![]() ![]() At first it seems that this is an authentic cultural expression that balances the collection of signifiers that have been emptied of their meaning in the program, but the performative action is more complex since the footwork has already been established as the purpose of the entire flamenco art, while its function depends and is fulfilled only in relation to the singing - the source of flamenco - and it is introduced into the stage space only when Kogan begins to perform a Martinete, an ancient traditional song-form. The art is revealed when Hillel Kogan enters the stage with flamenco dancer Michal Natan: he sits on a chair and watches her perform complex sequences of steps. Flamenco, on the other hand, does not appear in the text explicitly, despite being one of the distinct symbols of Spanish culture, but it is present in it through the attributes identified with its clichéd image - fans, castanets, black and red and white dots - which took root throughout history at two specific points in time: The European fascination with the Spanish 'other' in the 19th century, which was expressed in the various arts (such as the illustrations of Gustave Doré or the novella Carmen by Prosper Mérimée, and the opera by George Bizet that followed) and Franco's dictatorship (1939-1975), during which the cultural diversity of the distinct provinces of Spain was erased in favor of one artificial identity, whose exaggerated 'Spanish-ness' characteristics were intended to hide the injustices of the government and attract tourists. These poles are largely defined even before the work begins in the text that appears in the program, and contains a sequence of descriptive words - some refer to cultural symbols from the past and present (Picasso, Goya, the House of Paper, Almodovar) and historical events (Franco, Columbus, the Inquisition, the Golden Age), while others are more general and represent common perceptions about the Spanish being (sun, wine). ![]()
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