She has danced pregnant, in bondage gear, and drenched in what looks like menstrual blood – all to unleash the monsters lurking within her and all of us. We meet the unstoppable performer rocking the flamenco world
ince I was little, I’ve always been told that I am the weird one,” says Rocío Molina. “Like an alien,” she adds, speaking through a translator over video call from Spain. Weird in the world of flamenco, she means, where Molina is, at 39, now one of the art form’s major international stars.
Molina never set out to shake things up. “It was never my intention to change anything,” she says. “I just tell things as I see them, and I like to confront people. Because what I feel is the same thing that many other people feel, but it’s not talked about. And so my work is based on intimacy.” People might feel embarrassed about aspects, she admits, such as the somewhat masturbatory crisp packet scene, but: “I tell of the human desire we all have.
The piece is about looking into the murky depths of what it is to be human. “We have to go down and meet the shadows,” she says. “We have to meet the monsters. It’s a show that knows fear.” But what does Molina fear? “To see myself and the absurdity of human nature and to see that I’m also part of it,” she says. She talks about the need to be seen, the need to “seduce and convince – this is all I do with my dance. I wish I didn’t need these things. I fear losing humility.
“I couldn’t imagine being pregnant and not dancing,” she explains, when I ask her about Grito Pelao. “If I stopped it would feel like a punishment. I did what I’ve always done in my work, which is telling what’s happening to me and my body.” Was it daunting to go through IVF on her own? “It wasn’t daunting, as such. It was very difficult,” she says. But that was mainly the logistics and the slow process.
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