Carlos Carbonell was born in Cádiz Spain in 1979 into a family of artists. At an early age he took to dance with great interest leading him to the dedicated study of Spanish Dance and Flamenco with great artists such as Israel Galván, Alejandro Grandos, Mario Maya, Antonio Canales, Eva La Yerbabuena, Antonio y Manuel Reyes, and Fernando Romero. Additionally he has also studied singing, modern dance and acting. He began his professional career with Charo Cruz. He has performed in many of Spains most important festival such as El Grec (Barcelona), Festival de Jerez, and Festival de Granada. And in many of Spain most important tablaos including El Lagal en Jerez, Los Gallos, El Arenal and la Sala Casa Carmen in Sevilla, Las Carboneras, El Corral and El Café de Chinitas in Madrid and El Cordobés in Barcelona. Since a young age he has performed in the productions presented by Spain’s most celebrated artists such as Manuela Carrasco’s Adonai, Sara Baras’ Juana La Loca and Rafael Amargo’s Amargo, Poeta en Nueva York, Amor Brujo y Enramblao and Eva La Yerbabuena 5 mujeres 5. He has also danced as an invited artist with Joaquín Grilo, Carmela Greco and Rafael Amargo in the production of Los Tarantos which toured Japan. He has performed in the United States as part of Carlota Santana’s production of Bailaor. Carlos performed along with Merecedes Ruiz and Andrés Peña in the 1st edition of Japan’s Bienal. In 2006 he also performed in the first bienal of flamenco in Switzerland. In 2004 Carlos presented his first production, “Tríos” in collaboration with Olga Pericet and Marco Flores. In 2005 he again toured Japan with David Lago performing along with Masami Okada in Amor Brujo. In 2006 Carlos was invited to perform in Jueves Flamencos in Cadiz and 2008 was invited to Viernes Flamencos in Jerez. He has also performed in the Festival Torre Guzmán, Festival La Palma de Plata and Festival La Liviana. In 2008 he choreographed and performed the lead male role in Carmen for the Ballet Flamenco de Jerez de la Frontera which toured Italy for two months. In March 2009 he will presenting his current show Acompasa2 at the Festival de Jerez.
Popejoy Hall Presents Martha Graham’s “Appalachian Spring”
“Appalachian Spring” weaves an emotional story through expressive choreography and heartfelt music.
Martha Graham choreographed “Appalachian Spring” in 1944, during the height of World War II. When Aaron Copland began composing “Appalachian Spring,” he called it simply “Ballet for Martha.”
“Appalachian Spring” tells the story of a newlywed couple in the untamed country of Pennsylvania, as they settle into their new home, becoming acquainted with each other, and becoming accustomed to their strict new community.
Both the music and the dance of this heartfelt performance have become American classics.
Tickets only: $59, $48, $44
Popejoy Presents
Mid-Winter Workshops for Women
Announcing to women of Santa Fe, I would like to offer you an opportunity to train with me at two mid-winter dance movement workshops.
My teaching philosophy begins with breath and circular movement patterns. I create a thorough warmup to heighten awareness of mind/body/spirit/heart integration , focusing on initiating movement from the deep central core of torso, undulating through spine and out the limbs. I use visualization and metaphor, often drawn from nature imagery. Rhythm is a consistent element, with recorded music of world indigenous sources ( with enough sign up i may be able to book a live percussionist with professional international indigenous music background)
Location: Railyard Performance Space, 1611 Paseo de Peralta
Dates: Sunday JANUARY 18 and SUNDAY FEBRUARY 22
Time: 10 am -12 noon
Cost: sliding scale donation per workshop – $20 recommended minimum up to $200. Nobody turned away for lack of funds
FEBRUARY 22: ”MOVEMENT OF INSPIRATION AND DEDICATION, PASSION AND COMPASSION” is the Sunday after Valentine’s day . The theme of Love will be explored through gestures of compassion and passion, to use kinetic intelligence and bodily memory to invoke the essential healing and transformative power of love. Goddesses and archetypes from world cultures will be used as inspiration for form and creation of movement phrases.
Rulan Tangen: rulanova@aol.com
El Pintor, An Original Flamenco Dance Drama at Maria Benitez Cabaret, July 21, 2008. Lodge of Santa Fe.
by Janet Eigner
Theresa Cardenas, Producer, in association with Maria Benitez & The Institute for Spanish Arts
Choreographer: Pablo Rodarte
Advisor: Maria Benitez
Composer & Music Director: Calvin Hazen
Musicians: Guitarists: Calvin Hazen, Ricardo Anglada
Percussionist & Singer: Francisco Javier Orozco “El Yiyi”
Singer: Vicente Griego “El Cartucho”
Dancers: Adriana Maresma Fois, Maritza Montiel Tafur, Elena Osuna
Seldom has a flamenco production so successfully integrated another medium, the paintings of the 18th century Spanish artist, Julio Romero de Torres. The production, produced and directed by Theresa Cardenas is based on the story of Romero’s favorite model, Teresa Maria Lopez, a 14 year old maid in the Romero’s household whom Romero transformed in his last work, La Chiquita Piconera, The Little Coal Girl, into a sensuous woman with sorrowful eyes.
The dance matched the images in the paintings, projected on a scrim at the back of the cabaret stage, matched the realistic and earthy portraits of this young servant and her friends.
Cardenas, a Santa Fe native, sought the mentoring of Taos native, Maria Benitez to write this impressionistic portrait of the painter’s muse. A flamenca herself, Cardenas has spent past years in Spain, most recently studying with Antonio Hidalgo Paz in Cordoba. Here she came across the work of the painter, de Torres, found inspiration in his images of the young, Andalusian woman, and began her research into the life of the model.
Cardenas then summoned one of New Mexico (and now Colorado’s) state treasures, Pablo Rodarte, a flamenco performer and teacher with decades of study and performance in Spain and the USA, and tours across the globe.
Rodarte’s choreography remains among the freshest in flamenco concepts. The rhythms and spaciousness, wit, lighting, and costumes in his work has a whiff of tropical ocean. He distinguished himself in this production with modern dance movements integrated into the trio’s work, and with the eye of an artist who makes action flow ceaselessly, without the start and stop breaks that characterize more traditional flamenco.
Cardenas chose three distinguished and articulate dancers, all from the southwest, Adriana Maresma Fois, who has a world-wide dance career, launched with her UNM studies with Eva Encinias Sandoval, Pablo Rodarte, and in Santa Fe, with Benitez. Maritza Montiel Tafur, after study with the same New Mexico mentors, directs Rodarte’s Albuquerque dance company, Dance Espana, and dances with Juan Siddi’s Flamenco company. Elena Osuna, who launched her dance career after her degree studies at UNM with Encinias Sandoval, now dances with Joaquin Encinias’ company, Yjastros, in Albuquerque.
Calvin Hazen, another Taos native, composed and played the gentle and contemporary flamenco score. Hazen’s original score was recorded in Madrid in 2004 with Antonio Hidalgo Paz and Cardenas as Artistic Directors. The other three musicians, besides Hazen, include the other guitarrista, Ricardo Anglada, and Vicente Griego, the singer, both from Northern New Mexico. From Barcelona, Spain comes Francisco Javier Orozco, “El Yiyi”, percussionist and singer who tours worldwide.
If anyone doubts what kind of dance-related careers can develop on the New Mexico – Spanish flamenco beltway, with a lot of training, talent and a lot of hard work, lookie here.
