Introduction

The Disappearing Act is Yinka Esi Graves' first solo production. With dance, live music rooted in flamenco, text and live video, the work presents itself as an experimental flamenco work, in the form of a reimagined Ghanaian Concert Party.

In this work Yinka Esi Graves draws on her reality as a flamenco dancer of Afro-Caribbean descent and the historical and representational questions this has raised throughout her career. Removal, absence and invisibility become materials with which to create.

The Disappearing Act puts one being on display, La Lala; inspired by the 19th century acrobat and circus artist Olga Brown, depicted in the Degas painting Miss La La at the Fernando Circus. In a three-part performance, she proposes an experiment in which camouflage and crypsis are the main modes for (dis)appearance and exploring the implications of constantly resisting negation.

Crypsis: the ability an animal has to avoid observation or detection by other animals. It may be a predation strategy or an antipredator adaptation. Methods include camouflage, nocturnality, subterranean lifestyle and mimicry.

Collaborating in the work are renowned flamenco guitarist Raúl Cantizano, a pioneer of improvisation in this genre; drummer Donna Thompson, who approaches the work via hip hop and jazz influenced grooves; and flamenco singer Rosa de Algeciras, who creates new lyrics inspired by the concepts in the piece. The Disappearing Act has been developed through a series of residencies in the UK, Spain and France.