FLAMENCO 2 BY 2. Israel Galván and Alfredo Lagos, bailaor and guitarist

“We're not pressured to make a good impression
on the audience or be a hit”

Carlos Sánchez. Seville, October 2005
Translation: Joseph Kopec

Israel Galván and Alfredo Lagos once again join forces. After sharing projects such as ‘La edad de oro’ and ‘Arena’, the bailaor and guitarist are preparing a version of ‘Granada’ by Isaac Albéniz to pay tribute to the composer at Seville's Maestranza Theater. And it's at the studio the bailaor has in Seville where, during a rehearsal break, the two partners have this chat about what's been done and what's left to do, ending up as an interview. Without external pressures to distract them, they've kept up a fruitful artistic relationship for several years based on freedom of action, mutual admiration... and fun.

	Israel Galván and Alfredo Lagos on 'La edad de oro' (Photo: Daniel Muñoz)

When was your first encounter?

Alfredo Lagos. The first time we worked together was in a show we did with Manuel Soler at the auditorium of Seville's Superior School of Engineers. It must've been around 2001. Afterwards we went to the United States and things got a little more serious. And so on up to the present.

Israel Galván. Manuel Soler gave me the key. A bailaor stays with a guitarist depending on the time and the circumstances he finds himself in. I had some changes there. At that time I was seeking a more appropriate guitar.

Israel, what drove you to work with Alfredo?

I. G. It was the fact of seeking a guitar. He'd just worked with Enrique Morente, but at the same time, he maintained his Jerez toque. He's had a lot of influences. That's helped me a lot in my inventions. I think little by little, we began to discover each other. It's great working with him. He's got a very fast way of working, similar to Sabicas and Montoya. Alfredo's toque isn't ‘ojana’; it shines, it's genuine. Now he's working with Estrella Morente. She needs special intonations. That's why his toque is really peculiar. Enrique Morente once told me that Alfredo is a “jack-of-all-trades”.

Is that what you look for in a guitarist?

I. G. A guitarist, besides being a creator, has to be involved technically. What I look for is that he's someone who's not a slave to rhythm, who has freedom to create things, who isn't tied down to anything.

Alfredo, was it hard for you to adapt to Israel's baile?

A. L. Not really. I already had quite a bit of experience when I started working with him. I think the key lies in the fact that we have fun and we have a really good time working together. I think that's why our professional relationship has stayed alive.

What do you appreciate the most in Israel?

A. L. What I appreciate the most is his personality. I find him very personal. He says quite a lot of things to me because he's unique. I don't think there's anybody else who thinks of doing that nonsense he does (he jokes).

Israel Galván (Photo: Daniel Muñoz)

And you, Israel, what do you think of Alfredo?

I. G. First of all, that he's a good person. It's really hard to be able to do art and enjoy it at the same time. We don't seek out an idea to work forced. The two of us learn a lot from the people we surround ourselves with. It's an experience we both benefit from because we learn from each other. Alfredo's simple. It's hard to find somebody like that nowadays.

Is complicity necessary between you two to have fun up on stage?

A. L. I'm sure of it. There's got to be complicity. Besides understanding you artistically, in the personal facet there has to be complicity in order to find the way to enjoy yourselves. There has to be trust. That's achieved over time. At first, everything was a bit colder.

I. G. I'd also say that we're not pressured to make a good impression on the audience or be a hit. We know when things are right or they're wrong. Having that relaxation and that freedom on stage is important. We don't aim at having a great career and being the most famous.

Alfredo, how would you define Israel's baile?

A. L. Totally trippin' (he smiles). After today's rehearsal, I'm completely sure of it (jokingly). Defining this man's dancing is hard. It's within the limits of flamenco, but with his contributions. It's something really personal. If he'd been a painter, he'd have done really abstract things.

And being abstract, does he stop being flamenco?

A. L. Not necessarily. In his case, definitely not. The flamenco's there. He carries it inside, though he adds personal stuff to it. He's an avant-garde bailaor. And I think that's positive for the artform in general.

Is there purity in flamenco?

A. L. I guess there is. But it also depends on what you understand by purity. I understand it as orthodox. In the case of a bailaor, that means measured dancing, within certain canons which are there.

I. G. One thing is the orthodoxy of the canons, which has been there for years. But what I understand by purity is each person's authenticity. Let's just say that the audience doesn't need prior information about whether you're more avant-garde or more flamenco. Purity is what comes out from within. There's also a lot of deceit in the sense that there are people doing things that are orthodox but don't come out pure. Flamenco is still alive because of that. Each person, each artist creates his own flamenco. That's why flamenco is such an eye-catching artform.

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