Montpellier Danse 2013
Reports
Galván wonderfully expresses with all the means of expression and dance, including the zapateado, the torture, suffering, persecution and the tragic killing of human beings, whether they are of any religion or skin color. Almost two-hour performance is lead by dancers Belén Maya, Isabel Bayón and the whole music band of the famous Pedro G. Romero. Musical compositions with all more or less typical instruments and singing, however, lead too much into the typical separation of numbers, with dance and solos alternating with musicians, in the presence of everyone involved on the stage. This entire structure of the show remains to be a Spanish flamenco show, which should be watched more by Galván as an author. Suffering, which he wants to point out, is losing its power against the entire Spanish equipage, even though Galván himself is an incredibly strong personality who could dominate the huge stage of Opera Berlioz without any additional components. Africans Boyzie Cekwana from South Africa and Panaibra Gabriel Canda from Mozambique move in another world. No wrap of fame accompanies them. They also want to agitate against injustice and war crimes, with a completely different primitive means of expression. The Inkomati dis cord expresses originally a first agreement (the title is after the river Inkomati), which forms the territorial borders of the countries in the political pressure of apartheid of the 80s. Dancers-actors comment on the consequences of a breach of this agreement and criticize and caricature political figures using large masks. There was an exciting performance by a handicapped dancer without legs, who epitomized the permanent consequences of forever-unsolved events.
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Josef Bartos
Thank you for your thoughts. One got stuck in my mind – that passion makes us different from AI. Just yesterday I read…I am a dance critic. I am a member of an endangered species