BIOGRAPHY
Israel Galván was born in Seville, Spain, 1973. Lives in Seville
Choreographies 2008 El final de este estado de cosas redux, XV Bienal de Flamenco de Sevilla
2007 Solo, Cinemathèque de la Danse, Paris
Shows 2006 Tabula rasa 2002 Galvánicas 2000 La metamorfosis.
INTERVIEW
Katia Calsavara: What is the theme explored in Solo…? What was the creative process like for this choreography to be performed in São Paulo?
Israel Galván: The theme has more to do with my creative process than any other external element. It came about naturally when I was preparing a recent work,
Tábula Rasa, in which there is an important part that I perform without musical accompaniment. It occurred to me to convert this piece into an independent work in which I confront myself.
Katia Calsavara: You resort to improvisation in your performances of Solo…. What kind of language do you seek in terms of movement and gesture?
Israel Galván: This choreography allows me a profound exploration of my own movements and to confirm how a series of elements work within them. The choreographic language of
Solo… has a lot to do with purifying movement, something to which all bailadores aspire. But, at the same time, improvisation is very present.
Katia Calsavara: How does it feel to be one of the most acclaimed flamenco dancers of your time?
Israel Galván: What I can say is that when I am dancing or choreographing a new piece, I don’t think that I am doing something that is going to change flamenco dancing. My ways of dancing are the result of my needs for expression and the language I require to express what I feel. I don’t think about whether this is going to transcend or not.
Katia Calsavara: What is the performance of Solo… like in terms of the use of space? In Solo…
Israel Galván: I can give myself the luxury of playing with space. I’m not subject to the “impositions” of a traditional stage. I like the feeling that the space can become yet another element in the show or that new elements can be introduced.
Katia Calsavara: Both the audience and critics always expect something surprising in your works. How do you deal with these expectations?
Israel Galván: Truth be told, it’s a burden that weighs quite heavily on me, but with time I’ve learned to enjoy my work and the process more. At any rate, my creative process is quite painful. I believe it has more to do with my own character, as well as the insecurity that all artists feel when they try something new.
Katia Calsavara: When you deal with certain controversial issues, such as bullfighting in Arena, do you believe your work has a social function?
Israel Galván: In
Arena there is no value judgment about whether bullfighting is right or wrong. It’s not about that. It is an event that is a part of our culture and it has strong ties with flamenco historically. My approach to the topic has been more from an artistic point of view than any other kind of value. I don’t believe Arena has influenced anyone’s opinion. I am sure that after watching the show, those who didn’t like bulls will continue to be against it, and those who did like them will continue to do so.
Katia Calsavara: In your opinion, what is the importance of the many awards you have received in recognition of your work?
Israel Galván: Awards are always comforting. They help me keep going and boost my self-confidence. You think: “Well, if they’re giving me this award it’s because I’m not that far off.” At the same time, they give you more responsibility, because you have to keep showing that you, and not someone else, deserve the award.
Katia Calsavara: This is your first time in Brazil. What are your expectations?
Israel Galván: I’d like to have more time to see the country. It would be nice to do a tour of Brazil’s theaters in the future. That would be a good kind of mutual introduction. Brazil is a country with a very important musical tradition and that makes it very attractive to anyone involved in the area.
Katia Calsavara is a journalist and ballet dancer. She lives in São Paulo.
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