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The language of the body is a central text in the study of flamenco
on the global stage. From the records of the Inquisition, to 16th
century literature, to European travel diaries, the Spanish dancer
beguiles and fascinates. The word flamenco evokes the body of a
sensuous and rebellious woman-the bailaora-whose lascivious
movements seduce the audience, only to reject their invasive gaze
with a stomp of defiance. The flamenco dancer's body is an agent of
ideological resistance, conveying a desire for subjectivity and
autonomy and implying deeply held ideas about history, national
identity, femininity and masculinity. This collection of new essays
by flamenco historians, critics and cultural theorists provides an
overview of flamenco scholarship, illuminating flamenco's narrative
and addressing some of the stereotypes that exist in flamenco
studies. The contributors bring new information into flamenco's
chronology, offer fresh perspectives on age-old themes and suggest
new paradigms for flamenco as a cultural practice.
This analytical history traces representations of flamenco dance in
Spain and abroad from the twentieth century through the present,
using flamenco histories, film appearances of flamenco, accounts of
live performances, and interviews with practitioners to map the
emergence of a global dance practice. Focusing on the stereotype of
the dancing body as the site of political and social tensions, it
places that image in an international dialogue between tourists,
flamenco purists, dictators, poets, filmmakers, and dancers. After
laying the groundwork for an analysis of flamenco historiography,
the text delves into such topics as images of the female flamenco
dancer in films by Luis Bunuel, Carlos Saura, and Antonio Gades;
the lasting stereotypes of flamenco bodies and Andalusian culture
originated in Prosper Merimee's novella Carmen; and, the ways in
which contemporary flamenco dancers such as Belen Maya, Pastora
Galvan, and Rocio Molina negotiate the flamenco stereotype of
Carmen as well as the return of an idealized Spanish feminine that
pervades 'traditional' flamenco. Informed by political and cultural
theory as well as works in feminist and gender studies, this
ambitious study illuminates the conflicting stories that compose
the history of flamenco.
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