The dancer Israel Galván performs this Saturday, December 8, at the Principal Theatre with his work, ‘Fla.co.men’, in which he puts his body in the service of the music and used it as an instrument of percussion through the song, the foot stomping, or clapping.
Question.- Comes to Palma with their show Fla.co.men in the that the music ties it all together. What is the importance in your dance?
Answer.- Apart from dancing, I consider myself a musician more. With the body you can make music, not only get with the footwork. It is about achieving a body percursivo and sound. For me it is a musical journey where my body is at the service of the sensitivities musical. In short, it is made with the idea of merging dance and music in a single trip.
P. – 21 years old, form their own company. What would you drag to it?
R. – Really I am without realizing it. I remember that I offered to submit something and in that process, when I get to my first work, I realize that I make things personal. At that time, went into another stage of my career where in addition to dance well technically I’m inside in the language of what I mean.
P. – Based style in a language of their own. How do you build it?
A. – I have Always danced flamenco since he was young, but already then I liked the freedom of movement. That’s why, in my own work I’ve tried to keep the energy flamenco, but allowing me freedoms. I have created a language of their own which could like or not to the public, but saved me criticism if I dance well or badly. When dancing within a style that is known all over the world, you know if you’ve been good or n or. To be a language of its own, it runs the risk that like it or not, but you do not know. Really I hide in my language.
P. – style drink the flemish, but also of the dance. How do you balance it?
A. – What we are trying to create a new gesture, a new formula to be on the stage. I don’t do fifty percent dance and fifty percent of flamenco, but there is a path between them that is not fusion. Is to discover a new gesture in which all movements are possible. I don’t think that you can not do this because it is not flamenco. I believe more in the intent.
P. – Opened for the XX Biennial of Flamenco of Seville with the show Arena at the Plaza de Toros of the Maestranza. What would bring a show to the Balearic islands, where the bulls are prohibited?
A. – it Is a work that I did in 2004 and then I remember that the discussion was around what a bullfighter you liked the most, if Joselito or Morante de la Puebla. When you return to it months ago, fourteen years after this first performance, I find that the debate is another: bulls yes or no. Antitaurinos or bullfighting. In this dilemma, and today I decided to represent it in the Plaza de Toros in Seville because, for me, was a framework of sound and visual only. Sand is a very neutral, that is neither for nor against. It shows all the philosophical, the geometrical, the violence and the carnage around the bull. I try not to hide anything. In fact the article in six dances recreating the six bulls that there are fights every evening. In one of these accompanies me, the Child of Elche, which is a singer antitaurino recognized. He made a text antitaurino, and was held in the Maestranza, where the people welcomed it. For me, both taurine as antitaurino are an art in itself. Personally I recognize that it may be violent but it is part of where we live. That is why it is a work that you would do in front of people who are pro and those who are against it. Is in a neutral ground so that I’m comfortable with the two public.
P. – Arena begins with a quote from the bullfighter Luis Miguel Dominguin who says “the audience is death.” Do you feel it also?
A. – All of the artists feel a little bit as well. Who kills you is the public because if you do not want to see, just with everything. That quote helped me to put to the public in the work, which for me was my bull that I have to fight and kill.
Q. – What is the next thing that is working?
R. – This next year I will do two works, which I’m already rehearsing. One of them is a job with a university in Japan where he danced with a robot of artificial intelligence, which has caught all of my training, my steps and processes freely. I’m also going to represent El Amor Brujo of Manuel de Falla. For me it is a year of creation.
Q. – Has numerous awards, among them the National Prize for Dance in 2005. What will push you to continue or will you move another thing?
R. – The prizes will last a day, when you give it and the other morning because it was all over. Because give me a prize I’m sitting. You’ll have to lift and learn even from young people.
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