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A Palo Seco
www.apalosecoflamenco.com


Meet the Artist

A Palo Seco is a New York based Flamenco Company described as “awesomely fiery” (New York Times) and “a feast for the eyes and the ears” (Theater Online).  The company has been acknowledged as an up and coming voice in the U.S. Flamenco community for its artistic vision deeply rooted in Flamenco tradition, yet relevant in a modern urban context. They are now gaining national recognition and recently appeared at the 2012 Chicago Flamenco Festival, along with artists such as Raimundo and Diego Amador.  Led by artistic director and choreographer, Rebeca Tomas, and musical director Pedro Cortes, their productions feature  3 dancers/5 musicians in traditional Flamenco repertoire combined with the company’s penchant for an innovative and edgy New York City feel.

After years of training and performing in Spain, artistic director Rebeca Tomas settled in New York City in 2006, where she performed with such companies as Soledad Barrio and Noche Flamenca and Flamenco Vivo Carlota Santana.  Developing an artistic vision of her own, she founded A Palo Seco Flamenco Company in January 2010.  The company’s works are inspired by the particularities of New York City’s atmosphere, the work of the company’s musical director and guitarist, Pedro Cortes, and a desire to show the juxtaposition between the deeply rooted traditions of Flamenco and the ever-evolving innovation that exists within the art form. A Palo Seco has quickly risen as the new voice of the next generation in Flamenco. This is the new “IT” company to book!

“awesomely fiery."  -Jack Anderson, NYTimes 1/2011

“'A Palo Seco' as a whole was truly a feast for the eyes and the ears.” -Lindsay Miller, Theater Online

“Tomás and her company know their flamenco, yet they're willing to play with its conventions.” -Jack Anderson, NYTheatre Wire


Touring Programs

Touring Option A:

Rasgos Flamencos
With an eye on both convention and innovation, this production explores the juxtaposition of the raw emotional darkness and the festive playfulness, both essential to the art of Flamenco. The "Rasgos Flamencos," or defining characteristics of the art form, are present in both traditional repertoire and in pieces with a more contemporary and individual take on the Spanish art.  

Repertoire/ Pieces include: 
El Lenguaje del Abanico: The abanico (Spanish fan) is implemented in an original work that departs from all of Flamenco’s structural norms.  The abanico takes on the role of a percussive instrument and a sharp visual punctuation.  "Ms. Tomás brandished a Spanish fan, but wielded it like a butterfly knife, lunging from side to side in profile… The stage was alive with sounds: dragging her toe on the floor or tapping the fan onto her chest, she generated her own percussive score."  Gia Kourlas, NYTimes

Martinete: Often referred to as cante jondo, “deep song,” the Martinete is sung and danced a palo seco, a capella with rhythm only and no guitar. 
"In "Martinete," Ms. Tomás showed her choreographic exactitude as the three women, their feet on fire, drifted in and out of unison and canon." (Gia Kourlas, NYTimes)

Tangos: An upbeat style within Flamenco characterized by short letras, or song lyrics, which are interpreted interchangeably between dancers.  

Farruca: A typically male dance due to its characteristic linear quality and footwork.  In this case, the females “wear the pants.”

Soleá: A somber and serious style of Flamenco, the Soleá is also considered cante jondo. 

Alegrías: Lively and upbeat, Alegrías are typical of the port city Cádiz in southern Spain.  Here they are performed with the traditional bata de cola (long train dress).

Touring Option B:

Al Tablao
This production features Flamenco in its most traditional format: el tablao.  Ideal for non-traditional theater venues with more of a cabaret-style feel, this production features some of the company’s most critically acclaimed group numbers, as well as traditional dance solos and musical numbers.

Repertoire/ Pieces include:
Bulerías “A Palo Seco”: A festive and improvisatory style within Flamenco in which people sing and dance spontaneously.

Sevillanas: A folkloric style of music and dance typical of Southern Spain and often performed with castanetts. 

Tangos: An upbeat style within Flamenco characterized by short letras, or song lyrics, which can be interpreted interchangeably between dancers.  

Guajiras: A coquettish piece typical of Flamenco’s ida y vuelta styles, which contain influences from Latin America and, specifically, Cuba. 

Soleá: A somber and serious style of Flamenco, the Soleá is also considered cante jondo. 

Alegrías: Lively and upbeat, Alegrías are typical of the port city Cádiz in southern Spain.  Here they are performed with the traditional bata de cola (long train dress). 

ARTS EDUCATION/ ACADEMIC PRESENTATIONS & PERFORMANCES:

Lecture Demonstrations: (tailored to audiences of all ages) The Lecture Demonstration is an interactive way of combining a straightforward Performance, hands-on workshop, and informative explanation about the art, culture and history of Flamenco. In between lively performance numbers, audience members get hands-on experience with playing las castañuelas (castanetts), las palmas (rhythmic hand-clapping), and they even learn to dance a bit of Flamenco themselves!

Workshops: (tailored to any age and/or skill level) These individual or back-to-back workshops focus on the essentials of Flamenco dance, including body and hand positions, zapateo (footwork), and palmas (rhythmic hand-clapping). Working with a variety of beats and rhythms, workshop students will learn how each element plays a part within the structure of a solo Flamenco dance.  Depending on age, skill level, and number of sessions, participants will learn choreography to recorded music that they will later be able to practice and perform on their own.

School Performances (K-12):  A Palo Seco Flamenco Company presents school performances to students of all ages, featuring dance and music in a vibrant and entertaining production full of color, rhythms, and emotions. Explanations and questions are intermixed with high-energy performance pieces and audience participation. Students learn to play palmas (rhythmic hand clapping) and castanetts, and are invited to join the artists on stage to do a short dance number at the end.

 



Performance Calendar


2012
August 25



New York City Fringe Festival. The Living Theatre, NYC

TBD

 

“Between the Seas”
Festival of Mediterranean Arts.Wilde Project Theatre. NYC.


October 20

 

Performance w/ World on Stage. Maxwell Theatre. Lexington, MA. 


  
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