<?xml version="1.0" encoding="UTF-8"?>
<rss version="2.0"
	xmlns:content="http://purl.org/rss/1.0/modules/content/"
	xmlns:wfw="http://wellformedweb.org/CommentAPI/"
	xmlns:dc="http://purl.org/dc/elements/1.1/"
	xmlns:atom="http://www.w3.org/2005/Atom"
	xmlns:sy="http://purl.org/rss/1.0/modules/syndication/"
	xmlns:slash="http://purl.org/rss/1.0/modules/slash/"
	xmlns:series="http://unfoldingneurons.com/"
	>

<channel>
	<title>Musical America Blogs &#187; Caracafé</title>
	<atom:link href="http://www.musicalamerica.com/mablogs/Index.php?feed=rss2&#038;tag=caracafe" rel="self" type="application/rss+xml" />
	<link>http://www.musicalamerica.com/mablogs</link>
	<description></description>
	<lastBuildDate>Thu, 17 Jan 2013 04:15:38 +0000</lastBuildDate>
	<language>en</language>
	<sy:updatePeriod>hourly</sy:updatePeriod>
	<sy:updateFrequency>1</sy:updateFrequency>
	<generator>http://wordpress.org/?v=3.0.6</generator>
		<item>
		<title>A Masterwork by Israel Galván</title>
		<link>http://www.musicalamerica.com/mablogs/?p=9050</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=9050#comments</comments>
		<pubDate>Fri, 04 Jan 2013 16:18:04 +0000</pubDate>
		<dc:creator>rachel.straus@earthlink.net</dc:creator>
				<category><![CDATA[The Torn Tutu]]></category>
		<category><![CDATA[Belén Maya]]></category>
		<category><![CDATA[Bobote]]></category>
		<category><![CDATA[Caracafé]]></category>
		<category><![CDATA[Chicuelo]]></category>
		<category><![CDATA[David Lagos and Tomás de Perrate]]></category>
		<category><![CDATA[Eloísa Cantón]]></category>
		<category><![CDATA[Flamenco]]></category>
		<category><![CDATA[Isabel Bayón]]></category>
		<category><![CDATA[Israel Galván]]></category>
		<category><![CDATA[Jacques Lacan]]></category>
		<category><![CDATA[Leni Riefenstahl]]></category>
		<category><![CDATA[Lo Real/Le Réel/The Real]]></category>
		<category><![CDATA[Pedro G. Romero]]></category>
		<category><![CDATA[Rachel Straus]]></category>
		<category><![CDATA[Roman]]></category>
		<category><![CDATA[Saville]]></category>
		<category><![CDATA[Sinti]]></category>
		<category><![CDATA[Txiki Berraondom]]></category>
		<category><![CDATA[Uchi]]></category>

		<guid isPermaLink="false">http://www.musicalamerica.com/mablogs/?p=9050</guid>
		<description><![CDATA[Consider this scene. Galván hammers an old upright piano apart with his sputtering footwork. In doing so, he destroys the harmonic integrity of the instrument. When he forces the piano apart, we hear its strings shrieking as they stretch. We see Galván in a deep lunge with his muscular arms working to push the battered object to its breaking point. But the piano doesn’t dissemble. Instead its strings, like Galván’s wiry body, produce a shrill, taut dissonance, one that is awe-inspiring in its intensity. At this moment, the image of the persecuted gypsy becomes real: Galván, stripped of his shirt, dances while caught in a barbed wire fence. His angular, contorted gestures and his sharp, hard footwork eviscerate him as they reveal the unique quality of his dancing, which bends the tradition of the Seville school of flamenco beyond recognition.]]></description>
		<wfw:commentRss>http://www.musicalamerica.com/mablogs/?feed=rss2&#038;p=9050</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
	</channel>
</rss>