coreography and dance Israel Galván
sound Fèlix Vázquez
production Cisco Casado- Chema Blanco, a negro producciones
intenational booking Carole Fierz, polimniA
Running time 40'
At a time when dance was still struggling between the rancid and the new, came Israel Galván who refused to take side. Enrique Morente has called him ' The oldest of the youg dancers'. Facing a twofold panorama, ranging between invented canon and modern affectation, Israel revisits the worn-out, walked-out path. When faced with the observers of the classical and canonic status quo, he turns the canon upside down to offer his 'conceptist' and baroque flamenco. When faced with those who introduce modern and contemporary, jazz and folklore idiotisms, he proposes to reconstruct a modern flamenco dance, only using the materials which used to be exclusive tools of flamenco. Recognition is Israel's startpoint. Mario Maya's alegrias, El Farrucco's solea, his steps, his quiebras (Body inflexions): these are the root he uses to shape a new flamenco. Israel fools no-one when he simulates a dancer's life to the tune of a Mecano song. Who can doubt that to Israel Galván a Stanley Kubrick movie is more important than a Nacho Duato step? Galván learns more as he watches a football game with Manuel Soler than he would in a modern academy. (...) Nobody doubts that Israel Galván is the dancer of dancers, given the number of dancers to attend his performances.
Nobody doubts that he's favourite with singers, who admire his compás (rhythm), given that they command him to integrate bulerìas into his modern experiments. Nobody doubts that the flamenco of the previous years would have been an entirely different thing, if it hadn't been fort Israel Galván.
Pedro G. Romero
Israel Galván was born into flamenco dance. He grew up learning and dancing with
his father, the dancer José Galvan, and his mother, Eugenia de los Reyes.
In 1994 He joined the Compañia Andaluza de Danza directed by Mario Maya, and
over the next decade won just about every top flamenco prize possible, including theGiradillo prize at Seville’s flamenco Biennal, the Flamenco Hoy critics’ award for best dancer of the year, which he received in both 2001,2005, and Spain’s national dance prize, 2008 Premio Ciutat de Barcelona.
Forming his own company in 1998 to create his first work Mira Los Zapatos Rojos,
his reputation as risk taker grows each time he presents a new work since then,
Metamorphosis,, his flamenco version of Kafka’s novel ; Arena, his dramatic and
surprising choreography based on bull fighting ; La Edad de Oro, in which he clings
to references tracking the normal approaches and shuns "Age" ; Tabula Rasa in
which he turns the canon uspide down to offer his conceptualist and baroque
flamenco ;Solo Flamenco,, its most experimental and risky piece in which silence
plays as a music. And finally his personal and so impacting vision of « the
Apocalypse » with his most recent creation, El Final de este estado de cosas redux,
premiered recently at the Operahouse La Maestranza of Sevilla (Summer 2008).
In each of his works, Israel Galván has been collaborating with classic flamenco
artists including Fernando Terremoto, Inés Bacan, Bobote, El Electrico, and
contemporary flamenco innovators including Enrique Morente, Gerardo Núñez,
Miguel Poveda, Diego Carrasco, Diego Amador, Alfredo Lagos, and with