able to teach ideas and my own creative style of teaching which only enhanced his system. 

YOGA: I was in contact with the two second grade teachers prior to my visit. They asked me to work with their students on  Socio-Emotional learning and the executive functions, to enable a string and fruitful learning environment for all. I mapped out 4 programs that I would use as the basis of the 4 sessions.

Eve’s Awesome Yoga Day one was about using yoga to calm the body, mind and energy and playing with the differences between silence and non-silence, which can mean vocally, mentally and physically. Here I also taught about the brain and the concept of neuro-plasticity; Day two,  healthy eating; Day three, Rhythm and movement; Day four, Cooperation. 

Do you feel/think you were effective? Why/why not? What did you learn? What challenges did you face? (This is a food for thought question, not judging or criticizing you.

MUSIC: This was extremely effective. Every time I came into the room, the kids all brightened up and beamed, totally ready to dance/do yoga. I could see in their faces their joy! I loved learning about Takadimi as it brings in a Kathak element to my Flamenco teaching, as Kathak is seen as one of the roots of Flamenco.

YOGA: The kids learn in a very short amount of time about how they can control their brains, that brains change, how to be strong, focused and self-effective. How to work by themselves and cooperate in a group. How to be still and to move; to be quiet and loud; to be fast and slow. They learn about emotional control and how they can learn in a different environment than they are usually presented with.


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My Review of Compañía Rocío Molina “Danzaora & Vinática

lcr-danzaora-rocio-molina-drinking_360Rocio Molina, no words can describe what I saw, heard and felt when you performed. I can only say wine, broken glass, rag doll and tambourine. You are flamenco in every strand of your being, pure essence, pure light. My soul cannot thank yours enough.

From the first time I experienced you, when you danced inside the box (we just call it the box dance) I knew for sure you were the epitome of flamenco for me. Your body is so full of expression. You morph between the flamenco of yesterday, the flamenco of today and the flamenco of the future, bringing in a kaleidoscope of rhythms, emotions and energy. Intense movement, sparkling energy, grounded down deep into the floor to sudden statue-like stillness, but even within that moment of absolute peace, life is emanating from your pounding heartbeat and the trails of energy that remain from what came before. Webtxt-Danzaora-FÉLIX-VÁZQUEZ-ROCIO-MOLINA-FOTOS_0610

Presenting Danzaora & Vinática as part of World Music/CrashArts 2016 Flamenco Festival, Rocio Molina, along with singer and mandola José Angel Carmona, guitarist Eduardo Trassierra and palmas and percussionist José Guerrero “Tremendo”, has created a show that allows her unique artistic voice to be heard loud and clear, so that it is cannot be confused with any other danceable language. To say she is the perfect flamenco dancer would to be putting Ms. Molina in a box. No, she is all dance, not just the Spanish arts such as flamenco and Spanish classical but also crump, tap, African, yoga, and modern. She speaks her own language yet is able to make us comprehend meaning with just a tilt of her head, the stamp of her foot or the long arching back-bend almost touching the floor with the back of her head, bringing to mind Classical Indian movements from Kathak and Bharatanatyam . Ms. Molina embodies effort and ease; fire and ice; the tangible world and the spiritual world.

The show begins with Ms. Molina, standing, at first what seems stock still, center stage, in a beautiful asymmetric dress. The musicians enter, talking, preparing; we the audience enter, talking, shifting, settling. Then as all of our energy stills and our eyes are drawn to her figure on the stage, only then do we notice the glass of wine tilting menacingly in her hand and the long rope in her other hand, wrapped tightly around the neck of an old ceramic jug. In the composition with the lit-up tambourine, Ms. Molina conjurs up Arabia, Egypt and Africa, creating rhythms that just echo the past while shedding light on the future of the possibility of sound. I have not seen anyone play the tambourine like this since a night, long ago, when Simon Shaheen, oud and violin virtuoso, introduced me to the intricate rhythmic ability of the tambourine’s skin and bells.danzaora

For Ms. Molina, everything has the possibility of creating rhythm. Her feet as they strike the floor, an old jug being dragged, breaking glass, a wine bottle being struck repeatedly like an anvil, and inevitably the gritty sound of broken glass crushing underfoot. It was so dramatic when the artists stood around a table, which seemed actually to be a cajón, and created rhythms with their intense finger rolls, knuckle raps and a flurry of foot stomps. To see Rocio’s face break into a smile when they were in a particular sweet spot, playing off each other, the lines blurred between what they had practiced and what just came up from the spirit of the moment was entrancing. Her face often severe or placid was often punctuated by a radiant smile, giving life to the impish “El Duende”, the spirit who brings to light a heightened state of emotion, expression and genuineness that permeates her soul.

Rocío Molina is the embodiment of flamenco’s past, present and future. She and her company bring together the complex patchwork of flamenco’s history weaving it into new material by bringing with them each their own eclectic blend of musicality, artistry and above all character.

Written by Eve Costarelli for more information http://www.AlwaysBeDancing.com