In this workshop, we will work on the development of cross-influences between the Afro-Andalusian Caribbean string cultures. We will study various playing techniques and analyze different ways of approaching creative work from within traditions, using anthropological research methods to try to understand how these influences are assimilated and transformed in different cultures.

We will pay special attention to the phenomenon of «falsetization» in flamenco music, understanding it as a process of crystalized transculturation in which we observe the conversion of distant melodies into figures and phrases appropriate to local music.

The preferred instruments for this workshop are the guitar and the Cuban tres, but it is open to any string instrument.

According to the dictionary, a melody is a succession of sounds perceived as an entity. It unfolds in a linear sequence, that is, over time, and has its own identity and meaning within a particular sound environment.

In this workshop we focus on the beauty, the simplicity and the complexity of melody, tasting it and bringing with her the poetry of words. We will be playing and pulling from this thread as far as it will takes us, guided by the melody made person, our dear Juan Quintero.

This workshop is an invitation to get to know African music, born of oral tradition. Through the kora and voice, Momi will lead this ensemble with whom he will share some of the traditional songs of West Africa, more specifically Mandinka and Wolof.

Percussion, strings, melodic instruments in general and voices of all levels are welcome in this African circle.

Approaching movement is a way of inhabiting and listening to the body. This workshop starts with an authentic listening of the body, essential basis serving as our starting point.

For years, traditional music has been brought closer to the present and dance must be part of this process. Folklore is a social event, a meeting between people in the here and now. The starting point in this workshop is traditional Iberian dance and flamenco, languages at the service of collective play and that lend themselves to interact with other musical styles and all the musical diversity of this year’s Encuentro. We will explore the ways that allow the body to take shapes according to what surrounds it: rhythm, song, melody, other bodies, etc.

Each body has its own language and that is the richness of it. However, there is something deep within all human beings: the desire to once again feel part of something bigger than ourselves. In the process of this workshop we will explore ways to create a collective dialogue, find common directions and slowly create the movement sequences to share. From this spirit of community, in a safe and prejudice-free space, dance is created and the body becomes one more vehicle to transmitting the collective energies.

Listen to react. Listen to interact. Listen to integrate. Listen to simply feel. Listen to create collectively.

Percussion has generally had, and still to this day, an accompanying function. This is true of the traditions of the Iberian Peninsula, but also in Latin American folklore, and in Arabic, Greek, African or Italian music. But sometimes the percussion is not limited to this supporting role but rather speaks with its own voice, creating rhythmic melodies.
Each drum has found its own particular way of speaking and communicating, drawing inspiration from the spoken language of their respective culture or ethnic group as well as sometimes from musical mathematics. This year’s workshop will welcome teachers from regions of the world that have developed the language of percussion at its highest level such as West Africa, the Arab world and the Middle East.
The role of accompaniment in percussion should be clear and assured, since it is that which is most used in a percussionist’s musical life, but little by little the language can be opened up and brought to speak with its own voice. In recent years many of the percussion instruments that had an accompaniment function have developed to levels unimaginable years ago. More often than not, the “solos” have been at the service of drawing the dancer’s movements, but are also sometimes motivated by the simple act of playing and creating stories through rhythm.
In this course we will work from traditional rhythms both from the Iberian and Italian peninsula, as well as from Latin American folklore, from the Wolof and Mandinka tradition, from the
Middle East or from Arabic music. We will explore how to introduce these new rhythms and languages ​​to instruments such as the pandereta (tambourine), the pandero cuadrado (square drum), the cajón, the bombo legüero, the doholla, the bendir or the riqq. We will learn to improvise with these instruments to accompany the dancers and also to explain our own stories.
The advanced percussion course will mainly be given by Itamar Doari and Aleix Tobias. There will be two groups of 10-15 students shared between the two teachers. Some moments will be dedicated to joint classes between the two groups, working and exploring the possibilities of playing within a bigger percussion ensemble.
Itamar will work on these concepts with the doholla, bendir, riqq, cajón and occasionally with the percussion drum set. It is necessary to bring at least a bendir. Aleix Tobias will work with
traditional Iberian Peninsula percussion, bendir, bombo legüero, tabalet, cajón and more.
Occasionally the rhythms of the previous instruments will be adapted and played on a mini drum set. It is necessary to bring at least a pandereta and pandero cuadrado. Also bring, if you
have one, your bombo legüero and if you can and wish to play the drums, a mini hi-hat, snare and bass drum set (as small as possible).
During the week, in addition to the classes with Itamar and Aleix, this group will have masterclasses with Davide Salvado on the technique, rhythms and Galician repertoire, with Isabel Martín who will focus on playing and singing Spanish repertoire, and Livia Giafreda who will teach us the techniques and rhythms of the Italian tamburello.