Always Be Dancing Expressive Arts

Yoga and Flamenco for Every(body)


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¡Olé Namaste!

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Pictured above from top left: Two students strike a pose, Hurley School, Boston; Eve Costarelli (AKA Eva Lorca); Students learning palmas at St. Stephens after-school program, Boston, MA; Visual representations of flamenco; Antonio Tiriti and Eve performing at the Natick Farmer’s Market; Students performing the story of Ferdinand The Bull; Eve teaching how braseo to students of St. Stephen’s after-school program, Boston, MA; Eve and some students. (Thank you to Celebrity Series and Robert Torres for the pictures of Eve and St. Stephen’s)

I am a flamenco dancer. Through this dance, I communicate my kinship to the gypsies, a group of wanderers/nomads/pilgrims who migrated from Northern India during the 8th and 9th centuries. One route that they took was through Saudi Arabia and Northern Africa, before arriving in Spain through the Straits of Gibraltar. These gypsies were comprised of expert metal workers, animal tenders and entertainers. They arrived in Spain when the country was controlled by the Moors (made up of Arabs, Syrians and Berbers). In Spain, the gypsies mixed freely amongst the veritable melting pot of cultures. In Andalucía, a region in Southern Spain known as the birth place of flamenco, the gypsies found a land that suited them and found a sense of connection with the people who lived there: the Jews, the Moors and the Spaniards. The gypsies absorbed the diverse cultures around them: the music of the Moors, the songs of the Sephardic Jews and the dances of the Spaniards and then coupled with their heritage from India, they transformed the music, song and dance into the art of flamenco.

GypsyRoute

My journey to become a flamenco dancer has been a deeply personal artistic pursuit. I have found that the greatest joy of flamenco is discovering my interpretation and style within the art form. As a flamenco dancer, I possess the capacity for self-controlled passion and emotional expression which becomes the underlying energy which motivates me to dance. This is my life force, my soul, my chi, my prana. Duende, the passion and inspiration within, is the heart of the flamenco artist. It is the transfer of emotions across space. It is the energetic imprint of the raw emotion released as a result of a performer’s intense emotional involvement with the music, song and dance. It is in the sum the energy the dancer takes from the earth, drawing it up through the soles of their feet. It travels through the body electrifying the the base, the core, the heart and shines forth through the crown of her head.

It is in this sensation filled space that I find the connection between flamenco and yoga. I speculate that the gypsies created the movements in flamenco directly in correlation to the yoga body. The energy centers, the chakras, directly speaking to the emotional output of the artist. I believe that the gypsies brought with them an underlying understanding of yoga and that this physical, emotional and spiritual connection to the body was then naturally incorporated into flamenco’s expression. It is fascinating to teach flamenco under the label of mindfulness. I incorporate it (plus a smattering of other rhythmic and contemplative movement forms) into all of my youth yoga classes. I find that flamenco is a perfect addition as its many benefits go hand-in-hand with the benefits of yoga.

Flamenco and Yoga both:

  • Stimulate memory, thinking and retention
  • Increase the ability to focus, listen, observe and absorb
  • Reduce Stress
  • Strengthen the heart muscle, both physically and emotionally
  • Increase positive energy
  • Develop balance, flexibility and coordination
  • Strengthen confidence, patience and risk taking skills
  • Build community
  • Deepen sense of self
  • Expand world view
  • Heighten happiness
  • Help you get in touch with your emotions and give you a safe outlet for their release
  • Cultivate accessibility, adaptability and inclusivity

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.”

My favorite part about teaching is sharing my love of movement and making both the arts of flamenco and yoga accessible. Yoga is not one tangible thing. It is not movement; it is not breath; it is not meditation. What it is, is all of these things. Each of these elements leaves an energetic imprint, a vibrational frequency on the person, and that is the yoga. I love both yoga and flamenco in my life and I live to share them. With each personal exploration of my own energy’s movement, I teach. Yoga and flamenco are deeply connected to my soul, and I am constantly evolving. I choreograph the dance between effort and surrender. I find such joy in these sensations. All I want to do is to share them with my students.


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Halloween Yoga For Kids

Halloween Yoga Comes to Mini Miracles Childcare Center:human-skeleton-vector-illustration-body-anatomy-internal-organ-34569329

Class started, as it always does, with the ringing of the chime, breath in, breath out.

Me: Where does a skeleton live before it is dead and is buried in the ground?

Them: In the ground, in a scary house, icky and gooey….In your body!

Me: That’s It!

We had a talk about how some things are scary like skeletons, zombies, ghosts and witches, but they are not real, so even though you feel scared by them, they are not real and cannot hurt you. At Halloween, it is fun to dress up in scary costumes, but it is also fun to dress up in non-scary  ones, like Belle, Ariel, Superman and Elsa. Remember to respect other children’s’ feelings.Not everyone likes to be scared. Also remember, that even if you do feel scared, inside the costume is just a friend or a sibling or even a parent. Stay with your adult, do not run into the street and let your parent help choose the candy you can eat. Have a happy and safe Halloween!

Halloween Yoga Sequence for ages 15 Months+ All inclusive. Adapt as needed.

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Happy Pumpkin Pose To Color

  1. Happy Pumpkin: Easy pose with hands in Garuda Mudra at the heart center. Give yourself a heart hug as you breath in and out. mudra-garuda
  2. Twisting Ghost : While making a Woooooooooo sund like a ghost.

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3. Mixing the Candy : Slow to Faster one direction. Stop. Repeat opposite direction.

4. Candy Bowl: This can be done with hands in the back for support. Also, lift one hand, reach in and say “Trick or treat” as you pull out a piece of candy. Switch Sides. Then try both. Try mixing the candy while in bowl pose. Throw hands up and say “Happy Halloween.”img_3919

5. I Am Happy, I AM Good MeditationSitting, criss-cross yoga sauce. Pointer fingers stretched out and using thumb to hold other fingers curled.
I am happy; I am good. I am happy; I am good (Shake pointer fingers)
A-E-I-O (finger tips together at the belly button) ; A-E-I-O (finger tips together by the heart) ; A-E-I-O (finger tips together by the forehead); U (hands reaching up to sky).
Ha-ha-ha-ha (finger tips together by the forehead) ; He-he-he-he (finger tips together by the heart) ; Ho-ho-ho-ho(finger together at the belly button) ;Hooooooo (pronounced “who” hands reaching our by the knees). I have finger tips join as a brain gym activity.

6. Feel Your Heart Beat: Use Ride Your Bumpy Camel-up and down faster and faster, like a heart beat when you get scared. Then bring the tempo back down, to show resting heart rate.conferenceyoga-for-children-disordersppt-28-728

7. Howling Wolf: Hooooooowwwwwoooooooo & Back Cat: Meoooowwwwwwwyoga-poses-cat-cow-back-stretch-pose

8. Haunted House: Lift one leg up for a chimney, swirl the ankle for the smoke coming out of the chimney. Switch sides. img_3920

9. Kick Away The Ghosts: We did it 8x. donkey-kick

10. Welcome Mat: Taking a rest mid class. Lay on your belly, rest head, eyes and energy. Listen to your heart and try to hear your heart beating. Can you slow it down? Do you notice how calm you feel? How Happy? How Safe? How strong? crocodile_1

11. Zombie: Rise up and find your inner zombie. Similar to mountain and up mountain pose. Skip the last one  with the cut in 1/2, guts spilling out. But do say “arrrgggghhhh” and plod around on your mat a bit. zombie_yoga_by_wonder_twin

12. Crescent Moon: Can do it with breath. img_3922

13. Witch on a Broom (with hat), Witch Taking Flight & Flying Witch: “I am brave (Warrior I). I am bold (Warrior II). To our brooms, we take hold! (Warrior III)” 

14. Eye In The Sky: Twinkle fingers. Big smile.dsc01693

15. Owl: “whoooooooooooo” breath. Turn head side-to-side. Tuck arms in like wings. img_3923

16. Littlest Pumpkin in the Patchimg_3924

17. Tootsie Roll: The most calming!  bryce-gets-wrapped-up-like-a-map-during-yoga

 

18. Freeze Yoga Dance: Start out by leading them into poses and saying freeze to get them to hold the poses. Then let them do any poses they want and randomly stop the music. Then starting adding in suggestions, such as: Do a pose with one hand on the floor. Do a pose with your belly on the floor but not your feet. Make the smallest pose you can. The largest. And so on…

 Fun Halloween Songs:

  1. Purple People Eater
  2. Woolly Bully
  3. Monster Mash
  4. I Put A Spell On You
  5. Love Potion No. 9

¡Olé! Happy Halloween! Love, Eveimg_3917-1

20hours


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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 2015: Life Cycle of the Yoga Butterfly

Waiting For Wings by Lois Ehlert

Today was the final day of Dance In The Schools 2015 at the Baldwin School, Cambridge. My classes were based on the life cycle of the butterfly (current with the 2nd grade science curriculum) and the concepts of senses we know (touch, sight, smell, hearing and taste) and then the ones we don’t know as much about (proprioception= an awareness of our bodies in space and the vestibular system=balance, gravity and movement information though our inner ear).

The best thing about yoga is that it allows for a sensory experience in a safe/non-competitive environment. You can manipulate your body in space, using poses, breath and meditation to clear pathways to achieve balance.

Breathing Sticks (once again, I noted to them to practice their breathing once they got their sticks)

Sa-Ta-Na-Ma meditation

Waiting for Wings/They have eggs to lay...What is the Butterfly Life Cycle?

Egg (usually laid on a leaf)

Larva/Caterpillar (eats leaves to grow)

Pupa/Chrysalis/Cocoon

Adult butterfly/moth

What is metamorphosis?

Interesting facts:

  1. Butterflies are active during the day feeding on flowers. They suck up the sweet nectar with their long, curly tongues. That is because butterflies cannot bite or chew.
  2. There are about 150,000 kinds of butterflies and they and their caterpillars come in all sorts of colors and sizes.
  3. Butterflies Like all insects, they have six jointed legs, 3 body parts, a pair of antennae, compound eyes, and an exoskeleton. The three body parts are the head, thorax (the chest), and abdomen (the tail end). Most have four wings. The wings of butterflies are covered with tiny scales that seem to shimmer in the daylight. Some of them are brightly colored. Others have bold patterns or scary eye-spots. When a butterfly flashes its wings at its enemies, it confuses them, and gives itself time to escape the danger that they might be in.
  4. Butterflies and moth belong to the order Lepidoptera. Lepidos is Greek for “scales” and ptera means “wing”. Monarch visiting Mums

Waiting for Wings by Lois Ehlert

Out in the fields, eggs are hidden from view. Child’s pose

clinging to leaves with butterfly glue. Stretching child’s pose. Fingers crawl to the left and right to stretch sides.

Soon caterpillars hatch. They creep and they chew. Creep forward into inchworm.

Each one knows what it must do. Press up to cobra. Add hissing and snaking back up and down.

Find a place where winds don;t blow, Locust.

then make a case in which to grow. Bow.

Caterpillar changes now begin– Rock and roll on belly, release. Rise up to standing position.

body and wings take shape within. Tapping.

When it’s time, each case is torn– Willow tree and joy breath.

wings unfold; new butterflies are born! Star Pose.

They pump their wings, get ready to fly, Add cross body kicks.

then hungry butterflies head for the sky. Yoga Jumping Jacks.

Looking for flowers with nectar to eat, Standing flower pose (tree)

they catch a whiff of something sweet.: Join a partner for partner tree/or group tree

They follow that fragrant scent of perfume, Melt to the floor. breathing in and smelling the delicious odor of fresh flowers 3x.

until they find our garden bloom.: Seated flower

We’ve been waiting for wings! Seated bat (opening flower)

We watch them circle, land on their feet, Lay on back and hug knees to chest. Legs up towards ceiling, as if walking on ceiling. Foot circles, both directions. Point and flex and then walk on ceiling and then bicycle.

unroll their tongues, and begin to eat.: Rock and roll. Grab feet, happy baby.

They dip and sip, Feet down. Simple lying twist.

then fly away, back home to the fields… Full body stretch-like a gingerbread man.

They have eggs to lay.: Savasana

Song (sung to the tune of Pop Goes The Weasel)…I tried!

I spin and spin my chrysalis

I stay inside to rest

When I come out….Metamorphosis!

Pop! Goes the butterfly.

Of course we then did a rousing version of Yogini Went to Sea and then the Downward Dog Crawl Tunnel. Not taking into account the size of the room, proved to be a stumper for a moment. But I offered up the challenge to the class and we  were able to create a circle, which worked very well! I so appreciated the first groups problem solving ability!

Please enjoy the wonderful gift I received:

IMG_3897 IMG_3898 IMG_3903 IMG_3899 IMG_3900 IMG_3901 IMG_3902 IMG_3904 IMG_3905 IMG_3906 IMG_3907 IMG_3908 IMG_3909 IMG_3910 IMG_3911 IMG_3912 IMG_3913 IMG_3915 IMG_3916 IMG_3917 IMG_3918 IMG_3919 IMG_3920 IMG_3921 IMG_3922 IMG_3923 IMG_3924 IMG_3925 IMG_3926 IMG_3927 IMG_3928 IMG_3929 IMG_3930 IMG_3931 IMG_3932 IMG_3933 IMG_3934 IMG_3935 IMG_3936

Ole! Namaste!