In El Dorado, Israel Galván represents his gypsy heritage, the one of Israel de Los Reyes, undertaking an artistic search in his mother's roots. “In La Edad de Oro, for example, there are my father and my mother. In El Dorado, there is only my mother and her words that always accompany me: 'Son, let El Terremoto sing for you, please' (a gypsy singer). It is a tribute to her, who always says to me after a show: 'Son, when are you going to dance bulería?” In El Dorado I will end up dancing bulería”, explains Israel Galván.

The title El Dorado does not refer to the legend or to the disasters related to the City of Gold. It refers to a room in Barcelona, specifically to the Sociedad Flamenca El Dorado, where Israel Galván was invited to present a project.

To accompany him in this project, Israel Galván summons Los Mellis* de Huelva: Antonio and Manuel Montes Saavedra, known for their virtuosity as palmeros**. “In this piece I give a lot of importance to pure rhythm, it is a carnal piece because we will not use percussive instruments, only the hands,” explains the artist. Only the four palmas*** of Los Mellis de Huelva and the body of Israel Galván will produce sound, as if they were machines.

The goal is to create a symphonic flamenco piece of palmas, putting the palmeros, who are usually in the background in flamenco shows, in the foreground, making the three artists the protagonists. Together they will explore the nakedness of the rhythm without adding any other musical instrument.

Israel Galván remembers: “The first time I saw Los Mellis I asked them if they did compás**** with their feet. They told me, 'We don't move our feet,' and that's when I realized the quality of their palmas. Generally, palmeros use their feet to keep the compás, but they don't do it. That's when I realized the specialization of their clapping and rhythm work. Besides, they are twins and understand each other on several levels; the timing is genetically perfect between them”.