spanish dance

DVD Review: Basic Castanet and Movement Technique Volume 1

August 18, 2014 by Rachel Hellwig

Basic Castanet and Movement Technique Volume 1
JoDe Romano

In this thirty-five minute instructional DVD, New York City-based teacher and choreographer JoDe Romano walks the beginning student through a series of six castanet exercises. She begins with simple instructions for putting on and adjusting the castanets, then moves on to finger exercises, and eventually incorporates arm, head, and leg movements. Each new element is added systematically, with emphasis on slow repetition and daily practice to develop strength and accuracy.

Romano’s verbal directions are clear and easy to follow, and each exercise is shown from the front and back. Her demonstrations cleanly show the technique for each combination, and she provides an inspiring example of the strength, passion, and power of Spanish dance.

This DVD is a useful tool for beginners of any age, or any dancer looking for a better understanding of the basics of Spanish castanet movement. Basic Castanet and Movement Technique is the first of a two-part series. Both DVDs can be purchased on Romano’s website, www.flamencoromano.com.

CD Review: JoDe Romano Presents Spanish Classical Piano And Castanets

July 14, 2014 by 4dancers

by Emily Kate Long

JoDe Romano is a teacher and choreographer of Spanish dance currently working in New York City. Here she is joined by pianist Felix Ventouras for a selection of ten pieces by George Bizet, Isaac Albeniz, Manuel De Falla, and others.

Both Romano and Ventouras perform with great joy and brio, and a precision that sounds clean but never constrained. There’s a spirit of excitement from beginning to end that makes the CD a pleasure to listen to, even though there are works here from Spanish, Cuban, and French composers. Some of the music, like Albeniz’s sensual “Cordoba,” was originally written for piano, but most are opera dances: De Falla’s La Vida Breve, Bizet’s Carmen, and Geronimo Gimenez’s rhythmically playful El Baile de Luis Alonso. The latter is part of the opera sub-genre of Zarzuelas, traditional Spanish operas, several of which JoDe Romano has herself choreographed at Thalia Hispanic Theater in Queens.

Much of this music (like Emanuel Lecuona’s “Andalucia” and Pascual Marquina’s famous pasodoble) is instantly recognizable, and Romano and Ventouras overdo nothing. The piano and castanets are animated and expressive enough in the hands of these two skilled artists. Carmen has more mystery and allure in this arrangement than in many orchestrations I’ve heard. Joaquin Turina’s saucy Sacro-Monte is also a delight.

This is the only CD collaboration between Romano and Ventouras. It’s intended as dance accompaniment, but is worth listening to on its own.

Shoes For Spanish Dance

February 8, 2013 by 4dancers

As part of our continuing focus on footwear and foot care this quarter, today we are excited to bring you the basics on footwear for Spanish dance…

by Karen Stelling

The dances of Spain, loosely categorized as regional, classical, and flamenco each put a unique foot forward–quite literally! Many regional or what are traditionally called folk or peasant dances, often utilize a soft shoe, a sort of a tie-on slipper. Although they look rather flimsy, these types of shoes such as those worn in the Jota Aragonesa are quite comfortable and actually offer great cushioning for the jumping that a dance such as the Jota requires.

Spanish Classical or Ballet Espanol dances are usually performed to Spanish classical orchestrated music and are very balletic in style. The shoes preferred for Ballet Espanol have a taller, thinner and more “shapely” heel than flamenco shoes and feature a soft sole to allow greater flexibility of the foot and a more elegant line when the foot is pointed. There may be some “zapateado” or heel work in classical Spanish dance but not as intense or as deliberate as in Flamenco.One of the most identifiable traits of flamenco dance is the intricate footwork. The shoes are the instrument the dancer uses to create and compliment the various flamenco dance rhythms. Flamenco shoes can be as varied as the dancer who wears them.

“Zapatos” need to be sturdy with solid heels but heel heights can vary depending on the dancer’s preference. Most flamenco shoes are made of smooth leather but suede is very popular and as far as colors and designs are concerned, anything is possible! Straps, ties, lace-ups are all incorporated in these shoe’s designs. Many women flamenco dancers like to coordinate their shoe color with their costumes for a unified look. Most professional flamenco shoes are hand- made in Spain and a dancer submits individual foot measurements for a custom fit.

In addition to leather soles, the toe tips and heel bottoms of flamenco shoes have tiny nails embedded into them to add a slight tapping sound when the feet hit the floor. This feature is unique to flamenco shoes. However, the real sound is produced by the strength of the dancer’s body as all her energy is directed into the lower legs and feet.

Character shoes are not the same as flamenco shoes! While character shoes can be used as Flamenco shoes for the beginner who has not decided to invest in an expensive pair of Flamenco shoes, Flamenco shoes are not interchangeable for character shoes. It is not a good idea to try and dance in Flamenco shoes for a non-Flamenco dance class. The nails at the bottom of the soles will be extremely loud and possibly damaging to the floor you are dancing on! As one might imagine, many flamenco dancers and their shoes are not especially welcome in many dance studios! The shoes pictured below are made by Begona Cervera and Gallardo, well known Spanish manufacturers.

Contributor Karen Stelling Began her Spanish Dance training in 1975 and since then has performed in many venues around Chicago, the Midwest and beyond. She was the First Dancer of the Ensemble Espanol Spanish Dance Company from its inception in 1976 through 1987, performing flamenco, neo-classical and many of the regional dances of Spain. Highlighted performances included the chance to dance with the Chicago Symphony, at the Theater of the Riverside Church in New York City, for migrant workers in the fields of Southern Illinois and in many lecture-demonstration and concerts for Chicago and suburban school students.

After leaving the Company, Karen continued to perform at a variety of concert halls, festivals and special events as a soloist/guest artist, and as a member of the flamenco trio, Los Tres. Karen was a guest artist and choreographer in 1999 and again in 2002 with the Ole Ole Puppet and Dance Theater directed by Wendy Clinard.

In 2007, Karen provided choreography for the Halcyon Theatre’s production of Yerma, by F. G. Lorca. Karen has taught private and group flamenco classes for over two decades including work for Hedwig Dance, the Evanston Park District, Danza Viva, Harper College Dance Program, The Salt Creek Ballet and currently at the Flamenco Arts Center and SPACE in Chicago. She received flamenco and Spanish dance training from many masters of both “old school” and the “Nuevo” styles. Karen also enjoys playing the cajon, a box drum used frequently in flamenco and teaching castanet technique.

Disclosure – Affiliate & Ad Info

Copyright Notice