Review: FLAMENCO FESTIVAL: LA CONFLUENCIA, Sadler's Wells

Let's talk stereotypes for a moment. Joaquin Cortes definitely changed any fixed narratives about flamenco when he entered the global stage circa 1995, but the general consensus would still be ‘woman in frilly red dress’ I imagine.

2023 and we observed Rafael Estévez and Valeriano Paños of Estévez/Paños (established 2003), and three additional male dancers in La Confluencia (The Confluence). A work looking at the roots of the flamenco genre and acknowledging its "European, Roma, Jewish and African" heritage and influences. 

The duo confirm their work is "seeking inspiration in its past and in contemporary art". This is both intriguing and risky as contemporary, and art, are terms that can both enhance or diminish the dance work they're aligned to, if taken literally and without the goods to back them up. 

La Confluencia confounds the stereotypes of flamenco and is far more layered than I'd (subconsciously) imagined. How interesting to see the male and masculinity analysed and explored through this medium. 

The dance content was as you'd imagine, and much more. There was the expected intricate and highly rhythmical footwork/clapping, but there was also a contemporary angle with a multifaceted nature. First and foremost, the skill can't be denied; moments of elevation seemingly came out of nowhere and allowed the dancer to momentarily suspend mid-air. The men of La Confluencia also added batterie to their technique; breathtaking moments of ballon further enhanced with clean, beats of the legs.

Elsewhere the men showed regular, proficient use of leg extension. This came in the form of high kicks, both martial art and chorus line in style. And additionally in adagio passages; where slow, unfolding développés are executed in all number of alignments - reminiscent of a classical ballet Adage setting. Other choreographic phrases would feel at home in the New York City ballrooms of the 1980s where Voguing was further defined. Slay.

The emotional exploration is both important and unexpected. The performance saw the men dancing with each other, more celebratory than competitive, and also showed them dancing together; in duos or pas de deux. The narrative in flamenco is rarely literal, but this slight disconnect allowed for freer, deeper, more personal readings. 

Two highpoints of the performance were the pure vocals of Francisco Bianco and the exquisite dancing of Valeriano Paños. All of the dancers were consummate - but Paños was something else. Dynamism, suspension, equilibrium, form and intensity that seems to know no bounds.

My only criticism of the night is that this powerful show could have even more impact if it cut down some of the more self-indulgent passages. Editing is rarely a bad move. 

The Flamenco Festival continues at Sadler's Wells until 15 July.

Photo Credit: Beatrix Mexi Molnar 

To post a comment, you must register and login.