Reviewed by Corinna Di Niro, Friday 9th March 2018.
For a dance form that has its roots in 16th century Andalucia, flamenco has been influenced by many external cultures; from the Moorish beats from North Africa, the clicking heels of Scottish dance, to the complex percussive rhythms of the Indian Punjab. For many audiences, flamenco is a trip back in time, with a cultural purity that is hailed and often guarded carefully by its proponents.FLA.CO.MEN is not one of those shows.
Israel Galván and his talented ensemble offer a deconstruction of the very art form, from the playful and light-hearted, to the obscure and sometimes absurd. Galvan and his merry band of musicians appear to improvise their way through a series of scenes, but don't be fooled, this is a very carefully constructed performance.
Opening on a flamenco dancer, Galván, rehearsing in front of a music stand with music and dance notation, Galvan immediately plays with the concept of script and structure, showing irreverence to the rules and conventions that are the strict arbiters of what is flamenco, and what is not. The dance notes end up being strewn all around him, he head-butts the music stand, and we know that we are in for a wild ride.
FLA.CO.MEN is a wild deconstruction of the art form of flamenco. It inverts, it subverts, it plays, and it mocks, it builds, and releases. The result is a freeing of the artist's, and audience's, minds to find beauty in the oddest pairings of music, body, and rhythm, strung together in a series of skit-like scenarios, where we are allowed a voyeuristic glimpse into the backstage world of the flamenco artist. The result is at once eclectic and unpredictable, with moments of pure genius and sheer exuberance.
This back-stage world is made possible by the simple stark lighting and exposed power chords and cabling. There are also moments of darkness and stillness while Galván himself takes a break and sits in the audience, leaving the stage bare for a good 2-3 minutes.
Joined by emblematic guitarist Caracafe and master musician Jimenez, singers David Lagos and Tomas de Perrate, violinist Eloisa Canton, and a small ensemble of percussionists, there is little traditional about this outfit. Galvan dominates the stage, toying with his body in a series of playful percussive experiments, throwing his frame around, and finding rhythm and form in the most unlikely places.
Two kick-drums, two timpani, a Cajon, a saxophone, and a xylophone provide interesting rhythmic combinations, and the body is merely a vessel through which those magical beats can be found.
At its finale, Galván appears in a traditional Spanish cola (long dress with flowing train), and spins and struts his way off stage, with all the irreverence he can muster, to a standing ovation.
FLA.CO.MEN, described as a "concerto for dancer and six musicians", is a brash and exhilarating ride, and one well worth taking.
Reviewed by Corinna Di Niro, Friday 9th March 2018..png)
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