Sunday, 12 October 2025: A Day of Flamenco Truth
Historical note: this diary records 12 October 2025. The class and performance took place on that date.
Today is Sunday, 12 October 2025.
I got up at seven in the morning, a little late, but full of joy.
As I do every day, I began with my stretches and self-massage beside my little Batres,
my companion in life and guardian of my soul.
That hour of silence between body and heart is my way of praying,
of tuning myself from within before starting the day.
— ◆ —
Today we had an open bulería class at the studio.
The places filled up straight away, and that made my heart glad.
It moves me to see so many people eager to learn flamenco,
to feel the compás, its rhythmic pulse, and life through movement.
I had the breakfast Marichan had prepared, with that joy so uniquely hers,
grateful for those breakfasts that keep this flamenco dancer's body alive,
weary in soul, yet ablaze with duende, that deep artistic fire.
Every sip of coffee, every little piece of fruit,
is a gesture of love that nourishes my art too.
Because the body grows tired, but the soul, when cared for with love, never gives up.
Later, once at the studio, we first had a meeting to talk about how we would prepare the space,
so that everything would be 'imperfect' when the students arrived.
Because in flamenco, perfection does not exist; what matters is truth, air and compás.
As always, with the help of my dear Kurosusan and Mayukochan,
we began the ritual of every class:
cleaning the floor, moving the cameras, checking the guitar, switching on the lights,
and letting the studio breathe.
Every detail matters when you know that art is about to reveal itself.
— ◆ —
15th Master Open Class: Bulería at Estudio Córdoba (Akabane)
At three in the afternoon, the studio filled with energy.
Go Henmi, on guitar, set the pulse of the air,
and I, between smiles and nerves, watched the students' expectant faces.
First I asked them to learn to walk into the centre, unhurriedly, breathing in the space.
Then I explained how to feel the compás: you do not count it with your head, you listen to it with your body.
I told them: 'Listen to the guitar. Let it tell you when to come in.'
One by one they walked out, without choreography, with only their own truth.
Then I had them try their llamada, the dance's call to the musicians, even if they did not yet have a fully formed patá, a short bulería dance passage.
Because that is how flamenco begins: first you walk, then you listen... and only afterwards do you dance.
Each came in dancing her own patá, in her own way, but every one of them authentic.
And when they left the circle, they did so walking, because everything begins like this:
children first crawl, then learn to walk... and finally, they dance.
Flamenco is about being yourself, rather than being perfect.
Letting the compás pass through you, letting your breath become art.
And that is what happened today: laughter, improvisation, soul and truth.
We finished with a conversation about nerves, confidence and authenticity.
The studio fell silent, with that peace only duende leaves behind when it has passed through.
— ◆ —
A Flamenco Night in Nishinipori: Nami-chan's Truth
After the workshop, I spent some time finishing the class records, preparing the next course and putting everything in order.
And at nightfall I went to Nishinipori to see a very special performance:
my student Kitamura Nami was dancing.
It was her first time dancing outside the studio,
and with a professional flamenco ensemble, too: Malena, a wonderful flamenco singer with a big heart,
whose heartrending singing pierces your chest with its cries,
and Makoto on guitar, a tremendous musician full of compás and heart.
Before going on, Nami-chan was very nervous,
and I learned afterwards that she remained so throughout the dance.
But even so, she danced her truth.
And that is flamenco: being yourself in that moment,
without trying to be more than you are.
Some people dance with flawless technique,
but without soul, as though they had a sports car with no petrol.
Flamenco is about showing a soul, rather than showing off a body.
Nami-chan put on no pretence: she danced what she could, with what she had.
And she did it with strength, naturalness and real fury,
the fury of wanting to give more and still giving everything you have.
Dancing outside the studio is like showing your own home:
if you show a mansion that is not yours, you lose yourself.
Better to show your real home, even if it is small, with your own light.
And today Nami-chan was truth itself.
Her dancing had humanity, listening and presence.
She enjoyed the singing and the guitar,
and we enjoyed watching her be herself.
— ◆ —
That was how my day ended: with pride, emotion and gratitude.
It is half past midnight.
I have just had a shower, I am combing my hair,
and in a moment I will do my final stretches beside Batres.
Then, off to sleep. Tomorrow I rest.
But today... today I sleep in compás.
Beni
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