Michelle Heffner Hayes, dancer, choreographer and dance scholar is currently a professor and chair of the Department of Dance at the University of Kansas in Lawrence.

“an informative contribution to the growing field of flamencology. The author offers a unique approach to the field of study”—Journal of Folklore Research; “meticulous...a great book...the quality of the research and investigation of the subject is awesome”—Books4Spain.

• Table of ContentsAcknowledgments      Introduction: Flamenco’s Exotic Currency      1. DESIRING NARRATIVES: FLAMENCO IN HISTORY AND FILM      Conflicting Histories      Origin Points      Romantic Excursions      La Edad de Oro/The Golden Age      Transformation Abroad and Tourism at HomePurity and Preservation      The Ideology of Flamenco Histories      The Desiring Subject      A Choreographic In(ter)vention      Film Narrative as a Discourse of Desire      2. PURISM, TOURISM AND LOST INNOCENCE      Flamenco Bodies: Essence or Effect?      International Exposure      Model Exotics      Paradise Lost      The Taint of Tourism      3. IMAGINING ANDALUSIA      Divine Inspiration: Origins Reconsidered      Passionate Nature: The Academic Appeal of a Universal Humanity      Sober Clinicism: Demystifying the Other      (Re)discovering the Women in Cante      4. FATAL FILMIC FLAMENCAS      The Spectre of Carmen      That Obscure Object of Desire (1977)      Marked: The Character of La Novia in Blood Wedding (1981)      Carmen Revisited (1983)      Love, the Magician (1986)      5. REALISM REINVENTED      The Documentary and Nacionalflamenquismo 124Sevillanas (1992) and Flamenco (1995)      Opening Credits (Sevillanas)Opening Credits (Flamenco)      The Performances (Sevillanas)      The Performances (Flamenco)      Sevillanas Flamencas, Sevillanas Gitanas      Endings: Sevillanas      Endings: Flamenco      Flamenco Women (1997)      6. REINTERPRETING THE EXOTIC      Calculated Unruliness      Strategic Presence      Practiced Spontaneity      The Dancing Lesson (Anaheim, California, 1995)The Problem of Improvisation/Giving Up the Ghost      Rising from the Ashes: Spain’s Position in the New World Order      7. “SOMOS ANTI-GUAPAS”—AGAINST BEAUTY IN CONTEMPORARY FLAMENCOBelén Maya      Pastora Galván      Rocío Molina      Chapter Notes      Bibliography      Index

Michelle Heffner Hayes, dancer, choreographer and dance scholar is currently a professor and chair of the Department of Dance at the University of Kansas in Lawrence.

“an informative contribution to the growing field of flamencology. The author offers a unique approach to the field of study”—Journal of Folklore Research; “meticulous...a great book...the quality of the research and investigation of the subject is awesome”—Books4Spain.

• Table of ContentsAcknowledgments      Introduction: Flamenco’s Exotic Currency      1. DESIRING NARRATIVES: FLAMENCO IN HISTORY AND FILM      Conflicting Histories      Origin Points      Romantic Excursions      La Edad de Oro/The Golden Age      Transformation Abroad and Tourism at HomePurity and Preservation      The Ideology of Flamenco Histories      The Desiring Subject      A Choreographic In(ter)vention      Film Narrative as a Discourse of Desire      2. PURISM, TOURISM AND LOST INNOCENCE      Flamenco Bodies: Essence or Effect?      International Exposure      Model Exotics      Paradise Lost      The Taint of Tourism      3. IMAGINING ANDALUSIA      Divine Inspiration: Origins Reconsidered      Passionate Nature: The Academic Appeal of a Universal Humanity      Sober Clinicism: Demystifying the Other      (Re)discovering the Women in Cante      4. FATAL FILMIC FLAMENCAS      The Spectre of Carmen      That Obscure Object of Desire (1977)      Marked: The Character of La Novia in Blood Wedding (1981)      Carmen Revisited (1983)      Love, the Magician (1986)      5. REALISM REINVENTED      The Documentary and Nacionalflamenquismo 124Sevillanas (1992) and Flamenco (1995)      Opening Credits (Sevillanas)Opening Credits (Flamenco)      The Performances (Sevillanas)      The Performances (Flamenco)      Sevillanas Flamencas, Sevillanas Gitanas      Endings: Sevillanas      Endings: Flamenco      Flamenco Women (1997)      6. REINTERPRETING THE EXOTIC      Calculated Unruliness      Strategic Presence      Practiced Spontaneity      The Dancing Lesson (Anaheim, California, 1995)The Problem of Improvisation/Giving Up the Ghost      Rising from the Ashes: Spain’s Position in the New World Order      7. “SOMOS ANTI-GUAPAS”—AGAINST BEAUTY IN CONTEMPORARY FLAMENCOBelén Maya      Pastora Galván      Rocío Molina      Chapter Notes      Bibliography      Index

Michelle Heffner Hayes, dancer, choreographer and dance scholar is currently a professor and chair of the Department of Dance at the University of Kansas in Lawrence.

“an informative contribution to the growing field of flamencology. The author offers a unique approach to the field of study”—Journal of Folklore Research; “meticulous...a great book...the quality of the research and investigation of the subject is awesome”—Books4Spain.

• Table of ContentsAcknowledgments      Introduction: Flamenco’s Exotic Currency      1. DESIRING NARRATIVES: FLAMENCO IN HISTORY AND FILM      Conflicting Histories      Origin Points      Romantic Excursions      La Edad de Oro/The Golden Age      Transformation Abroad and Tourism at HomePurity and Preservation      The Ideology of Flamenco Histories      The Desiring Subject      A Choreographic In(ter)vention      Film Narrative as a Discourse of Desire      2. PURISM, TOURISM AND LOST INNOCENCE      Flamenco Bodies: Essence or Effect?      International Exposure      Model Exotics      Paradise Lost      The Taint of Tourism      3. IMAGINING ANDALUSIA      Divine Inspiration: Origins Reconsidered      Passionate Nature: The Academic Appeal of a Universal Humanity      Sober Clinicism: Demystifying the Other      (Re)discovering the Women in Cante      4. FATAL FILMIC FLAMENCAS      The Spectre of Carmen      That Obscure Object of Desire (1977)      Marked: The Character of La Novia in Blood Wedding (1981)      Carmen Revisited (1983)      Love, the Magician (1986)      5. REALISM REINVENTED      The Documentary and Nacionalflamenquismo 124Sevillanas (1992) and Flamenco (1995)      Opening Credits (Sevillanas)Opening Credits (Flamenco)      The Performances (Sevillanas)      The Performances (Flamenco)      Sevillanas Flamencas, Sevillanas Gitanas      Endings: Sevillanas      Endings: Flamenco      Flamenco Women (1997)      6. REINTERPRETING THE EXOTIC      Calculated Unruliness      Strategic Presence      Practiced Spontaneity      The Dancing Lesson (Anaheim, California, 1995)The Problem of Improvisation/Giving Up the Ghost      Rising from the Ashes: Spain’s Position in the New World Order      7. “SOMOS ANTI-GUAPAS”—AGAINST BEAUTY IN CONTEMPORARY FLAMENCOBelén Maya      Pastora Galván      Rocío Molina      Chapter Notes      Bibliography      Index