Israel Galván - A Negro Producciones

conceptual line of dance, combining the most consistent tradition with the freest vanguard,
emotion with mathematical rigour, humour with tenderness.
In a theatre which has grown used to seeing the newest, most innovative proposals, the public –
who have filled the house every night – have been fascinated by the originality and daring of an
aesthetic proposition which does away with all convention, showing that a quartet made up of an
experimental dancer, a deep, profound singer, a contemporary pianist and a clapping Jack-of –alltrades
is not only possible but is in fact highly desirable. La Curva’s blend of popular music,
classical music, and dance has caused upheaval in the peaceful Swiss town so well-placed in the
world of Dance thanks to figures such as Maurice Bejart, Sergei Diaghilev, Serge Lifar and so many
more. (...).
(Juan Angel Vela del Campo, DIVERDI, january 2011)
Israel Galván breaks the schemes of the dance in a continuous gestural sublimation that extracts
the essence of flamenco from a corporal unexpected development and a deep creativity. Nobody
can remain indifferent before his art, Israel is different, is incomparable.
(Ramón Rodó Sellés, LA VANGUARDIA, 05/07/2010)
Known as an avant-garde force in Spain, Mr. Galván is postmodern by typical flamenco standards.
He strips flamenco of its histrionic showbiz status.
He is seductive without trying to be, and if this is what new flamenco means, bring it on.
(Gia Kourlas, THE NEW YORK TIMES, 19/06/2008)
Israel Galván treats flamenco dance with the audacity of a lover. He destroys the gesture, moving
as a bird, he leaves walking. Sometimes he flies.
Israel Galván offers himself the luxury of irony. His own body is not flamenco: it turns into
flamenco.
He helps us to understand, to live and to think the ignorance of the future. In the perfection of
rhythm and time that can be heard because we can see them.
(Francis Marmande, LE MONDE, 10/05/2007)
He does not deserve less than to be compared with Picasso, Nijinsky or Escudero. Since he has
found in fragmentation, deconstruction, deformation of lines, and in the use of internal and
external stimuli, the transmission channel of such a complicated thing. The intelligence to describe
the whole mystery of this feast of death: art and money, beauty and sacrifice, barbarity and label.
His circumstances and his emotional temperature. I finally understand what can’t be explained.
(Julia Martín, EL MUNDO, 22/07/2005)