One would not assume flamenco and hip-hop, two extremely distinctive dance forms, could integrate on one performing stage. Caroline Caruana, a part-time flamenco dancer, recently presented her first dance production which sought to create this hybrid type of dance.
Deborah Falzon displayed an immensely energetic drive and skillful execution punctuated by a spot-on groovy attitude- Giséle Grima
Performed at St Benedict’s College Theatre in the remote village of Ħal Kirkop, the event entitled ‘Street Flamenco’ adopted a contemporary and unique approach to dance.
Flamenco as an art never really conveys a plot, but in Caruana’s rendition, the genre is given a more concrete background supported by a simple narrative.
The story mainly revolves around a male street dancer who despite his obvious difference in lifestyle, falls for a flamenco dancer, performed by Caruana herself.
The cast also included four additional flamenco dancers and a spirited group of hip-hop dancers of mixed abilities.
Drawing on Caruana’s own life experiences, ‘Street Flamenco’ is a portrayal of two separate cultures, both living in the margins of society, sharing their music and dance with each other.
To say that Caruana took an honest risk in attempting an unusual fusion and concept of dance is probably true. A new artistic venture is always laudable so hats off to her for presenting something original.
The outcome, however, was occasionally misleading, and the story and dance not always clearly depicted. It did take a while to latch onto the plot, not least because of the obscure rapping which was a shoddy attempt at narrating the story (I am sure the heavily amplified sound was no help at all).
One wonders whether programme notes would have been handy for this kind of event.
All that forgotten, the hip-hop numbers offered a rare opportunity to witness street dancing in a different performance setting. Sporting multi-coloured, casual streetwear, all seven performers indulged in breaking, locking and popping, but their work had more potential to develop and often resulted in repetitive sequences.
Standing out among the group was the only female hip-hop dancer, Deborah Falzon. Free from any falsehood, Falzon displayed an immensely energetic drive and skillful execution punctuated by a spot-on groovy attitude.
Credit should also be given to the intuitive breakdancers whose routines of quick spins, kicks and frozen positions were entertaining to watch.
The flamenco dancers, on the other hand, were consciously and technically well-placed, although their dancing was perhaps short of the sponataneity the hip-hop offered. There were few moments of exaltation which saw them caressing the impassioned drama and enchanting nature of flamenco.
Upper-body postures were generally rather stiff and one longed for those rich archings of the torso.
Dominating the troupe was the petite and unassuming Caruana, who demonstrates a sound competence for the art. She is endowed with courage and a performance affinity that will undoubtedly see her flourish throughout the years.
It wasn’t until the second half that the real spirit of ‘Street Flamenco’ began to emerge. Creating a kind of battle arena, both groups performed a dance-off, competing with one another and uniting their creative energies through their own disciplines. Moving to the varying beats produced on the cajon, they challenged and mocked each other in an unknown territory of beats and compás.
The result was a more cohesive fusion of the two styles juxtaposing the complex rhythms of flamenco upon a freestyle urban landscape.
Judging by the enthusiastic applause and occasional shouts of “olé” at the end, it was clear the audience thoroughly enjoyed the performance. We look forward to Caruana’s next project.