ROUGH CUTS

A platform where (for the most part) improvisational dance/poetry/cante reflect what we, as dancers/artists, are feeling as we navigate through the landscape of Covid and these current chaotic times.  

Introduction to Rough Cuts from Elena LaComadre (4:13)

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MORTEM OBIRE / TO DEPART THIS LIFE (4:17)
 

Music by: Gregorius 

Upcoming album: Nocturnus

Personal artistic comment: Composed and sung in Latin (oddly enough a dead language), Mortem Obire or To Depart this Life  expresses artistically on how Covid and its aftershocks have marked our lives - something I can relate to with Gregorius. As there are many stages of grief, frustration and anger to dealing with feeling intense longing for that loss - whatever it might be, plays a significant role in the healing process in one's life.

Many drafts were executed while collaborating with Gregorius. This particular one has the persistent cell phone ring during a silent dance moment before the reprise restarts. Although annoyed at the time, I decided to keep it in as it now allows me to break out in laughter - perhaps a message to self - 'cheer up -  things will get better'. 

Artistic comment from Gregorius: Pending

Biography: Gregorius is a multi instrumentalist from Toronto.  He is working on a forth coming album entitled, Nocturnus.  In addition to writing and recording, Gregorius also likes to build experimental instruments and written academic papers on his music.  More on his work can be found at www.greglauzon.com   

Date improvised: May 25, 2021

Classical Flute performances by Yvonne Pang

Andante in C major, K.315 (8:29)
Wolfgang Amadeus Mozart
 

It may be less known that Mozart, despite the great and quirky musician he was, strongly disliked flute as an instrument. This piece was composed as a commission to a Dutch amateur. It captures the beautiful tone and charisma flute carries, and is overall elegant and cheerful in its own way. 

Fantasia No. 5 in C major (4:21)
Georg Philipp Telemann
 

Telemann was one of the most renowned composers in the Baroque era. As a fellow flutist, Telemann was an expert on the instrument and wrote this Fantasia in a very precise manner. It has three components: the first part contains typical Italian and French characteristics, the second part resembles a fugue, and the third part mimics a fete/dance.

Τσοπάνα - PASTORA - SHEPHARDESS (5:42)

Music: Πάρε γιατρέ τά γιατρικά (Pare Giatre ta Giatrika)

Sung by: ΓΡΗΓΟΡΗΣ ΛΙΟΛΗΣ and ΝΙΚΟΣ ΚΑΨΑΛΗΣ

Greek Clarinet: ΝΙΚΟΣ ΚΑΨΑΛΗΣ

Greeks dance and sing for many reasons. Like many cultures, particularly flamenco, dance and song express pain, sorrow and sadness but also joy and happiness. Passed down from generation to generation, Pare Giatre ta Giatrika (Πάρε γιατρέ τά γιατρικά) is a well know folk song from Epirus - an area straddling southern Albania and northwestern Greece. One distinctive song category from this region includes lamenting songs (mirolóyia or dirges). Although Pare Giatre ta Giatrika is - these days - sung and danced for joyful occasions, it is this particular interpretation that carries that lamenting cry. 

Pare Giatre ta Giatrika loses so much when translated in English. Basically it can easily portray a dying or sick man/woman telling his doctor to take away all therapies and best go heal someone else for nothing will cure them. The wound is buried deep within their broken heart. 

A prominent instrument in folk music of Epirus is the Greek κλαρίνο  - clarino or clarinet. The sound is strange, slow, hypnotic and healing. Nikos Kapsalis was well known for his clarino. In the last verse, which is not part of the original text, he sings as if he knew what was to befall him.

 

"Oh! What can the doctors do for me now,? Let them come and administer yet another dose. Ay! If Death exists and it does, these bones will surely return to dust."

Such a talent and taken away far to soon. Rest in Peace Nikos Kapsalis.

Personal Artistic Comment:  Although I cannot make out several words due to dialect, the lyrics of the song  possess a deep connection for me in dealing with the passing of my own father. Embedded in me, his words haunt me still decades later in my mind:  'Take it all away for nothing will cure me'. I am sure many caregivers can relate to this.

My father in the 'Old Country' was a shepherd. As a child I would hear stories of this hard occupation often not by choice but by family obligations.  It took strength and perseverance to walk this path. What 'Old Country' does not matter. What time period does not matter. This occupation dates back to ancient times and still to this day, it carries on very much the same way for many in remote rural regions across the globe. What matters the most is the need to honour the person holding on to that shepherd's  staff.

Date improvised: May 22 2021

 

VEILED (1:21)
Opening excerpt only

 

Music: Gades (Alegrias)

Artist: Manolo Carrasco

Personal Comment:   The Veil dates back several millenniums BC to the Assyrian civilization that flourished in the Mesopotamia regions. Respectable women were forced to wear the veil while women that were concubines and slaves did not have that privilege.

 

When Persia conquered Mesopotamia, the veil was adopted in their social culture. From there the veil spread to neighboring kingdoms.

 

Fast forwarding to today in the current COVID world, the mask is a sign of respect for each other. But glorious will be the day when we will be able to rip them off our faces and finally... breathe.

Date improvised: May 10, 2021

REFLEXIONES: EL AÑO PERDIDO (3:55)
 

Translation: Reflections: A lost year

Music: Abuela Perrata from Orobroy

By: David Peña Dorantes

Personal Artistic Comment:

2020 is considered by many to be a lost year due to COVID -  a devastating tower moment that seems to be continuing on as we have entered 2021.  As with any major loss in one's life whether - death, health, financial disasters or this pandemic creature that has gripped its claws in our world, one walks through the path of the stages of grief dealing with grave situations, and depending upon the individual - some feel it more than others. 

Date improvised: May 3, 2021

Stages of grief include (and not necessarily in that order) are shock, denial, bargaining, anger and pain. One arrives at the realization of final acceptance, but can be left with depression, loneliness and isolation. And the logical part of our mind tends to reflect back upon the why's and how's could this devastation have occurred in the first place. 

 

Of all improvisational pieces that I have explored,  this improv of "Reflexiones: El año perdido", it is myself I cannot recognize. It portrays a woman who is asking those questions, praying for answers, feeling the anger, loneliness and isolation.

Date improvised: April 30, 2021

De querer a no querer
Hay un camino muy largo
Que "to" el mundo lo recorre
Sin saber cómo ni cuando
Y ahora que yo soy el yunque
A mí me toca aguantar
Cuando yo sea el martillito
Negras las vas a pasar
Si no es verdad
Esto que sale de mi boca
Si no es verdad
Que los pasitos que estoy dando
"p'adelante"
Se me vuelvan "p'atrás" 

There is a long road that runs between loving and not loving

That we all travel without knowing when or how

And now that I am the anvil 

I have to ENDURE the blows.

When it is my turn to become the hammer, you will be the one to go through hell.

If it isn't true, what I am saying 

Let the steps that I take forward

End up taking me backwards

MARTINETE (3:57)

Music: De Querer A No Querer from the Album Flamenco

Artist: Miguel Poveda 

NANA FLAMENCA (2:36)

Translation: Flamenco cradle song

Singer: Pablo Dominguez

Guitarist: James Cosman.

La luna por el cielo

Se va durmiendo

Y una cama en las nubes

Se está haciendo.

 

Tiene la luna

Luceritos de plata

Junto a su cuna.

Date improvised: April 23, 2021

Personal Artistic comment: This was part of a live  performance (hence the coughs)  set for seven dancers, presented at the Harbourfront Theatre Centre (formerly the du Maurier Theatre) in memory of César Alvarez - original singer and guitarist for Arte Flamenco.  The nana was the prelude to the piece entitled A mi lado (At My Side) - a title so fitting- not just for us dancers, but for Pablo and James who stepped in and carried on for Cesar. I will be forever in their debt.

 

Nanas are cradle songs. This nana depicts the moon against the midnight sky. As it nestles itself in a bed of clouds in order to slumber off, it casts precious silver beams of moonlight upon the child's cradle. 

CANCIÓN DEL AMOR DOLIDO,

EL AMOR BRUJO (1:59)

Translation: Song of Sorrowing Love

Music: Manuel de Falla

Singer: Roccio Jurado.

El Amor Brujo is the story of Candela--an Andalusian woman who is haunted by her dead husband's ghost. In life, he cheated and tormented her with another woman named Lucia but in death he returns only to haunt Candela. Canción del amor dolido expresses how her blood blazes with jealousy. It seems even in death she cannot seem to escape his torment. 

Date improvised: April 3, 2021

Personal Artistic comment: Originally this piece was created for the Canadian National Exhibition's Say Si to Spain presentation in 1990, intended for only three dancers. It was later performed as part of the full work of El Amor Brujo in November 2002 and then again in 2007. Thirty years later, rediscovering the piece as a much older dancer with many sustained injuries and feeling more like a wounded warrior in dance, my heart still yearns for this music. But even more than that, it is the dancers who I miss the most. 

MARCAJE POR TARANTOS
(Excerpt only, 2:52)

Song: Por Ti, Me Acuesto Tarde (For you, I go to bed late)

 

Guitarist: Tomatito  

Singer: Pansequito

Tarantos are from southeast Spain (Almeria, Murcia and Cartagena) and it belongs to the jondo or deep song category of Flamenco. They are songs birthed from the heavy and lonely work in the mines. Their unique sound has a romantic and yet slow lamenting quality. 

Date improvised: March 12, 2021

Claveles rojos 
carne de mujer morena 
que huelen a claveles rojos 
la blanca huelen a azucena 
y por eso que a ti te cojo 
porque tu eres 
pa mi la mas buena 
claveles rojos 
carne de mujer morena

Red carnations
flesh of a caramel-coloured woman
that smell like red carnations
the white one smells like lily
and that's why I take you
because you are
for me the best
red carnations
flesh of a caramel-coloured woman

GREEK LULLABY (3:14)

 

Music: Thanasis Moraitis

Sung: Lydia Koniordou 

Title: Κάμε νάνα να κοιμηθείς. (kame nana na koimitheis)

 

Personal Artistic comment: Simply said, a beautiful melancholic lullaby to soothe our crying world which seems to need it just about now. 

 

Lullabies and lamentations! Strangely enough, they share a common thread. A crying baby is cooed by the mother to enter peaceful sleep while a lamentation or dirge symbolizes the final farewell as one crosses the threshold of life to everlasting rest. 

Date improvised: March 6, 2021

GELEM GELEM (7:55)

Known as the national anthem of the Roma/Gypsy people, it is a lamenting soulful song so beautifully expressed by singer Esperanza Fernandez and accompanied by the great Flamenco pianist Dorantes.

Personal artistic comment:  Work on this piece began in August of 2020 - during the aftermath of the killing of Mr. George Floyd, the protests around the world, the riots, destruction of historical statues and monuments while still enduring COVID. 

In the midst of all this, I was also involved in writing an article about my mother's difficult journey to Canada to be included as part of AN IMMIGRANT STORY - designed and told by Sholom Wargon. 

Date improvised: February 17, 2021

Gelem Gelem allowed me to lament through recalling these emotional events. Both affected me profoundly while having to close the doors to the school of Arte Flamenco dance school due to the lockdown. 

Gelem Gelem has for me become my improvisational dance ritual before I hang up my dance shoes. With each and every time I execute the piece, it always seems to take part of my soul away or perhaps -  just perhaps - Gelem Gelem heals it.

Date improvised: February 6, 2021

BETRAYED  (4:48) 

Musical excerpts in order: Skaros by Stavros Kapsalis, Medea (Tiempo del Dolor) by Manolo Sanlucar, Llanto by Franck Monbaylet 

Personal artistic comment: It is said 'hell hath no fury like a woman scorned' as no one possesses a greater wrath or vengeance than a woman when she has been wronged as in the case of  Medea. 

 

At times, this piece allows me to empathetically understand Medea's plight. Other times - more often than not, it is an expression of anger and frustration due to the global pandemic that has seemingly brought most of humanity to their knees. Like a thief, COVID has robbed much of our time, changing our lives to accept a 'new normal' that we did not ask for.

 

But with hopeful anticipation, the world will see victory.

Synopsis of Medea:  In Greek mythology, Medea was written by Euripides (431BC).  It is the ill-fated love story of Jason ,the Greek hero of Argos, and Medea, a powerful sorceress and princess of Colchis. In order to help Jason steal the Golden Fleece, Medea betrays her country, father and she murders her brother. 

 

Once on Greek soil and exiled to Corinth, Jason abandons her and their children in order to advance his political ambitions by agreeing to marry King Creon's daughter. Medea, overwhelmed with grief over the loss of Jason's love, vows revenge on Jason with an unspeakable act that would torture him forever. She slays her own children. She flees to Athens on a golden chariot sent by her grandfather, the god Helios.

Additional reading: - the Wikipedia article on Medea.

More videos to come.