Yzabelle Bostyn
THIS is the British dancer revolutionising Spain’s flamenco scene by delving into its African influences.
Born in London to Ghanaian and Jamaican parents, Yinka Esi Graves didn’t grow up thinking she could become a dancer, never mind one of the most refreshing forces to storm Spain’s flamenco scene.
But after 16 years of study, the 40-year-old has brought a fresh and vital perspective to this traditional art form.
Her groundbreaking solo performance, The Disappearing Act, explores the African influences in flamenco, an aspect often overlooked in its history.
Graves uses her unique Afro-diasporic lens to challenge perceptions of identity and invisibility, drawing connections between flamenco and African dance traditions.
This unique perspective, she says, is the key to its success, having been nominated for two Lorca awards.
“Flamenco is an urban art form that has a lot of influences from many cultures, including those of the African diaspora,” she told The Olive Press.
About 15% of the Spanish population between the 15th and 19th century were African, many ending up in the country after being transported through Sevilla on their journey to the United States.
Of about 80,000 slaves, it is believed at least 10,000 stayed in Spain.
“They are often written out of the narrative,” Graves said. “But when I came here, I could suddenly see the African influence that wasn’t written in the official story of flamenco. But it’s there, in people’s body movements, the rhythm and more. If you look at some dance styles from Africa such as Sabar in Senegal, you can see the links to flamenco.”
In fact, the African links with flamenco have always been ready to be discovered, with the very first image of a flamenco cuadro captured on film featuring a black man, Jacinto Padilla or ‘El Negro Meri’.
“This link isn’t something that we’ve explored enough, our presence is always there but never named,” she said.
This feeling of ‘invisibility’ deeply influenced ‘The Disappearing Act’, alongside Graves’ experiences as an African person living in the west.
She said: “Invisbility is part of my existence, in this work I’m reflecting on how to play with that and use it as a tool. How to be aware? Or to disappear as a means of survival? To ask, what is written out and what is perceived?”
Throughout the piece, she uses various images such as weaves and skin lightening makeup to explore how one can maintain a sense of self within the concept of ‘invisibility.’
A ‘very personal’ performance, the show has toured all over Europe, with further stops in Switzerland, France and Granada.
The performance has featured respected flamenco guitarist Raul Cantizano, British drummer Donna Thompson and Graves’ sibling, Remi Graves.
Yinka first showed her talent for dance at just three years old, when living in Nicaragua she easily picked up the carnival choreography.
On her return to the UK, her parents enrolled her in all sorts of dance classes, from modern to jazz to ballet.
However, when it came to university she decided to study Art History, thinking dance ‘wasn’t a real job.’
It was there at the University of Sussex that she discovered flamenco, age 21.
After working odd jobs after university, she moved to Madrid aged 24 to pursue flamenco at the famed Amor de Dios school.
“I jumped in at the deep end,” she confessed. “But I made a lot of friends and felt really nurtured, I really improved and learnt a lot.”
Some five years in, she met Malaga based Flamenco dancer, La Lupi and made her move down south.
“I realised flamenco was born in Andalucia, it’s like going to New Orleans for jazz, you breathe in the space where that artform was created, it’s in the streets, in the way of speaking, in the football, people have flamenco close to them here. It’s a big part of Andalucian culture,” she said.
During the first few years of her career, she worked as an English Teacher and Tour Guide to get by while nurturing her true passion.
After a decade, she was finally able to fully dedicate herself to flamenco.
“I was very lucky because I got to the point where I was being asked to perform in places where it felt fraudulent not to be a full time dancer,” she said.
“That was when I decided, I’ve got to make a choice right now, because there comes a point where it asks so much you have to give it all the time that it requires. It’s not possible to do it part-time.”
She has also formed part of the acclaimed company, Dotdotdot Dance alongside British flamenco dancers Magdalena Mannion and Noemi Luz from 2014-2017 and performed multiple successful UK tours.
Now, six years into Graves’ career, she is pushing the boundaries of flamenco, infusing African influences with the traditional Andalucian art to create a captivating, modern interpretation of the dance.
