Dancer Spotlight: Frankie Martinez
by Jimmy Ruiz
There’s something about a magician that has always mystified me. (It actually still does!) Maybe it’s the lure of a person who could hold everyone’s attention at the flick of a wrist, or wink of an eye. Or maybe it’s the craft itself: With a slight of hand so quick that the lines between illusion and reality are blurred if just for one moment. Better yet, maybe it’s the mystery: a person dipping in and out of shadows, and never fully exposing himself until show time. A fantastical performer: it is on the stage when he’s willing to give you his all. Vulnerable through each step, but willing to risk everything, if only to show you a side of him that he has yet to finish exploring himself.

Frankie Martinez has been heralded around the world as one of the most talented Latin dancer. Red carpets have been rolled out, Facebook fan sites have been created, offers to put his face on a credit card have been received, and documentaries have been filmed. So far, and so deep, has his influenced reached, that he has become a household name in the world of Latin dance.

I recently had the opportunity to talk to Frankie about his upcoming showcase with the ABAKUÁ Afro-Latin Dancers, the social scene, and his life outside of dance:

Jimmy Ruiz: This upcoming show at the Tribeca Performing Arts Center is a landmark event in the history of ABAKUÁ, and the Latin dance scene in general. [It is] a 2-hour showcase in a very reputable New York City theatre, with all the bells and whistles. What does this mean for you and the future of the company?

Frankie Martinez : I always said there were two things in my life I would get drunk for. The first would be when I made my first million (dollars). The second time would be when I got the company to do a full dance performance program at a theatre. This show kind of snuck up us. On different scales, the show’s been done already. We’ve had our one hour shows at Aaron Davis Hall and Spain, our original ½ showcase at Empire, and recently 2, 2-hour shows in NYC and Spain. What’s different in this case is the venue. It was really the only logical, next step. So I’m thinking I might have to save getting drunk for something different!

*(* Disclaimer: The ABAKUÁ Afro-Latin Dance Company does not promote drinking in any way, but has been as a collective trying to get Frankie to have at the least, one drink with us. Ultimately, it looks like unless we successfully ferment the lemon wedges he drops in his water, Frankie will never succumb!)

FM (cont'd) : But for the company, the hope is to change the way people view the genre and its potential—it’s capabilities in terms of training, philosophy, and application. This is how we want people to get used to viewing the art form.

JR: There’s a school of thought that by putting Latin dance in a theatre setting, you are taking it out of its element. What do you think about that?

FM: People have very stereotypical views of Salsa—scandalously clad, steamy women dancing around. Currently, there is no artistic merit attributed to it. We are trying to present Latin dance in a package/format that would allow people to see it in a cultural/artistic manner--speak to the culture’s history using a certain level of sophistication.

JR: Approximately 2 months before the show, what are your main concerns and expectations for the group?

FM: I’m pretty confident about the performance. After all, we just turned out a successful performance in Spain. My concern is keeping the dancers sharp, and keeping their energy levels as high as they were in Spain. Also, making sure that our older pieces are up to par, and that we get the right people to come out and see the show.

JR: Speaking of publicity and getting the right people to see the show, if there was someone from a specific company, region, etc. that you would love to have come out to the show, who would it be?

FM: South America. That’s a population that’s very passionate, with a good cultural sense. I’d love to make a splash there with their public.

JR: To many, the company’s method of recruitment is shrouded in mystery. What do you look for in a dancer?

FM: The process is unique. If you want to be a musician, there is a set way in which you’re supposed to train, and if you do this, then you’ll become a musician, and to an extent, you’ll have a certain degree of success. That’s not necessarily the case in ABAKUÁ. I look for aspecific blend of physical ability, along with a deep ability to express the cultural aspect of the dance. It’s the ability to express and blend folkloric aspects with contemporary ones. Considering this, there are many great dancers out there, but that doesn’t mean that they’ll necessarily be a good fit for the group.

JR: The talk of cultural vs. contemporary. Feeling vs. technique. Do you feel that those who are not raised or exposed to the culture from a young age are less likely to develop the ability to “feel the music” or express its cultural roots?

FM: Well, I have an Israeli born dancer (Keren Ashri) who is one of the most flavorful dancers I’ve ever seen, so I would say that that’s an indication that it’s definitely possible. I’ve tried to develop a science, a way to make things look a certain way. The goal is to make something look inspired without it looking completely choreographed.

JR: Soul is a term used often by dancers, musicians, etc. Can you define soul, and why is it so important to people when speaking of the look and feel of Latin dance?

FM: Many people are guilty of judging people’s feelings by what they look like on the dance floor. You can’t determine whether or not people feel music by looking at them. “Feeling” the music vs. physical ability to present what you like about the music are two very different things. You can be dancing to a song, and look soulful, like you’re feeling it, and not like the song at all.

JR: So why do you think that this concept of “feel” or soul is more prevalent in the Latin scene?

FM: In other genres of dance, the dance comes first, and the music is secondary—a supplement to the dance. For us the music is first, and dance is the result. There are many historical and religious ties to the music, which is what makes it so important in our culture.

JR: Where do you look to for inspiration when creating choreography and music selection?

FM: Anything that inspires me to tell a new story, or a story that I’ve wanted to tell; music that hasn’t been exposed and teaching people about it. My mother writes poems, and when she hears music, she sees a story. I’m the same way; I hear it, and I see it.

JR: In the past couple of years, the number of dancers within the company has fluctuated, and has brought about a change in the group’s demographic. How does the number and type of dancer influence your pieces, if at all?

FM: Well with fewer dancers, I have less freedom—I’m limited in my ability to play with all of the ideas in my head. It becomes a challenge to create excitement. But I’ve learned to creat illusion, by trying to show more dancers on stage than there actually are. But ultimately, if I have one dancer, I can get my ideas down. It’s just a matter of options, and making adjustments.

JR: Next steps for the company?

FM: To increase the company’s exposure. Hopefully get a few more shows around the world in large theatres, and here in New York. Possibly the Joyce and other big names

JR: You’ve become detached from the social scene (**note: there was a time, eons, ago, when you could catch Frankie at a social/club or two) in the past years. How has the NY scene changed to you?

FM: Yeah, my detachment has been a byproduct of various personal changes. There used to be a lot more quality places to go dance. The classes and venues used to feel really homey. Now popular, the scene has become about performance. The social dance floor now serves as a place for people to make a name themselves. It’s instant acces to your 15 minutes of fame. When I came up, it was more about the actual social scene. I was worried about being a formidable social dancer. It was later that expression and technique became important.

JR: So, when Frankie Martinez is not teaching or performing… what is he doing on a regular basis?

FM: Fixing my place, or somebody else’s (laugh). I love interior design! But also, watching baseball/football, reading, and working on the music collection.

JR: We’re done. Thanks!

FM: Alright… STILLS! … SET

Ask Frankie!
Have questions about ABAKUÁ, Afro-Latin Funk, Choreography, Fitness or something else? Get your questions answered by Frankie himself in our newsletter's new column, Ask Frankie!

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ABAKUÁ "Friend-Raising" Campaign

That is not a misprint...

This year marks a banner year for the growth of ABAKUÁ Afro-Latin Dance Company. We would not be here without your great support. Though we have established a strong presence, not enough people know about our company, the work that we do and the goals that we have.


With your help, we can change that!

As supporters of ABAKUÁ, we are confident that you enjoy telling others about ABAKUÁ almost as much us. That's why we are asking for your help in our friend-raising campaign!

How you can help!

STEP 1: Please take a few moments and a few clicks of your keyboard to forward this newsletter to a friend, coworker or relative that you think might be interested in what we do.

STEP 2: In your message, let that person know that "ABAKUÁ is a growing Arfo-Latin Dance Organization that I support and I am trying to help them spread the word about the exciting things they are doing."

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Thank You!

Our Next Party:
Date: Friday, May 9th
Time: 9:00 - 1:00 AM

412 8th Avenue (between W31st and 30th streets)
Admission: $10

Tickets to our June Performance will be raffled

MUSIC BY DJ FRANKIE MARTINEZ
Cash Bar Available Downstairs