I am, heart and soul, a tango dancer. For all the other forms of dance I love, I found my home in tango. But if there were another dance that I think I could adopt and explore and make my own, it’s flamenco. I am fascinated by flamenco. I enjoy listening to flamenco music, and I love the relationship between the music and the dancer:
Look, listen to the guitar because he’s playing the guitar beautifully for you. He’s asking for bulería, listen to him.
It sounds just like my experience with tango, where the music can entice you do dance in certain ways, where the dance is nothing without the music. And there is never an end to what you can learn, what more you can do with it, where it can take you:
There are so many beautiful things in flamenco. That’s why you will never finish learning: you always have to be learning no matter how many years you have been doing it. You may know it, but you will never finish learning. Really, I still don’t know because the more I listen to flamenco I realize that I’m further behind, because flamenco is a music that has no end.
And if the connections between flamenco and tango intrigue you, you might enjoy Diego el Cigala’s flamenco interpretations of tango in Cigala&Tango. One of my favorites is his version of “En esta tarde gris,” composed by Mariano Mores and José María Contursi.
In a rose pink dress and champagne-coloured shoes which blended with her skin tone and made her look almost nude, the focus was very much on her luscious body in very graceful motion. They were both less rough-edged than usual, her toes were more pointed, her movements tighter, cleaner — and I was watching from the front row, from close to. He wore black, like a stage hand, silently and unobtrusively placing the flats, positioning the scenery, creating the backdrop. Having seen her dance socially with a number of different fellow-professionals lately, I was especially struck by the special qualities of their partnership, the way that he, with his energetic but simple, never flamboyant dance, sets up frames which she fills with musical decoration and play, hints and suggestions which she takes and runs with, as they choose, together, which parts of the music to emphasise, which details to linger deliciously over. He is like the ideal pianist, accompanying the singer with tact and discretion and unobtrusive virtuosity, making every note sound richer and fuller.
via Terpsichoral Tangoaddict
For all you fellow bunheads, the second season of city.ballet is online! And if that doesn’t give you enough of a glimpse into the New York City Ballet, check out the trailer for Ballet 422:
The documentary follows the process as Justin Peck creates the company’s 422nd new ballet. Now you just have to wait for it to come out — it’s scheduled to be released on February 6, 2015.
Dancing in a corps de ballet is deceptively hard — every person on stage needs to be completely coordinated, keeping up with the choreography but also keeping an eye on the other dancers in the corps. Every detail is important.
While the principal dancers and soloists have pressure to execute tricky, showy steps with personality and individuality, the corps has to be clean and precise, like elegant carbon copies of a single dancer. In the corps, you fear that moment when you accidentally turn right instead of left, relevé instead of plié, or miss a cue entirely. This video is to celebrate those moments: