Modern flamenco
originated in An
dalusia. Each
movement and
stomp has meaning.
courtesy of the Hult Center and Lois Greenfield
By Sara Jarrett
Oregon Daily Emerald
Gypsies say
flamenco danc
ing is in the
blood.
To both the dance
enthusiast and the oc
'i Feel the
lamenco
modern ideologies
to create movement
understood by a
wide population.
“Anyone remotely
pleased by the se
ductive and addic
tlVP nerfrirmanro art
casional observer, howev
er, flamenco seems to have a
deeper driving force. It’s said that
flamenco arose from the suffer
ings of the gypsy people.
They were not born with fla
menco inclinations, but rather
used dramatic movements to
deal with raw human emotions
as a way of dealing with tyranny.
“In much of the more serious
flamenco, there is a release of
pent-up hatred of persecution
and often an evocation of death,”
a web page titled Spanish Dance
said.
Flamenco definitely has atti
tude. The blend of song, dance
and guitar creates a passionate
whirlwind of emotional energy
and triumph. The Spanish poet
and writer Fredrico Garcia Lorca
called flamenco “one of the most
gigantic inventions of the Span
ish people.” *
While there remains an effort
to preserve the traditional art
form, Spanish dancers are also
willing to experiment to create a
modern flamenco dance vocabu
lary and choreography adapted
from many influences, including
the Hispanic-American impact.
‘Flamenco Vivo-Carlota Santana’ of1f1?e flamenco -
brings the flair of modern flamenco this “arnhemS
dance to Eugene skilled troupe,”
wrote the Herald &
One such group, The Carlota
Santana Spanish Dance Compa
ny, will perform “Flamenco
Vivo-Carlota Santana,” on Nov.
13 in the Silva Concert Hall at
the Hult Center for the Perform
ing Arts at 8 p.m.
Originating in Andalucia, a re
gion of southern Spain, flamenco
is believed to have been cultivat
ed by gypsies who traveled to the
area from India and Pakistan.
Apart from the Indian and , it’s
thought that flamenco’s present
form was molded in part through
Arabic influence during Arabia’s
700-year rule of Spain. Flamenco
in its present state is only two
hundred years old.
Though each subtle move
ment of the hand and stomping
of the feet means something in a
traditional flamenco dance, one
does not have to be versed in
such intricacies to make mean
ing of a performance. Santana,
in particular, strives to create a
synthesis of traditional and
News in New Jersey.
Carlota Santana co-founded
the company with Roberto Lorca
in 1983. After Lorca’s death from
AIDS-related complications in
1987, Santana took over as artis
tic director of the company. San
tana began her career in the U.S.
but received a grant from the
Spain Joint Committee for Educa
tional and Cultural Exchange
that enabled her to study in
Seville. The company is now
based in New York.
With the popularization of
Latin music by Ricky Martin and
Enrique Iglesias, and an influx of
tango and salsa dance classes and
films, it is evident that America
has embraced Spanish art —
even if it is just a trend. Televi
sion and radio, however, can’t
compete with a live performance
of the vivid, addictive cultural art
that is flamenco dance.
Tickets are available at the
Hult Center ticket office, the
EMU, or charge-by-phone at 682
5000.
Captive at the Arena
■ The cynical black
comedy ‘Raised in
Captivity’ opens Nov. 10
By Sara Jarrett
Oregon Daily Emerald
The characters teeter on
the edge of reality, preparing
to topple into the pit of self
discovery. It’s the perfect sub
ject to tackle at a University
where the educational setting
seems to embrace all sorts of
exploration.
“Raised in Captivity” opens
on Nov. 10 in the Arena The
atre at Villard Hall, marking
this season’s second produc
tion at the small intimate the
ater where the audience sits in
a semi-circle around the ac
tors. The black comedy is a
concoction of guilt, redemp
tion, and self-punishment,
with a cynical, humorous ele
ment running throughout.
“On one level, the [play] is
a fairly traditional tale of ro
mantic and familial relation
ships which address a num
ber of common themes: guilt,
spirituality, death, loss,
yearning, forgiveness, pun
ishment, redemption and
love,” Don LaPlant, the play’s
director and a second-year
doctorate student in theater
arts, said, “The cast and I are
aiming for a style which sup
ports and reinforces the direct
emotional and intellectual
engagement with relevant is
sues and themes. ”
“Raised in Captivity” is
written in the style of Joe Or
ton, Christopher Durang and
John Guare.
Tickets are available now
at the Hult Center, the EMU,
and the Robinson Theatre
Box Office. The cost is $6 for
the general public; $5 for se
nior citizens, University fac
ulty and staff, and non-Uni
versity students; and $4 for
University students. A $1 dis
count is available to Univer
sity students for Wednesday
and Thursday performances.
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Open for
Breakfast 7a.m.
some good eats.
A lotta food for
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