Akram Khan & Israel Galván
16 October 2015
16–17 October 2015
There is something uncomfortable about Torobaka. How is it possible for two dancers to collaborate on a show with the bull as its main metaphor when one of them comes from a culture which reveres the animal, while the other slays it?
“Anarchy” says the programme notes. The only solution is to go against tradition and come together as two dancing bodies.
The result: Two phenomenal dancers in a bullring that duel, complement, and play with each other.
One of the main impetuses of this performance is a response to a problem in most intercultural collaborations. Rather than digging deep by investigating the vocabularies and limits of both traditions, most performances are often a sophisticated version of dance school recitals. Both traditions are placed alongside each other and the audience is asked to draw up a list of similarities and differences between them.
Torobaka is definitely not one of them. In this work, we see Khan and Galván rolling up their sleeves, giving all that their traditions offer, and summarily tossing them out as well. In many ways, the dances are respecting their traditions in their truthful assessment of what they can offer.
The show starts off with both dancers performing moves inspired by both traditions but expressed in their own way. While Galván’s angular flamenco lines and Khan’s fluid lines are still somewhat discernible, the audience will be hard-pressed to tease out which moves belong to which tradition. And that is the point.
The performance then progresses to a series of solos where both dancers openly defy both traditions. If “purists” were seething at both dancers before, they will go into cardiac arrest this time.
Think Khan dancing with hands in flamenco boots or silencing the jaleos (shouts of encouragement) by the Spanish palmero (rhythm clapper), Bobote.
Aside from his usual fare of breaking the lines expected of a flamenco dancer, Galván’s ferocious and primal solos were ornamented with playful squawks and gestures. At one point, I gasped as he stomps on Khan’s ghungaroos (ankle bells) and performs a series of footwork. However, with the jingling of the bells to accompany his footwork, it feels as if he is performing a duet with Khan.
In other solos, it is clear that both men are going back to the roots as if to remind the audience of where they came from. The show ends with the dancers coming full circle by locking horns and combating each other in the only way that they know how.
If the choreography is complex, the music that accompanies it tops that. It is a wondrous amalgamation of classical kathak and flamenco rhythms that are lyrically guided by songs from western classical and folk traditions.
Percussion enthusiasts would revel in B. C. Manjunath alternating between vocalising kathak rhythms and counting in Spanish while playing the pakhawaj (percussive drum comprising two kettle drums tied together) or duffali (hand drum).
Vocal and choral lovers will enjoy the interweaving of David Azurza’s counter-tenor vocals with Christine Leboutte’s lower range. Add Bobote’s clapping into the mix and we get music that is profoundly meditative, dramatic, and playful at various times.
Torobaka puts creativity, energy, and passion back into dance as it excavates the dynamics of human interaction as well as forming new movement vocabularies. In essence, Khan and Galván show us how anarchy and tradition can co-exist within the realm of human expression.
“da:ns Fest 2015: Akram Khan, Israel Galvan go mano a mano” by Mayo Martin, Today
“Duality in Harmony” by Germaine Cheng, The Straits Times Life!
“Torobaka Review” by Five Lines