WHERE We Are
We started work on this documentary about six years ago with the filming of the graceful dance of a tiny girl, four years old at the time, called la Triana. Since then, for financial reasons we have been proceeding slowly - slowly but steadily. Any time we get money, we shoot; when we don't have money, we stop shooting and start looking for money!
We have now gotten about three quarters of the way through principal photography. We have shot seven professional singers, two guitar soloists, and two internationally touring dancers plus many community performers and several very informative interviews with extremely knowledgeable people.
The performances we have shot include some of the best stars of traditional flamenco - because traditional flamenco is what interests us in this documentary: dancer Antonio el Pipa, singer-cantaor the late Manuel Agujetas (often simply called Agujetas), guitarist Diego del Morao, dancer María del Mar Moreno, singer-cantaora la Macanita, and many others including our associate director Antonio de la Malena.
WHERE We'll Go Next
In the fall of 2017, we'll continue shooting and bring the shooting phase nearly to a close. Our main scenes will be one with the singer/cantaora Juana la del Pipa. She'll sing in an old-style farm workers quarters, while three companions beat out the rhythm, the compás, on a table top. After she's sung for a while, one of her companions will get up and dance, like in the old days when hundreds of people worked in the fields to bring in the harvest. After a day's work was done, the farm workers who were gitano would relax by singing and dancing flamenco.
There are other scenes we'll be shooting this fall, as well. For example, we plan to go down to the Bay of Cádiz to film the fishermen setting out in their boats. This will go well with the song about fishing and fisherman, the alegrias that la Elu de Jerez has performed for us.
WHAT Will Be Left After That
Once we've completed our 2017 fall shooting, we have one final shooting phase left to do which will include a fin de fiesta, and in addition a performance by a young professional dancer and a couple of smaller scenes. These will finish off what is known as "principal photography."
And then, we have the great pleasure of engaging in that delightful process known as "post-production." For those of you unfamiliar with post-production, it involves a lot of work, mostly by technical people. Editing is a big part of it, but we've been editing as we go along so will not be starting from scratch. But there are also things known as sound sweetening, color correction, image correction - all those things that turn something rough around the edges into a beautiful work of film that audiences will flock to in droves.
Post-production also requires money to pay all those technicians, but we'll cross that bridge when we come to it. For now, we have our sights focused on completing the shooting, and for that, we can definitely see the light at the end of the tunnel.
Before leaving this topic entirely, I want to thank all the people that have volunteered or donated to the project, and most especially, the non-profit Media Art Works (MAW) for providing consistent encouragement and significant funding to allow us to create this documentary. Couldn't do it without you!