Dance/Music review: Flamenco en Vivo, March 20, Bissap Baobab Oakland
Flamenco isn’t just a dance, it’s a culture. Also known as Gitano music, it developed around the Romani peoples (Gypsies) in Andalusian Spain, and is typified by rapid-fire acoustic guitar runs, a dance form which alternates between expressive hand motions, acrobatic twirls, and foot-stomping percussion, syncopated hand-clapping (called palmas), and passionate singing, often with sad or ironic lyrics. One of the most-key aspects of flamenco is its devotion to improvisation – which leads to a feeling of being “in the moment” during live performance.
Last Friday saw the debut of “Flamenco en Vivo,” a new monthly flamenco party at Bissap Baobab Oakland, an African-themed restaurant and burgeoning center for global culture which is an offshoot of its sister venue in San Francisco. The force behind “Flamenco en Vivo” is Yaelisa, one of the Bay Area’s most accomplished flamenco choreographers, teachers, and performers, who told Oakulture the new party replaces the now-defunct “Caminos Flamencos” night at Duende.
Yaelisa assembled a formidable team for “Flamenco en Vivo”’s debut: dancer, teacher (and LoCura member) Melissa Cruz, guitarist Jason McGuire, percussionist Marlon Aldana, and singer Jose “El Grillo” Blanco. That’s truly a world-class lineup, with more than one hundred years combined experience (!).
Still, it remained to be seen how the music would do in BBO, a venue which is slightly larger than the typical intimate environs preferred by flamencos. The answer? Very well indeed. Yaelisa and Cruz began the performance with a duet which spotlighted their ability to move in rhythmic unison. Then each performed a solo dance. This pattern repeated throughout the night, with short break in-between (which allowed the dancers to change outfits).
No two flamenco dancers dance the same, and it was interesting to note the contrast between Yaelisa’s style—which emphasized flamenco tradition, with graceful hand motions and dramatic pauses—and Cruz’ energetic take on the form, which relied more on sudden twists and turns. Both were exquisite in their technique and powerful in their footwork, lifting their skirts from time to time so the audience could see what their feet were doing.
McGuire was on fire throughout the evening, tapping his guitar like a cajon when he wasn’t displaying a ridiculously-quick fingerstyle worthy of (recently departed master guitarist) Paco de Lucia. El Grillo and Aldana added to the sublime-ness of the show, adjusting to the tempo—which the dancer calls out, signaling with foot-taps—as necessary, and making the entire thing look easy. In truth, though, the level of musicianship was as elevated as the level of dancing. It’s not an overstatement to say that you’d have to travel to Spain to see an equal or higher level of flamenco performance.
The crowd appeared to be fairly evenly-split between hardcore flamenco devotees and newcomers to the art form. But even if the technical aspects of what was happening on the floor went over their heads, the visual thrill of watching the dancers was tangible; particularly-impressive movements were punctuated with yells of “Ole!,” as Yaelisa and Cruz summoned up what must have been incredible inner strength to stack frenzied flurry on top of frenzied flurry. Just when you thought they’d expended all their moves, they’d flow into another eye-popping sequence (pro tip: in flamenco, the dance performance isn’t done until the dancer returns to her chair), extending the excitement level.
They even got the crowd into it at the end, bringing up several audience members, some of them flamenco students, onstage to strut their stuff. All in all, it was a great introduction to flamenco for the Baobab Oakland crowd, and something which should not be missed!
The next “Flamenco en Vivo” is April 17 at Bissap Baobab Oakland. More info about Yaelisa’s classes and upcoming performances is here. More info about Melissa Cruz’ classes and upcoming performances is here.