THE GOOD FEELING OF SENSUALITY
Interview
by Candela Olivo
(February 2001)

They had to spend a few years in order for her to understand Flamenco. What was it that kept the little girl's eyes from falling asleep out of pure boredom? It was the dancing, "It was something that I couldn't resist." Even more so with a mother that edged her on, in whatever setting, so that the little girl could free herself with the unstoppable push of the rhythm. This passion was anything but a game, although at age five she was put under the training of Matilde Coral, who modeled the base of her dance from the Sevillian school. Manolo Marín, Mario Maya, some other names and "above all, lots of dancing" did the rest. From this crossing of influences was born Isabel Bayón who now appears on stage with a very personal Flamenco dance style that she defines as "a mixture of many styles, Flamenco as much as other dances". Although she recognizes that she is far from being a "dancer of force or of temperament, I am more drawn toward the sensual rhythms".

Photo: Anahí Cármody

Over the last 20 years of your professional career, have you been conscious of how Flamenco has evolved as a dance form?

It comes in waves. Over all, it is the technique that has evolved the most. But it's necessary. I feel that in order to demonstrate and transmit what you feel, you have to have the necessary tools. If not, you get stuck half way. Although sometimes, one can abuse technique to the point that the essence is lost... the barrier is very subtle. You can easily cross to the other side and loose the good feeling. This thing that Flamenco has which seems so simple, but is the most difficult. This thing that wakes you up and puts your hairs on end. I think one has to stop a little in order to look for the simplicity, because within the simple is the most complicated element. But without loosing the Flamenco touch or freshness... this is the difficult part. To innovate by doing things that are different is easy. To make it simple, with flavor and Flamenco form is much more complex.

Do you think that this frontier is even more delicate for a woman?

They say that the woman has the sensual dance, the feminine... But there are women who are not sensual or feminine and they must draw on other feelings. You have do dance how you are. I dance how I feel and how I really am, speaking, walking... there has to be some of everything, different forms, different styles. And if a woman feels like doing a serious carretilla (extremely fast, moving footwork) because she is able to, well that's perfect. I feel better with hip or shoulder movements.

What are your influences?

I observe the world, including artists that have nothing to do with my form of dancing. I learn from everybody, from everybody I find something good.

And outside of Flamenco?

I've done come classical, some Spanish dance, some contemporary, some fusion with Flamenco and other music... a little of everything. I like music that comes from the roots. But always taking it to a level of Flamenco, to a place where I feel comfortable.

Where do you stand on the debate on fusion?

I really see that the people are exploring. Something positive can be taken from everything, if later you know how to take it home. It's something else if you get lost. The exploration taking place helps Flamenco to grow. The close-minded that whish that everything was like it was fifty years ago have a lot of fear deep down of not understanding what they are going to see. We must accept things as they come, depending on our taste, but try to put an end to the people who are looking inside themselves. The critics tend to destroy anyone who breaks the mold unless it is someone very famous in which case they accept everything.

I don't say it from personal experience because, "since I keep to a classical line in Seville, they respect me". Isabel Bayón, who when she doesn't dance thinks about it, feels that she is in her best moment of her career. Since last year the National Ballet hired her for a piece, a new road has opened up in her profession. She just prepared a choreography for the Andalucian Dance Company which was performed at the Festival of Jerez: "It's a Flamenco number, some tangos that I created for 8 women, nothing more". Her upcoming work is a show for the Flamenco Bienal of Seville, "but I'm still organizing it in my head".

Who is Isabel Bayón?

I am an egoist. I have to have a good time on stage for the public to enjoy the show. I have proved it with the reaction of the people. To enjoy it is the only manner to reach the public. Especially when every person on stage is having a good time.

Do foreign audiences have the same reaction?

It depends. There are still a lot of people from outside who think that Flamenco is nothing more than noise and stomping and hair... and this is what they get. They don't always get the subtleties because they don't get the continuous exposure to Flamenco. In Japan, however you don't need to do fancy footwork because it is an audience that is becoming more accustomed to seeing Flamenco with variety.

In what context do you feel most comfortable?

Each one has it's charm... I've lived incredible moments in three square meters, when the people I have by my side are giving me everything. And the same in the theatre. They are different things. The magic that a theatre has can't be found in a tablao(flamenco bar). I think that in Flamenco, if what has to happen happens then the context doesn't matter. The challenge is greater in the theatre. In the peña (cultural center) it is usually a warmer atmosphere. The theatre brings other things into play: lights, sound aesthetics, technicalities. More so, in Flamenco, the bigger the space, the more the energy is lost.

What is your ideal group?

Depends on what I want to do. Many times a guitar and singer is sufficient. I don't find it necessary to have a huge band. Yes it's true that I'm starting to use certain instruments like piano and horns. I like string instruments and percussion. They bring more out of me. I have clear that all the music has to enrich what is happening in the dance, not the other way around.

What future do you see for Flamenco dance?

Many interesting people are coming out and doing interesting things. There is a little of everything, but it's good when the variety is there because each one is doing what they like. The obsession to do things different makes us forget how delicate this art form is. To create, one has to be very learned, very trained, very mature, and have a strong base to, from there, explore and create. There are people that have this need to so something different, something that no one has ever done... I don't think this is the right path. You have to do everything that you feel like, but without forcing it. If it comes natural, good... if not, I think you have to set it aside.

This hodgepodge of experiments, does it enrich or confuse?

It enriches. It's good to make mistakes. In Flamenco dance, everything has been done. Thirty years ago they did amazing things and nothing happened, Flamenco is still there. The people are afraid of everything. Look at Vicente Escudero... now he is a giant and before he was wild about doing things like dancing to the rhythm of motors. Time gives and takes away. It's very comfortable to stick with one idea all your life. To stay in the past is comfort, not purity. If you don't catch it, you miss it... also, it's not possible to really dance in the past... it would be painful. Flamenco is a live art form, that continues to evolve. I think it's one of the most alive cultures that exist. Flamenco is not just music...it is feeling, sensations, moments... something difficult to control.

To feel Flamenco, do you have to show it on the outside?

It's not necessary, although some people feel that it is. The Flamenco feeling is in other things, not just on the outside. It's inside, in things that other people can't get at. In any place, in any situation, at any time of day, you can see something Flamenco. Not only in the playing and the singing but in situations, in mannerisms, ways of sitting, to start to sing, the remarks that come out...

As for her, she exudes the essence of Flamenco in how she moves her eyes while she chooses her words, in how she shifts her tone of voice with her marked Sevillian accent, in how she embraces her femininity, in how she brushes her hair aside, in how she sits in silence...

How high have you set your goals?

I don't set goals. I take things as they come. I scare myself when I set goals... where does it end?

Candela Olivo
Translation: Jessica Lorber