Flamenco crosses borders and overcomes barriers, not just physical ones. This old and universal art form can also have therapeutic effects, as is demonstrated by the "Flamenco@" project, which was created and directed by an Australian, Dean Watson. "Flamenco @" is an original and exceptional initiative to develop and improve the ability of adolescents with Down Syndrome to listen, dance, express themselves and move.
Dean Watson was very precocious when he started becoming involved in the world of the arts. When he was only eleven, he was one of the founders of the youth theatre group called "2 til 5"; without leaving the theatre, he studied in the Australian National Ballet and, after graduating, he became initiated in flamenco, studying in Madrid with El Guïto, Ciro and in Seville with Manolo Marín. He has been a flamenco bailaor in his home country as a member of the "Antonio Vargas Flamenco Dance Theatre" and of "Flamenco Dreaming", a flamenco dance company. At present, he works in arts administration for the Australian Chamber Orchestra.
Esflamenco.com has spoken with Dean Watson to find out more details about "Flamenco @", which, apart from its therapeutic and beneficial effects on its students, is another way of divulging this universal art form.
 What is "Flamenco @"? What goals does it pursue?
It is a unique opportunity for adolescents with Down Syndrome. It consists of providing them with a series of flamenco music and dance workshops of a professional standard that can help them in the development of their movements, of their ability to listen and of their ability to dance, as well as teaching them ways to express themselves in a creative manner. The goal is for participants to develop their appreciation for music and dance, to improve their own movement and concentration skills in a creative environment. The goal is for participants to develop their appreciation for music and dance, to improve their own movement and concentration skills in a creative environment. |
All of this improves their self-esteem and their confidence in themselves, two aspects that are very important for adolescents with Down Syndrome. At the same time, the children gain access to artistic experiences –we must not forget that it is a collective that does not have much access to them- and they do something important to raise awareness among the general public, both in the field of disabilities and in the field of the arts.
How did the idea arise that flamenco could prove therapeutic for these adolescents?
In Sydney, I work in cooperation with the Down Syndrome Association of New South Wales, and I am also part of a committee (Accessing The Arts Group) that is formed by members of various artistic organisations. The committee met to celebrate the International Day of People with Disabilities, and that was when the idea arose. My contribution included a dance event. Little by little, the project has gained momentum over the past four years.
Many people have taken part in the birth of "Flamenco @": it has been developed using the experience and expertise of Sara Baras - with the Down Syndrome Foundation of Madrid-, the Boston Ballet's "Adaptive Dance" programme, the performance of "Arthur's Feet" by the Compañía de Gelabert Azzopardi in Barcelona, and the methodologies and choreographies of Danza Mobile - in Seville.
Who is "Flamenco @" directed at?
It is directed at adolescents with Down Syndrome who have an interest in dance. Between 6 and 8 children take part in each workshop. I am the dance teacher. The class is also accompanied by my dear friend, flamenco guitarist Gregorio Alfonzetti. At times I like to add another dance teacher to the class, hoping that this may inspire them to create a class of their own for people with a disability.
What is the methodology and development of these classes like?
Each class is approximately an hour and a half long, although they can take weeks to organise. From the start, all of the effort is aimed at having fun! Although some of the students already know each other prior to the workshop, I like to get all the students together to meet one or two weeks before the class to get acquainted with each other. At this meeting, we already start to work, listening to and talking flamenco. This way we learn a little about each other prior to the class.
In each class, the students learn a set choreography. Before the class, each student is provided with an educational kit that outlines, in appropriate language, the history of contemporary flamenco dance and gives an explanation of the musical rhythm that they will be learning on the day (this includes examples of flamenco music on CD).
The workshops begin with an informal introduction to the space, to Dean and to the musicians. The group will then work together to break down elements of music into song, guitar and then dance while working on recognising the rhythm that can be transferred to clapping and footwork. The dance section of the class follows this introduction to rhythm.
When the students are feeling confident with their work, they are able to turn towards the audience of family and friends and display their skills to them. The group is split in two parts – while one dances, the other flamenco claps. The more confident students choreograph, sing or clap their own endings to the piece thus giving them space for their own creative expression and interpretation.
In the class I talk a lot, actually, I talk all the time. I treat the class as very professional but I also encourage the students to stop and ask questions. By the end of the day we know each other very well. There is a lot of laughter and quite a few jokes have been shared.
Why flamenco? Does it have any special characteristics that help to improve the adolescents' ability to express themselves?
Flamenco is the perfect art form for these classes.Flamenco is the perfect art form for these classes. The children can express themselves without holding back and without anyone telling them to restrain themselves. |
The children can express themselves without holding back and without anyone telling them to restrain themselves. As you know, flamenco is very personal and, unlike ballet, movements do not have to all look the same. If someone raises their right arm instead of their left, or looks in the opposite direction, that's OK.
In the classes, we concentrate mostly on upper body movement and rhythm interpretation, there is not a lot of footwork involved. Flamenco dance, in my view, has a great connection to the earth. I like the students to feel their own connection to the floor whilst trying to extend their reach with the upper body. The interaction between student and live music is priceless.
I have just been to New Zealand to see Eva Yerbabuena and her company in EVA. She is so beautiful. When I see a performer of this quality and honesty I am overjoyed, and it is this emotion that I try to pass on to my students. I love the idea that we are all always learning.
What has the end result of the classes been? Is there any aspect that turns out to be particularly difficult or complicated, either for the teacher, the musicians or the students?
The classes are hugely successful. The students are very happy at the end of them. I have been approached by everyone, the students, their families and colleagues who work in Arts management, to suggest that I should make the classes a regular event.
As for difficulties, I have none whatsoever in teaching the classes. They are nothing but a pleasure for me. The only difficulties I experience are of an administrative nature – things like securing funding, making flyers, mail outs and telephone calls. If some of the students have had another activity earlier on in the day, they can tire out quickly. But it doesn't matter, it is then up to me to help them find new energy and inspiration to keep us all going.
If anyone is interested in finding out more about "Flamenco @", they can get in touch with Dean Watson at the following e-mail address: dean.watson@aco.com.au
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