Travel Guide

Dancing is an intrinsic part of the Latin American experience. Samba in Brazil, Salsa in Cuba, Tango in Argentina and a heady mix of Bachata, Cha Cha Cha and Merengue wherever you might find them express an essential pulse of la vida latina. Added to this mix is the firedancing that can be an elaborate part of the gringo traveler subculture encountered throughout this continent.

Schools to help one learn how to dance well (or at least to shake off some of the inherent body-awkwardness that many Westerners possess) are normally pretty easy to find. Each dance has its own personality - ranging from the graceful refined power of Flamenco, the slow and sensual energy of Bachata, the Carlos Santana style cool of Cha Cha Cha or the sexually outrageous “dance of the dry-hump” Reggaeton.

Seeing these dances performed to high standards is a delight - examples include Flamenco in Xetulul Theme Park, Retalhuleu, Guatemala, Salsa in Casa De La Music in Havana, Cuba and Samba in Scalla, Rio De Janeiro, Brazil. When your confidence levels are high enough to try some moves yourself a number of fun venues include Disco Ayala in Trinidad, Cuba, La Sala in Antigua, Guatemala or any of Rio Scenarium, Carioca Da Gema, Estrela Da Lapa or Democráticos in Rio De Janeiro.

A genuinely Guatemalan Flamenco performance is something of a rarity. Generally, professional standard Flamenco has been performed in Guatemala by dancers of other nationalities. Therefore, the public performance two weeks ago by the dozen Guatemalateca dancers of the Camelas Flamenco troupe was something of a cultural landmark.

Camelas was founded two years ago by Johana De Leon, whose sister Patricia is also a dancer with the group. I had met both sisters during my first weekend in Guatemala.

Internationally trained, Johana established Camelas to develop the art of Flamenco in Guatemala. Flamenco is not native to Guatemala - its origins are in Andalusia in Spain, heavily influenced by that region’s Moorish and gypsy heritage. Since being exported from Spain, Flamenco has been further influenced by Latin American cultures, but until now Guatemala has not been a significant part of that story.

The performance two weeks ago - in Teatro De Las Americas on Avenida De Las Americas in Guatemala City - showcased the unique appeal of the wonderful dance of Flamenco. The Guatemalateca dancers were accompanied by the highly accomplished duo of Guatemalan born guitarista Alfredo Caceras and Spanish singer Manuel Jimenez “Lolo". The Arabic accents of Flamenco were most clearly seen during Lolo’s solos - he at times sounded like an Imam calling the faithful to prayer. However, Flamenco is first and foremost a dance and it was as a dance that the performance left the deepest impression on me.

Sexual politics are never far from dancing - something I discovered when learning Salsa, Bachata and Cha Cha Cha - and the politics of Flamenco are particularly impressive. Flamenco is a particularly empowering dance for women - dancers combining genuine sensuality with uncompromising power and self confidence. The erect posture of Flamenco dancers is especially flattering to the female form, possessing the ability to transform a slouched teenager into a statuesque Goddess. Full body-length, elegant and frequently changed dresses are occasionally lifted and swished to reveal flashes of ankle and calf - a classy kind of Can-Can, without Moulin Rouge hints of prostitution.

Dancing originated as a form of sexual advertising - in particular showcasing the genetic gold-dust of symmetry and co-ordination. Yet, despite her allure, there is no neediness in a Flamenco dancer’s pitch. The confident poise and rhythmic stamping of the dancers are an intimidating challenge to any man. The message seems to be - “I’ve got it, I know it, Now earn it.” Good luck to any man who is up to the test.

Members of Camelas regularly perform on weekends in Xetulul theme park in Retalhuleu.