Adrián Brenes, Jackie Cornwall
The dance in winter: martinetes and seguiriyas.
Adrián Brenes
2013, my first year as a
professional flamenco dancer, was an intense experience. From April to October,
I danced between two and five days a week in various venues, and when you add
in the respective rehearsals, it’s not surprising that by the end of October I
was bit tired, both mentally and physically. I went on a short holiday in the
UK and returned home to begin my winter routine.
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| Attention to detail brings results |
During the summer, I’d gained
confidence onstage and performing was now second nature. I was able to focus on
the details and nuances of my choreography and enrich my dance with a wider
spectrum of shades and individual touches. After having performed each palo
scores of times, I had become very aware of the structure of the dance. As I
performed, I made mental notes of the areas I could improve on. At the same time, I’d accumulated a few
faults and bad habits, and now was the time to concentrate on correcting them.
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| Technique is the main focus |
My winter schedule consisted
of three two-hour practice sessions every week with the Compañia Ventura and
our teacher and choreographer Milagros. These are group sessions and it is up
to each performer to adapt the knowledge we gain to our own individual needs.
We pay for these sessions as they are part of our professional development, though rehearsals for specific
shows are held separately. In lessons we work on the rhythm, technique and steps; in rehearsals, we
work mainly on choreographies.
The company is the same as always – a new
member who had joined for the summer had gone back to college – and as time has
passed, we’ve developed a lot of trust and understanding. As a group, we wanted
to build a bigger repertoire so
that we could face the new season’s demanding audiences with more resources and
especially with new dances. Personally, technique is always my main focus,
especially in winter when I have more time. We all wanted innovative, better and more difficult
choreographies through which to arrange new and better shows.
We decided to work on two new palos this
winter – seguiriyas and martinetes. They have the same compás, though their
mood is different. Martinetes originated
with the strike of the blacksmith’s hammer in the forges of Jerez and Seville;
they are sung unaccompanied (palo seco)
and they have a serious, honest and direct mood.
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| Milagros Ventura: seguiriyas |
Our martinetes are danced with
percussion only (al golpe), provided
by a cajón. This demands great concentration and sensitivity to the compás, but
the effect is very striking. This performance, choreographed by Rebeca Tomas
will give an idea of what we are working on.
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| Milagros Ventura - Seguiriyas |
Seguiriyas are better known,
and are strongly associated with my home region of Cádiz. They are profound,
with taut, minimalist lyrics which expose the existential despair of the gypsy
soul and to dance them well, you must reach deep inside yourself. Seguiriyas, even more than other flamenco
palos, come to life in front of an audience when the emotion is generally
understood and shared.
Although in October it had been a relief to
take a rest, I soon began to miss my audiences. Artistically it's necessary to have shows now and
again: especially in Flamenco, a dancer is nourished and fulfilled through
contact with the public. We’re hoping to give a show in February and it won’t
come a moment too soon.
Although I’d earned a living wage over the summer, my income is severely reduced in the winter months. Fortunately, I also teach flamenco dance to an advanced group, and since at the moment I’m able to live at home with my family, I cover my expenses.
Although I’d earned a living wage over the summer, my income is severely reduced in the winter months. Fortunately, I also teach flamenco dance to an advanced group, and since at the moment I’m able to live at home with my family, I cover my expenses.
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| With the Compañia Ventura |
Thanks to Kelly Lawlor for permission to use photographs
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