Ninotchka Bennahum (UC Santa Barbara), “Flamenco Modernism: War, Exile, and Feminist Embodiment” SpeakersĪntoni Pizà (Foundation for Iberian Music), “Appropriating the Appropriation: Some Thoughts on Flamenco Historiography” Following the film, there will be a short audience Q & A the film’s director and artists featured in the film, Rosa, Najma Harissiadis, Raymond “Spex” Abbiw, Fazil’s sister Serpil, Victorio Korjhan, and Arturo Martínez “Espíritu Gitano.”įollowing each film, there will be a short audience Q & A. Ode to Fazil’s is a touching tribute to an iconic monument of New York City dance. The film’s director, Marcel Rosa-Salas, the daughter of a flamenco dancer, once considered it a second home. Many of the world’s great companies, along with up-and-comers, worked and sweated through their choreography in its halls. On 8th Avenue between 46th and 47th Streets in Manhattan, a worn-down tenement building was once home to Fazil’s Studio, a legendary dance rehearsal space. Ode to Fazil’s (17 minutes) directed by Marcel Rosa Salas (17 minutes). This documentary, filmed in 2010 to celebrate the Flamenco Festival’s 10th anniversary, features the illustrious artists performing in the Festival that year: Estrella Morente, Farruquito, Eva Yerbabuena, alongside New York flamenco legends such as the late maestro José Molina. Meira Goldberg (Fashion Institute of Technology, CUNY Graduate Center), “Appropriating the Appropriation: Some Thoughts on Flamenco Historiography”ġ0:00 – 11:30 Performing Politics: From Romanticism to the Post-ModernĤ:15 – 4:45 Breaking Walls, Building Bridges: Miguel Marín, Founder and Director of Flamenco Festival, and Rocío Márquez, cantaora, in conversation with Daniel Valtueña (CUNY Graduate Center)ĥ:00 – 6:30 Proshansky Auditorium, C levelįlameNYCo, directed by Javier Benítez (45 minutes). Symposium: 9:00 –1:15 (lunch) 2:15 – 4:45 ( registration)įilm screenings 5:00 – 6:30 ( registration)ĩ:30 – 10:00 Opening remarks: Symposium Co-Organizers Antoni Pizà (CUNY Graduate Center) and K. Please register for both if you would like to attend both, because seating for the film is limited. Please note that registration for the symposium and films is separate, as they are on different floors. Our daylong symposium will be followed by two documentary film screenings. 1987, photo by François Bernardi Ma– The Graduate Center Online registration will be open until March 27 same-day onsite registration will be available.Įnrique Morente, Paco Cortés, Pepe and Antonio Montoya Carbonell, ca. Speakers and schedule are detailed below. Registration is now available through Eventbrite: symposium – film screenings. Admission is free, registration is required. Specific topics such as flamenco and jazz, flamenco and the folk music scene of the 1950s and 60s, U.S.-based flamenco dance companies, Spanish dance in the early modern dance pioneers of the early-twentieth century, Spanish dance in blackface minstrelsy etc.recording techniques have impacted flamenco. From player pianos to digital technology: how U.S.From Sol Hurok to Claudio Segovia and Héctor Orezzoli to Miguel Marín, how have producers and impresarios shaped flamenco in the U.S.?.Bibliographies, filmographies, and discographies of flamenco in the U.S.institutions such as universities, high schools, private studios, community centers, research centers, libraries, museums, etc. Mapping the presence of flamenco in U.S.scholars shaped flamencology in both the U.S. performers and audiences on the development of flamenco? Questions and topics to be considered may include: O, Fanny Elssler!…even before we came to Spain, we suspected that it was you who invented the cachucha!” Parakilas, “How Spain Got a Soul,” 148, cites Théophile Gautier, Patrick Berthier, ed., Voyage en Espagne, suivi de España (Paris: Gallimard, 1981), 45 translated in Théophile Gautier, and Henry Christie Steel, Voyage en Espagne (Boston: D.C. “Spanish dances only exist in Paris, just as seashells are found only in curiosity shops, never at the seashore. As nineteenth-century French dance critic Théophile Gautier wrote of his 1840 visit to Spain, have reflected back upon and contributed to the development of their original models. stages from the last decades of the nineteenth century, and this conference aims to explore how manifestations of flamenco in the U.S. About the Conference Zambra Tablao Rosa Durán at Worlds Fair 1965, courtesy of Brook Zernįlamenco in the United States will gather scholars from a range of fields in an interdisciplinary conference highlighting the influence of the United States, through its institutions, scholars, performing artists, and audiences, on flamenco as a global form.
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