Lines of Flight 

Lines of Flight aims to present itself as a different way of knowing. Flamenco is not only a style, music and dance, an argument, and a place of clichéd identities, it is also a means, a medium, a certain way of doing. It isn’t, then, about talking about flamenco, but about trying to make flamenco speak, to say things. So, what we are proposing are not quite concerts, nor are they specialised talks, nor illuminating conversations. Instead, we want to construct a situation, an atmosphere, a singular moment of space-time in which we can see how some ideas run wild, like hares.  

Thus, the idea is to bring together some of the flamenco stars of What Goes Below and sit them at a table where they can have coffee, a few drinks, a conversation, sort of like what happens before and after the sessions at El Dorado, along with musical interventions, but that’s not all. The idea is to make those tables talk, to make those tables dance. 

We don’t want to talk about decolonising knowledge, but many of the guests are well aware that knowledge is, by necessity, a colony. Here we will skirt past that place, to its periphery, on the outskirts. Flamenco in Barcelona is more central than peripheral, although that is not how it is understood. We will also talk about this paradox at these roundtables. 

Pedro G. Romero himself will be there, bouncing around, pouring the coffee, filling up the wine glasses. The idea is for the participants to sing, play, tell stories, not only the film’s protagonists but the guests – people from Nou Barris, from El Dorado, from flamenco – will also talk about this and that, translating, in a sense, what flamenco says. Flamenco always speaks softly, very softly. These tables aim to help us understand it.   

Said the tongue to the breath: 
“cast yourself in search of words 
that say what I say”