In 2008, Hevia y Vaca also launched the PyA Conservatory to provide a disciplined environment for preserving and teaching the formal structures of flamenco in an emotionally supportive environment. Hevia y Vaca is senior adjunct at Franklin & Marshall and at Temple University. She continuously teaches courses at local schools, colleges and universities and is often students’ first encounter with this dance form.
The beginning student is introduced to simpler palos (rhythm families) through a series of specific studies:
- Study of palos (rhythm family) of Alegrias and Tangos through simple movement, rhythm training and palmas (hand clapping).
- Understand “colocacion,” the Flamenco posture.
- Develop the flamenco “floreo” hand movements that are specific to flamenco through the exercising of the wrist, palm and fingers.
- Find the flamenco aesthetic of the head and arms through specific “Braseo” arm exercises.
- Engage the hips and upper body through specific flamenco hip movements.
- Look at sequences that integrate all of these Flamenco components into Alegrias and Tangos “palos” (flamenco rhythm families).
- Study the basic flamenco footwork by using specific exercises and explore all of the different sounds that are made with the different parts of the feet, Plantav (ball), tacon (heel), golpe (whole foot) to create rhythm patterns.
Incorporate sequences of footwork adding the body and arm movements.
Saturdays 12-1:30pm (Choreography)
Wednesdays 7-8:30pm (Technique and Phrase Work)
- Continue the training of the palo of Alegrias and introduce the Bulerias palo (rhythmic structure) through palmas, paseos and various marcajes (marking steps).
- Continue the strengthening of the student’s familiarity with the compas (rhythm structure) using more difficult footwork technique and creating more complex arm movements and coordinating them with the footwork.
- Study and learn the structure of a traditional flamenco “palo” of Alegrias, Salida, Verse, Subida, Silencio, Escobilla and Bulerias de Cadiz.
- Overall understanding of “compas” (rhythm structure) of the “palos” of Solea, Solea por Bulerias and Bulerias and Seguiriyas.
- Further understanding of the “colocacion” (flamenco alignment) and how it relates to the movement efficiency within the flamenco vocabulary.
- Understanding the relationship between the core support and neutra pelvis placement in relationship to Flamenco “colocacion”.
- Understanding of the “floreo”(hand movement) and “brazeo” (arm sequence) technique and the relationship to the whole body.
- Developing support leg and foot strength, and stability in order to accomplish the complex footwork patterns.
Understanding and demonstrating concepts of body organization such as breath support, head and hip placement in relationship to the flamenco technique and philosophy.
- Gaining an understanding of the Solea, Solea por Bulerias and Bulerias “palo” structure and dialogue the between the dancer and “verse”.
- Further understanding of the communication between the singer, dancer and guitarist to the various rhythms.
Becoming comfortable with integrating “floreo”, “brazeo,” and footwork to the various rhythms.
- Further exploration of the rhythmic structures and patterns of Solea, Solea por Bulerias through more complex “palmas” combinations. (hand clapping).
- Further understanding how energy is directed in one’s body and projected out into space through the “brazeo” and “floreo” movement and into the floor through footwork patterns.
- Ability to assimilate the sequential movement material following the “compass and begin improvisation.