SaSaSa

In 2005, SaSaSa initiates a new project with Miguel Medina (keyboard, percussion) and Mike Gasselsdorfer (drum, percussion). This dynamic collaboration gives rise to the Electrik Tablao.
The traditional flamenco performance in a semi-circle, tablao, becomes a versatile platform for works that vary as the moment inspires. Unlike an intricate staging, the tablao / roundtable channels individual expression and creates an intimate relationship between the artists and the audience.

Several pieces have been performed in festivals, benefit and corporate events, Flamenco Peñas and bar shows in Montreal, as well as in Toronto (Toronto International Dance Festival: Grand Scale Event), Calcutta, India (INTERFACE Contemporary Arts Festival) and for the May 1st celebrations in Shenzhen, China.

Today, the company develops three distinct chapters: Taranta, aka tablao neo-country, Killing Time, aka tablao nu-prog and Morir de amor, Mourir d'aimer, aka tablao post-pop.
Taranta is the first long-métrage/opus.

The tablao is a type of cabaret for flamenco performances. By extension, it is a show in which the artists - traditionally singers, dancers and guitarists – play in a semicircle formation. The pieces, as in jazz, revolve around standards that support a dialogue in which improvisation plays an important role.

Electrik Tablao Chapter 1: The country flamenco show

SaSaSa creates an electro-flamenco spaghetti-western, inspired by the legendary pride of two nations that have fed the imagination of the protagonists since childhood.

With a fusion of languages and geographical references (Quebec / Alberta / Spain), Taranta unexpectedly frames stereotypical rednecks and flamencos, through classic tales of blood, sweat and tears.

Having learned revolt through sarcasm, drama through silence, and passion in a red pickup, SaSaSa dresses typical flamenco themes in a very personal manner.

The dance evolves from a natural / innate harmony between flamenco, country and contemporary techniques, inspired in part by the similarities between the Spanish, the Cowboy, and the interpreter’s proud demeanor. The music combines twelve-tone blues and Andalusian scales, developed from both traditional and original, flamenco and country forms.

With a surprising parallel between the rodeo and the bullfight, Olé and Yee-ha, line-dancing and Bulería, SaSaSa creates an intercultural heritage on many levels.

« This is a very ingenious idea of having orchestrated a meeting between gypsy / Jewish / Arab flavored music, with the Anglo-Saxon country music of the New world »
Marie-Chantal Scholl Dfdanse, Montreal, March 4, 2008

« What comes next is the dazzling Rae Bowhay, in a stunning version, which brings together the traditional flamenco world directly from South Andalusia - land of bulls, bullfights, dust, cowboys and leather, farms, open spaces and confrontation with raw nature - with another tradition no less coded, a tradition made of bulls, rodeos, dust, cowboys, hats, boots and belts, and the ranches that open into infinite space ... of our prairies! »
Aline Apostolska, La Presse, Montreal, February 28, 2008

« I must say that I really have a weakness for the rendering and inventiveness of Rae Bowhay. […] I found that it was very subtle, this way to link two genres that seem at first glance quite different. What I found interesting is that instead of setting out to prove that a + b = c, she proceeded in a very funny, light, and tender way. »
Stéphanie Brody, CIBL: Kinecitta – Studio Tendance, Montreal, February 27, 2008

Year of creation : 2009
Artistic direction, choreography, dance and voice : Rae Bowhay
Composition and guitar : Martin Trudel
Voice : Iris Godbout
Keyboard : Miguel Medina
Drum and voice : Mike G.
Texts : Julie Rocque
Costumes : Zoe Dominiak
Communications : Rae Bowhay
Communications Assistant : Wai-yin Kwok

Following Taranta with it’s country-western flavor, SaSaSa refer to the musical genres: Rock n'Roll | Heavy Metal (Killing Time), and Pop | Dance | Electro (Morir de amor, Mourir d'aimer).

In progress since 2005, parts of these works have been presented many times, and have attracted a very enthusiastic response.

Killing Time

Traditionally, Rock 'n' roll and Flamenco are expressions of anger and rebellion against the established order. At the same time, they serve as adrenal stimuli, sometimes accompanied by stimulants to improve performance capacity.

This exhilarated energy may have side effects: dehydration, low blood pressure, confusion, paranoia, and even worse, doubt, which breeds guilt, abuse, and the imminence of death.

With meditative, strident gestures, a cadenced music garished with demonic timbres, Killing Time combines speed and distortion for a twisted experience a la Hunter S. Thompson.

« ...probably the tightest performance at the festival. »
Lynda Spark, Toronto, http://www.eye.net/eye/issue/issue_08.24.06/arts/artsweek_3.php

Morir de amor, Mourir d’aimer

A psychedelic, greased back, pop-art cartoon, Morir de amor, Mourir d'aimer questions the consumption of the popular art of our times.

With the attitude "If you can’t beat 'em, don’t join' em.", the company seeks to upset the homogeneity of so-called normal artistic situations.

Disguised in Song and Dance* where "[...] absurdity is followed by a song and dance carefully rehearsed.", SaSaSa sprays a little sardonic love on our beauty habits.
*Unofficial translation of Charles Earle Funk, A Hog on Ice (1948, Harper & Row)

« …combines male and female styles in one very sexy performance. »
Susan Walker, Toronto Star, August 18, 2006

12

SaSaSa’s aesthetic evolves with the addition of electric guitar and bass. With support from the Canada Council for the Arts, the company presents 12 at Studio 303 in Montreal in collaboration with Bob Benson (bass), Karina Iraola (dance) and Miguel Medina (percussion). Inspired by combat arts such as lucha libre (Mexican wrestling), cockfighting, boxing and bullfighting, and using flamenco techniques as weapons, 12 serves as a testing ground for many of the ideas that have since taken shape in SaSaSa’s repertoire.

Unplugged Sketches off Spain

SaSaSa explore the roots of flamenco in a traditional context. While defying protocol and cliché with humor and abandon, Unplugged Sketches off Spain gives new meaning to the language of flamenco. With the participation of Kraig Adams (guitar), Karina Iraola, Pascale Roy (dance), Jorge Essebag, José "El Chele" Lumbreras (vocals), and Bob Benson, Francis Mercier (percussion), this show is presented at La Peña Flamenca de Montréal in 2004 and in the Festival Flamenco de Montreal in 2006.

Dark Matter

Inspired by an expressionist approach to the flamenco form Seguiriya, SaSaSa presents a multidisciplinary tale with the macabre flavor of Edgar Allan Poe.

With the collaboration of Marie Deschênes (poetry / vocals) and Bob Benson (percussion), this piece arouses enthusiasm and public acclaim in settings usually reserved for traditional flamenco.

Three creations at Tangente

In addition to numerous studio and cabaret performances, SaSaSa is invited to present three new creations at Tangente in Montreal:

The Night of the 1001 Crows (1999) – A short enchanting fable depicting agitation before a storm with Julie Chateauvert (dance) and Carole Galin (percussion).

Duende for Daze (2000) - A modern flamenco duet for dance and guitar contrasting the majestic and the comic.

B∞ (2001) – A somber duet for dance and guitar in which the matador faces other black beasts such as the sea, night and solitude.