THE ART OF SPANISH DANCE & MUSIC:

An Inquiring Artist’s Guidebook

In Residence at Northeastern Illinois University

AMERICAN SPANISH DANCE and MUSIC FESTIVAL

JUNE 2015 ~ 39TH SEASON

Written by Dame Libby Komaiko

Edited by Carolyn S. Aguila

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 AMERICAN SPANISH DANCE and MUSIC FESTIVAL
TABLE OF CONTENTS

Guidebook Section Page

Class, Workshop, and Programmatic Information 3

Map of Spain 3

The Realms of Spanish Dance and Music: An Inseparable Bond 4

Classical
Zarzuela

Folkloric 4-5
La Jota
Sevillanas

Flamenco 5-9
Alegrias
Siguiriyas (CanteJondo)
Tientos (Cante Intermedio)
Guajiras
Solea por Bulerias
Martinete
Farruca

The Music Makers: Spain’s Master Composers & Featured Festival Composers 10-15

Notes From Dame Libby Komaiko 16

Federico Garcia Lorca: A Poet’s Importance 17

The Spanish Guitar 18

Castanets 19-20

Glossary of Dance and Music Terms 21-22

Ensemble Español Spanish Dance Theater 23-25

Mission & History, National and International Profile
Commitment and Community Profile

Ensemble Español Spanish Dance Theater: Principal Biographies 26

References 27-29p

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Ensemble Español Spanish Dance Theater
Classes are available for college credit through Northeastern Illinois University. Additional instructional
opportunities are available through our community class programs. Members of the company are available for
artistic residencies, school and community programs, private instruction, dance demonstrations, and lectures.
For more information, please contact Irma Suárez Ruíz at (773) 442-5926.

Dame Libby Komaiko, Professor Emeritus at Northeastern Illinois University, is also available for extended
lectures, demonstrations, and teaching programs. For additional information, please contact Josephine DiCesare
at (773) 442-5916.

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 ENSEMBLE ESPAÑOL SPANISH DANCE THEATER
AMERICAN SPANISH DANCE AND MUSIC FESTIVAL

The Realms of Spanish Dance and Music: An Inseparable Bond

Overview

Spain is the second largest country in Western Europe, and is comprised of 49 mainland provinces, or states,
and 13 islands. Each region possesses approximately 15 different indigenous dances, which are divided into
three basic styles: Classical, Folkloric, and Flamenco. Given the sheer number of dances that are specific to
Spain’s tradition, the country is recognized as an unparalleled influence on all Western dances, including ballet,
modern and jazz genres.

Classical

Strongly identified with the Castilian province of Central Spain, classical Spanish dance is often considered a forebear to
classical ballet, as it incorporates refined hand and arm movements, as well as elegant jumps and leaps. This is the only
style of Spanish dance that has an extensive written terminology of steps, as edited by the Pericet Family of Spain.
Typically, Classical Spanish dance is divided into four categories, including Court and Renaissance dances; Escuela
Bolera/Ballet Español with castanets; Clàsico Español, La Zarzuela style with castanets; and Neo-Classical, which
combines orchestrated Clásico Español and Flamenco styles with castanets. According to dancer and historian, La Meri,
“The renaissance Spanish dance moves as an infanta would move—with dignity, with pride—whatever be her other
emotions. It uses the vehicle of the Spanish temperament and technique to express moods as varied and deep as any living
dance-art” (95). Consequently, Classical art forms embody a highly developed movement all its own. With its modern
pedigree starting in the 19th century, Spanish Classical Dance represent “the passion for modernity [that] engulfed Spain,”
and is strongly associated with Spain’s neo-classical music tradition, from which such composers as Isaác Albéniz,
Manuel de Falla, Enrique Granados, Joaquín Turina, and Joaquín Rodrigo emerged.

Zarzuela

Zarzuela, a theatrical genre of light opera, uses dance along with spoken dialogue, sung melodies to tell the comic, breezy
stories found in this dance and musical tradition. Historically, there are two main forms of the zarzuela: Baroque (c.1630–
1750), and Romantic (c.1850–1950), and even these forms are subdivided into other categories; such as, the género
grande and género chico (Operetta, 1). Zarzuela spread to the Spanish colonies, and many Hispanic countries. In fact,
Cuba has made an exceptional commitment to the art form, and there is also a strong tradition in the Philippines, where it
is also known as the sarswela or sarsuela (Operetta, 1).

Folkloric

Spain’s history, geographical position, and climate strongly contribute to the style and presentation of its Folkloric dance
and music. Each province has approximately 15 dances of its own, distinguishing Spain as having the richest and most
diverse dance culture in the world. Indeed, the connection between landscape and location is prominent in the northern
regions of the country, where the climate is cool and brisk. Here, the regional dances feature vigorous and lively
movement, as well as reflect the area’s history of battle and conquests. From the ferocity of Spain’s connection to the
Greeks, Romans, Visigoths, and Celts, as well as the engagement of the artistic sensibilities between conqueror and
conqueror, the antiquity of Spain’s native dance traditions give a strong echo to its past. Similarly, Spain’s southern
regions and surrounding islands inspire an elegance to its folkloric dance styles, where the area’s sunny and warm
atmosphere figure prominently in the country’s diverse dance vocabulary. Everyone—young and old—participates in
singing, dancing, and playing of musical instruments, including guitars, mandolins, flutes, pipes, shells, drums, castanets
and bagpipes. Many of these dances and street processions dignify religious holidays in the pueblos (towns) and cities.

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 La Jota

As one of Spain’s national dances, La Jota is also regarded as a musical genre, with its origins in the province of Aragon.
Distinguished by a ¾ rhythm, the music uses guitars, bandurrias, lutes, dulzaina, and drums, especially in the Castilian
tradition. Bagpipes and drums are often regarded as part of the Galician and Northern Provence style. In dance, the
movement shows a bond to traditional waltz steps, and imitates elements of nature, as when heel movements replicate the
flitting of birds. In fact, in Aragon, the dancer’s arms are held up like eagle wings, and in the “warrior position,” where
one arm holds a spear and the other embraces the shield. It should be stressed that La Jota is danced throughout the
country, and is included in celebrations and religious ceremonies. Likewise, it is enjoyed by the ordinary people as well as
professional dancers who are intent with showcasing this beloved dance form in theatrical settings (La Jota, 1).

Sevillanas

Named for the Andalusian capitol, the Sevillanas is also one of Spain’s national dances, and its popularity has never
dimmed. Traditionally, the dance is part of neighborhood living, where friends and family gather in a corrales and
celebrate the highlights of daily life and special occasions. However, the joy of the sevillanas has easily spread to night
clubs, and increasingly, the dance has become part of the Flamenco and Classical traditions, and its variations speak to
Spain’s regional diversity through the preservation of the sevillanas of the corraleras (for neighborhood patios), bíblicas
(with biblical themes), boleras, liturgícas (with liturgical, or religious, themes), de feria (typical of feasts) and rocieras
(for the rocío feast). The famous La Feria de Sevilla is held for one week each spring, and Sevillanos prepare all year for
this internationally known-fair.

Flamenco

Notes from Dame Libby Komaiko

The songs and dances of Andalusia have captured the imagination of Europe, the U.S., the Americas, and
throughout the world for many years. For over fifty years, Spanish musicologists, artists and scholars continue
their concerns that the essential characteristics of Cante Flamenco music and Baile Flamenco are showing
signs of decline. In fact, many educators, artists and historians are highly troubled by the homogenization of
world cultures, and are working to maintain the traditional Flamenco style. The “Flamenco Pop” sound, which
is widely promoted and used by the recording industry in popular and fusion music, may have a general appeal.
However, popular use of the art form does little to preserve the deep origins of the soul of Cante music and
Baile Flamenco. It is important to make this distinction, so that the richness and respect for Spain’s national
treasure will be upheld. I have compiled a few notes, lists and charts to serve as a beginning base for the study
of Flamenco, highlighting the Palos (rhythms), that we will study in class and appreciate in concert!

FUSION: The Artistic Interchange

As an artistic construct, fusion provides artists with ways to blend, mix, reference, or unify separate creative
traditions, styles, genres and disciplines, often resulting in new and rich artistic visions. However, an ongoing
discussion continues among artists, art historians, cultural scholars and educators who are sensitive to the
potential for artistic conformity as a result of mass-marketed globalization. This deep concern is an age-old and
delicate subject regarding the individual cultural heritages of our world, which need to be preserved with the
essence of their historical creation intact.

For me, as an American artist with childhood and teenage training in music, classical ballet, character,
modern, jazz and musical theater, these concerns of fusion is coupled with the knowledge of art history, and my
deep commitment to the evaluation of the creative process and to timely new works. Classic examples of fusion
or other intertextual relationships include George Gershwin’s great musical theater compositions integrating
Jewish music with the blues. Indeed, Gershwin’s Rhapsody in Blue contains one section that summons Spanish
rhythmical themes along with his original jazz and classical idioms. Likewise, Leonard Bernstein’s West Side
Story not only references Shakespeare’s famous tragedy, but is squarely placed within the American immigrant
experience, and of course uses the musical forms of Caribbean and Latin cultures.
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 As with many other artists, I too have looked to past masters to inform my work. Beethoven, who referred to
himself as a “tone poet,” has served as an inspiration in my choreography; and, of course Ravel’s Boléro,
which was originally a ballet, I created a work that I hope celebrates both the composer’s vision and the glory
of Spanish dance and life.

In Spain, the 1980’s and 1990’s brought choreographies by Maestro José Granero and Antonio Gades to the
Ballet National de España, Europe, the United States, and the Americas via concerts, tours and films world-
wide. Similarly, Manolo Salucar noted as the first Andalusian Gitano to compose scores for dance and films
with modern rich orchestrations and memorable, modern melodies. Paco de Lucia changed the Flamenco music
world with his love of jazz, most notably with his album, Friday Night in San Francisco, featuring John
McLaughlin and Al Di Meola. Miles Davis’ recording Sketches of Spain (1960,) features “Will o’ the Wisp”
and “Solea,” selections composed by Manuel de Falla are for his ballet, El Amor Brujo. In fact, this opera-
ballet unites the age-old story of passionate loves, deceit and gypsy superstitions, coupled with haunting singing
and orchestrations. Several traditional and modern variations of this famous work have been created,
performed and filmed since its 1915 premier. Still, it is vital to stress that Spain’s traditional music also has
been the beneficiary of outside influences, as well. For example, Spain’s national instrument, the guitar, is often
accompanied by the cajón (box), the oud, the dumbeck, bongos and congas. In particular, the cajón (box) was
incorporated with the Flamenco Cante and the palmas and the baile (dance), as modern Latin sounds—
percussive, instrumental, and vocal—emerged. Its origins can be traced from the ship crates found on slave
ships traveling from Africa to South America. Beginning in the late 1970’s, this new fusion movement began its
journey with the Spanish and world-wide artists and aficionados of Flamenco.

In Manuel de Falla’s integration of classical and zarzuela music and song, he further texturizes with Flamenco
cante, leaving us with another fine example of how artists seek the history and tradition to energize the creative
present. Singers, instrumentalists, including strings, winds, horns, percussionists and keyboard players partner
with classical and flamenco artists. This intertexuality of genres provides engaging and magical experiences for
audiences worldwide, as it gives artists an ever fruitful bounty of inspiration.

The cajón (box) was incorporated with the Flamenco Cante, palmas (hand claps), and baile (dance) as modern
Latin sounds—percussive, instrumental and vocal—emerged. The cajon’s origins are traced from the ship
crates that were found on the slave ships traveling from Africa to South America.

Enjoy this journey.

As Spain’s most southern region, Andalucia is recognized as the birthplace of Flamenco dance and music. Within this
grand tradition, the dance, music, rhythms and legends of the gitanos, or gypsies coalesce with the artistic remnants of the
ancient Greeks, Romans, Moors, Indians, Arabs and Jews, creating a culture unto itself. Known as the “heart beat” of this
musical form, the Cante Flamenco, highlights the guitar, which becomes the metaphorical instrument by which the
music’s blood flows through the music’s veins. Of course, the Cante Flamenco is keenly marked by the style’s compás, or
rhythm, in which the palmas (hand claps), jaleos and cajón (percussive instruments) join the Flamenco guitar to capture
Flamenco’s distinctive sense of vitality, longing, and sensuality. The origin of the word Flamenco, as applied to the songs
and dances of Andalusia, has been the object of study by many scholars, resulting in many and varied conclusions.
Among the theories are that flamenco is a corruption of the Arabic word, fellahmengu, meaning “peasants without land.”
However, musicologist Felipe Pedrell believes that the word came to Spain via the Flemish subjects who supported Carlos
V, which might add to the idea that Flamenco refers to the tall, slender, long-legged Flemish figures of the 18th and 19th
century cantaores who some likened to the flamingo. A final theory claims that the name is derived from the essential
characteristics of the songs—ardent, vivid, flaming. Regardless, Flamenco, and particularly its singing tradition, has
always been connected with three basic cultural influences: Arabic, Hebraic and Gitano (Roma). In fact, music historian
Medina Azara contends that the fundamental Flamenco songs, such as the Siguiriya, Saeta and Fandango were born from
the Semitic liturgy, which seems to reinforce Pedrell’s belief that Jewish antecedents can be found in the Martinete. A
“family tree” of Flamenco’s rhythms and songs are included in the following graph:

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 FLAMENCO’S FAMILY TREE

FLAMENCO/CANTES Y BAILES/GUITARRA

CANTE JONDO CANTE CHICO

CANTE INTERMEDIO CANTE POR BAILE
CANTE POR CANTE

PALOS (RHYTHMS)/COMPÁS/CANTES
COMPÁS 1 2 3́ 4 5 6́ 7 8́ 9 10́ 11 12́ CANTES/BAILES 1 2 3 4

SOLEARES (Cante Jondo) ROMANCES O CORRISOS

COMPAS 1 2 3́ 4 5 6́ 7 8́ 9 10́ 11 12́

CANA (Cante Intermedio) CANTES SIN GUITARRA (Libre/Free)

POLO TONAS
ALBOREAS DEBLAS
MARTINETES
CARCELERA
SIGUIRIYAS (Cante Jondo)
COMPÁS 1 2 3́ 4 5 6́ 7 8́ 9 10́ 11 12́

LIVIANA TARANTO (Cante Jondo)

SERRANA TARANTA
MINERA
MARTINETTE, SOLEA, SERRANA (Cante Jondo) TIENTOS (Cante Intermedio)
COMPÁS 1 2 3́ 4 5 6́ 7 8́ 9 10́ 11 12́

PETENERAS (Cante Jondo) TANGOS (Cante Chico)

COMPÁS 1 2 3́ 4 5 6́ 7 8́ 9 10́ 11 12́ TANGUILLOS
GARROTIN
FANDANGOS GRANDES (Cante Jondo)
COMPÁS 1 2 3́ 4 5 6́ 7 8́ 9 10́ 11 12́
RONDEÑAS (Cante Intermedio)
FARRUCA-Guitar/Dance for Men
SOLEA POR BULERIA (Cante Intermedio) RUMBAS
COMPÁS 1 2 3́ 4 5 6́ 7 8́ 9 10́ 11 12́ ZAPATEADO- Dance of Shoes
ALEGRIAS (Cante Chico)
CARACOLES (Cante Chico)
MIRABRA (Cante Chico) CANTE AUTOCTONOS
ROMERAS (Cante Chico) NANAS (Lullabies)
CANTINAS (Cante Chico) MARIANAS
BULERIAS (Cante Chico)

CANTES Y BAILES / HISPANO- AMERICANOS

COLUMBIANAS (Cante Chico)
GUARJIRAS
MILONGA

CANTE POR BAILE (Songs for Dancing)

SEVILLANAS
FANDANGO DE HUELVA
VERDIALES
MALAGUEÑAS

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 Alegrías
Cante Chico
Compás 12

Rooted in Cadiz, the Alegrías is the best-known Flamenco style from the cantiñas group. Its rhythmical structure matches
that of the soleá, although the alegrías is considered a hybrid of solea and Aragón’s traditional la jota. The “fusion” of
these forms, which then gave way to the distinctive alegrías style, is traced to Spain’s resistance movement toward the
Napoleonic invasion of 1808. Strikingly, the alegrías songs of this era speak strongly to freedom, liberation, and conflict.
The structure of the 20th century traditional alegrías includes entrada (entrance), coplas of cantes (sections of songs),
silencio (adagio), escobilla (heel work), and finishes with bulerias. This dance/song form is often taught in the beginning
of a student’s training. Among those who earned a reputation for nurturing this style include Enrique Butrón, Rosario la
del Colorao, and Ignacio Espeleta, who introduced the commonly repeated opening sequence of “tiri-ti-tran.”
Additionally, Aurelio Sellés, Chaquetón, Chano Lobato and many others contributed to the popularity of the art form. As
a result, dance techniques associated with alegrías are among the most rich and vivacious.

Compás pattern: 1 2 3́4 5 6́7 8́9 10́11 12́

Sample verse:

Yo pegué un tiro al aire I fired a shot into the air

Cayó en la arena It fell into the sand
Confianza en el hombre Faith in mankind
Nunca la tengas You should never have

Siguiriyas
Cante Jondo
Compás 12

Known as the “deep song”, the siguiriyas is regarded as one of the most serious of Spain’s creative traditions, as it often
centers on the larger and more philosophical aspects of life. Consequently, the art form—in both dance and music—has
inspired a loyal following, especially among Spain’s most respected and beloved artists. From Manuel de Falla to
Federico Garcia Lorca, the siguiriyas has been the subject of fierce debate, as well as served as a glorious inspiration to
some of Spain’s most brilliant and creative forces.

Sample verse:

Ay Totana Oh Totana
Salgo de mi casa andando I walk out of my house
Caminito de Totana On my way to Totana
Y en la cara me va dando And in my face blows
La brisa de la mañana The morning breeze
Cuando el sol ya va apuntando While the sun starts to take aim
(Camarón de la Isla. ‘Caminito de Totana’)

Tientos
Cante Intermedio
Compás 4

Slow and solemn, the tientos are full of earnest and determined movement and tempo. Appearing between the end of the
19th century and the beginning of the 20th, the dance is typically started by the cantaore , which allows the singer to
demonstrate the range of his vocal prowess. With Arabic influences, great performers of tientos include Enrique el
Mellizo, Antonio Chacón, Pepe de la Matrona, Bernardo el de los Lobitos and La Niña de los Peines. Contemporary
masters of the form include the great José Menese and Esperanza Fernández.
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Compás pattern: 1 2´ 3´ 4´

Sample verse:

Sombra le pedí a una fuente I asked shade of a fountain

Agua le pedí a un olivo I asked water of an olive tree
Que me ha puesto a mí tu querer Loving you has led me
Que no sé lo que me digo To not know what I'm saying

Guajiras
Cante Chico
Compás 12

Rooted in the music of rural life, the Guajiras brings to bear the dance and song that is most important to the people of the
countryside. However, the guajiras also centers on the specific experiences of those Spanish immigrants who both left for
the New World and returned to Spain (About Guajiras, par. 2). Indeed, the singular relationship between Spain and Cuba
is superbly embodied in this cross-cultural relationship, and aptly reflects the interchange between these peoples.

Solea por Bulerias

Cante Intermedio
Compás 12

Combining Soleares (Cante Jondo) and Bulerias (Cante Chico), the dance of the Solea por Bulerias is a perfect example
of how genres meet, mix and blend to form a completely new dance form. As a result, the Solea por Bulerias offers
dancers and guitarists the ability to explore its atypical tempos, even if it confounds dance historians and musicologists for
its unusual melding of the traditions (About Solea por Bulerias, par. 1). Regardless, the remarkable combination of the
forms lends the Solea por Bulerias to dramatic presentation.

Martinete
Cante Jondo
Compás 12

For Spain’s Gitano’s, who were often blacksmiths, the Martinete underscores the rhythm of the hammer and the anvil,
providing a visit to an earlier age when family, friends and neighbors found musical inspiration from the surroundings of
their day-to-day life. Today, the Martinete reaches to the past, but often uses other musical materials and instruments to
replicate these powerful rhythms.

Farruca
Compás 4

Traditionally danced by men, the Farruca is a 19th century dance genre that originates from Galicia. Noted for its quick
turns, concentrated footwork, and dramatic poses, the dance now includes women who are easily drawn to its passionate
mood (Farruca, par. 4).

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 AMERICAN SPANISH DANCE AND MUSIC FESTIVAL
THE MUSIC MAKERS: SPAIN’S MASTER COMPOSERS & FEATURED FESTIVAL COMPOSERS
__________________________________________________________________________________________

FIRST GENERATION
Isaác Manuel Albéniz (1860-1909)
Born in Catalonia, Isaác Manuel Albéniz was a composer of piano music, opera and song. Often
referred to as the founder of the national school of Classical Spanish music, Albéniz confided, “I am
a Moor,” believing he had Moorish blood and emphasizing his affinity for the exotic and colorful
atmosphere of Andalucia. As a young pianist, Albéniz proved himself as both talented and
precocious, giving his first public concert at the age of four. At six, he studied in Paris for nine
months and, by 1868, he studied at the Madrid Conservatory. A series of youthful adventures led him
to study throughout Spain, Buenos Aires, Cuba, New York, England, and Germany. Later, he studied
at the Brussels Conservatory with Lizst in both Weimar and in Rome. By age 20, Albéniz toured as a
virtuoso. In 1883, he studied with Felipe Pedrell, who was a great influence on Spanish nationalism
and music. Albéniz wrote his most original works for the piano, including Granada, Sevilla, Cádiz
Photo: www.arastiranbatu.com and Tango in D. However, his masterpiece is Iberia, which comprises four books of three pieces
each. Among his zarzuelas, it is worth highlighting Pepita Jiménez, a lyric comedy in two acts that
premiered in the Gran Teatre del Liceu in 1896. His musical work, Asturias¸ will be used in Ms.
Ruiz’s Neo-Classical class as well as by visiting guest artist, Raquel Gomez.
Ludwig van Beethoven (1770-1827)
Born in Bonn, Germany, Beethoven’s musical training began at the age of four with his father, and quickly progressed as
he studied with numerous other teachers. Beethoven was taken out of school at the age of ten to be able to devote more
time to his musical studies, and arranged his first composition at the age of twelve. At fourteen he began a position as
Assistant Court Organist in Bonn and developed his reputation as a promising musician. He was a crucial figure in the
transitional period between the Classical and Romantic eras in Western classical music. While primarily known
today as a composer, Beethoven was also a celebrated pianist. Despite gradual hearing loss beginning in his
twenties, Beethoven continued to produce notable masterpieces throughout his life, even when he was almost
totally deaf. Beethoven produced nine symphonies which to this day are a great part of music history.
Beethoven’s Andante from Symphony No. 7 is used in “Tiempos De Goya”, C. “Desastres de Guerra” (Disasters
of War).
Luigi Boccherini (1743-1805)
Boccherini was a classical era composer and cellist from Italy, whose music retained a courtly and galante style
while he matured somewhat apart from the major European musical centers. Boccherini is mostly known for
one particular minuet from his String Quintet in E, Op. 11, No. 5, and the Cello Concerto in B flat major (G
482). This last work was long known in the heavily altered version by German cellist and prolific arranger
Friedrich Grutzmacher, but was recently restored to its original version. Boccherini’s Grave assai, Fandango,
from Quintet No. 4 in D Major is used in “Tiempos De Goya” B. “Retratos de la Corte” (Portraits of the Court).

Manuel de Falla (1876-1946)

Photo: www.elmundo.es
Manuel de Falla, a master of the orchestra, composed great passionate works, having the “right
speech” of Spain, and was considered a true “cante jondo,” or true Andalusian spirit. A
contemporary of Joaquín Turina, De Falla studied piano with his mother, and later worked with
Pedrell in Madrid. In 1907, he went to Paris where he was influenced by Debussy, Dukas, Kavel
and Albéniz. The ballet El Amor Brujo (1915) is tremendously dynamic, capturing the spirit of
Spain’s gypsy tradition. However, no actual folk music is used within the ballet, stressing de
Falla’s use of Spain’s neo-classical music of the era. As one of de Falla’s most important works,
the opera La Vida Breve covers two acts, and is scored to an original Spanish libretto by Carlos
Fernández-Shaw. It premiered at the Casino Municipale in Nice, France in 1913. His other
famous works include: Sombrero de tres picos, or The Three Cornered Hat, which was rewritten
for Sergei Diaghilev’s Ballet Russes as a two-act ballet, premiering in 1919. Ms. Ruiz will use
his work, La Vida Breve Danza #2, in her neo-classical class. 10
 Enrique Granados (1867-1916)
Granados, a Catalan, studied in Paris and, from 1889 on, lived in Barcelona, where he
taught piano, composed and continued concertizing. Granados’ most successful work is
the piano suite Goyescas, a musical expression of scenes and characters in Goya's
paintings and drawings. As a sentimentalist, Granados disregarded the realistic and
satiric aspects of Goya, but concentrated his efforts on the romantic. As the fourth piece
in the series, “La maja y el ruiseñor,” is his most famous work of the suite, and is
marked mandante melancolico. While there is no popular folk material within the work,
it is one of the composer’s most poetic pieces, and is understood as an original melody
with no national basis. Granados was, of course, influenced by Andalusian music, but he
did not respond to the “cante jondo,” or the excitement of Flamenco in the same way as
Photo: www.thefamouspeople.com
Albéniz—Granados was more restrained and aristocratic. Intending to complete his
Goyesca opera, Granados and his wife stayed in New York to view Goya’s painting and
drawings. When they left the United States, their ship the Sussex was bombed by the
Germans during World War II. Both the composer and his wife drowned in the attack.
Granados’ Intermedio from the opera Goyescas is used in the “Tiempos De Goya” A.
“Pinturas del Parque” (Pictures in the Park) and Fandangos de Candil from Goyescas in
B. “Retratos de la Corte” (Portraits of the Court). Granados’ Andalucia will be used in
Ms. Ruiz’s Neo-Classical class.
SECOND GENERATION
Ernesto Halffter (1905-1989)
Halffter was a Spanish conductor and composer, born in Madrid, who showed signed of great talent at a young
age. He wrote his first significant lyrical piano pieces at the age of 15. At 20 he was introduced to Manuel de
Falla who was impressed with his work, and who decided to take him as a pupil to further develop his training
and skills. This mentorship lasted a lifetime and Halffter became de Falla’s greatest protégé, completing his
opera Atlántida after his death. In 1984, Halffter was awarded the Premio Nacional de Música of Spain for his
work in composition. One of his most renowned works is his adaptation and conducting of El Amor Brujo,
based upon the Spanish ballet by de Falla. Halffter’s Danza de la Gitana is used in “Danza de la Gitana”
(Dance of the Gypsy).

Joaquín Turina (1882-1949)

Born in Sevilla, Turina was the son of an Italian painter. Turina was a contemporary and
close friend of Manuel de Falla, and was considered one of Spain’s greatest composers.
Recognized as part of the “second generation” of 20th century Spanish classical composers,
Turina closely followed the examples of both Albéniz and Granados. His early studies in
Andalucia and Paris were a great influence in his life. Along with being an accomplished
pianist, composer and conductor, he was also a distinguished professor of music at the
Madrid Conservatory. Turina’s works include music for the guitar, opera, and string
quartets. He was the composer of many important works, including the first complete
Spanish symphony, Sinfonia Sevillana.
Photo: www.reichelrecommends.com

Joaquín Rodrigo (1901 – 1999)

Born in Sagunto, Valencia, Joaquín Rodrigo was a master composer of classical music, and a virtuoso pianist. Although
blind, he reached the highest levels of artistic achievement, and was considered one of the most important composers of
the 20th century. His masterwork includes Concierto de Aranjuez, which is regarded as a tour de force of the Spanish
music and guitar repertoire.

Maurice Ravel (1875-1937)

Born to a Basque mother and Swiss father, Maurice Ravel grew up in up into the Basque village of Ciboure, France.
Considered an Impressionist composer, he is known for his melodies, orchestral and instrumental textures and effects. He
wrote piano music, chamber music, vocal and orchestral music. Among his most famous works are Habanera, Daphnis
11
and Chloé, Gaspard de la nuit, and his orchestral work, Boléro. He was greatly influenced by Claude Debussy and
Rimsky-Korsakov.

Tomás Bretón (1850-1923)

As an outspoken foe of the Italian influence in Spanish music, Bretón aimed to create a Spanish opera, finding much
creative success with his zarzuela, La verbena de la Paloma. In fact, his reputation as a composer rests chiefly with his
work in the zarzuela art form. He studied at the Escuela de Nobelse y Bellas Arts de San Eloy in Salamanca and, in 1865,
joined the orchestra of the Teartro Variedades in Madrid. Bretón’s Zapateado is used in “Danza del Contrabandista”
(Dance of the Smuggler). Mr. Bretón’s musical works will be used by visiting guest artist Raquel Gomez.

Gerónimo Giménez (1854-1923)

A prolific composer, Giménez centered his talents on the zarzuela, meeting with great acceptance of his artistic
vision. Many Spanish composers, including Joaquin Turina and Manuel de Falla, found Giménez to be both an
important influence and inspiration on their own work. His works include El baile de Luis Alonso, La
Tempranica, and La Torre del Oro.

Alberto Ginastera (1916-1983)

Ginastera was born in Buenos Aires, Argentina of Italian-Spanish heritage. At the age of 12 he joined the Williams
Conservatory of Music to study, and graduated with honors. Shortly thereafter, he began his career as a professor of
composition, beginning with the Conservatory, but also teaching at the Liceo Militar General San Martín, Argentine
Catholic University, and the University of La Plata. He travelled to the United States on a Guggenheim Fellowship, and
studied at Tanglewood. His works are notable for his blending of traditional Argentinian folk rhythms and melodies with
classical musical elements. Pieces such as Canción árbol del olvido, his opera Don Rodrigo, Op. 31, and Piano Concerto
No. 2, Op. 39 (1972) remain popular to this day. Ginastera’s Toccata from the Concerto for Piano and Orchestra is used
in “Tiempos De Goya”, C. “Desastres de Guerra” (Disasters of War).

Pablo Sarasate (1844 – 1908)

Born in Pamplona, Sarasate began studying the violin with his father at the age of five and later took lessons
from a local teacher. His musical talent became evident early on and he appeared in his first public concert at
the age of eight. He studied under Manuel Rodríguez Saez in Madrid and the Paris Conservatoire. Perhaps the
best known of his works is Zigeunerweisen (1878), and the Carmen Fantasy (1883). Sarasate’s musical works
will be used by visiting guest artist Raquel Gomez in her classes.

Eleni Karaindrou (1941 - )

Born in Central Greece, Karaindrou is best known for scoring the films of Greek director Theo Angelopoulos.
Karaindrou moved with her family to Athens when she was eight years old, and she studied piano and theory at
the Hellenic Conservatory. She moved to Paris in 1967, where she studied Ethnomusicology and Orchestration,
and improvised with Jazz musicians. Then she began to compose popular songs. In 1974 she returned to Athens
where she established a laboratory for traditional instruments and collaborated with the department of
Ethnomusicology of the radio. In 1976 she discovered ECM Records, and appreciated the creative freedom
offered by the label. By 2008 she had composed music for 18 full-length movies, 35 theatrical productions and
11 TV series and television movies. Karaindrou’s musical works will be used by visiting guest artist Raquel
Gomez in her classes.

Federico Chueca (1846 – 1908)

A Spanish composer of zarzuelas and author of La gran vía along with Joaquín Valverde Durán, Chueca was
one of the most prominent figures of the género chico. Born in Madrid, Chueca entered the conservatory at
eight years old, but his family later obligated him to abandon music to study medicine. He was arrested in 1866
as a participant in the student demonstrations against the Narváez government. While he spent three days in the
prison of San Francisco in Madrid, he composed several waltzes that he entitled Lamentos de un preso
12
("Lamentations of a Prisoner"). Later, Francisco Asenjo Barbieri helped orchestrate and direct the works, and
their success helped Chueca leave medicine and devote himself once more to music. He worked as a pianist and
directed the orchestra of the Teatro Variedades. He is considered a self-taught musician. He worked with
several collaborators like Barbieri, Tomás Bretón, and especially Valverde, in many of his works. Chueca’s
musical works will be used by visiting guest artist Raquel Gomez in her classes.

Esteban de Sanlúcar (1910 – 1989)

Born Esteban Delgado Bernal, was a Spanish flamenco guitarist and composer. He began his musical career in
private meetings and cabarets, later participating in theater companies with Pepe Marchena and Angelillo,
among others.The last forty years of his life were spent in Latin America, Venezuela and Argentina, where he
alternated his work as guitarist between teaching and composition. Panaderos Flamencos and Perfil Flamenco
are his best-known compositions, and have become a part of the Flamenco guitar repertoire. Sanlúcar’s musical
works will be used by visiting guest artist Raquel Gomez in her classes.

David Peña Dorantes (1969- )

Born in Lebrija, Spain, Dorantes is noted for his bold explorations of Andalucia’s traditional music and contemporary
sounds. As a pianist, Dorantes studied at the Royal Conservatory of Superior Music, and debuted at the age of 22 at the
Real Alcazar with the King and queen of Spain in attendance. He has toured in concert, collaborated with the National
Ballet of Spain and the National Orchestra of Tokyo, composed music for film and television, and recorded several
albums. Dorantes’ Sur is used in “Sur” (South).

Shigeru Umebayashi (1951 - )

Born in Kitakyushu, Fukuoka, Umebayashi is a Japanese composer. Once the leader of Japan's new wave rock band EX,
composer Shigeru Umebayashi began scoring films in 1985 when the band broke up. He has more than 40 Japanese and
Chinese films to his credit. Umebayashi’s musical work Polomaise will be used in Ms. Ruiz’s Neo-Classical class.

VISITING GUEST ARTISTS

Ana Gonzalez & Juan Mata

Faculty / Choreographers / Founding Members & former Stars of the National Ballet of Spain (Madrid, Spain).
Ms. Gonzalez was born in Sens, France, where she began her studies in classical ballet at THERPCHICOR-
ETTES, under the direction of Lucien Legrand (First Dancer, star and teacher of L’Opera de Paris) and
Tripolina d’Iatosi of the Comedie Francaise, member of the Federation Francaise de Dance. She received a
grant to study at the “Conservatoire Superieur de Musique de Paris”, where she continued her classical ballet
studies at the preparatory, medium and superior levels, under the direction of Solange Schwartz (First Dancer,
star and teacher of L’Opera de Paris) and was admitted several years later to “Les Ballets Russes de
Montecarlo”. Mr. Mata began taking classes with the great master teacher, choreographer and dancer, José
Granero at the Amor de Dios studios in Madrid at the age of ten. At the age of fourteen he made his debut as a
professional dancer in José Greco’s company during the Royal Festival in London, and toured throughout
Europe and the United States. He was awarded a scholarship to study at New York’s Harkness Ballet, after
which he was invited to be part of the creation of said Ballet in Europe, based in Gestaad, Switzerland.
Together, Juan and Ana, have toured the globe working with many legendary artists and setting historic ballets
including the Amor Brujo on the Ensemble Español in 2003 and Alegrias y Jaleos in 2006 to critical acclaim
thanks to the generous support and sponsorship of the Chicago Community Trust and the Illinois Arts Council.
Dame Komaiko, Ensemble Español and Northeastern Illinois University are honored to welcome them once
again to our 39th American Spanish Dance & Music Festival.

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 Carmela Greco
Faculty/ Dancer/ Choreographer/ Founder & Artistic Director of Compañia, daughter of the legendary José
Greco, is a world-renowned Flamenco dancer and choreographer. Carmela began dancing at an early age in
Madrid, Spain, studying all forms of Spanish dance. In 1972, she was selected on merit to dance in Ballet
Antologia, a precursor to the National Ballet of Spain. She went on to dance as prima ballerina in the company
of Luisillo for three years, before founding her own company and touring throughout Europe, the Middle East
and Africa. Carmela has performed for the King of Spain, Juan Carlos I, and H. R. H, the Duke of Edinburgh,
and has danced in all the leading tablaos in Spain. Dame Komaiko, the Ensemble and Northeastern Illinois
University are honored to welcome Ms. Carmela Greco to her 10th season with the company, and the American
Spanish Dance and Music Festival.

Jose Greco II
Faculty / Dancer / Choreographer José Greco, Jr., started his dance studies at age 17 with the National Ballet
Spain’s School of Dance, and in 1982, he joined his sister, Carmela Greco, in her company, Ballet Estampas,
which toured Europe, Africa, and the Middle East. Mr. Greco has presented private performances for Their
Royal Highnesses, the King and Queen of Spain, and H. R. H. , the Duke of Edinburgh and the late Princess of
Wales. He has performed at the Kennedy Center of Performing Arts, the Joyce Theater, with Savion Glover at
the American Dance Festival, and at the prestigious Jacob’s Pillow Dance Festival. He has portrayed the
coveted role of the Devil in Susana Beltrami’s Italian production, Diablo, and appeared in the role of “El Ginete
Caballo,” (the Death Rider), in Garcia Lorca’s critically-acclaimed Amargo with Mario Amaya’s Flamenco
Ballet. Recently, Mr. Greco collaborated again with Susana Beltrami on the opera Obscure, based on the life of
Edgar Allen Poe. This production received support from the Spanish Ministry of Culture. Dame Komaiko, the
Ensemble, and Northeastern Illinois University are honored to welcome Mr. Greco to his first season with the
company, and the American Spanish Dance and Music Festival.

Raquel Gomez
Faculty / Dancer / Choreographer, born in Madrid from world renowned Spanish dance parents, Raquel
Rodriguez and José Gomez, began her Spanish dance studies at the age of three. At age nine, she continued her
training at the National Ballet of Spain (N.B.S.) academy under the artistic direction of Maria de Avila. Her
extensive study and performance experience include such artists as Lola de Avila, Aurora Pons, Julia Estevez,
Rosa Naranjo, Aurora Bosch y Mirta Pla (first dancers of the National Ballet of Cuba), Carmina Ocana,
Virginia Valero, José Granero, Paco Romero, Ciro, Javier La Torre, Currillo, and Paco Fernandez. Esteemed
roles include La Gitanilla by José Granero, Romance by Juanjo Linares and Pedro Azorin, Grito by Antonio
Canales, along with performances with Aida Gomez, Lola Greco and Maribel Gallardo. In November 2014, she
also starred in the U.S. premiere of Rotas, a theatrical production examining issues related to domestic violence,
along with her sister Paloma Gomez. She has choreographed the full company ballet, Sur, for the Ensemble,
which premieres at this festival. Dame Komaiko, the Ensemble, and Northeastern Illinois University are
honored to welcome Ms. Gomez to her second performance at the American Spanish Dance and Music Festival.

Manuel Palacín
Flamenco Singer (Madrid, Spain), was born in San Miguel de Jerez de la Frontera, Spain. Manuel Palacín
began singing in the theater at the age of five. In 1968 he sang in the Jueves Flamencos organized in Jerez by
Manuel Morao where many great Flamenco artists have made their debut. In 1969 he arrived in Madrid for the
first time representing his province of Cadiz for the national contest of Villancicos (holiday songs). In 1972 he
performed throughout Madrid in all of the major tablaos including the Torres Bermejas, Las Brujas, Corral de la
Moreria, Coral de la Pacheca, Los Canasteros, and Venta del Gato. From 1979 to 1981 he performed in Mexico
hired by the Center of Conventions and Concerts of Acapulco. Throughout his long career he has worked with
many great artists and companies including Manuel Vargas, Merche Esmeralda, Eva la Yerbabuena, Sara
Lezana, Blanca del Rey, Juan Mata, José, Carmela and Lola Greco, Manolete, Ciro, Joaquin Cortes, Antonio
Canales, Javier Latorre, Javier Baron and in the companies of Ballet Conchita del Mar, Ballet Siluetas,
14
Compañia de Fernando Belmonte, Ballet de Rafael Aguilar, José Antonio y los Ballets Españoles, Ballet Region
de Murcia, and the Ballet Nacional de España performing in five continents. Manuel Palacín is also a master
teacher, presenting courses and special classes on the Flamenco Cante. Dame Komaiko, the Ensemble, and
Northeastern Illinois University are honored to welcome Mr. Palacín on his fourth season with the company and
the American Spanish Dance and Music Festival.

Antonio Gabarri Jiménez

Flamenco Guitarist, born in Madrid, began playing Flamenco guitar in his youth. Following his inspiration of
Manolo Sanlucar and forming his own unique style, Antonio quickly rose to playing in the top tablaos of
Madrid such as Café de Chinitas, Corral de la Pacheca and Karibeu. He has accompanied such distinguished
artists as La Chunga, Ramirez, La Chana, El Mimbre, and Carmela Greco. For over eight years, Antonio
worked as guitarist for the renowned Lola Flores. Antonio joined the José Greco II Company as music director
in 1992, with which he toured throughout the U.S. and Italy. In 2001, he composed the music for Climax, a
production dedicated to the life of José Greco in the most important theaters of Tokyo, Kyoto, and Osaka. Dame
Komaiko, the Ensemble, and Northeastern Illinois University are honored to welcome Mr. Jimenez on his 8th
season with the company and the American Spanish Dance and Music Festival.

David Chiriboga
Flamenco Guitarist, with origins from Ecuador, was raised in Chicago, and has been playing the guitar since his
teenage years. While pursuing many styles, it wasn’t until Chiriboga discovered Flamenco that he really found
his passion for the guitar. He traveled to Spain for extended studies with many master Flamenco guitarists, and
he has studied Classical Guitar, majoring in Music Performance with Dr. Brian Torosian at Northeastern Illinois
University. Some of the musical groups and dance companies David performs with are El Payo, The Guitars of
Spain, Mezcal, Bandoleros and Soleo Flamenco Dance Company. He has played in various parts of the country
and performed in many Chicago area venues. He has appeared on many major television networks and radio
programs with ABC, FOX, and WGN. Dame Komaiko, the Ensemble, and Northeastern Illinois University are
honored to welcome Mr. Chiriboga once again to the American Spanish Dance and Music Festival.

Javier Saume Mazzei

Percussionist, a native of Caracas, Venezuela, began playing percussion at the age of eight. He holds a B.A. in
Music from Roosevelt University where he studied classical percussion with Ed Harrison, drum set with Phil
Grateau and Paul Wertico and Latin percussion with Ruben Alvarez. Mr. Mazzei has performed with Rhonda
Richmond, Reginald Veal, Herlin Riley, and Cassandra Wilson, and the Symphony Orchestra “Sistema de
Orquestas Juveniles de Venezuela”. He has performed internationally in concerts, master classes, and
residencies in Beijing, China, and at the Kennedy Center in Washington D.C. He also performed at Carnegie
Hall with Sones de Mexico Ensemble. He currently records with Sones de Mexico, the only group in NARAS
history to be nominated for the Latin Grammy and Grammy in the same year. Dame Komaiko, the Ensemble,
and Northeastern Illinois University are honored to welcome Mr. Mazzei to this his 6th season with the
company and the American Spanish Dance and Music Festival.

15
NOTES FROM DAME LIBBY KOMAIKO

On Timo Lozano:

Reflecting back to the beginning of my life’s work in Spanish dance, my memories are vivid and strong. I was
offered the extraordinary opportunity to work and learn with the world famous José Greco and his company.
This gift changed my life. I was a teenager being challenged to take a new path far outside of my life. I loved it!
This is where I first met Timo Lozano, a young talented dancer from Texas. He was friendly with a great sense
of humor. This was the time of the Vietnam War, and Timo was soon drafted into the U.S. Army. In the early
1980’s, I again saw him in Madrid teaching at the Amor de Dios Dance Studios.

By 1994, I was finally able to bring Timo to Chicago for our Festival as a guest artist to teach and perform. He
was great and generous, a true teacher, mindful and always with humor. He played the cajón, danced and
taught “bulerias” to the dancers and students. We partnered and commissioned him to create works for the
company and youth program. He mounted two unique critically acclaimed choreographies that are now in our
active repertoire. What a charismatic artist, great dance partner and close friend. His charisma, mindfulness
and humor endured him to all who knew him. He was truly the “real deal” and had it all - ¡Olé!

Timo’s untimely death on August 24th, 2014, greatly saddened us all. I know that he is above playing his cajón,
dancing and cheering us all on. It is our sincere honor to continue his legacy with works he created for the
company, community and youth program. We wholeheartedly dedicate this final Festival of our fourth decade
to the memory of Timo Lozano.

On Duende

“Duende” defines the deep, human spiritual power of the soul. From the depths of the earth through the dark
forest of the psyche, it is a force that forges the past into the present, living passions. Its power is recognizable
and felt without definition—as the depth and breadth of art and life. As such, some artists describe the
embodiment of duende as a spirit rising, and invading one’s body.

While artists the world over speak of the spiritual presence of an outside muse or force, those who work within
Spanish disciplines come equipped with the cultural recognition of the duende. Moreover, the hunt for the
duende is encouraged, as explained by Flamenco guitarist and author, D. E. Pohren, “The true grande artist
may, or may not, have an outstanding technique, but it is imperative that he possess the abilities of identifying
himself with the duende that he is unfolding and, of equal importance, of being able to transmit this emotion, or
series of emotions, to his audience” (58). Indeed, Pohren openly prods artists to make the commitment to the
duende when he states, “…the search of duende, is more difficult, and yet a delightful and adventurous
undertaking, for the search will bring one into contact with emotional, vibrant people who are living an alluring
philosophy; a philosophy difficult to understand by those outside of it, and impossible to absorb if not in
constant contact with it” (59). This artistic commitment to cultural authenticity becomes central to the Spanish
artistic psyche, and helps to clarify the emotional nature of the country’s creative traditions.

Still, a discussion of duende must include the thoughts of the great Spanish poet and playwright, Federico
García Lorca who relied heavily on duende as a way to inform his work, and who wrote movingly on the
subject, particularly in his speech “Play and Theory of the Duende.” As editor of the García Lorca’s Selected
Verse (2004), Christopher Maurer expresses that the poet “[suggests]…that great art—art with duende—can
occur only when the creator is acutely aware of death” (xix). As sobering as this idea may seem, García Lorca
recognized that duende was vital to an artist’s overall goal of relating to an audience. It is, therefore, important
to remember that when one performs in any of the Spanish artistic idioms, the audience—whether visitor,
viewer, listener, or reader—should have the chance to feel the very soul of the artist.
16
FEDERICO GARCÍA LORCA: A POET’S IMPORTANCE

Federico García Lorca (1898 – 1936) was one of Spain’s greatest modern poets,
dramatists, and playwrights. A true master of the arts, Lorca was also an
accomplished musican, painter and composer, and an influential member of
“Generation 27,” a group of avante-garde writers and poets. Lorca’s friends
included film director Luis Buñuel and painter Salvador Dalí, as well as writers
Juan Ramon Jiménez and Pablo Neruda. His famous dramatic trilogy: Blood
Wedding, Yerma, and The House of Bernarda Alba brought his artistic genius to
the world, along with his numerous books of poems. Throughout the 1920’s, he
became close friends with composer Manuel de Falla, and both artists worked to
preserve the folk and Cante Jondo music of the Andalucian region. At the height
Photo: informacion.wordpress.com of his creative powers, García Lorca was assasinated at the onset of the Spanish
Civil War.
Devoted to his beloved Andalusia, Lorca made an artistic commitment to capturing the life of the Spanish Gitano, or
gypsy. His Romancero Gitano, or Gypsy Ballads is a widely celebrated book of Spanish poetry, embodying the soul of the
Spanish gypsy experience. Likewise, the following poem from his collection Poem of the Deep Song, portrays the spirit of
Spain’s national instrument.

La Guitarra
Federico García Lorca
From the collection of Poema del of Cante Jondo” The Guitar
Federico García Lorca
Empieza el llanto
de la guitarra. The weeping of the guitar
Se rompen las copas begins.
de la madrugada The goblets of sawn
Empieza el llanto are smashed.
de la guitarra The weeping of the guitar
Es inútil callarla. begins.
Es imposible callarla. Useless
Llora monótona to silence it
Impossible
como llora el agua
to silence it
como llora el viento It weeps monotonously
sobre la nevada. as water weeps
Es imposible callarla. as the wind weeps
Llora por cosas lejanas. over snowfields.
Arena del Sur caliente Impossible
que pide camelias blancas. to silence it.
Llora flecha sin blanco, It weeps for distant things.
la tarde sin mañana, Hot southern sands
yearning for white camellias.
y el primer pájaro muerto
Weeps arrows without target
sobre la rama. evening without morning
¡Oh, guitarra! and the first dead bird
Corazón malherido on the branch.
por cinco espadas. ¡Oh guitar!
Heart mortally wounded
by five swords.

Translated by Cola Franzen, Selected Verse, Farrar, Strauss,

and Giroux, 2004.

17
THE SPANISH GUITAR: A NATION’S VOICE

As the national instrument of Spain, the Spanish guitar or la guitarra, is recognized as a singular string family
instrument. Without plugs or chords, the Spanish guitar is an acoustic instrument, made of wood, and
“resembling the early romantic guitars from France and Italy” (Classical guitar, Web). For both the classical
guitar and Flamenco guitar, the craftsmanship of the instrument relies on a combination of woods; the body,
sides and back are made of rosewood; the neck is made of ebony, and the sound board is made of spruce or
cedar. Today, the instrument uses six nylon strings, whereas the 19th century guitar used gut strings.

As a descendant of the lute, the guitar is larger than its Renaissance or Baroque counterparts. The modern
classical guitar, which is rooted in the 19th century, saw innovations made by Spanish luthier, Antonio Torres
Jurado. In the 1860’s, Torres met composer and guitarist, Antonio Tarrega, who played Torres’ guitar in concert
halls throughout Spain and Italy, and composed for Andre Segovia.

Today’s Flamenco guitar remains virtually unchanged, with construction and woods of rosewood, ebony, spruce
and cedar. Over the last 25 years, the most famous guitar makers include Manuel Reyes (Cordoba), and
Gerindino Fernandes (Almería). Current fingering and technique includes rasqueado, arzapua, picado, and
arpeggios. The guitar is often accompanied by the cajón (box), the oud, the dumbeck , bongos, and congos.

Pablo Picasso, The Old Guitarist, 1903

Oil on Panel
Photo: www.dversepoets.com

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THE CASTANETS: A HISTORY OF RHYTHM

The exact origin of castanets is lost in the mists of antiquity.

La Meri, Spanish Dancing (127).

Dance, like music, is dependent upon rhythm, and rhythm is often considered a prehistoric form
of musical expression. Indeed, it is possible to find primitive castanets on all continents, as if it were a
testimony to the needs of ancient peoples to create a musical composition for their everyday life.

In Spain, the castanets have a special place in both dance and music traditions. The real origin of
the castanets is most likely the Iberian “crusmata”, which were probably made of two wooden pieces,
two shells, or two stones, which dancers and musicians held in the palm of their hands. The crusmata
were joined by two pieces of cord and threaded through holes.

Unlike other cultures, Spanish castanets are the only ones that have evolved over time. Here, the
castanets have adapted to the dancer or player’s needs, obtaining the ideal form for a good performance
of the rhythms that accompany the dance and the singing. The size and the decoration of the castanets
are different, depending on the area and the purpose. In the beginning, the castanets were tied to the four
fingers and shaken by the wrist. Also, for some types of Spanish dance, they were fixed to the medium
finger. However, in the 18th century, a great change took place, where a fixation system included the
thumb. This new practice created a boom in Classical Spanish Dance, particularly with the seguidillas or
boleros, which were performed to the accompaniment of the castanets. From this point forward, the
classical Spanish castanets were born, and are considered the precursor to the contemporary art form. In
fact, castanets have been used for over two centuries by the seises in religious ceremonies, including the
Corpus Christi and the Virgin’s Immaculate Conception. (Appearing in 1439, the word seises means a
designated group of children who dance and sing in religious expression. Documentation from 1667
describes the clothing of the young dancers, including the accompaniment of castanets.)

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THE CASTANETS: CHARACTERISTICS

The name of the castanets (castañuela, in Spanish) comes from the Latin word castanea,
meaning chestnut. In Spain, the castanets share different names, including postizas, in Valencia;
tarrañuelas in Asturias; jotaneos in Aragon; pitos in Galicia; and palillos in Andalusia.

The shape of the castanets also varies. A pair of castanets is composed for a macho (male) and a
hembra/la maja (female). La maja is 1/3 higher in pitch/tone than the macho, and depends on the
different aperture between the two sheets.

The sheet can be divided into the following parts:

 Heart (corazón): Inner hollow.
 Shell (concha): Down rounded part of the sheet.
 Ears (orejas): Upper part of the sheet, with two holes through which the cord is passed.
 Hinge (puente, bisagra): The thinnest part, the link between the two ears.
 Spot (punto): The space where the two sheets touch each other, in the shell’s base. It is very
important for the quality of the sound.
 Lip (labio): It is the strip between the heart and the sheet’s edge. Sometimes, it has a small
embossing which separates the sheet’s ears.

Castanets are made from many different materials, including metal, ivory, bone, wood, and fiber.
However, the better material has always been wood. Such woods as boxwood, walnut, beech, lignum
vitae, rosewood, ebony, chestnut tree, and oak are used to create the instruments. Still, the best wood for
castanets is granadillo, which of often imported from South American and Africa. This wood has been
used since the 18th century, and today is considered the favorite among professionals.

Like other musical instruments, castanets much also be tuned to maintain a better sound. Tuning
requires that a dancer and/or musician practice daily for several hours. It is necessary to protect them
from extreme temperatures, especially from any damp environment. Therefore, castanets are covered in
a small bag when not in use.

20
GLOSSARY OF TERMS

Common and Shared Terms

Baile – The dance.

Cante – Song.

Types of Cante – Jondo, Intermedio, Chico, Por Cante, Por Baile.

Compás – Rhythm.

Copla – Section for cante por baile.

Letra – Lyric, verse of cante.

Pasos - Steps.

Tiempo – Tempo.

Toque – Guitar playing.

Specific Dance Terms

Arranque – Explosion, or movement with a sudden, volatile intention.

Braceo – Arm movements.

Cierre – Closing of step(s).

Golpe – In dance, the whole foot strikes the floor for the Flamenco guitar, percussive finger tapping; most
often used in Folkloric and Classical dance.

Hecho and Descheco – Do and undo.

Jerezana – Step from Jerez; most often used in Classical and Flamenco styles.

Mata la Arana – Kill the Spider, a Classical step.

Matice – Dynamic quality of sound in footwork, castanets, and palmas.

Pasada- Passing steps, used in Classical and Flamenco styles, with variations.

Paso de Boureé – Crossing steps.

Paso de Maleguena - Step from Malaga; most often found in Classical and Flamenco styles.

Paso de Vals – Waltz steps.

Paso de Vasco – Pas de Basque (Step of the Basque), with variations; most often used in Classical and
Flamenco styles.

Pellizco – Accent of head and shoulders, a pinch.

21
 Remate – Phrase of strong heel work used to complete a musical selection.

Seco- Dry, a style of movement in Flamenco.

Sentado – Seated.

Vueltas – Turns: Vuelta Normal – Normal turn; Vuelta con Rodilla – With knee; Vuelta con Destaque – --
With front battement (kick); Vuelta con Destaque al Lado – With side battement (kick).

Vuelta Quebrada – Broken turn with braceo position from 4th to 5th position, with variations.

Zapateado – Foot stamps and heel-work including punta (toe); planta (ball of foot); tacón (heel); and
golpe (strike).

Flamenco Terms

Cante Flamenco – The heart and heartbeat of Flamenco.

Desplante – Variation of steps that follow la llamada in “Bulerias.”

Duende – The soul force that is said to inspire the art of Flamenco, embodying an inner spirit that is
believed to be released from the performer’s intense, emotional involvement with the music, song and
dance.

Estampa – Flamenco appearance, posture, presentation of the art, a way of being; beginning and dancing ,
con estampa.

Gitano – Gypsy from Andalucia, southern Spain.

Jaleo – “Olé!,” also includes other shouts of expression and encouragement.

Juerga – Fiesta Flamenca.

Llamada – The call.

Palmas – Hand claps; palmas claras – sharp clapping; palmas sordas – muffled clapping.

Payo – Non-Gypsy, although also from Andalucia.

Pitos- Finger snaps.

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 ENSEMBLE ESPAÑOL CENTER FOR SPANISH DANCE & MUSIC
In Residence at Northeastern Illinois University, Chicago, Illinois

MISSION

The Ensemble Español Center for Spanish Dance and Music is the premier Spanish Dance Center in the
United States. Under the leadership of Dame Libby Komaiko, the Center is an artist-in-residence
company at Northeastern Illinois University (NEIU), providing a wide range of cultural and educational
programming to the university’s students, faculty, and the broader arts community. As a nonprofit arts
organization, Ensemble Español Spanish Dance Theater is chartered to explore the rich traditions of
Spain’s dance, music, literature and culture, and encourages new artistic creativity within the framework
of the Iberia-Hispanic experience. The Center is home to the Ensemble Español Dance Theater, the
professional company that maintains dance traditions and continues to support contemporary innovation,
and the Ensemble Español Spanish Dance Youth Company, which provides important instruction and
performance opportunities to young dancers. The Center also hosts weekly dance and music classes for
children, adults and professional artists.

HISTORY

For thirty-nine years, the Ensemble Español Spanish Dance Theatre has inspired, entertained, and
educated millions of people worldwide, who come together to celebrate the art and culture of Spain. The
full company of 40 dancers, singers and musicians represent an extraordinary mosaic of cultures,
including Spain, the Caribbean Islands, Central and South America, the Middle East, Europe and Asia.
This cross-cultural inclusion allows professional and aspiring dancers to immerse themselves in Spain’s
dance traditions and experiment with contemporary movement.

Since 1976, the dance company has served as an important member of Northeastern Illinois University’s
dance education program, giving world-class instruction to students from all levels of artistic
experience. This artistic dedication to Spain’s culture resulted in a rare honor for the company’s founder,
Libby Komaiko, who was decorated with the highest honor that Spain bestows upon foreign nationals. It
was in 1983 when His Majesty, Don Juan Carlos I, King of Spain, awarded Komaiko with the Lazo de
Dama de la Orden de Isabel la Católica (Ribbon of the Dame) in recognition of her outstanding
achievements in promoting Spain’s dance traditions in the United States. As the first American artist to
be decorated with this prestigious designation, Dame Libby Komaiko continues to advance the artistic,
cultural, and educational values of Spain’s dance and music traditions.

Currently, programmatic activities include Tales of Spain/Historias de España, a series of dance and
music lectures for school age children; Spain’s Dancing Rhythms, an outreach project of performances
and residencies that deepen students’ understanding of Spain’s culture; a variety of scholarship and
apprenticeship programs; and the annual American Spanish Dance and Music Festival, which features
internationally acclaimed dancers and musicians in a two week event that explores the Spanish dance
and its relationship to other artistic disciplines. Similarly, Ensemble Español often contributes to cultural
and educational arts programs that are sponsored by state, national and international government
agencies such as the Illinois Arts Council, Urban Gateways, and the World Language Program of the
Chicago Board of Education. As such, Ensemble Español is widely praised by educators, social and
governmental agencies, arts and cultural institutions, journalists, and professional performing artists for
its on-going commitment to Spanish dance and culture.

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 NATIONAL & INTERNATIONAL PROFILE

Having performed throughout the United States, and at every major university in Chicago and the
Midwest, Ensemble Español Spanish Dance Theater maintains its world-class reputation as a premier
company of Spanish dance through its collaboration and performances with national and international
artists and organizations.

In 1986, Ensemble Español represented the United States at the internationally renowned Festival
Internacional Cervatino. The festival annually presents the world’s best dance companies, including the
Bolshoi Ballet, Ballet Folklorico de Mexico, the Ballet Nacional de España, and the Cristinia Hoyos
Ballet Flamenco de Andalucia. As part of this event, the company toured six cities throughout Mexico.

In 1994, Ensemble Español was invited by the Inter-American Universities to perform in Puerto Rico.
This intercultural and educational tour included 11 performances in five cities throughout the island.
That same year, the company represented Spain in the opening ceremonies for the World Cup at
Chicago’s Soldier’s Field. Before President William Clinton and a crowd of 63,000, the company
performed to a worldwide television audience, as well as for radio and print media.

In 2006, Ensemble Español presented sold-out gala concerts and master classes in their triumphant
cultural exchange tour of Poland. In honor of Warsaw University’s 190th anniversary, the company
performed two full-length concerts, and presented three master dance classes.

In 2008, just following the Beijing Olympics, Ensemble Español was invited by Northeastern University
in Shenyang to tour three cities in China. To sold-out crowds, the company performed in Shenyang,
Anshan, and Qinjhuangdao, with a special cultural exchange tour held in Beijing. The company
performed to over 4,000 individuals and received enthusiastic standing ovations.

In 2009, the company conducted extensive artistic residencies throughout the Chicagoland area,
performed at the Bucktown Arts Festival, and was featured in Chicago’s Thanksgiving Day Parade.

In 2010, Ensemble Español continued its commitment to arts education through residencies with the
Chicago High School for the Arts and Lane Tech High School. The company also participated in
collaboration with the Chicago Chamber Opera in the production of Maria La O. The company was also
featured on the Emmy winning documentary: Dance for Life: A 20th Anniversary, produced by HMS
Video.

In 2011, Ensemble Español held its first gala event for the company’s Youth Company, performed at the
Great Lake Folk Festival, as well as the Harris Theatre for Music and Dance.

In 2012, Ensemble Español’s Youth Company traveled to Spain for extensive study, and the Ensemble
Español Spanish Dance Theatre returned to China for eight performances to sold-out crowds. The
company also conducted a successful Midwest tour of St. Louis, Kansas, and Missouri, collaborated in
workshops with the Joffrey Ballet of Chicago, and continued important residencies and arts educations
program with After School Matters.

In the 2013 – 2014 season, the Ensemble Español toured in New York, Missouri, Florida, and Georgia and will be
looking forward to a tour of Spain in 2015.

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 COMMITMENT AND COMMUNITY IMPACT

With a remarkable repertoire of over 135 works, Ensemble Español continues to uphold its dedication to
artistic examination and integrity. Its achievements include:

 4,000 performances locally, nationally and internationally.

 20,000 students reached nationwide annually through Ensemble Español’s arts education
programming.
 95 professional dancers trained by Ensemble Español.
 135 original full-length choreographies performed.
 2,000 Spanish costumes, props and accessories.
 7,800 academic Spanish dance class students taught at Northeastern.
 12 city and state proclamations honoring the work and mission of Ensemble Español.
 170 youth company dancers (ages 10-18) trained by Ensemble Español.
 2,600 scholarships awarded to aspiring artists, totaling more than $140,000. The scholarships are
for the dancers in the youth and adult programs, as well as community student dancers during
Ensemble Español’s annual summer festival and weekly community classes.
 1 letter received from the White House. In 20011, President Barack Obama congratulated
Ensemble Español on its 35th anniversary.
 5 million Television viewers worldwide who watched Ensemble Español perform during the
opening ceremony of the 1994 World Cup in Chicago. President Bill Clinton was in attendance
at Soldier Field.
 634 concerts performed at Northeastern.
 285,300 total audience for Northeastern performances.
 3 documentaries featuring Ensemble Español, including the Emmy Award-winning film “Dance
for Life.”
 20 youth company dancers awarded scholarships to study in Spain in 2012 with master Spanish
dance teachers.
 10,500 dance classes, workshops and seminars.
 126,000 community Spanish dance students reached.
 20 countries represented by the heritage of those professional dancers.
 3 continents on which Ensemble Español has performed and taught.
 100 guest artists and musicians hosted from Spain and the Americas.

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 ENSEMBLE ESPAÑOL SPANISH DANCE THEATER
PRINCIPAL BIOGRAPHIES
______________________________________________________________________________

DAME LIBBY KOMAIKO

Founder, Artistic Director, Choreographer, Professor Emeritus

JORGE PÉREZ
Executive Director, First Dancer, Rehearsal Master, Teacher, Choreographer,

IRMA SUÁREZ RUÍZ

Associate Artistic Director, First Dancer, Rehearsal Mistress,
Faculty Instructor, Choreographer, Director of Education and Community Outreach

For more information on our principal personnel and complete company biographies, please visit
www.ensembleespanol.org.

26
 Works Cited

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(Web).

Faculty/Staff Directory (Contact and Biographies). Northeastern Illinois University. n. d. Web. 18 May
2014. (Web).

“Galician music and dance workshops.” Folk Arts Center of New England. Web. 14 June 2010. (Web).

García Lorca, Federico. Selected Verse. Ed. Christopher Maurer. New York: Farrar, Strauss, Giroux,
2004. (Print).

“Jota.” Wikipedia: The Free Encyclopedia. Wikimedia Foundation, n. d. Web. 14 June 2010. (Web)

Kuperferberg, Herbert. Ravel-Bolero/Bizet-Carmen Suite. Alfred Wallenstein, Conductor. The Virtuoso

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La Meri. Spanish Dancing. New York: A. S. Barnes & Company, 1948. (Print).

Pohren, D. E. The Art of Flamenco. Spain: Editorial Jerez Industrial, Jerez de la Frontera, 1962. (Print).

“Ravel, Maurice.” Wikipedia: The Free Encyclopedia. Wikimedia Foundation., n. d. Web. 15 June
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“Ravel, Maurice.” Wikipedia: The Free Encyclopedia. Wikimedia Foundation., n. d. Web. 15 June
2010. (Web).

“Spain.” Map. Map-of-Spain.co. uk. 2003. Web. 15 June 2010. (Web).

“Rodrigo, Joaquín.” Wikipedia: The Free Encyclopedia. Wikimedia Foundation, n. d. Web. 14 June
2010. (Web).

“The score of 'La Vida Brève'.” Classical Music, El Mundo. 10 June 2011. Web. 29 May 2014. (Web).

RECOMMENDED READING

Aires Populares Colombianos. Bogatá: Ediciones "Galatea,"1950. (Print).

Bercovici, Konrad. Story of the Gypsies. New York: Cosmopolitan Book Corporation, 1931. (Print).

Browning, Barbara. Samba : Resistance in Motion. Bloomington: Indiana University Press, 1995.
(Print).

27
Chase, Gilbert. Music of Spain. New York: W. W. Norton and Company, 1959. (Print).

Chavarre, Eduardo Lopez. Popular Spanish Music. Barcelona-Buenos Aires: Editorial Labor, 1927.
(Print).

Covarraubias, Luis y Eugenio Fischgrand, Isable La Catolica. Danzas Regionales de Mexico. Mexico,
D. F. (Print).

Duff, Donald. Flamenco in Modern Music. Madrid, 1940. (Print).

Dunham, Katherine. Dances of Haiti. Los Angeles: Center for Afro-American Studies, University of
California, Los Angeles, 1983. (Print).

Flamenco, Body and Soul. Fresno, California: The Press at California State University, 1990. (Print).

Fonseca, Isabel. Bury Me Standing : The Gypsies and their Journey. 1st ed. New York: Knopf, 1996.
(Print).

Garcetti, Gil. Dance in Cuba. 1st ed. Glendale, Calif.: Balcony Press, 2005. (Print).

Gay y Blasco, Paloma. Gypsies in Madrid : Sex, Gender and the Performance of Identity. Oxford &
New York: Berg, 1999.

Harpole, Patricia W., Mark Fogelquist, and Mariachi Uclatlan. Los Mariachis! : An Introduction to
Mexican Mariachi Music. Rev. ed. Danbury, Conn.: World Music Press, 1991. (Print).

Horst, Louis. Pre-Classic Dance Forms. New York: The Dance Observer, 1960. (Print).

Irving, Washington. The Alhambra. New York: Ginn & Co., 1970. (Print).

Ivanova, Anna. The Dancing Spaniards. London: John Baker, Ltd., 1970. (Print).

Liu, Benjamin M., and James T. Monroe. Ten Hispano-Arabic Saphardic Songs in the Modern Oral
Tradition : Music and Texts. Vol. 125. Berkeley: University of California Press, 1989. (Print).

McLaughlin, John B. Gypsy Lifestyles. Lexington, Mass.: Lexington Books, 1980. (Print).

Morca, Teodoro. 'Becoming the Dance' : Flamenco Spirit. Dubuque, Iowa: Kendall/Hunt
Publishing,1990. (Print).

Muñoz, José Esteban, and Celeste Fraser Delgado. Everynight Life : Culture and Dance in Latino
America. Durham: Duke University Press, 1997. (Print).

Navarro, Juan Esquivel. Discurso Sobre el Arte Del Danzado. Sevilla: Juan Gomez de Blas, 1942.
(Print).

Palencia, Isobel de. Ele Traje Regional de Espana. London: B. T. Batsford, Ltd., 1926. (Print).

Sachs, Curt. World History of Dance. New York: W. W. Norton and Company, 1965. (Print).
28
Schwnender, Norma. Ph.D. and Tibbels, Aveid. M.A. Legends and Dances of Old Mexico. New York:
A.S. Baines & Company, 1934. (Print).

Spicer, Dorothy Gladys. Latin American Costumes, designed by Yolanda Bartes, New York: The
Hyperion Press. (Print).

Stone, Rob. The Flamenco Tradition in the Works of Federico Lorca and Carlos Saura : The Wounded
Throat. Vol. 26. Lewiston, N.Y.: E. Mellen Press, 2004. (Print).

Tong, Diane. Gypsies : An Interdisciplinary Reader. Vol. 2039. New York: Garland Pub., 1998. (Print).

Washabaugh, William. Flamenco : Passion, Politics, and Popular Culture. Oxford & Washington, D.C.:
Berg, 1996. (Print).

Video & Other Recordings

The Sounds of Mexico. Dir. Herz, May, Alfonso Olivera, and Silvia Lozano. Mexicana de Imagenes S.
A. de C. V. production company; Educational Video distributor, 1989. (Video).

The JVC Video Anthology of World Music and Dance. Dir. Ichikawa, Katsumori, Kunihiko Nakagawa,
Yuji Ichihashi, et al. JVC, Victor Co. of Japan production Company, 1988; Rounder Records
distributor, 1990. (Video).

“The Ensemble Español Spanish Dance Theater: The First 20 Years.” Dir(s). Jim Henning, Dame Libby
and Komaiko. Producer: Lori Peterson, 1996. (Video).

Video documentary is available for viewing in the Northeastern Illinois University Library, and local
Chicago libraries.

“Dame Libby & Friends: Unedited Live Recordings”. Komaiko, Libby, Guest artists. 2009. (Audio
Recording).

Dance and Flamenco Websites

www.chicagodance.com

www.duendedrama.com/duendees.htm

www.flamenco-world.com

www.ensemblespanol.org

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