2011 OTOÑO EN PRIMAVERA FESTIVAL. ISRAEL GALVÁN, ‘LA CURVA’

Resurrection

Silvia Calado. Madrid, June 1st, 2011
Photos: Daniel Muñoz

PHOTO GALLERY. Israel Galván: ‘La curva’, by Daniel Muñoz


 

‘La curva’. Israel Galván: dance, choreography. Sylvie Courvoisier: piano, music. Inés Bacán: cante. Bobote: compass. 2011 Otoño en Primavera Festival. Naves del Español/ Matadero. Madrid, June 1st, 2011. 8:30 pm

 
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Israel Galván, 'La curva'
(Photo Daniel Muñoz)
   

And in the third year, he rose from the dead. Israel Galván had to die first, let himself be devoured by apocalyptic visions, in order to be reborn with a new spirit. That doesn’t mean denying himself, but rather just the contrary: it’s like a projection from inside outwards. Only thus does he get the visa to go on that strange journey which unites small and big worlds extremely far apart, apparently. ‘La curva’, so ideal for the Naves del Español (former municipal slaughterhouse), is an unsteady, untamed space in which the bailaor puts the limits to the test… to break through them. There’s no box, there are no walls, there are no strings, there are no continuities, there are no solutions. What’s there are a lot of questions marks which is the artist’s sine qua non question to be one.

-Is the audience death?
-Death is the audience.

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Israel Galván and Sylvie Courvasier, 'La curva' (Photo Daniel Muñoz)
 

Israel changes chairs and characters, he asks and he answers. And the crowd laughs nervously or remains silently overwhelmed. The matter refers to ‘Arena’, to the bailaor-bull. The self-references in this show go even further. The most obvious one is the approach, which is taken from ‘Tabula rasa’, a 2006 show. They’re the three basic elements: the bailaor, piano and cante. But there’s a decisive mutation in the instrument, now contemporary. The factor (new for the show, but not for the bailaor) destabilizes that austere, essentially flamenco conversation which was his previous show. Sylvie Courvoisier, a priori, has her antagonist in Inés Bacán. In the end, they turn out to be mysterious allies. Also intriguing is the presence of Bobote, who cheers on the Swiss performer for her age, who does a surrealistic pas de deux with the bailaor, who knocks on the wood with the cantaora… Is the bailaor the taxi driver being called? Taxi!


 
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Israel Galván with Inés Bacán
and Bobote, 'La curva'
(Photo Daniel Muñoz)
The time machine journeys further back. It reaches ‘La metamorfosis’ and even ‘Los zapatos rojos’. And still further. The maestros and tradition were always in this Sevillian artist. Now he’s back to the tough Cubist manners of Vicente Escudero, but also the winding stylized ways of Antonio. Nor does he stop drawing out that anonymous thing from the crowd and the room when he approaches the table that his jondo aunt and uncle, Inés and Bobote, are at. All of it, plus the calm, the emotion, the playing, the irony, certain objects and expressive materials, affects the baile throughout this journey. Far from showing signs of exhaustion, Israel Galván’s style looks reactivated, imaginative, vitalistic, both in the physical and the conceptual. The time machine moves forward with old luggage, but with the dizzying lightness of the curved. The journey continues. And although you might not believe it, this time there is a happy ending.

Photo gallery. Israel Galván, 'La curva'
Photos © Daniel Muñoz, June 1st 2011



Further information

Interview with Israel Galván, bailaor (May, 2011)

Israel Galván premieres the show ‘La curva’ at the Théâtre Vidy-Lausanne in Switzerland

Bienal de Flamenco de Sevilla 2006. Israel Galván, ‘Tabula rasa’. Review, photos

Bienal de Flamenco de Sevilla 2004. Israel Galván, ‘Arena’. Review, photos, video

   
  CD. Pedro Bacán e Inés Bacán,
'De viva voz'

More information, audio, order

 

DVD. VVAA, 'Rito y Geografía del Baile (12 DVD)'

More information, videos, orders

 

Israel Galván
Biography and readers' comments

 

 

 

 
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