Surreal images and live flamenco
The title Blood Wedding refers to the 1932 tragedy play by the Spanish writer Federico García Lorca , which premiered in Madrid the following year.
However, the performance is not only based on the play, but draws more broadly from Lorca’s entire production, life and his inner circle, which included several surrealist artists.
Atro Kahiluoto works as the dramaturg of Blood’s Wedding , Kaari Martti as the choreographer and Roni Martin as the composer, and the three of them are responsible for directing. The surreal dance work is created together with the ensemble based on various improvisational exercises.
“For example, we can have a theory of a scene, but we don’t give the performers roles or steps, but we give them a free opportunity to interpret the theory,” says Roni Martin.
“Flamenco music, movement language and being create the foundation and playing field on which we move. It brings stylistic unity,” says Atro Kahiluoto.
Historical parallels The
Blood Weddingwas written before the Spanish Civil War that broke out in 1936. The era was marked by clashes of different ideas, increasing polarisation and public beatings of the wrong kind of people. The rise of fascism and the threat of war cast a shadow over the whole of Europe.
“We felt that there was a historical allusion between then and now, which we wanted to explore. Lorca’s role, for example, is comparable to the role of us artists in our time,” says Atro Kahiluoto.
A large number of artists were forced to flee Spain, but Lorca refused to leave his hometown. He took a huge personal risk, as a result of which he was executed in the first days of the war.
“This is also a tribute to artists who do not bend in a tight spot,” says Kaari Martin. “But when we talk about the themes of the performance, we only talk about how we work on it. We don’t want to underline anything, but leave room for interpretation for the viewers.”
A rich art form
The Spanish Civil War and the rise to power of Francisco Franco also marked the end of one of flamenco’s golden ages.
“During the Franco era, flamenco was castrated and domesticated, and it was turned into a show monkey called tourist flamenco. We will stay as far away from that as we can,” says Roni Martin.
Andalusia then began to be marketed through tourist flamenco, which did not include dark and brutal elements of resistance. This is also the basis for many Finns’ perceptions of flamenco.
“Here, the image of flamenco is unfortunately one-sided and superficial, even though it is an extremely rich art form with influences that are alien to Westerners,” says Kaari Martin.
During Franco’s reign, flamenco was still kept alive by the Spanish Roma, among whom it remained a family tradition. The guest Spanish musicians Juan Antonio Suárez “Cano” and Victor Carrasco are of Roma background.
“We clearly have an outside perspective, and the whole theme creates a dialogue between us and the Roma musicians,” says Kaari Martin.
Flamenco is strongly based on improvisation, which will also be reflected in Blood’s wedding. The musicians do not play from sheet music, but react to what is happening on stage.
“The role of musicians is not to accompany the performers. They are the narrators whose dreams and subconscious images the performers are,” says Kaari Martin.
Text: Ida Henritius