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Flamenco Inesita

Inesita

Taking Stock

AFTER A VERY LONG LIFE IN THE ARTS, NAMELY THE DANCE OF Spain and particularly THE FFLAMENCO FORM. WHICH IS SO VERY SPECIAL AND POPULAR, I THINK DEEPLY ABOUT MY CONTRIBUTION TO THIS expression with the DEVOTION to WHICH I SPENT A e lifetime

LIFEHY DO I DO IT? I HAVE ACTULLY BEEN ASKED SUCH AN IDD QUESTION!

I Think THAT THE BEST ANSWSER IS THE FEELING OF MATERY ONE DERIVIVES FROM THE SENSE OF ACCOMPLIHMENT  ABD BEING IN FULL CONFROL OF A DIFFICULT SET OF SKILLS WHICH ARE INVOLVED.. and possession of the ones powers.

Dance is a composition in time and space, The dances creates a floor and air design a d this experience is exa exalting like n o other,

HE PUZZEL THAT COME TO MIND is WHEN TO LEAVE THIS EFFORT AND step aside

IF I CONTINUE TO E ABLE ENOUGH TO PUT ASIDE THE OBVIOUS ARGUMENNTS THAT NONE DANCES INTO EXTREMEOLD AGEFPRGE AGEAD. THE IS THE DELEMA  ONE FACES.

IN MY PERSONAL CASE IT HAS A PROFOUNE satisfaction WHICH I CAN ONLY PUT INTO MY MIND AND CONTINUE.TO PSSESS CONTROL OVER BODY AND BRAIN

Inesita in a casual photo dated May 10th 2022

The performance on Saturday, March 19th 2022

The performance on March 10th, 2022 wa successful and we are booked again for March 18h 2023!

I represented an enormous challenge to make the necessary revisions in cast and music  but worth the amount of work and devotion it required.

 We look forward to this with enthusiasm  and renewed determination to make it even better. My hope is that I will find the strength and resolve to realize it all again!! It

Serranas

 Serranas

Serranas

About twenty years ago I began composing a Serranas on the piano, This form is related to the family of forge songs ( cantes de fragua) amn have the same compas as Martinete, Seguiriya, cabalaes and Tona and reflect the  rhythm of the blacksmiths work on the anvil. I t has an insistent and hypnotic expression which is mournful and melancholy.

 This presents the feeling of the tragic sense of life.

In eth upcoming performance I will be joined by three guitarists who will underline the basic rhythm as an accompanied to my piano rendition, and weave chores around the main harmonies. I have deliberately worked in some dissonant chords to create tension and ambiguity this form is referred to a “por arriba” and is centered on a minor and Phrygian mode, the actual time is alternating bars of ¾ and 6/8. The melody begins on the 2nd beat of the first ¾ bar and continues back and forth giving the titmice pulse which changes back and forth over the melody.

There are two other forms which use the alternating system of 6/8 and ¾ bars. Petén eras and Guairá’s have the 6/8 and 3/4 measures in the song  and the dance complements this effect along with the cante.

A currant image of Inesita in the pose of Farruca during rehearsal last January 30th in her studio at home.

A new group for the upcoming performance Inesira with Clarita joined by Michael Murphy ( El Miquelito) and Ricardo DaviLa Guitarists along with veteran Benjamin.

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Update

A New Performance is scheduled Saturday, March 19th 2022 which is dedicated to the memory of Stamen Dexter Wetzel who died of cancer last October 29th 2021,

This will commemorate his wonderful music and commitment to the art off traditional Flamenco.

Stamen

A photo of Stamen in 2005 from a Gallery of images.

The Performances

In the last period dating from 2009 up to this year on August 14th, Stamen accompanied me along with his friend, Benjamin Shearer, a fine flamenco exponent in a series of performances presented by APAC Alhambra Performing Arts Center under the Artistic direction of Bill Yee.

A photo of Stamen and me in a moment of the dance is included int this story.

Many happy hours in weekly practice and rehearsals were the highlights of our years together. These memories are a treasure for all time.

In Memorium

Stamen Dexter Wetzel 1943-2021

This article is written in loving memory of my dear friend, guitarist, and colleague, Stamen Dexter Wetzel.

Stamen and I met in 1970 shortly after a concert I did in May in Los Angeles at the Wilshire Ebell Theatre of that year. It was attended then by his late wife, Esther and by a twist of fate a contact was made. It was revealed that Stamen was studying flamenco guitar with Jeronimo Villarino who was my guitarist in the past and with whom I had performed on a number of occasions.

Stamen sat at the feet of the master for seven years and was Villarino’s student until Villarino’s death.

Because of this connection Stamen was special in so many ways. He was a natural musician, with an instinctive musicality, He became a wonderful accompanist and knowledgeable exponent of traditional flamenco. And I believe he developed his artistry to the highest category.

He had absolute pitch and an unerring rhythmic sense. Esther, Stamen’s late wife began her studies with me and soon after that I began teaching privately in my home studio. My enrollment of students grew large and I continued for the next 23 years In the early years of this period, Stamen became accompanist for these classes and perfected his skill in following the dance.

Eventually, I employed him as my guitarist in various performances and as time went on, we became close friends and fellow artists in the finest sense.

In my very long career spanning some eighty odd years I have worked with fifty guitarists in some capacity and with almost 20 flamenco singers, Stamen was unsurpassed in so many aspects in his artistry and dedication to this powerful form. He also was a generous and kind human being.

His passing on October 29th is shattering to me as a dancer and friend and he will never be forgotten.

A photo of Stamen and Patrick Lindley (Harpsichordist) and myself accompanies this tribute.

This was taken in February of 2005 after a performance we did at Brentwood Concert Hall presented by SCBA (Southern California Baroque Association) .Stamen accompanied me in two flamenco dances, Solea and Zapateado del Estampio. for this program.

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