As a Ghanaian-Jamaican-British Londoner, Yinka Esi Graves may be overtaxing the hyphen, but as an experimental flamenco dancer, she explained in a recent interview, “I am not trying to juxtapose cultures.” Instead, she means to “inject the spirit of flamenco into a very personal show.” For Graves, ancient family history, as much as the more recent kind, counts as personal. Fifteen years ago, she moved to Seville, in Andalusia, where flamenco has deep roots. “I would cross the Guadalquivir River via the San Telmo bridge every day to go to my flamenco class. Every time, I had the strange sensation of being part of the history of that bridge.” She later discovered that centuries earlier, slaves from West Africa had regularly debarked there. For the elliptical The Disappearing Act, a one-hour solo that shares the stage with a neo-flamenco guitarist and a rock drummer, Graves has used this felt sense of invisible history as her point of departure. —Apollinaire Scherr