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Jose Sueiro

Jose Sueiro

born in New York City of immigrant parents and settled here to study at George

Washington & American Universities. I am a Ward 1 resident and tenant at 1841 Columbia Road

since 1973. I was originally an ANC Commissioner in 1988 and later worked in the Office of

Mayor Anthony Williams. I’ve been a teacher, community activist, culture advocate, journalist,

businessman, and Mayoral appointee. I consult on issues of affordable housing and economic

development. My background includes:

Public Service

• Director, Latin American Youth Center,

• D.C. Recreation Dept. Roving Leader – delinquency and gang prevention,

• Teacher, Oyster Bilingual Elementary School; Soccer coach, Wilson & Bell H.S.,

• ANC Commissioner 1988-90.

• President; 1841 Columbia Road Tenant Assoc.,

• Member; AARP/DC Executive Committee,

• Neighborhood Services, Office of the Mayor, 2000-06.


• Publisher; El Latino Newspaper, Spanish language community newspaper 1976-89,

• Publisher; La Nación Newspaper, Spanish language weekly newspaper, 1990-99,

• Editor; “Noticias del Mundo”; Washington Times Spanish language daily, 2000,

• Panelist, Reporters Roundtable, Channel 16


• Creator; “Escuela de Rumba” school of music,

• Co-Founder; GALA Hispanic Theatre

• Radio Host; ‘Duende & Caché’ Latin music show

• President; Hispanic Festival of Washington D.C.

Small Business & Affordable Housing

• Consultant; Development Corporation of Columbia Heights,

• Partner; LCHIP Development Group, LLC - affordable housing in D.C.,

• Director; Coalition of Park Road Businesses, Inc.

• Director; D.C. Hispanic Contractors Association, Inc.

Vote Jose Sueiro for ANC1C03 on November

Website URL:

The Silences of Flamenco: GALA Theatre's Casa Patas Show

It has been twelve years now since Madrid's; "Fundacion Conservatorio Flamenco Casa Patas" began sending flamenco groups to GALA Theatre and on U. S. tours. Each year they design a new project and perform some of the most innovative and ingenious flamenco shows you will ever witness, with brilliant musicians and top notch performers. The shows are always intimate mixtures of polished dancers, fine musicians and the most typical singers of the idiom bringing to life the feeling and passion of Andalucía.

As an avid aficionado of the Casa Patas Restaurant and Foundation in Madrid, I've followed their DC visits for years and attended elegant, exciting shows at the restaurant in Madrid as well. However, I much prefer the thrilling and well produced spectacles they create for their yearly tours of the U.S.

In past editions Casa Patas has tampered with the limits of flamenco exploring, in its musical arrangements most of all, new paths and influences. In the 2015 version for the first time the group brought a 'cajon' player and in former editions of the show they've included flute and clarinet, violin, saxophone, harmonica and even trap drums. Nevertheless, this year they decided to bring a stripped down, essential version of what a 'tablao' or typical flamenco presentation should be; three dancers -two males and a female-, two singers (the soaring Trini de la Isla and Roberto Lorente) and one musician, guitarist Jose Almarcha.

The result is an austere, refined, balletic performance that, true to its title highlights; 'The Silences of the Dance'. Francisco Hidalgo, choreographer and director of the ensemble, has created an authentic and stylish work and the dancing of Ruben Puertas was puckish and enchanting, in particular when he performed with castanets. There were intimations of the sexuality and frenzy of flamenco in the collaborations between Hidalgo and Lucia de Miguel, that left this viewer wanting more. When Ms. Miguel danced alone she exuded strength and dominance except when she performed a graceful 'Alegrias' pirouetting around and through a large 'mantilla' (veil).    

There were moments of haunting beauty in the show that caused goose bumps and even tears. The tableaus, the simplicity of the presentation were reminiscent of other eras long ago and the end result was a desire to go back to the earth, to travel to Sevilla, Granada or Cadiz in search of the richness of Moorish Spain and the roots of flamenco. If you enjoy flamenco try to catch this exquisite treat next year around this time when they return. If the flamenco spirit moves you, go to www.casapatas.com for more on this extraordinary program.

Restoring Human Dignity One Person at a Time

They walk in with a look of lost bewilderment, many of them children searching for family, and all of them with tags indicating they've been through the detention center just a few miles away on the border with Mexico, and suddenly everyone in the room breaks out in thunderous applause. It is a daily ritual. This is what happens each day at the Sacred Heart parish in the small town of McAllen under the watchful eye of Sister Norma Pimentel, a woman who has become a legend in south Texas. These are the most recent refugees crossing the border at the southernmost tip of the United States, dozens of whom get routed daily through this refugee center where they get to wash up, eat some food, find comfortable clothing and manage a few days rest before they're sent on their way to family, friends or resettlement in a new city.

entradillanorma    On a recent visit to the region we were witness to this spectacle which happens every day as dozens of new arrivals traipse through Sister Pimentel's center filled with mounds of clothes, processing tables staffed with social workers and other volunteers, a children's play space in one corner, showers and tents covering the grounds where parking used to be and a bustling atmosphere of hope and compassion. Sister Pimentel has won national awards, been singled out for her work by the Pope and is surrounded by loving, generous volunteers who fundraise and give of their energy in support her ongoing efforts.

    Observing the immigration story from this vantage point at the border provides a very different perspective. Sister Pimentel comments that people from over 70 countries migrate to this little corner of our border in large numbers. Most of these human beings are drawn to the dream of a good job, a better future and the ultimate American dream. They remind us of innumerable stories of past immigrants who have now made their place in our society. Norma Pimentel is nourishing that American dream in the hearts of millions of people. Her hope, optimism and upbeat attitude permeate the lives of volunteers and clients alike. She lives a life of simplicity and dedication that is not only admirable and inspiring but provides faith and shared hope that our country is on the path to a more inclusive and accepting one.

    I spent only an hour with this remarkable woman, but it was enough to admire her grit and passion, the way she smiled and the grace with which she carried herself. I was moved by the visit to this simple parish in McAllen and nurtured by the open acceptance of these humble migrants searching for something better in their future and that of their families. From McAllen everyone looks and seems like common family, folks that are divided by an artificial construct which is the border. The south if fine and holding, there's more to be positive about than the stories of hate and division. It is women like Sister Pimentel who are harbingers of the future and who with their daily lives show us the way to a more perfect union, to a more perfect world. Sister Pimentel requires all of our blessings and encouragement given the role she's chosen to play with her life. We could all learn from this charming lady of South Texas.

Salvador, The Flamenco Musical

The talented Edwin Aparicio is the closest Washington has to a flamenco master and his yearly productions at GALA Theatre are the equivalent of a flamenco conservatory located and nurtured right here in Washington DC. He has once again created a 'flamenco musical' based on the story of his life. It is astonishing to witness the improvement and maturity of Aparicio's productions over the years and how his shows become more theatrical and less of a concert as he explores his artistic roots.

edwingflamenco    In this edition Edwin answers the question of why a young Salvadoran immigrant became a flamenco dancer in Washington DC. He begins with references to his childhood in Salvador and the humble indigenous conditions of his upbringing. He starts the night dressed in a vest with fringes that reminds one of the wild west. His migration to our area is indicated by a series of prop designs that celebrate baseball caps. He brings to life on stage the stages of his development from salsa to hip hop to ballet and then full-fledged flamenco giving credit to the influences of his time in Spain and on his experiences there. Whereas Aparicio is not a Spaniard or from a family steeped in flamenco history, he is in so many ways a true gypsy. He brings to life the renegade and rebel nature of the outsider, the deep passion and sensibility and the exotic face and body of someone right out of the gypsy tradition. Edwin is our gypsy, the mongrel mixture of the Americas, Africa and Spain that is our multi-cultural, metro-diverse expression. He represents what our community and region has become and his desire and passion for flamenco is a noble journey.

    Surrounded by a troupe of accomplished dancers -one of who represents the young Aparicio- and the same musical accompaniment as in prior spectacles, headed by the piercing, elegiac voice of Amparo 'La Repompilla Heredia direct from Spain, Edwin Aparicio provides a first class performance that mixes a great many genres into one potpourri of extravagant, luxurious, rich delight. The only thing missing right now from his repertoire is more performances to exhibit these special gifts and delight a larger audience with his hypnotic, invigorating dance exhibitions.


Whoever loves Flamenco, loves Jorge Pardo. Those who have a passion for music must love Jorge Pardo because he chants through his flute, is able to let his saxophone complain, enjoys the rhythm and passes his magic on to his instruments.

Jorge Pardo, saxophone and flute player, is one of the most outstanding and consistent revelations of the flamenco jazz fusion. He, together with Paco de Lucía and Camarón de la Isla, helped forging a new musical language melding jazz and flamenco. His playing style has become a referential point.

            He shared ideas, music and experiences during 20 years, with the master of flamenco guitar, Paco de Lucia. During these years of tours,

records and coexistence, they created a new musical language known as Flamenco Jazz or Flamenco Fusion. This music had a strong flamenco nature and was composed also off classic works and world rhythms.

His discography extends beyond 20 recordings as leader. He also collaborated and exchanged experiences with other artists all over the world, such as Chick Corea, Paco de Lucía, Tete Montoliu, Marcus Miller, Pat Metheny, etc.

            His albumHuellas, released in 2013, earned him the award of Best European Jazz Musician by the French Jazz Academy, becoming an international reference for Jazz, Flamenco and traditional and improvised music. He recently won The National Award for Contemporary Music, conferred by the Ministry of Education, Culture and Sports from Spain in 2016.

After a successful 3-year tour, which took them around the world (Europe, India and South America) performing over 250 concerts, this atypical trio, coming from the most traditional flamenco scene, experiments by playing by ear different kinds of music like Jazz, South American Folklore, classical music or even songs of the Beatles and, of course, using their detailed knowledge of Flamenco.

            Huellasis the most personal and awarded project of Jorge Pardo. And now, three years later theHuellasproject travels to the U.S. Over these three years many musicians have been part of this project, and in this American tour, Jorge brings his music to the American stages, featuring an exclusive collaboration with the Juanito Pascual Trio.


            Virtuoso flamenco guitarist / composer / improviserJuanito Pascualhas been called “one of the hottest flamenco guitarists in recent years” byNational Public Radio, a major accolade which in this case is just the jumping off point for the Minneapolis native’s musical style. His sound is a truly organic blend of a mastery of traditional and contemporary flamenco with influences ranging from Jimi Hendrix and the Grateful Dead to Miles Davis and J.S. Bach. Pascual’s international touring schedule has brought him to venues including the Tanglewood Jazz Festival, New York’s Lincoln Center, and Blue Note Jazz Club, The Panama Jazz Festival and Madrid’s renowned Casa Patas.

            The Juanito Pascual Trio featuring bassist Brad Barrett and percussionist/vocalist Jose Moreno, has been touring regularly throughout the U.S. and abroad, captivating audiences with their masterful musicianship, and truly infectious chemistry. Their albumJuanito Pascual New Flamenco Trio, recorded and mixed by multi-Grammy winning sound engineer Rob Griffin, was released in 2014 to critical acclaim and was included inNPRcritic Milo Miles’Top World Music Albums of 2014list.

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