Spectacular Íntimo ‘Jóvenes’ Brings the House Down at the Covarrubias Adobe

Of all the out-of-this-world-amazing flamenco concerts we have in Santa Barbara, I must say that this concert, featuring three young, up-and-coming professional dancers, was the most inspiring and heart-bursting show I have seen.  Not only were the dancers spectacular, but the love on stage between the musicians and dancers, and their Maestra, Maria “La Chacha” Bermudez, was palpable. It seemed to me that there was a sweetness that enveloped these jóvenes (young ones), as if the Magnificent Lions of Flamenco were presenting their most precious cubs. 

When I mentioned this to Bermudez the following night at the Peña Flamenca, she said, “Yes, absolutely. It really was the Lions of Flamenco (referring to the world-class musicians) presenting their cubs.” 

Jack “Joaquin” Harwood, Aracely “Chely” Sagastume, and Noelle “Tink” Gerthoffer danced with confidence, poise, grace, and lightning-fast, precise footwork. They each expressed the emotions of their dances with depth and maturity: Gerthoffer danced a lively, intricate Solea por Bulerías; Sagastume danced a graceful and joyous Alegrías de Cádiz; and Harwood danced an intense, passionate Martinete con Seguiriyas.

The Íntimo was curated by Bermudez, Artistic Director of ¡Flamenco! Santa Barbara, who conceptualized this show for years as an exciting opportunity for young artists. She explained, “I’m extremely inspired by our dancers’ talent. It is most important for them to have opportunities to perform in front of an audience, as that is the arena where you prosper as an artist and evolve as a professional.” She also related that these three recently traveled to Spain with her, where they performed in a Young Artists’ Tablao at La Guarida del Angel, a famous venue, during the annual flamenco festival in Jerez de la Frontera. 

The Lions of Flamenco — the musicians — were multiple Grammy-winning percussionist Diego Álvarez, singer Pepele Méndez, from one of the prominent Gitano families of flamenco artists in Jerez de la Frontera, and Grammy-nominated guitarist, composer, and music educator Andrés Vadín.

The concert opened with a Tango, in which each dancer took a solo, ending together with a choreography by renowned maestro Manuel Gutierrez from Córdoba. This was the only choreographed section in the show; all the rest was pure improv.

After the opening piece, the musicians played a musical interlude — Seré, one of my favorite pieces of theirs, featuring Méndez singing this popular song in dramatic cante jondo style.

Then came the parade of soloists. Noelle “Tink” Gethoffer was first, performing Solea por Bulerías. The musicians played a lively entrada (entrance) as she ascended the stage like a queen. Her dance sequences alternated between slow and graceful and fast and powerful, always finishing exactly on time with the musicians. Her expression alternated between intense and inward-facing, and subtle flirtation with the audience and musicians. So charming.

Bermudez explained that the Íntimo is meant to be mostly improv, which highlights one of flamenco’s most exciting qualities: both the musicians and dancers are improvising together. 

Vadín later remarked that it was a pleasure to play for these young artists because Bermudez teaches them to improvise. In so many other schools, he said, students are taught choreography but never learn how to really dance. 

Second up was Araceli “Chely” Sagastume dancing Alegrías de Cádiz.  For Sagastume’s entrada, Vadín played a lyrical guitar solo. As she ascended to the stage, wrapped in a beautiful mantón de Manila, Méndez broke into the familiar ‘Tiri ti tran tran tran’ of the Alegrías, followed by his own improvised letras (verses). As far as I could tell (and my Spanish is very imperfect), he sang lyrics specifically for her: “Yo voy pensando, Cheli niña muy linda, yo voy pensando. Yo pensando, Mare, yo voy pensando … hoy caminando,” which means (approximately), “I’m thinking [about] Chely, a very pretty girl. I’m thinking, I’m thinking [about her] Mother, I’m thinking [about her] today [as ] I’m walking.” 

Alegrías lyrics are often about love and flirtation, sometimes tinged with longing.

Sagastume brandished her large mantón with elegance and power. Notable within her piece was the silencio — a non-rhythmic guitar solo played by Vadín, which she danced with grace and grandeur. When she finished the silencio, she masterfully guided the musicians back into rhythmic accompaniment with her expert footwork, beginning slowly and then picking up the tempo as they re-joined her for the finale — so impressive!

Last up was Jack “Joaquin” Harwood. For his entrada, Méndez came to the front of the stage and sang two letras of cante jondo — deep flamenco song. Bermudez explained that this entrada presaged Jack’s dances — Martinete and Seguiriyas — which are both in the deep, emotional cante jondo style. Martinete, said to have originated in the forges of the Gitanos of Andalucia, is one of the oldest flamenco styles. Once danced to the sounds of their hammers, Martinetes express themes of persecution and imprisonment. Seguiriyas is part of the same family of dances, with lyrics that express tragedy, death, and sorrow — themes that followed the Roma people through their centuries of migrations from India, through the Balkans and Europe, always hounded by prejudice and persecution.

Harwood’s performance was absolutely mind-blowing. Only 21, he dances with the maturity and musicality of a seasoned pro, fully embodying the deep emotion and passion of the sorrowful cante jondo. His energy explodes like fireworks, his powerful footwork alternating between slow and deliberate and speed-of-light fast, always maintaining perfect precision.  

All three dancers began studying with Linda Vega when they were very young, then trained with Bermudez and Timo Nuñez; all three are seasoned Fiesta performers. Harwood, 2023 Spirit of Fiesta, has also performed in a variety of venues outside Santa Barbara, including Los Angeles, San Diego, and New York. He has also been heavily influenced by Maestro Manuel Gutierrez, staying in his home in Córdoba and studying with him in his studio there. 

After the show, Nuñez said of the dancers, “They all made breakthroughs tonight!”  

And they all received thunderous standing ovations.

The Íntimos and Peñas Flamencas are generously sponsored by Flamenco Santa Barbara and the Santa Barbara Historical Society. Donations are always welcome. 

For more information about Santa Barbara’s Fiesta performance schedule, see flamencosb.org