For out of state bookings:
Flamenco Communication Workshops (8 or more people)
Small Wkshp (5-7 people)
Lessons (Private/Semi- Private/Coaching 3- 4 people)
Articles on Marija Temo’s Flamenco Communication
2015 OFF THE CUFF WITH MARIJA TEMO, Shepherd Express, Milwaukee, WI
FLAMENCO COMMUNICATION
Detailed Description
A Specialized Interactive Workshop, created by Temo, (for Dancers, Guitarists, and Singers) on what is required from each of them to effectively communicate (interact, accompany, compliment, and improvise) with one another through a breakdown on the structure of flamenco dance and song forms. Sought after for her unique ability to teach all three of the flamenco genres (dance, guitar, and singing), Temo explains (through the use of graphic charts that she has devised) the underlying structure of complete flamenco dance and song forms, demonstrates important moments that need to be conveyed, and has participants try out the process.
Dancers learn the structure in how a dance form is performed. They also learn how to effectively communicate signals for the different parts of the structure, and how and where to apply movements and choreography properly to the musical form of the singing.
(Note that dancers need to already have some basic choreography to work with for the flamenco form that will be taught. In this way, the choreography can be coached, made sense of, and shown how to be effectively conveyed.)
Guitarists learn how to anticipate the different parts of the structure, and learn the common chordal and rhythmic patterns used to accompany both the singing and the dance simultaneously. They will also learn when to apply falsetas, how to apply or create falsetas that best accompany dance footwork, and be guided as to how to play more advanced rhythmic patterns.
Singers learn where in the structure the singing accompanies the dance. They also learn how and where to place proper accentuations within the verse and apply key pitches to guide guitarists on how to accompany the chord changes correctly. In addition, singers are shown how to vary the way the form is sung rhythmically, melodically, and with extensions so as to inspire the guitarist and dancer to interpret and improvise to the singing.
Two Sentence Flamenco Communication description for Websites and Flyers
Flamenco Communication Biography
COMMENTS on the FLAMENCO COMMUNICATION WORKSHOP and
the INSTRUCTOR, Marija Temo
“Your passion for the art and for teaching continues to be an inspiration to me and it helps to fuel my own love for it.“
“I want to thank you for your interest in and enthusiasm for what we are doing. I personally get inspired every time I see you play, hear you sing and participate in one of your lessons. I like the way you challenge us to get better and you are straightforward in pointing out areas we need to work on. I’ve learned more in the last year about playing flamenco guitar from you than I have in the last 20 years from all my other teachers combined.“
“I’m still buzzing with excitement…. I’ve so wanted to do this for so many years and am finally feeling some consistent forward momentum. Marija, you are a GREAT teacher! I love your style and approach. When you’re with us, there are so many “eureka” moments. I could go on and on. For the moment, suffice it to say that we are truly blessed to have you as our mentor.”
“…you pack in so much information in each class, but it is so clearly structured and explained. You are amazingly on target at reinterpreting student’s questions and getting to the essential meaning of each learning puzzle for the benefit of all.”
“…the progression turned out to be a path of self discovery from the inside to the outside.”
“Thank you, Marija, for the support, encouragement, and believing in us. …we all agreed that you are a magician – made us do things we have never done before. l can’t wait to see you again. Seriously, it was a magical moment for me.”
“You have left an everlasting impression on me that will never fade…you are a super star!!!!!”
“I thought you brought in some ingenious concepts on how to convey to us the elements of flamenco that you wanted us to understand.”
“Thank you for everything – it’s been so fun! I wish I could’ve learned in this way years ago.”
“You really are an amazing talent and instructor.”
“There is really nothing that I can say or do that could compare to what you have taught and enlightened me with Flamenco. You have taken some of the mystery away but at the same time opened me to a different kind of mysterious passion to this art form. I want to express my thanks to you for being my teacher. You are a great teacher who is supportive and honest in your critique. At this point, I hope I can continue to study with you for a long time.”
“It has been such a tremendous pleasure to meet you and take part in your class. Bravissimo maestro! Your lifelong devotion to this craft is inspirational. One of my work mentors recently said to me “hoarding information is never the road to power – learning is meant to be shared” – a sentiment I share whole heartedly. You are the joyous embodiment of this my friend. Lifelong learning, lifelong sharing”
2015 Flamenco Communication
By John Schneider ( Shepherd Express), Milwaukee, WI
OFF THE CUFF WITH MARIJA TEMO
If Milwaukee becomes a center for flamenco artistry, we may have Marija Temo to thank. A guitarist, singer and dancer of the Spanish folk art that’s breaking exciting new ground nowadays, Temo has a distinguished résumé and a national following. She’s relocated to Milwaukee from the Maryland/D.C. area to be near her sister and is offering classes at the Wisconsin Conservatory of Music. With guest dancer Wendy Clinard from Chicago, she’ll present a concert of traditional, contemporary and original flamenco music and dance on Nov. 14 in the Conservatory’s Festival of Trees and Music.
What is flamenco?
There’s no exact answer. It came from gypsies who settled in Andalusia in southern Spain where there was a lot of Moorish and probably Indian influence. And then there was the 15th-century Inquisition. Through all the trials and tribulations of the gypsies—being kicked out, not having a place—flamenco was created as a way of life. What was that way of life? Well, it consists of a lot of pain; and not only a lot of pain but a lot of triumph; and in that triumph there’s integrity and pride. I’m speaking of the traditional form. Modern flamenco has pushed the boundaries in many ways. Every emotion that exists, there’s a repertoire for it based on key, based on rhythmic pattern. But fundamentally, if they’re singing about something happy or fun, you’re going to hear pain in it. You have this guttural, throaty, heart-wrenching sound. This is where they have the word duende in flamenco: the soul. It’s generations of ancestors coming through you spiritually, through your spirit, when you’re singing. If there’s something in you that it stirs, then you love it. If it sounds extremely foreign to you, it could be like, “Oh, they’re just screaming their heads off, what is that?”
Are you Spanish?
Not an ounce. I’m quite a mixture but my main background is Greek and Serbian. I started learning flamenco when I was 6 and I haven’t looked back. I’ve dedicated my whole life to it, as a guitarist, singer and dancer. Part of my mission here is to contact people in the Hispanic community to let them know I’m cultivating something that will maybe feel like home to them. There’s something here for Spanish-speaking people from any country, Spain or the Americas, to identify with. All people, not just Hispanic people who are dance and music enthusiasts, might find the passion, the rhythm, the high intensity of flamenco intriguing. There are already pockets of people in Milwaukee willing to come together to study because of my credentials.
What classes are you offering?
Flamenco guitar and classical guitar—I have a master’s degree in classical guitar from the Peabody Conservatory—flamenco singing and, very soon, flamenco dance. The ultimate goal is to put them together in a flamenco communication, interpretation and improvisation class. In flamenco, solo guitar is a different discipline than playing for a singer. To accompany a dancer is another discipline. From all perspectives—singing, guitar, dancing—you have to learn to anticipate the unexpected. And when you do, you crave the unexpected. Because it’s not choreography, it’s not a guitar repertoire, it’s not a singing piece. You don’t know what will happen. It forces a person to confront and be in the moment and deliver.
You’ve developed your own teaching method?
It’s a method for foreigners like me. People can understand it and they can do it. Some amazing people have mentored me. Teo Morca, an amazing dancer, I was his singer for 10 years. I was the guitar accompanist for the singer Manolo Leiva for 20-some years. It was a big thing for a Spaniard to accept an American. And a female. These gentlemen are quite the figures in the flamenco anthology. Now I want to teach this knowledge. I have all this. I need to pass it on. I’m so glad I can start building something here.
And your concert?
It will be guitar, song, dance, passion, precision, high energy, an emotional journey through this Spanish art form, including my own compositions, pieces from different countries and even a flamenco version of “Hotel California.”
7:30 p.m. Saturday, Nov. 14 at the Wisconsin Conservatory of Music, 1584 N. Prospect Ave. See marijatemo.com and clinardance.org. The Festival of Trees and Music runs Nov. 12-22. Call 414-276-5760 or visit wcmusic.org/fotm.
