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  • Emily Gastineau updated the Artwork 1. Caña
    This excerpt is from an elaborate theater flamenco piece, ConVivir. Its rhythms and music (the guitar and singing) are flamenco, but the movement itself is more contemporary while still adhering to flamenco’s strict rhythmic structures. It is always an exciting challenge to balance the dramatic intent of a theater-flamenco choreography with the essential elements of flamenco. In this choreography I loved having to really move to use the entire space, a big contrast to traditional flamenco whic…
  • This excerpt is another strong example of contemporary, theater flamenco (ie flamenco focused on a dramatic story, concept, or feeling), based on a poem by Gabriela Mistral full of loss, desperation, then rage. This piece uses traditional flamenco rhythms as a base, but with non-flamenco music. This work sample shows movement and percussive complexities that go far beyond flamenco, and an intense focus on expressing the emotions of a character. This piece is my favorite solo of all time.
  • Emily Gastineau updated the Artwork 3. Soleá
    The style (palo) of this piece, soleá, is the absolute bedrock of traditional flamenco. It means "solitude." It is a challenge to dance because of its slow tempo – the dancer must fill time and space with energy but not busy-ness, breathing with the singer, and reflecting and responding to his phrasing and energy. Dancing soleá is in some ways about letting go – it’s difficult to choreograph and better to improvise in the moment. This excerpt emphasizes two things – the relationship of…
  • This piece is also traditional flamenco, with the percussive element of castanets added in. Castanets are another of the elements of traditional flamenco that must be mastered. It is all about the seamless integration of the castanets into the dance and music – they are almost like a voice for the dancer. Castanets must be played musically, without just clack-clacking along. In this excerpt the castanets are perfectly in rhythm, and the patterns complement the singing and guitar without compet…
  • Emily Gastineau updated the Artwork 5. Alegrías
    This excerpt of traditional flamenco shows another traditional element that must be mastered: The bata de cola (long-trained dress). The bata is fairly heavy, with yards and yards of ruffles underneath the skirt to give it form and body. To get it to move it must be manipulated from underneath by specific leg movements, without tangling one’s feet in the underruffles and without simply kicking it. The bata is not only a partner, but also a rhythmic element – even the skirt must move in time,…
  • Although the other work samples I am submitting are lengthier, intricate solos, I am also an ensemble dancer. As a performer and teacher I am a leader in my community, and I enjoy the opportunity to work and dance with my fellow “flamencas.” This excerpt shows a snippet of some of my ensemble work.
  • Emily Gastineau updated the Artwork Sol y Luna
    Presented by Zorongo Flamenco Dance Theater at The Southern Theater, December 2007
  • Emily Gastineau updated the Artwork Retratos
    Presented by Zorongo Flamenco Dance Theatre at The Ritz Theater, September 2009
  • Emily Gastineau updated the Artwork Tia
     
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