Festival de Jerez 2022

Festival de Jerez

Feb 17 - Mar 5 2022

For more up to date information please visit Festival de Jerez

17 febrero
Ballet Nacional de España
Centenario Antonio Ruiz Soler

18 febrero
Recordando a José Manuel Caballero Bonald
Una copa con Pepe

Ballet Nacional de España
Centenario Antonio Ruiz Soler

19 febrero
Recordando a José Manuel Caballero Bonald
Una paseo con Pepe

Lucía Álvarez «La Piñona»
Abril

Víctor Monge «Serranito»
Como un sueño. Gira de despedida de los escenarios

Compañía Mercedes Ruiz
Segunda piel
-Estreno en España

20 febrero
Macarena López
Reverso
-Estreno Absoluto

José Cortés «Pansequito»

Compañía de Danza Flamenca Carmen Cortés
¡Gira, corazón!, bailando con Lorca en la Edad de Plata
-Estreno en Andalucía

21 febrero
Ganadores del Concurso de Turín de la Frontera 2020
-Estreno absoluto

María Moreno
More (no) More

22 febrero
Juan Fernández
De los Puertos 
-Estreno Absoluto

Ana Morales
En la cuerda floja

23 febrero
Salvador Gutiérrez
11 Bordones

Manuela Carpio
La fuente de mi inspiración
-Estreno absoluto

24 febrero
Beatriz Morales – Agujetas Chico
Flamenco sin sulfitos
-Estreno absoluto

Alfonso Losa
Flamenco: espacio creativo
-Estreno en Andalucía

25 febrero
Sara Jiménez
Adioses
-Estreno absoluto

Rocío Molina
Vuelta a uno. Extracto de trilogía sobre la guitarra
-Estreno en Andalucía

María Terremoto
Terremoto, un siglo de cante

26 febrero
Olga Pericet
El avance de la leona

Ángel Rojas Dance Project
Ser Baile. Capítulo 1 Triología. Geografía Flamenca del Pensamiento

Farruquito
Farruquito

Anabel Valencia
Frutos de mi voz

27 febrero
Sara Cano Compañía de Danza
Mujer de pie

Rafael Campallo
Puro

Manuel Liñán
Pie de hierro

Luis «El Zambo»
Aroma a Jerez

28 febrero
Compañía Musa Carmen Fernández
La Rosa Mutábile
-Estreno absoluto

Daniel Casares
Guitarrísimo

Manuela Carrasco
Aires de mujer

1 marzo
Juan Requena
Cenachería

Compañía Javier Barón
Entre mujeres

2 marzo
Ballet Flamenco de Andalucía
El maleficio de la mariposa de Federico García Lorca

3 marzo
Rosario Toledo con Javier Galiana y Alba Haro
Playeras
-Estreno absoluto

Antonio Molina ‘El Choro’
#SiDiosKiere
-Estreno absoluto

4 marzo
Joselito Acedo
Triana D.F. (Distrito Flamenco)

Mercedes de Córdoba
¡Si, quiero!- Estreno absoluto

5 marzo
Final abierta del taller de coreografía de Javier Latorre

Antonio «El Pipa»
Bodas de plata. XXV Aniversario
Estreno absoluto

Estévez/ Paños y CIA
La confluencia

Fun in drawing and illustrating Feria

Drawing Feria, dancers, friends and Andalusia in general…

Before Covid 19, other family priorities had me move away from the south of Spain, but it has always stayed with me, it is part of who I am.  There is a frase in Cadiz “El gaditano nace donde le da la gana”, and I means that you can be born somewhere else but if you feel you belong in Cadiz, it is your right (more or less, very loose translation). 

So I started drawing just to stay busy during hurricane Irma (2017).  I knew the power lines would fail and the lack of electricity would makes days very slow and I needed a new hobby anyway.  Then I moved again and then came Covid 19, so it was a good thing I kept myself entertained.  Jumping to the present time now I draw many memories from Andalusia.  Slowly I started buying pencils, crayons, watercolors, brushes and now I have a room full of crafty things to express my ideas, my trips and memories.  This is my way of remembering Feria, my friends left behind and a way of thanking them for the good times.  

Everyday is a new challenge to draw, paint and post my drawing on Instagram.  That took a lot of courage.  At the beginning I just would not do it, now, I don’t care, I post for myself, to keep a record of my evolution as an artist (big word). 

One of my first drawings with my feria buddy, Ana.  

We both play the castanets and were inseparable while in the feria. 

Feria fashion, this is inspired by the feria catwalks during the first months of the year.  Beginning in mid January, feria fashion shows are a must.  Here you can see the trends for fabrics, compliments, flowers and hairdos.

Inspired by dancers in Jerez.

Watercolor

Now on top of watercolor I am learning digital painting which is quite difficult but so much fun.  Some of the designs I have uploaded to print on demand site such as Redbubble and Society6, if you’d like to peek.  Thanks for stopping by.  

Jerez - Viernes Flamenco 2019

At the Alcázar of Jerez

Friday, July 12
Felipa del Moreno,
Guitar: Manuel Valencia.
Percussion: Luis de Perikín,
Palmas: Manuel Cantarote, Juan Diego Valencia and Juan Grande,
Piano: la Reina Gitana.

Friday, July 19
Part I 
Peña Flamenca La Buena Gente,
Cante: Alfonso Carpio ‘Mijita’,
Guitar:José Gálvez,Vocals: Estefanía Zarzana and Sandra Zarzana,
Palmas: José Rubichi and Carlos Grilo,
Dancer: Marta Carpio.
Part II
Cante: Pedro ‘El Granaino’
Guitar: Diego AmayaPalmas: Manuel Vinaza and José Peña.


Friday,26 de July,
Centro Cultural Flamenco Don Antonio Chacón presenting
Cante: Antonio Malena, Tomás Rubichi, Alfonso Núñez ‘El Purili’, Coral de los Reyes, Ana de los Reyes and Eva Rubichi
Dance: Rocío Martín
Guitar: Domingo Rubichi and Ismael Heredia
Palmas: Ali de la Tota and José Rubichi.

Friday, August 02
Peña Flamenca Los Cernícalos presenting
Cante: Luis Moneo, Nano de Jerez, Carmen Grilo, David Carpio, Pedro ‘Niño de la Fragua’, Manuel Moneo Carrasco, José ‘El Berenjeno’ and Manuel Fernández ‘El Gordo’,
Dance: Mª José Franco
Guitar: Juan Manuel Moneo and José de Pura
Special guests: Ana María López, Pepe ‘El Zorri’ and José Rubichi.

Friday, August 09
Tomasa ‘La Macanita’ with guest Fernando Soto.
Guitar: Manuel Valencia,
Palmas: Chicharito and Manuel Macano,
Piano: José Zarzana,
Harp: Ana Crismán,
Percussion: Carlos MerinoVocals: Mila Méndez, May, Rocío and María del Cañero.

To buy tickets click here.

Flamenco - From Peña to Peña

Flamenco Show at La Guarida del Angel, Jerez

During the festival of Flamenco in Jerez (20 Feb - 7 Mar), many are the tabancos, reaturants, tablaos and peñas that have flamenco related activities.

Here is what's happening at the Peñas and other locations.


February 20

La Guarida del Ángel - Jerez
21:00 Escuela de Baile de María del Mar Moreno (dance)

La Guarida del Ángel
21:00 Cuadro Flamenco de Aitana de los Reyes (dance)

La Guarida del Ángel
22:00 El Pechuguita, María de Terre & Jesús Agarrado

La Guarida del Ángel
23:59 José Valencia & Juan Requena
Calle Porvenir #1.

23:59 (Peña) ANTONIO CHACÓN

February 21

15:00 Peña El Pescaero:

Cuadro Flamenco de Macarena de Jerez

18:00 La Guarida del Ángel - Jerez
Escuela de Baile "Susana Chacón" (dance)
Calle Porvenir #1.21:00h - Teatro Villamarta - Jerez

21:00 La Guarida del Ángel
Compañía de Baile de María José Sainz

22:00 La Guarida del Ángel
Paco Gasolina (Padre), Paco Gasolina (Hijo) y Jesús Agarrado

23:59 La Guarida del Ángel
Presents "Varekai" with Ricardo Moreno

February 22, Sunday

01:00 Peña Los Cernícalos- Jerez
ESTHER ARANDA, dance
CARMEN GRILO, JOAQUÍN FLORES, cante
JUANMA AGUILAR, Sunday RUBICHI, guitarra

15:00 Peña Luis de La Pica - Jerez
MARÍA DE TERREMOTO, cante
DIEGO DEL MORAO, guitarra

18:00 La Guarida del Ángel - Jerez
Al compás de Al-Andalus, with Nada Chouaib (Belly dancer)
Calle Porvenir #1.

20:00 La Guarida del Ángel - Jerez
Cuadro Flamenco de Fernando Galán (dance)

22:00 La Guarida del Ángel
Davinia Jaén & Jose M. Moreno

23:00 La Guarida del Ángel
Fernando de la Morena & Domingo Rubichi
Calle Porvenir #1.

Peña de la Buleria

23 February 
19:00, 21:00, 23:00 La Guarida del Ángel - Jerez
Tablao Flamenco - Dance show

22:00 La Guarida del Ángel
José Méndez & Domingo Rubichi

24 Feb
18:00 La Guarida del Ángel
Escuela de Baile 'La Chiqui de Jerez', dance

21:00 La Guarida del Ángel
Por un sueño - El Farru. Dance

22:00 La Guarida del Ángel
El Quini & Juan Moneo

23:59 La Guarida del Ángel 
Dolores Agujetas

Feb 25 
19:00, 21:00,  La Guarida del Ángel - Jerez
Tablao Flamenco - Dance show

22:00 La Guarida del Ángel
Manuel de la Nina & Fernando del Morao


23:59 La Guarida del Ángel
Antonio Agujetas 'Chico', cante

26 Feb
18:00 La Guarida del Ángel - Jerez
Sonikete

20:00 La Guarida del Ángel
La Banda Morisca

22:00 La Guarida del Ángel
Ezequiel Benítez & Javier Ibañez

23:59 La Guarida del Ángel - Jerez
Montse Cortés, Piraña, Paco Heredia & Yelsy Heredia

Saturday, 27 Feb
01:00 La Guarida del Ángel - Jerez **
Jam Sessión - Hoy Toca Paco

18:00 La Guarida del Ángel - Jerez
Escuela de Baile 'María del Mar Moreno'

20:00 La Guarida del Ángel - Jerez
Escuela de Baile 'Manuela Carpio'

22:00 La Guarida del Ángel - Jerez
Escuela de Baile 'María José Franco'

22:00 Damajuana - Jerez
Maizenita, cante

23:59 La Guarida del Ángel - Jerez
Zarzuelita de Jerez, José Tomás, Tía Mauma, 
Tía Salvaora & Fernando Jiménez

Saturday, 28 Feb. 

01:00 Peña La Bulería
Cuadro Flamenco SARAY GARCÍA ,dance
 
01:00 La Guarida del Ángel - Jerez 

Manuel Agujetas, cante
Kanako, dance
Antonio Soto, Guitarra

15:00 Peña Tío José de Paula:
ABRAHAM “EL ZAMBO”, RAFAEL REGUERA, cante
MARTA DE TROYA, dance
ISMAEL HEREDIA, guitarra
MANUEL SALADO, JUAN “EL CHATO”, palmas

18:00 La Guarida del Ángel 
Escuela de Baile 'Macarena de Jerez', Dance

20:00 Damajuana -
Los nietos de Niño Jero

20:00 La Guarida del Ángel 
Cuadro Flamenco de Daily Fuguet, Dance

22:00 La Guarida del Ángel
Cuadro de Baile de Gema Moneo, Dance

23:59 La Guarida del Ángel 
Rubén Dantas

Sunday, 1 Mar. 

01:00 Tertulia Flamenca Pepe Alconchel
Cuadro Flamenco de LOLI CARPIO, dance

01:00 La Guarida del Ángel 
Sorderita

15:00 Peña Los Cernícalos: Updated ****
José Méndez with Mari Peña, cante, Carmen Ledesma dancer. 
Guitar, Antonio Moya.

18:00 La Guarida del Ángel
Al compás de Al-Andalus, with Nada Chouaib (Belly dancer)
Calle Porvenir #1.

21:00  La Guarida del Ángel 

Tributo a Marian Cornejo.
Cante Ana Maria Polanco, Dance/musical

22:00 Damajuana - Jerez

Sonkalé

23:00 La Guarida del Ángel
Cante Puro - El Salmonete

23:59 La Guarida del Ángel 

Cante, Antonio Rancapino

Monday, 2 Mar
19:00 La Guarida del Ángel

Alba Luna, cante

21:00 La Guarida del Ángel
Sarai Garcia, Dance

23:00 La Guarida del Ángel
Cante Puro, Enrique Remache and Fernando del Morao

Tuesday, 3 Mar
19:00 La Guarida del Angel
La Junquera, Manuel de la Nina, Merci del Chicharo,

 Juan Fanega & Fernando del Morao

21:00 La Guarida del Ángel

Coral de los Reyes

22:00 La Guarida del Ángel

Cante, Rafael 'El Zambo', Guitar, Pepe del Morao

23:59:00 La Guarida del Ángel
Andrés de Jerez, Francisco León, Ricardo Piñero & David Becerra

Wednesday, 4 Mar

19:00 La Guarida del Ángel
Prado Jiménez, Gori Mazo & Javier Prieto

21:00 La Guarida del Ángel
Dancer Fernando Jimenez

22:00 La Guarida del Ángel
Sings Maizenita with Jose Ignacio Franco

23:00 Tabanco 'El Telescopio'
Momo de Jerez & Ramón Trujillo

23:59 La Guarida del Ángel
Miguel Téllez

Thursday, 5 Mar
21:00 La Guarida del Ángel
Juan Parra, Dancer

22:00 La Guarida del Ángel
El Almendro & JuanPe Carabante

23:00 Tabanco 'El Telescopio'
Juañares Hijo & Ramón Trujillo

23:59 La Guarida del Ángel
Manuel 'Agujetas Chico', 

Tomás Rubichi & Domingo Rubichi

Friday, 6 Mar. 
19:00 La Guarida del Ángel
Laura Pirri, dance school 

21:00 La Guarida del Ángel
Maria Fernandez, cuadro flamenco (dance)
Cante: Ezequiel Benitez

21:30 Tabanco 'El Guitarrón'
Manuel de Pay

22:00 Damajuana bar/Pub
Sonkalé
22:00 La Guarida del Ángel
Cante: Luis Lara, with Antonio Malena guitar

23:00 Tabanco 'El Telescopio' 
Manuel de Cantarote & Ramón Trujillo

23:59 Peña La Zúa
Cuadro Flamenco de CHIQUI DE JEREZ, dance

24:00 La Guarida del Ángel
Cante, La Chocolata

Saturday, 7 Mar. 
18:00 La Guarida del Ángel
Susana Chacon dance school

20:00 La Guarida del Ángel
Manuela Carpio dance school

22:00 La Guarida del Ángel
Benito Peña & JuanPe Carabante

23:00 Tabanco 'El Telescopio'
Manuel de la Momi and Manuel Jero

23:59 C.C. Flamenco D. Antonio Chacón
Fernando Jiménez, dancer
Pepe Del Morao, guitar
Manuel De La Nina, cante
Ali De La Tota, palmas

23:59 La Guarida del Ángel
El Capullo de Jerez - cante
Tatiana Ruiz - dancer

Sometimes the best shows are right here at the peñas.

When you buy a Mantón… for dancing

Detail of an embroidered rose in a mantón

A mantón is a big shawl used to decorate a woman's body, traditionally, used at weddings and parties.  Word of caution, don't take your expensive mantón to Feria, because you could return home without it.

In Flamenco, a mantón is a great dance tool and accessory for stage.  It is square, but it is usually folded in a triangle and should span your entire arm's length and then some more.  The material is satiny, could be silk and the heavier it is, the better for dancing. 

Mantón de Manila is its full name, and that is because many years ago, the shawl was brought from the Philippines.  Over the years, the oriental designs changed into the beautiful embroidered roses and flowers we know today.   A good mantón can cost several hundreds of Euros!  … And every week I go to class, dragging mine all over the floor. Yikes!

This mantón was special ordered to match her skirt,
 but better leave this to the experts .
A traditional one, can be used with all your outfits in and out of a stage.

Buying a mantón (for dancing):

Length:
When buying a mantón, try it for size, spread your arms as far out as you can while holding the mantón in a triangle.  The widest part of the mantón should be longer than the length of your arms by several inches on each side.  This will help you hold onto the mantón, and it will cover your arms and hands much better, which is the main purpose of the mantón, to cover.  

It is hard to resist.  So many colors and styles.  I want all.

Weight:
The weight of a mantón is very important too, no chinese imitations allowed, you know the ones that are triangular, polyester, and really light weight.  A mantón has to be a full square with hand knotted edges, plenty of embroidery, and long fringes, called "Enrejado", this is what gives the mantón the proper weight for dancing.  As a matter a fact, a heavy mantón is easier to move than a light one.  The mantón uses gravity to move across and around the dancer, just like in a bata de cola.  As a matter a fact, I was recently watching a dance contest, and the dancer had to borrow a heavier mantón at a the last minute, because the one she brought, was not considered heavy enough, by the judges.  So weight and size do matter.

  
Sevilla is a great place to find mantones, they are never on sale.   Sometimes, Sevilla's Corte Inglés has them reduced, not much, but if you happen to be there around January 6 (Epiphany) you may get lucky.  Check out this manton's webpage for styles and prices.  My recommendation, look for shawls starting at €300 and up.

Window shopping in Seville

Want to buy a Bata de Cola? Read this first.

Bata de Cola dress needs a really long train

Bata the cola, is the Queen of flamenco skirts with its really long train.  It has a really difficult technique, but when a dancer knows how to move the bata, it becomes a work of art.  The skirt moves in all directions the dancer moves. The tail stops right where she wants to, and it just flows with grace.  However, the bata de cola, can have a mind of its own, it is very difficult to master because of its weight and length, so the inexperienced dancer (me) looks like she is fighting a possessed skirt.  In my teacher's words, " Como no tengan cuidado, la bata os posee".

It is said that the tail should be as long as you are tall or longer.

No matter how good your technique is, if you have a "bad" bata de cola, you just cannot dance.



What to look for in a Bata de cola?

Fabric:
if you are buying or ordering a custom practice skirt, make sure the fabric you choose is wrinkle proof, maybe woven polyester, here it is called "strech".  You will need double the amount of material, because the skirt needs two layers of fabric in order not to rip at the seams from its own weight.  Then some more of the same fabric, if your ruffles are the same color.  I had to buy over 20 meters of fabric for my skirt and another 10 for the ruffles.  The seamstress will let you know how much to buy, or she may even buy it herself.

A new skirt in the making.  Look at the train it is almost perpendicular to the skirt.

All Skirts are lined completely, this one is lined in a different color.  

This skirt was made with a cool contrasting red underside. 
 Like an african Grey parrot.

Under the skirt:
The underside of the skirt is made of a stiff tulle like material, which provides more stability to the skirt, called cancan, allowing the skirt to open like a fan when in the air.  Many people choose contrasting colors for the underside to add beauty. Either way, a student skirt or simple bata, will cost between 300 to 500 Euros or more depending on fabric, number of ruffles and design.  

To add even more stability to the skirt, sometimes a rope about the thickness of a pinky is inserted into the hem completing the entire circumference.  This adds weight.  However the new skirts I have seen, don't have them.  This is probably an old technique slowly disappearing.  

First the tail has to be lined with the "cancan" for strength and weight.
Then the ruffles are added

Width:
The skirt must not be too narrow, because you still have to be able to dance in it.  This is not a feria skirt which are really tight and difficult to move in.  The Bata de cola technique requires basic classical dance moves, like, "attitude, plié, arabesque, relevé, ronde de jambe"  and more, so you have to be able to move in it.

Notice the new cut in the skirts, narrow above (waist and hips)
 and open at the bottom,
much like the wedding dresses

Notice the difference in the train from the previous photo?
This is the traditional cut.  Much wider.

Ruffles:
Probably as many as you can afford and your ability to move the skirt.  The more ruffles, the heavier and more expensive it is. However if your bata doest have enough ruffles,  the bata looks plain, and bit boring.  So a minimum of 3 - 4 ruffles at the front and about 7 - 8 at the back is a good number (my opinion).  The picture above has only 3 ruffles all the way around. 

This skirt has 8 ruffles on the tail, and probably 4-5 at the front.

Length
The length of the train is also very important.  When you extend your leg to the sides, your foot should be covered by the skirt.  Your train should be long enough to be able to wrap around you at least once while on the ground, and when you pick up your tail, you should be able to extend your arm upward with the skirt on your hand, and have enough fabric to do so comfortably.  The correct shape of the tail is to end in a point at the longest part, because this little extra fabric will help keep the skirt back and extended, otherwise when you dance, it will have the tendency to come back under your heels.  

Bata de Cola dress is made for dancing, gorgeous!

The most elegant bata is a full dress, but I think the high waisted skirt is more versatile, just change the top and you have a different outfit! 

There are also other bata de colas made for show, and for parading around, like the Copla singer, or for weddings, but the cut, weight, and length, are not as relevant because they are not for dancing.

Love the colors in this dress!
Lost track of the number of ruffles.

Beautiful for a wedding, no?

Just for the runway, not for dancing.

Unfortunately making a Bata de Cola is not an exact science and there are many variations.  Some people will tell you it is trial and error, but this can be a very expensive mistake.  Good luck, you will need it.  I'm still searching for my perfect Bata.

My experience with a summer course of Bata de Cola and Mantón

Wonderfully tired future dancers.

After Feria and the Rocio pilgrimage in Huelva, there is a small break from all things flamenco and then comes summer.  Summer brings a ton of flamenco festivals, white night of Cordoba, Flamenco wednesdays, flamenco thursdays, flamenco fridays, Flamenco on the balconies, etc.  Lots of foreigners arrive to Andalucia to take Flamenco crash courses.  This year I decided to join in with the rest of dancers, and signed-up for two courses, intermediate Bulerias de Jerez, and intro to Bata de cola and mantón.

a Summer festival in Andalusia .  Look at this girl's style, ole!

Bulerias de Jerez class:

Patricia Ibanez is located in the hear of Santiago.  Her academy is accross Santiago's main church.  She was teaching intermediate Bulerias,  a type of flamenco dance, very festive and danced in many parties in the South of Spain.  In my opinion, Jerez's style is the hardest to master. Within the rules of Flamenco, it is pretty much free style, but it has to be flowing, sometimes funny, soft and strong, and it just has to engage the viewer.  On top of all that there has to be a "conversation" between dancer and singer.   That is why it is so hard to perform it correctly.  Many people dance bulerias, but only a few can achieve all of this, without looking too forced, practiced and foreign.

Bata de Cola con Patricia Ibañez

If you are actually thinking of taking a course, make sure you know enough about flamenco technique so you don't waist your hard earned money in to learning basic footwork.  You can do that any where in the world.  Come here (to Jerez) to absorb the rhythm, the body language, the facial expressions.  And also it is very important to listen to really good singing, which is key to good dancing.  


This year I spent two whole weeks dancing with Patricia Ibañez and in her class I met a whole lot of great women, like me, eager to experience the duende (dance muse).   There were people from Japan, Norway, France, Mexico, Russia  Australia, Spain and Italy.  We pretty much had the buleria steps down, but we were stomping, not dancing, the opposite needed for Bulerias of Jerez.  Other flamenco dances, need the strength and loudness of the feet, but not for these bulerias.  With a little grace, some loud feet, and intervals of stomps and silence, lots of hips and expression engaging the viewer, and never predictable.  At one point Patricia was so frustrated with us, that she made us take off our shoes and dance barefooted.  This was actually quite hard.  We were forced to listen to the singing and to our inner beat in order to dance, and it proved quite a revelation.  I know now that I have to work on dancing barefooted more often.  Bulerias de Jerez, don't really need fancy footwork, so dance shoes are not really required.  It is the body that does the dancing.  Believe me, this is hard, very hard.



Introduction to Bata de cola and mantón class:

Bata the cola, is a flamenco skirt with a really long train, which has just recently has made a comeback.  The technique requires basic classical dance moves, like, "attitude, plié, arabesque, relevé, ronde de jambe"  and a whole bunch more I can't remember, but it proved to be plenty.

It is wonderful to see a bata de cola in full swing.   The way it opens in the air like a fan and spreads nicely as it hits the ground.  It looks easy but why would it be?  It is sheer torture and a pain in the … kidneys.

My teacher's Bata

A mantón is a big square shawl that when folded in a triangle, the longest side, should span your entire arms length and then some more.  The material is satiny, could be silk and the heavier it is, the better for dancing.  Mantón de Manila is its full name and that is because many years ago, the shawl was brought from the Philippines.  Over the years, the oriental designs morphed into the beautiful embroidered roses and flowers.   A good mantón can cost several hundreds of Euros!  And here I was, dragging mine all over the floor...

A good manton technique requires strong arms and shoulders, there is a lot of twirling in the air and after a few minutes of these moves, the manton feels very heavy.  There is also lots of bending at the waist.   Elbows are important, when wrapping yourself in the manton, the more you stick your elbows out, the better, because it helps show off the manton.  Strait arms are also important when you want the manton to really fly in the air, if your arms are not straight enough, the manton will wrap around you, making it really difficult for it to take off into the air.  Maria Pages is a great example of long straight arm technique:

Go to minute 2:25 where she appears on stage.

These past days were the most brutal two weeks I have had in a long time, but worth every minute.  I loved the classes and will probably continue learning how to move the bata.  :-)

Watch this great bata de cola performance with Dancer Luisa Palicio, wow!