Tag Archives: Ethan Margolis

Duende soars in ‘Forever Flamenco’ at the first-class Fountain Theatre in East Hollywood

Flamenco Fanny Ara 2018 FF

Fanny Ara in ‘Forever Flamenco’ at the Fountain Theatre.

by Victoria Looseleaf

The Spanish term for a heightened state of emotion and authenticity, “duende,” roughly translates to a single word, “soul.” It’s also the elusive ingredient at the heart of flamenco, the centuries-old art form whose Andalusian origins, while not completely known, are an exotic blend of Jewish, Arab, and Roma (also known as Gypsy) cultures. Commonly thought of as an art of suffering — and punctuated by fiery footwork, rhythmic hand clapping, and raspy-throated singing and guitar playing that can veer from sensuous to scorching — flamenco, when performed by true artists, not only has the power to exist in a profound and mystical place, but can be a transformational experience for an audience, as well.

Happily, amid the urban sprawl that is Southern California, there also happens to be a rather tight-knit community of flamencans that stretches from Los Angeles down through Orange County and into San Diego, with upcoming performances including the Melissa Cruz-directed “Forever Flamenco — Evocar” (L.A.’s Fountain Theatre, October 27); Lakshmi Basile (San Diego’s Café 21, the Gaslamp location, November 2); the Spanish superstar Farruquito (Segerstrom Center for the Arts, November 6; the Soraya in Northridge, November 9); and Ethan (Margolis) Sultry and friends (Fountain Theatre, November 24).

Deb BDay 2014

Deborah Culver.

That said, the indisputable Godmother of the L.A. flamenco scene is Deborah Culver, who co-founded the 78-seat Fountain Theatre in 1990 with Stephen Sachs, and has been presenting flamenco concerts under the banner, “Forever Flamenco,” ever since. Dubbed “the earth and fire of first-class flamenco” by the Los Angeles Times, the series has been weekly, biweekly, or monthly, with Culver estimating that they’ve produced in excess of 500 unique performances over the years.

Culver said she was drawn to the dance for a number of reasons, first and foremost, that it’s a “great art. It’s compelling, it’s mind-blowing, it’s gorgeous, and we have some very good practitioners here [in L.A.]. I danced it, too, of course, but really, I respect the pros.

“Throughout my time producing Forever Flamenco,” added Culver, “I have seen the community grow, mature, and exceed even my wildest expectations, and there are many dancers who are really pulling it off, who are really in tune with flamenco.”

The Fountain Theatre has also produced numerous flamenco concerts in conjunction with the Ford Amphitheatre, a bucolic, 1200-seat venue across the street from its much larger counterpart, the Hollywood Bowl. Olga Garay-English, executive director of the Ford Theatres since 2016, recently presented Olga Pericet, winner of Spain’s National Dance award in 2018.

Olga Garay-English

“The Fountain Theatre really needs to be praised for being a stalwart with not a huge financial undergirding — I think that they really deserve a lot of credit,” noted Garay-English, who added that under her Ford tenure, they have co-sponsored three concerts with the Fountain, including Pericet’s.

“I thought that flamenco really deserved a larger stage in the greater L.A. area,” she added, “so the first season I booked it in 2017, we actually commissioned a flamenco floor, which is more percussive. I also think that flamenco is an extraordinary art form that has really deep roots and yet it has become an international language, so to speak. You really see people taking up the form in very diverse cultures because it speaks to people.”

Garay-English agreed with Culver that the L.A. flamenco community is thriving and growing. “It’s a self-fulfilling prophecy — the more excellent flamenco that is available, the more people are interested in seeing the work. People are really thirsty for this caliber of flamenco.”

One performer who has been a fixture of the Fountain’s flamenco series is Los Angeles-based Briseyda Zárate. Born in Delano, California, and brought up by Mexican immigrants, she’s performed at the space for a decade and a half, either dancing with others or directing concerts at the venue with her troupe, Briseyda Zárate Ensemble.

Briseyda Zárate and ensemble | Credit: Sonia Ochoa

In addition to beginning her own series, Noche de Tablao, last January at L.A.’s Bootleg Theater, 44-year old Zárate, a flamencan with a feline presence and feet of fire, has also danced with L.A. Opera in productions that include The Barber of Seville and in last season’s zarzuela hit, El Gato Montés, as well as having choreographed for the company in operas such as Carmen. The dancer, who lives and works several months of the year in the cradle of flamenco, Sevilla, Spain, is nevertheless, wholeheartedly committed to L.A.’s flamenco community.

“It’s an art form that requires, obviously, community,” explained Zárate. “It also requires people who perform, audiences who go see the performers, students who want to learn, teachers who want to teach and not just steps, but the culture itself, through a way of life, a country, a specific part of Spain, though it’s all over the world. It’s about connecting at the very core of the art form — connecting in the moment to the singer, the guitarist, to yourself — and creating the magic that you give to the audience.

“Flamenco is also about the audience feeling something,” she continued. “Yes, flamenco can get really difficult technically, but at its core, it’s a very simple human thing, because it comes from such a deep historical place and a deep emotional place and the music, the dance, the song transmits that place and the artist, the “bailaora” — dancer — has to be able to transmit that. Not every artist does that. People who do it like a machine and depend solely on technique, in flamenco that will never fly. That will never suffice.”

To Zárate, duende is the spirit the dancer generates and is something akin to a ritual. “You’re creating it and it’s very special and not something that can be done by anybody. It takes obviously a lot of study, and technique is the gatekeeper to how you reach that sublime place. However, it’s just the gatekeeper — there are no ifs, ands, or buts about it in flamenco. You cannot base it solely on your technique or virtuosity. Maybe you can get away with that in other art forms, but not in flamenco.”

Someone known for possessing duende in spades is Farruquito, heir to one of the world’s most acclaimed Roma flamenco dynasties. Born in Sevilla in 1982 as Juan Manuel Fernández Montoya, Farruquito has been described by The New York Times’ Alastair Macaulay as “one of today’s superlative dance artists.” Carrying on the tradition of his grandfather, “El Farruco,” the electrifying performer first made an appearance on Broadway at age 5, and is bringing a pair of shows, “Farruquito Flamenco,” to the Southland.

No stranger to drama, Farruquito, a master of line, quicksilver footwork, and authoritative presence, was involved in a fatal hit-and-run accident, eventually serving three years in a Spanish prison for the crime. Released in 2010, Farruquito came roaring back, continuing his life’s mission to share the purest form of flamenco on stages around the world.

Farruquito

As to the debate of flamenco being more a matter of nature or nurture, of bloodlines or experience, Farruquito wrote in an email that it is “a little of each. Theory without practice does not achieve much. And if we are looking at it as an art form, I think you have to go much deeper into that world. If you are lucky enough to be born in a family that can give you that experience in exposure, you have to work even harder to make something out of what you are given.”

Farruquito also shared his thoughts regarding duende, writing that it “means being accompanied by a certain magic that allows one to transmit something special, intimate, and ever-fleeting while performing. But for that duende to grace us with its presence, we must lure it in with passion, dedication, respect, humility, and everything else that it rightfully deserves.”

Ethan Margolis

Indeed, high-quality flamenco, whether strikingly presentational à la Farruquito or decidedly internal, thrives on immediacy and texture. It also requires top-notch musicians. With its distinct rhythms and outside influences also coming from Africa and the Middle East, there is a timelessness that exists at the heart of this music. Cleveland-born guitarist/composer/producer Ethan Margolis, 41, known as Ethan Sultry (Sir Sultry is his production company), moved to Spain to study the art of Roma flamenco guitar at 21, eventually moving to Los Angeles in 2010.

While in Spain, Sultry and dancer Cihtli Ocampo (now his wife), cofounded the erstwhile Arte y Pureza Flamenco Company (Art and Purity), an acclaimed troupe that toured Europe and the States for a number of years. Blending American and Spanish roots music into a jazz/flamenco hybrid, Sultry has created a style bursting with complex flamenco rhythms that stem from India — with some of the melodies having an Arabic character — while the dance form, he pointed out, is an expressive, improvisational one that was first shared by Roma families in their homes.

“People don’t realize that dance is not always at the root,” explained Sultry, “because in the Gypsy household, the flamenco dance form before it got on stage, was in someone’s house, at a party, around a campfire. It was very short, about 40 seconds long, then it was over. It was about the singing and the rhythm.

Cihtli Ocampo

“It transformed into what we see now as 10, 15, or 20 minutes of dance that evolved to be put on a stage and sell tickets,” added Sultry. “I try to feature the dance, because it’s incredible, but there’s so many dance-heavy productions. Last year we presented shows that featured songs from Gypsy inheritors and none of them were commercial artists. They spent 400 years developing this stuff and no one knows who they are. I’m trying to help people understand that flamenco is like a work-song culture — they’re singing their sorrows out and it’s not all about fast footwork.”

Which isn’t to say that Sultry is not a fan of the dance. On the contrary, his November concert at the Fountain, “Sonikete Blues: Woodshedding,” will feature dancer Ocampo, vocalist Emi Secrest, cajón (box drum) player Ramón Porrina, as well as his Ethan Sultry Group, including Lee Ritenour’s upright bassist Ben Shepherd, and keyboardist Mitch Forman, who played with Gerry Mulligan and Stan Getz, to name a few.

“The Fountain is great for flamenco,” said Sultry, “and it’s because of people like Deborah. Other than the Fountain being an intimate venue, it’s the people allowing and pushing for flamenco to happen. They lose money but keep going. They allow artists to come in, do their thing and leave. I can’t imagine that the Fountain has financially benefited much from flamenco because it’s a labor of love. And it’s not,” adds the musician,” like every city has a Fountain Theatre.”

Sultry, who has a rather astonishing YouTube video that features him playing Sondheim’s “Send in the Clowns,” flamenco style, with his body-painted wife slinking around the stage, her arms raised with filigreed fingers slicing the air, has his own idea — no surprise — of what he deems duende.

“What I believe to be spirit — duende — is that [Spanish playwright Federico García] Lorca, who was a Gypsy-rights activist, put it out there as a term and ever since it’s been used all the time. It’s that sense of arriving at a real connection with the art form with your spirit. When he used the word,” added Sultry, “he was living within Gypsy circles, and he wasn’t just talking about a dancer. He was writing about their beauty, their sorrows, that’s where it came from. I believe he lived it and felt it, and once you know that, it’s hard to buy it in another setting.

“And while all art forms have a version of duende,” Sultry continued, “it’s the term within flamenco about arriving at this blissful place of spiritual expression that you can only get to if the elements of the form are true.”

Expressing her true self through haughty glances, an arched back and thrilling turns, California-born Lakshmi “La Chimi” Basile, 37, built her career in Sevilla, and currently lives in San Diego. Over the years she has performed throughout Europe and, at one point, had a company, Luna Flamenco Dance Company. A regular performer at the Fountain for years — having directed shows there, as well — Basile also danced on a weekly basis at the Cosmopolitan Hotel and Restaurant in San Diego’s Old Town district in 2017.

Now working on a project-to-project basis, Basile, who was born to an Argentinean/Paraguayan mother and an American father with Czech roots, also teaches flamenco and runs her own show at San Diego’s Café 21. While patrons might be eating and drinking during her performances, Basile said she’s had no problem with that.

“It requires a lot of stamina, but I present my show in a way that makes them pay attention. It just depends on how you attack it — and you can be mindful. That show ended up turning into a mini-showcase and I had regulars come to see me, so I was happy with how that turned out.”

But did Basile have flashes of duende during any of those performances? The dancer explained: “Duende, I believe is something you’re born with or you can stumble upon it at any given moment. It’s not something you work on like a step — duende doesn’t work that way. It either comes or doesn’t come, you can’t control it. Some people have duende moments a lot because they can transmit with a lot more ease than others.

“Even the people that have duende moments,” added Basile, “they can’t have it whenever they want. It’s more of a thing that comes, although I do believe some are born with it. There are also excellent performers who don’t have that magical moment. It’s almost like a spiritual thing — you have to channel energy in a different way than just being mental about the steps.”

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Victoria Looseleaf is an award-winning international arts journalist who covers dance, music, theater and the visual arts. 

Flamenco Meets Canvas in ‘To Paint a Woman’ This Sunday, Sept 15, at the Fountain Theatre

paint

The Fountain Theatre’s Forever Flamenco series takes a unique swirl of the brush this Sunday night, Sept 15th at 8pm with To Paint a Woman. Artist Roderick Smith will create a painting on canvas live on stage while the flamenco concert is underway. Don’t miss this rare opportunity to enjoy the passionate flurry of flamenco and paint as they whirl simultaneously before your eyes.

Roderick Smith

Roderick Smith

Produced by Deborah Lawlor and under the artistic direction of guitarist Ethan Margolis, To Paint a Woman is an all-male flamenco performance inspired by a Spanish fandango verse “Por Pintar A Una Mujer” about the idealization of women.
Por pintar a una mujer
A un loco le dio la manía
Por pintar a una mujer
Y cuando pintá la tenía
Le puso un letrero a los pies
“Ya me tienes como tú querías”
                *
To paint a woman
A crazy man was given the notion
To paint a woman
And once he had the painting finished,
He placed a sign at her feet…
“Now you have me as you have always wanted”
Luis de la Tota

Luis de la Tota

This one-of-a-kind performance also features a rare Los Angeles appearance by special guest cajonero/palmero/festero Luis de la Tota from Jerez de la Frontera, Spain. The full line-up includes visual artist Roderick Smith dancers Manuel Guiterrez and Oscar Valeroguitarist Ethan Margolis,  singer Antonio de Jerez,  and upright bassist  John Leftwich.

Forever Flamenco  Sunday, Sept 15 8pm   (323) 663-1525    MORE

‘Forever Flamenco’ at the Fountain starring Lakshmi Basile & Company this Sunday is Sold out!

Lakshmi Basile FF Feb 10

Forever Flamenco  Sunday, Feb 10th  (323) 663-1525   More 

ONE NIGHT ONLY! Ethan Margolis and Cihtli Ocampo in “Forever Flamenco” at the Fountain May 27

9th Year for Smash Hit Flamenco Series 

After months of successful concerts at the 300-seat Gallery Theatre in Barnsdall Park, The Fountain Theatre’s acclaimed Forever Flamenco! series is back home for one night only at the intimate Fountain.  On May 27Forever Flamenco! presents Quien Yo Soy (“Who I Am”), a special evening of Gypsy flamenco from the Arte y Pureza flamenco company with dancer Cihtli Ocampo; percussionist Joey Heredia; flutist/sax player Katisse Buckingham; vocalists Maxayn Lewis and Oscar Valero; and guitarist/artistic director Ethan Margolis. Forever Flamenco is produced by Deborah Lawlor, who created the esteemed Flamenco program at the Fountain more than 20 years ago and has established it as the foremost venue of Flamenco in Los Angeles. 

Cihtli Ocampo

CIHTLI OCAMPO was born in San Diego, CA. She went to Spain on a  William J. Fulbright Scholarship for Flamenco and Spanish Dance in 1999 and in 2000 she relocated to Seville to train exclusively with the Farruco family. In 2004, Ms. Ocampo began performing with them debuting in Farruquitos production of Alma Vieja. Cihtli has also performed as a soloist with Farruca and Farruco chico in Familia Farruco. She was a featured dancer in Tony Gatlif’s film Exils, which won best director at the 2004 Cannes Film Festival. In October of 2004 Ms. Ocampo shared billing in Paris with La Macanita and Diego del Morao in Exils the performance. Ms. Ocampo has performed extensively throughout Spain in such venues as the Arriaga Theater in Bilbao, and Los Gallos in Seville. After seeing Cihtli perform, Carmen Amaya’s biographer, Mario Bois wrote: “…this girl is truly exceptional… she danced with a man’s suit and I was reminded of Carmen Amaya. She is strong and astounding, something you do not see every day.”

Ethan Margolis

ETHAN MARGOLIS was born in California and comes from an entire family of musicians. Since his arrival in Seville in the year 2000, Margolis has made a name for himself in an intimate world of legendary artists, as he studied and worked with his maestro, Antonio Moya, the famed guitarist from Utrera. Ethan has accompanied many of Spains maestro Gypsy singers including Miguel Funi, Ins Bacn, Curro Fernndez, El Lebrijano and Manuel de Paula. He recently produced and played guitar on Miguel Funi’s cd Aires Gitanos. Today, Margolis is one of the few young guitarists who view it as their obligation to study, understand and defend the roots of “cante gitano andaluz” within flamenco. Ethan’s accompaniment on the guitar is characterized by an extraordinary awareness of the details within Gypsy singing. His musical background has given him a sensitivity towards music that applies to his playing and his teaching.

With only 80 seats in four rows is the perfect place to view flamenco. Don’t miss this rare treat to experience world-class flamenco just a few feet away from your seat at the intimate Fountain!

Forever Flamenco  May 27  (323) 663-1525 More Info  Buy Tickets