Flamenco

Falling for flamenco

Laura Onizuka first encountered the art form in a video in Spanish class. Now she teaches the dance, including at an upcoming Lincoln City retreat

People come to the Oregon Coast for all sorts of reasons – the beach, the views, the seafood, the sea life. At the end of the month, they’ll come for a reason that may seem as foreign as the country that inspired it: to dance the flamenco. Portland dancer and instructor Laura Onizuka will share her talent and knowledge during the Flamenco Retreat at the Oregon Coast, Feb. 28 through March 1 in Lincoln City. We talked with Onizuka about the art form – a combination of dance, song, and instrumental music from southern Spain. Her comments have been edited for length and clarity.

Flamenco instructor Laura Onizuka describes flamenco as “celebratory, passionate, melancholy.” Photo by: Chris Leck

What is flamenco?

Onizuka: It’s an art form and it’s music, dance, rhythm, language, communication. There are different facets: singing, guitar, dancing. It’s categorized by singing styles, based on the regions they come from and the influences from other parts of the world. For flamenco as we know it today, the place you want to go is Andalucía, Spain. That’s where great flamenco is being born. Madrid would be the hub. A lot of people go there to collaborate and just grow.

What can you tell us about its history?

It’s so complex. Some people say it comes from Gypsies in India originally. Some say that’s not true. It has influence from the Gypsies, Spanish folklore, musical influences from South America and Africa. So much of it was in the oral tradition, so there are not necessarily records of this art form until more recently. There’s a lot of romanticizing the Gypsy culture, but it’s about a lot more than that. People are still arguing about it and figuring it out. Where did it become the flamenco art form? In southern Spain. That’s not disputed.

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October DanceWatch: The moves get spooky

The month in dance will haunt the senses as the choreography calls on the spirits

Happy Halloween my little ghosts and ghouls, welcome to the spooky October issue of DanceWatch. The veil between the worlds has thinned and dance is lurking everywhere, so beware…

This month, aerial company Night Flight takes over Lincoln Hall with creepy creatures flying about, and Ballet Fantastique sinks deep into the soul of Poe with the world premier of their new ballet, Nevermore: Stories of Edgar Allan Poe.

Oregon Ballet Theater celebrates its 30th season with three significant ballets that span three decades in OBT Roar(s), and White Bird begins its 22nd season with illusionist dance company Momix, German choreographer Sasha Waltz and Guest, and facile young tap dancer Caleb Teicher and Company from New York. 

Portland Dance Film Fest, directed by Kailee McMurran in partnership with NW Film Center, takes over the Portland Art Museum’s Whitsell Auditorium for three days, presenting dance films from around the world. 

New to the DanceWatch list is a performance that melds visual arts and burlesque by Lacy Productions, a world premiere circus production by Amaya Alvarado and Kate Law called Pole Disclosure, a 7-to-Smoke open styles dance battle, an Odissi performance by the renowned Odissi dancer Collena Shakti and her students, and a night of improv with Linda Austin and the Holy Goats. 

There is of course much, much, more to see on the list so look if you dare…


Week 1: October 1-6

The Value of the Black Ballet Star: Politics of Desire in the Economy of Institutional Diversity
Lester Tomé
6 pm October 3
Reed College, Performing Arts Building, Massee Performance Lab (PAB 128), 3203 SE Woodstock Blvd

In his lecture, dance scholar Lester Tomé will interrogate the ballet world’s move towards diversity onstage while simultaneously ignoring its colonialist and racist history and culture offstage.

Tomé teaches dance history and anthropology, as well as cultural studies, social theory and research methods in dance. He is an associate professor in dance and an affiliate of the Latin American and Latino/a Studies Program at Smith College and a faculty member in the Five College Dance Department. Tomé is the author of articles in Cuban Studies, and you can find his writing in Dance Magazine, Dance Research Journal, Dance Chronicle, The Routledge Companion to Dance Studies, The Cambridge Companion to Ballet, and The Oxford Handbook of Contemporary Ballet, to name just a few.

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