as multicultural as canada, as ... - flamenco … is another example of multicultural integration....

Volume 1, Issue 3: Summer 2010

“Opinions expressed here are not necessarily those of the Board, nor the Organization.”

Comments welcome: [email protected] 1

#102, 2083 Alma St.

Vancouver, BC

V6R 4N6

(604) 737-1273

flamencorosario.org

Flamenco Rosario

Artistic/Executive

Director: Rosario

Ancer

Musical Director:

Victor Kolstee

Newsletter Team

Barbara MacLellan,

Onni Milne,

Jennifer Parisi

This e-newsletter will

be published quarterly

in spring, summer, fall,

winter. Deadline for

submissions from

contributors is three

weeks prior to

publication date.

Copies available at

flamencorosario.org

Flamenco Voice

informs members

about local, provincial,

and national flamenco

issues and events and

promotes flamenco

culture to inspire

participation in the

flamenco arts scene.

AS MULTICULTURAL AS CANADA,

AS MULTICULTURAL AS FLAMENCO Canada is known around the world for how well it has accepted and integrated cultures from many different countries. Flamenco is another example of multicultural integration. As an art form — it combined Moorish, Jewish, and Spanish cultures with that of wandering gypsy groups originating in the Indian subcontinent to create a unique music and dance form.

Canada today is a different place because the combination of ethnic contributions has added a different flavour to the original Anglo-Saxon, French, and First Nations base. People of many different cultures and ethnicities have made Canada their home over the past century; however, the diversity has increased in the past fifty or sixty years. Immigrants always bring aspects of life in their former homeland to the new one. While some of these aspects disappear with time, many are maintained and shared with the rest of the population. The languages, foods, music, customs, dance, and celebrations of ethnic communities are often appreciated by Canadians who are not part of the particular ethnic group that originated them. There are sometimes tensions between newcomers and those already here and between some groups of newcomers, but Canada has shown it is possible to have differences and appreciate those differences in peace.

Through its approach to multiculturalism, Canada has shown it is possible to welcome and embrace differences and make them part of a new and ever-evolving cultural whole. The synergy of the ethnic contributions has multiplied beyond the value of each to achieve something greater than a single group offers. We all live richer lives because of the diversity that we can enjoy now.

In a similar way, flamenco has moved beyond any one of the original Moorish, Jewish, Spanish, and gypsy cultures, and added influences from others over time. In the fifteenth century, before these cultures combined, music of southern Spain was already a mixture of many other ancient cultures from around the Mediterranean. This blending of cultures through flamenco continues to today.

Traditional flamenco — flamenco puro — is the basis of flamenco and is faithfully performed by many artists and flamenco groups. However, the art of flamenco continues to evolve. Flamenco now has incorporated many other influences including music that evolved in the colonies of the Caribbean and South America, jazz and the blues from North America, even some rock and hip hop. The dance has adapted some contemporary styles and forms of movement from Europe, North America, and South America among others. Flamencos have rediscovered the roots of their art form in north Africa and India. This has also re-invigorated modern flamenco. In this way, flamenco continues to exemplify diversity and blending of cultures to produce new dynamic art forms that bring people together in a positive manner.

Flamenco Rosario embodies this dynamic of diversity. Flamenco Rosario’s production, Mis Hermanas, captures the immigrant experience and exemplifies how influences and life experiences from different cultures and countries can create a new whole. Flamenco reflects the Canadian immigrant experience by incorporating the influences of many different cultures into a new and greater whole while continuing to respect the original culture and art form. It is wonderful to see the variety of people from many different ethnocultural backgrounds who come to flamenco classes and who make up the Flamenco Rosario dance company. Through various events, Flamenco Rosario proudly offers this art form to you.

Inside Flamenco Voice Inside Flamenco Voice Inside Flamenco Voice Inside Flamenco Voice Noticias (What’s Happening) ....................Page 2

Interview with Flamenco Legend Ciro......Page 3

Passion for Flamenco: Afifa Lahbabi.......Page 6

Moorish Spain…………………………………..... Page 7

Flamenco Voice: The Newsletter of Flamenco Rosario



EVENTS REPORT Second Annual Gala a Smashing Success:

On April 8, Flamenco Rosario held its second annual Gala Dinner. We were delighted to repeat the success of last year’s twentieth anniversary event. Thanks to everyone who attended the Gala and to those businesses that contributed items for the silent auction. Thanks to our dedicated crew of staff and volunteers who worked so well together to make it happen. We exceeded our expectations for attendance. Once again, we could have used more space, despite the larger venue. Brock House was an excellent location for the Gala with its old-world charm and panoramic views of English Bay. The dining room featured a wood dance floor ideal for our PTP performers who delighted one and all with a fine performance. Brock House served a delicious meal and their staff was outstanding. All items for the silent auction were purchased.

Flamenco Rosario held the 2010 gala in honour of our friend and patron, Dr. Jennifer Allen Simons and The Simons Foundation. The Simons Foundation has supported us generously and consistently over the past five years, making many things possible that otherwise could not have been done. Rosario and Victor spoke not only about the contributions that the Foundation made, but also about the personal interest and support that Jennifer Simons has provided. The evening concluded with spirited latin music and dancing. We look forward to continuing with this event.

March Performances: Flamenco Rosario presented performances at the Scotiabank Dance Centre and the Vancouver International Dance Festival. Attendance at all the performances was at capacity. Responses from audiences and presenters were positive.

Peñas and Parties: The proposed Sevillanas Peña for March was cancelled because of the crush of events in March and the Gala in April. Rosario and Victor decided to reinstate their Sevillanas Party for Centro students at the end of April so Sevillanas enthusiasts were not disappointed. The Sevillanas Party will continue to be a Centro event. Flamenco Rosario will provide peñas at other times of the year. We hope to have one in July after the Artist in Residence program finishes.

Mis Hermanas: May saw the remount of Mis Hermanas at the Roundhouse. Rosario presented a new version of the award winning show in preparation for the tour to Mexico. There were three evening performances and one matinee. The performance on Sunday evening was sold out. The Monday matinee (continued on p.3)

NOTICIAS (WHAT'S HAPPENING)

Guest Artist: July 18-29, 2010 at Centro Flamenco – Andrés Peña: Born in Jerez de la Frontera Spain, Andrés started to learn flamenco at age 10 under the tutelage of the legendary Angelita Gómez. As soloist, Andrés has been presented in the Festival de Jerez 2000 & 2001, in the Festival de Granada 2001, and the Bienal de Sevilla 2002 where he won the “Jóvenes Interpreters Flamencos” (Young Flamenco Talents). This prompted a tour to Italy, Luxemburg, France, Switzerland, and The Netherlands. His first length work “Peña” premiered in the Festival de Jerez 2004. His latest work, created with his partner Pilar Ogalla, is A

Fuego Lento. He has also taught countless workshops and master classes worldwide.

Centro Flamenco and Flamenco Rosario gratefully

acknowledge the support of The Simons

Foundation, which sponsors our summer guest

artist.

Performances: October 2010 – Flamenco Rosario Tour to Mexico: We continue to work on plans for this exciting event. Check the website for updates.




(continued from p.2) and evening performances were very well attended. Those who came to the Tuesday evening performance heard the Spanish version. This was creativity at its finest with the combination of Rosario's narrative, significant images screened behind the dancers, and each sister with a distinct personality corresponding to a different form of flamenco. Some audience members were moved to tears by the production. We know it will be a triumph in Mexico.

Annual General Meeting: At the AGM on March 28, members passed the proposed Special Resolution to extend the length of term for Directors. Directors re-elected include Noriko Aramaki, Keiko McArthur, Barbara MacLellan, Yvonne Kolstee, Allyson de Jong, Hilda Fernandez, and Ian Metherell. Directors newly elected include Nelson Kennedy and Sascha Westendorp.

FLAMENCO HEROES: Ciro “Ciro is the ‘Maestro’ that most well known flamenco dancers (Spanish and non-Spanish) have gone to learn from.

A great dancer in the 1960s and 1970s, he developed his own style. This style influenced the way contemporary

artists dance today.” (Rosario Ancer)

This article is a transcript of her interview with Ciro in May 2010.

Where were you born and where did you grow up?

I was born in 1932 in a small town in the province of Palencia where my parents took us to protect us from the horrors of our civil war. This is where my father could practice his profession in the public treasury. My mother had property and land there, so we never endured hardship during the war. My last name was Diez de Andino but it turned into Diezhandino because of a bureaucratic mistake that my great- great-grandfather never bothered to fix. Through our genealogical tree, we know that can be traced to the sixteenth century with positions in the Burgos Chancellery. Therefore, I’m an old Castilian.

In this Castilian town I had a happy childhood enjoying the magnificent panoramic sky and the endless gold wheat fields, climbing trees to observe nests, riding donkeys and horses.

Yes, this was a very happy time.

Was dancing always your first interest or did you sing or play guitar also? Were you from a flamenco or musical family? If so, tell us a little about your parents or other family members and their talents for flamenco.

My father was a great flamenco fan and enjoyed playing the guitar. Later, I learned that he frequented the “Café Cantantes” of that time with friends and flamenco fans in Madrid. There was not a professional artist in our family. However, all of us eleven siblings had an extraordinary ear for music. We sang in first, second, and third voice accompanied by our sisters at the piano. (continued on p. 4)

Amor de Dios studio, Madrid, 1979. Rosario Ancer, her sister Lupita, a friend, Ciro.

Photo Elke Stolzenberg




(continued from p. 3) When I was seven or eight years old, I made a discovery that changed my life. In the attic of my childhood home, my father kept some records close to a gramophone: Ramón Montoya, Pepe Marchena, Niña de los Peines, Cahcón. I was spellbound by that music and these songs. I spent many hours in solitude, absorbed in a world that I started to identify with. Subconsciously, I had decided I’d belong to it one day. Right there started my battle with all those who were opposed to it.

At what age did you begin to work professionally as a dancer?

At that time, entertainment in general and flamenco in particular did not enjoy popularity among conservative people with Victorian ideas and a strong bourgeoisie accent where my family belonged. That a son of yours wants to be a dancer at age ten can be amusing. If he is fifteen, it turns into a problem, a big problem. Like the rest of my siblings, I was expected to go to University. My father decided the destiny of our lives and wanted me to become a lawyer. I rebelled against it. I begged him to be spared to no avail, so I started my bachelor years which would lead me into law.

Never forgetting my passion, and being away from home, I had the opportunity to introduce myself to the then great flamenco figure Vicente Escudero, originally from Valladolid. He understood my dilemma and taught me all he knew about flamenco - the different rhythms, its compas, the importance of arm work and posture. He was a kind and intelligent man who I’ll never forget. I joined the Coros y Danzas de España where I learned about our rich folklore. It was then that I made the greatest decision of my life. I left my home, my family, and the university studies to move to Madrid. As expected, my father cut off all financial help.

It is not necessary to point out the great difficulties I went though to support myself; I did all kinds of work in order to pay for a meal per day, a modest pension (room), and my classes. Remember that I’m talking about the Madrid of the post war where hunger and the struggle to survive were all over the city. I studied with Doña María Ibard in the Circulo de Bellas Artes. She was very strict, disciplined, and had marvelous arms. I studied ballet with a well known teacher Héctor Zaraspe, with the legendary “La Quica”, with Antonio Marín the greatest teacher of the epoch and Alberto Lorca (everything in him was art and magnificent technique). He chose me to dance in the Teatro de la Zarzuela. After that, my financial problems ended, I was 22 years old.

Can you tell us about your career as a dancer, companies you worked with, places you performed and tours.

Joining the company of Antonio, for me the best dancer of the twentieth century, was transcendental. I learned not only about dance but about choreography, theatrical dramatization, lighting, etc. At the same time, I was listening every day and absorbing all the artistry of Antonio Mairena and the Morao brothers.

Frequently, I rented an Amor de Dios studio and practiced all I had learned with a guitarist. I got involved in exploring new steps, releasing my imagination and creativity. I had learned the importance of personal work and its infinite possibilities. My teachers gave me my foundation. With my passion and endless work capacity, I developed my own dance, my own aesthetics, which later on reflected my personal style and the way I interpret flamenco. I have to add that singers and guitarists have been essential in my development as a dancer. This tireless exploration in finding new ways of expression stayed with me until my last class as a teacher.

My stay in the United States was long, frantic, and exhausting. I founded two tablaos (flamenco performing houses). I signed a contract with legendary producer Mr. Sol Hurok at the Lincoln Centre in 1970. (continued on p. 5)

Ciro on Rosario’s Isadora Award for Mis Hermanas and her Contributions to Excellence in Dance in British Columbia:

"My Dearest Couple: You have created a well conceived work, well realized, well choreographed and well danced! The idea is very original and brilliant. I think Mexico is going to be a great success. It is very emotive. Your Solea: mature, grounded, with the flavour and taste according to your own character (as I told you will become - when you were my student). I can see Victor's hard work and collaboration his guitar playing (and his accompanist) just the way I like it: clean, without gimmicks, with the right intelligent effects for the dance and "muy flamenca". I loved the lighting, the voice over, the archival family photos. It was mesmerizing, enchanting. I sincerely think that the award for this work is more than merited: CONGRATULATIONS!!!!! It is a pleasure to witness your growth as an artist. This is the product of your hard work, consistency and LOVE of what you do BRAVO! Ciro, Madrid, Spain (excerpts of a letter sent by Ciro to Rosario Nov. 30, 2009)




(continued from p. 4) After his death, I signed with Columbia Artist Management. They were long and hard tours but I was very happy with the warm reception of the audiences and fine critical reviews. To found, maintain, and choreograph in your own company is very rewarding work, as is finding the balance to maintain the interest of your public. I was also the house choreographer for the National American Opera Company under the direction of the celebrated Sarah Caldwell.

We know you have performed in Western Canada. Would you like to share some of your experiences?

I'll never forget that the audiences from my performances in Canada were always very receptive and enthusiastic. I remember as if it was yesterday when we were driving to a concert in Vancouver and our bus broke down. Everybody stopped to help us. We were able to be on time for our performance. This kindness and solidarity impressed me profoundly.

Why did you decide you wanted to teach?

I enjoyed choreographing and teaching immensely. To teach requires several qualities. Without them, you can’t teach, they are a must. You have to have a great knowledge of what you are teaching. You need great doses of love, dedication, patience, psychology, tact, and objectivity.

Many dancers you have taught have become very successful and famous. Can you give us some examples of who these dancers are?

Many of my ex-students are dancing all over the world and have become famous. Several are Premio Nacional de Danza (Dance National Award) like Javier Barón, Blanca del Rey, Carmen Cortés, and more. I’m positive they could not have achieved this without my help. Of course, they will never acknowledge this. Ego, insecurity, and ungratefulness are all too frequent in flamenco. This is not the case for Sara Baras, also Premio Nacional de Danza. She was always grateful and kind towards me. Many others, like you, Rosario, have gone back to their own or to adopted countries and are doing great work in developing and diffusing flamenco through teaching and performing locally.

Today, flamenco can be performed in a very traditional or pure way. It is also evolving and integrating influences from other forms of dance, and other cultures. What do you think of the way flamenco has developed up to today? What do you think will be its future?

It is inappropriate for me to talk about orthodoxy in flamenco. There is not much room for it. I don’t know of anyone who has written the rules, dogmas and doctrines to define flamenco orthodoxy as it would reduce the path of evolution and development for this art form. A live art like flamenco has to be open to change and new forms. I think that the orthodoxy in flamenco is a desire or longing for the traditional. If it does not allow for legitimate alternatives, we enter the territory of confusion and confrontation.

A tree grows, gives its fruit, and grows new branches without altering its roots. This is my thinking and opinion about flamenco evolution: to change, to evolve, to push the boundaries, but always preserving, respecting and attached to the roots. As a flamenco lover, I don’t like the eclectisismo, where roots and different styles are included in stage productions mistakenly named flamencos. Today, flamenco is being danced better than ever. It is a logical consequence of evolution. What do the so-called orthodoxies have to say about flamenco from the way flamenco was danced in the 1950s to the way it is being danced today?

What advice can you give to young, aspiring flamenco dancers?

Yes, I have some advice. Today, dancers are more focused on technique rather than on the art when it should be the opposite. Technique should be at the service of the art. This is my best advice.

USEFUL WEBSITES: Flamenco Rosario - flamencorosario.org

Centro Flamenco - centroflamenco.com

Best general site - flamencoworld.com

Flamenco radio 24/7 from Canal Sur - http://www.radiotelevisionandalucia.es/tvcarta/impe/web/enDirecto?canal=ca1

Program guide for the above - http://blogs.canalsur.es/parrilla_cfl/

Cante podcasts - www.rtve.es/podcast/ radio-exterior/el-callejon-del-cante/




A PASSION FOR FLAMENCO: Afifa Lahbabi I grew up surrounded by the rhythmic and magical music of Morocco, my native land. When I was three years old, my parents took my sister and I to the coast of Spain during our summer holidays. My father always said I was a lot of fun as a young child. I never got tired or complained about being sleepy in the late hours of the night. I just kept asking him one question: "When are we going to see the flamenco dancers, Dad?" I was obsessed from the moment I saw my first flamenco show in Malaga. I wanted to see the show every night and would not leave Spain until my parents bought me a flamenco dress in which I proudly pranced around when we returned from our vacation.

My great grandmother on my mother's side was Andalucian. To this day, most of my family members believe that I got all the Spanish genes and they got none! I'm not sure if it's simply in my blood or if it just touches me so deeply that I truly cannot be without it in my life. Regardless of what it is, I feel so lucky to have found and excelled in my life's passion.

I started dancing at the age of eight when I begged my parents endlessly to put me in ballet. At this point, we lived in Toronto. After a couple of years, I begged them just as hard to take me out! It was just not the right form of dance for me. Next, I moved on to tap dance for a few years and proceeded to drive my family crazy with my non-stop tapping feet! But to improve, you have to practice, and I have always been one to expect a lot of myself. After completing my degree in dental hygiene and moving to Vancouver in the mid '90s, I found myself missing my life in Ontario — my family, my friends — and was looking for something in my life. I looked through the yellow pages and found an ad for Centro Flamenco. Little did I know what signing up as a student would lead to fourteen years later — a wonderful dance career being mentored by loving and inspiring people like Rosario Ancer and Victor Kolstee as well as finding my second family made up of mentors, colleagues, students, and the dance studio.

Flamenco has gotten me through very difficult times and still does. It has been a major part of some of the most wonderful moments of my life. What inspires me the most about flamenco is that there is no end to the learning process and always so much more room for improvement. It is the most humbling art form you can imagine. I continually strive to be a better and more skilled dancer and instructor. I was asked to be in the Professional Training Program at Centro Flamenco in 2000 and did my first solo with the dance company in 2002. Since then, I have been in many Flamenco Rosario productions. Some of the most memorable moments of being part of Flamenco Rosario have been with Rosario’s award winning Mis

Hermanas. This production touched me on an emotional level, as I can identify with so much of what Rosario has gone through being away from my family and pursuing my own dance career. I also have happy memories of some of the occasions when we were on road trips to places like Dawson Creek and Salt Spring Island. Soon we’ll be going to Mexico. Being on the road together makes you feel even more like a family. It's work but also so much fun being together doing what we all love.

For me, flamenco is a constant challenge on so many levels: technical, musical, and emotional. It changes as you continue to grow and changes throughout your life. There is always a “palo” that you will be drawn to at different times in your life. It runs through my veins at all times. Those who know me well are used to my constant tapping feet and spontaneous dancing. Flamenco is truly a way of life!

Afifa Lahbabi dances at the Vancouver

International Flamenco Festival. Photo Flamenco Rosario/Lorilee Janine Photography




MOORISH SPAIN: AN EARLY FORM OF

MULTICULTURALISM Among the roots of flamenco lie elements of Moorish culture and music. The term "Moor” is both historic and contemporary, generally referring to Muslim and earlier non-Muslim people from north Africa. These people were and are of Berber, black African, and Arab descent. Moors conquered and occupied a large part of the Iberian peninsula. Spanning eight hundred years, their presence was longest and most influential in the south of Spain. Even today, some Spaniards refer to themselves as “moros” and the term is common in the lyrics of flamenco cante.

Today, the common view of Muslims and Arabs from the north European and North American perspective is of religious fanaticism and extremism, repression of women, and lack of human and civil rights for many people. This is not the whole story, even today. It will surprise many to learn that Moorish Spain from the eighth to the fifteenth century was characterized by relatively peaceful co-existence of Moors and Jews, and the flowering of learning and culture.

Moors constructed beautiful cities like Cordoba, Granada, and Sevilla in the south of Spain. Cordoba was considered one of the most beautiful cities of the tenth century with a population of over one million and a great mosque that is still an architectural marvel. The castle and gardens of the Alhambra in Granada have a grandeur and charm that time has not erased. At a time when northern European cities like Paris and London were dark, dirty and disorganized, the cities of southern Spain boasted miles of paved streets that were well lit with lamps by night. While European Christians rarely bathed and even regarded cleanliness as a sin, public baths were common in Moorish Spain.

In Christian Europe of the Middle Ages, education was almost unknown and very few people could read and write. In Spain, the reverse was true. Education was highly valued and widely available. Public libraries housed hundred of manuscripts. There were more than seventeen universities in Moorish Spain, while Christian Europe had only two of note. Scholars, artists, and scientists pursued knowledge in the arts, science, and literature forming societies to share ideas and help advance learning and the spread of knowledge.

The influence of Moorish learning was so great that even as Christians conquered Moorish Spain, they often adapted buildings to their own uses and maintained libraries and universities as places of learning. Philosophy, mathematics, literature, music, visual art, food and cuisine, architecture, and the law were all influenced by the Moors. Many of these influences have come down to us today.

Among these influences is the Moorish contribution to flamenco. Flamenco began to evolve at about the time of the Christian conquest of Spain. Many Moors and Jews were expelled from the country. Those who wished to

stay were required to convert to Christianity. However, converting was not enough. The Inquisition was instituted by the Catholic Church to test converts and stamp out “heresies”. There was suspicion that converts may not be genuine and might continue to practice their old religion. Converts were often viciously persecuted, and many atrocities occurred. Confiscation of the wealth of these people may also have motivated some of the persecution. This forced more people to flee and echoes of this can be heard in the words of some flamenco songs, which speak of being exiled, pleading for help for unfortunate family members left behind. (continued on p. 8)

WHO IS THIS???




(continued from p. 7) Many people tried to hide. Some were successful. It is believed that some fled to the mountains where they joined people from the Indian subcontinent known as gypsies or “gitanos” who had wandered across Europe and arrived in Spain. These people were also cast out and oppressed wherever they went. But they managed to carve out something of a place for themselves in Spain. This is the origin of the gypsies of today. Early flamenco was created from the mixing of these three cultures.

Flamenco music can be seen to be a blending of ancient Mediterranean and Asian influences. The music of Andalucia shows traces of many ancient cultures whose people settled at various times in what is now southern Spain: Phoenicians, Greeks, Romans, Jews, Syrians, Lebanese, and others. Music that flourished in the final years of the Moorish domination of southern Spain is the origin of today’s Andalucian folk music. This folk music combined with the sounds of India, brought by the original gypsies, to create a new art form that became flamenco.

The guitar descended from an ancient Moorish instrument like a lute. Some of the scale style and ornamentation of the music relates to Moorish music. Echoes of Moorish Spain can still be heard in some of the oldest examples of solea, in the peteneras, and in the seguiriya.

Sources:

http://en.wikipedia.org/wiki/Moors http://www.africawithin.com/blackhistory/overview_chapter18.html http://www.xmission.com:8000/~dderhak/index/moors.html Paris, Erna. The End of Days Pohren, D.A. The Art of Flamenco SOLEA – AN ESSENTIAL FLAMENCO FORM

La Bodega: 1277

Howe Street,

Vacouver, (604) 684-

8814: Since 1971,

José and Paco have

been working hard at

serving traditional

Spanish cuisine and

hospitality. A menu

featuring tasty tapas

and a selection of

entrees and

authentic Spanish

decor will transport

you to the very heart

of Spain. Restaurant

reviews: "Best

Spanish restaurant

EVER", December 20,

2009; "Great time

accompanied with

great food", August

14, 2009. Mentioned

by Anya Levykh for

bar food discussion

on On the Coast on

June 7, 2010, see

www.cbc.ca/ontheco

ast/recipes.html

DANCE SUPPLIES: Centro FlamencoCentro FlamencoCentro FlamencoCentro Flamenco: #102, 2083 Alma Street, Vancouver, (604) 737-1273: The home of flamenco in Vancouver. DANCE SUPPLIES: Avalon Dance Shop:Avalon Dance Shop:Avalon Dance Shop:Avalon Dance Shop: 4532 Main Street, Vancouver, (604) 874-2461: They have received a high accessibility rating from Tourism BC – shoes (retail), clothing (retail). DANCE SUPPLIES: The Dance Shop:The Dance Shop:The Dance Shop:The Dance Shop: 1089 West Broadway, Vancouver, (604) 733-6116: They have served the dance and theatre communities in Vancouver for over 40 years. TRAVEL TO SPAIN, MEXICO, AND SOUTH AMERICA: Creative Travel Creative Travel Creative Travel Creative Travel Adventures:Adventures:Adventures:Adventures: 336 Robson Street, Vancouver: (604) 685-4374: [email protected]: They offer personalized service and will customize every part of your vacation. PHOTOGRAPHY: Adam Smith:Adam Smith:Adam Smith:Adam Smith: [email protected], (604) 767-1997: He is a freelance photographer in Vancouver specializing in live event photography. See his photos at:

www.flamencorosario.org/photo.html

as multicultural as canada, as ... - flamenco … is another example of multicultural integration....

Documents