by Tania Flores
I was introduced to flamenco by a blood-letting, like a tailored and sharply-cut red dress whipping out from the back of my head. I was introduced by a woman who had my name, who called herself La Tania, who marked the end of the time when the purity of ballet was enough to contain my six years of age. I watched her dance in Chico State’s Laxson Auditorium, my head wrapped in a turban of white bandages. Wearing my ballet tights and leotard, I had cracked my head open earlier that afternoon on a cold, metallic bathtub rim. La Tania’s resounding footwork helped stem the flow of the hysteria and screams, and transform them into echoing syllables.