Program - Ballet Flamenco José Porcel (Thursday, October 6, 2005 - 7:30 p.m.)
Contents
This performance supported by Jim and Maureen Mondanaro, Fresh Food Concepts.
Program, Flamenco Feeling
- Bulería
- Farruca
- Guajira
- Soleá
- Jaleos
- Intermission
- Tiento / Taranto
- Seguirilla
- Alegrías
- Solea por Bulerías
- Tangos
Program subject to change
About José Porcel
José Porcel was born in Sevilla, and at the age of 13 began dancing Andalucian folkloric dances and flamenco in cultural centers in Valencia. He began his dance studies at 16 with the master Martin Vargas. He moved to Madrid and continued his studies with Paco Romero, Isabel Quintero, Cristóbal Reyes, Pedro Azorín and José Granero.
In 1989 he made his professional debut with the Ballet de Valencia, directed by Martín Vargas, and was promoted to soloist in the company the following year.
In 1991, Mr. Porcel choreographed his first flamenco work, Te traigo al sur, Miguel, under the direction of the flamencologist Federico Torres in the Teatro Principal in Alicante. In 1992 he directed and performed in his first flamenco company in the Expo de Sevilla.
In 1993 Porcel took part in a tour of America with Clara Romana’s company, in the work Carmina Burrana. In 1994 he was invited to join the Ballet Nacional de España where he interpreted works including Medea, Ritmos, Bolero de Ravel, El Sombrero de tres picos, Danza y tronio, Los Tarantos, Fantasia Galaica, Grito, Poeta and many flamenco ballets.
In 1997 he brought his performance entitled Entrañas flamencas to the flamenco festival of the Palacio de la Música in Valencia.
Within the Ballet Nacional, he worked with masters including José Granero, Victoria Eugenia, Juanjo Linares, Currillo, Manolo Marín, Javier de la Torre, Antonio Canales and Pedro Azorín. As soloist with the company he danced in Los Tarantos as Picaos, Medea as the man of Medea, and Grito as Soleá (flamenco). As premier dancer in the Ballet Nacional de España he interpreted Farruca (flamenco) and Danza y tronio. In December 1999 Mr. Porcel danced as soloist in the company of Rafael Aguilar, interpreting the Torero in Carmen during a major tour of Germany and Switzerland.
In 2000 he danced as soloist with the Los Angeles Philharmonic at the Hollywood Bowl under the direction of maestro Héctor Zaraspe. In the same year he was contracted as the first dancer in the Compañía Española de Antonio Márquez, performing on tour around the world and at the Ópera de París for over 20 sold-out performances, followed by a critically acclaimed tour of the U.S. during the 2001-02 season.
About Flamenco
A flamenco performance gives the spectator an overwhelming sensation of happiness, a joyful and sensual mood that no other form of dance is capable of evoking. Because flamenco is an explosion of rhythms, colors and emotions that contains all of the vitality, sunniness, and passion of the Spanish people, it is a folkloric celebration where, even when “theatre art” is being provided, irresistible erotic appeal and irrepressible energy remain intact.
The origins of flamenco are still uncertain, and they have been lost through the centuries in a tangled web of influences and contributions from various civilizations. It is highly probable that flamenco singing and dancing originated in Andalucia toward the fifteenth century, during the Gypsies’ encounter with the inhabitants of southern Spain. It continues to be extremely difficult to trace the origin of these wandering populations who, when they arrived in the region of Andalucia, were bearing with them a culture that was a mixture of Arabic-Egyptian, Jewish and Indian influences (which is obvious, for example, in the gentle and voluptuous movements of the dancer’s bodies and arms).
The oldest form of flamenco is cante jondo an intimate and deep-felt song that recounts the sorrows and hopes of the Gypsies as a people. Originating as a rhythmic form of accentuation for singing, flamenco dancing was enriched over time by constantly increasing expressive possibilities, along with indispensable accompaniment by guitars, thereby becoming the source of a vast repertoire of cuadros (one can consider the solemnity of soleares or the contagious festiveness of sevillanas and alegraias), where the intense and passionate nature of Mediterranean peoples bursts forth.
As a “theatrical performance,” flamenco only developed in the past century, through a constant effort involving stylistic experimentation, refinement of expression, and technical codification that gave this form of dancing a true artistic dignity of its own, albeit without causing a loss of its strong identity as folk dancing that is indissolubly bound to the Gypsy spirit. Among the dancers and choreographers who have elevated flamenco to the realm of “theatre art,” one cannot overlook Antonia Ruiz Soler (or, more simply, the “Great Antonio”), who was a superb interpreter of such masterpieces as El sombrero de tres picos, and Antonio Gades, who, more than anyone else, succeeded in infusing flamenco dancing with a form of narrative richness (such as his Bodas de Sangre and Carmen).
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The University of Iowa Center for Macular Degeneration
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