K. Meira Goldberg teaches at the Fashion Institute of Technology; she has taught at and guest lectured at Sarah Lawrence College, Duke, NYU, Flamenco Festival International in Albuquerque, Ballet Hispanico, Julliard, Bryn Mawr, Princeton and Smith College. Ninotchka Devorah Bennahum is a professor of dance history, theory, and performance studies in the Department of Theater and Dance at the University of California, Santa Barbara. 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.

• Table of ContentsAcknowledgmentsIntroductionPart I—Mapping Spanish Dance on the International StageThree Centuries of Flamenco: Some Brief Historical Notes (Marta Carrasco Benítez)Ancient Dancers of Cádiz, Puellae Gaditane and Creations of Myth (Kathy Milazzo)Hopeful Futures and Nostalgic Pasts: Explorations into Kathak and Flamenco Dance Collaborations (Miriam Phillips)From the Járaca to the Sarabande (Ana Yepes)Spanish Dance in Europe: From the Late Eighteenth Century to Its Consolidation on the European Stage (Rocío Plaza Orellana)Fandangos and Bailes: Dancing and Dance Events in Early California (Anthony Shay)Hispanomania in Nineteenth Century Dance Theory and Choreography (Claudia Jeschke with Robert Atwood)Some Notes Toward a Historiography of the ­Mid-Nineteenth Century Bailable Español (Kiko Mora)Antecedents of Carmen in the History of Spanish Dance (Gerhard Steingress)Part II—Becoming Flamenco: Gitano Embodiment and Modernist Subjectivity Jaleo de Jerez and Tumulte Noir: Primitivist Modernism and Cakewalk in Flamenco, 1902–1917 (K. Meira Goldberg)The First Academy of Flamenco Dance: Frasquillo and the “Broken Dance” of the Gitanos (Clara Chinoy)The Critical Reception of Le Tricorne (Joan Acocella)Purity and Commercialization: The View from Two Working Artists, Pericón de Cádiz and Chato de la Isla (John C. Moore)Carmen Amaya, 1947: The (Gypsy) Beloved of America Reconquers Europe (Montse Madridejos)Flamenco: The Real Stories (Brook Zern)Spanish Artists in Love and War, 1913–1945: Meditations on Female Embodiment and Populist Imagination (Ninotchka Devorah Bennahum)Part III—Disobedient Bodies: Flamenco in the “New” World Normative Aesthetics and Cultural Constructions in Flamenco Dance: Female and Gitano Bodies as Legitimizers of Tradition (Cristina ­Cruces-Roldán)Las Tocaoras: Women Guitarists and Their Struggle for Inclusion on the Flamenco Stage (Loren Chuse)Dancing the Ideal Masculinity (Ryan Rockmore)Flamenco in La flor de mi secreto: Re-Appropriation and Subversion in a Film by Pedro Almódovar (Nancy G. Heller)Flamenco Fusion: ­Cross-Cultural Coalitions and the Art of Raising Consciousness (Jorge Pérez)Y Para Rematar: Contemplations on a Movement in Transition (Niurca Márquez)Blancenieves, Flamenco and National Identity (William Washabaugh)Choreographing Contemporaneity: Cultural Legacy and Experimental Imperative (Michelle Heffner Hayes)GlossaryBibliographyAbout the ContributorsIndex

K. Meira Goldberg teaches at the Fashion Institute of Technology; she has taught at and guest lectured at Sarah Lawrence College, Duke, NYU, Flamenco Festival International in Albuquerque, Ballet Hispanico, Julliard, Bryn Mawr, Princeton and Smith College. Ninotchka Devorah Bennahum is a professor of dance history, theory, and performance studies in the Department of Theater and Dance at the University of California, Santa Barbara. 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.

• Table of ContentsAcknowledgmentsIntroductionPart I—Mapping Spanish Dance on the International StageThree Centuries of Flamenco: Some Brief Historical Notes (Marta Carrasco Benítez)Ancient Dancers of Cádiz, Puellae Gaditane and Creations of Myth (Kathy Milazzo)Hopeful Futures and Nostalgic Pasts: Explorations into Kathak and Flamenco Dance Collaborations (Miriam Phillips)From the Járaca to the Sarabande (Ana Yepes)Spanish Dance in Europe: From the Late Eighteenth Century to Its Consolidation on the European Stage (Rocío Plaza Orellana)Fandangos and Bailes: Dancing and Dance Events in Early California (Anthony Shay)Hispanomania in Nineteenth Century Dance Theory and Choreography (Claudia Jeschke with Robert Atwood)Some Notes Toward a Historiography of the ­Mid-Nineteenth Century Bailable Español (Kiko Mora)Antecedents of Carmen in the History of Spanish Dance (Gerhard Steingress)Part II—Becoming Flamenco: Gitano Embodiment and Modernist Subjectivity Jaleo de Jerez and Tumulte Noir: Primitivist Modernism and Cakewalk in Flamenco, 1902–1917 (K. Meira Goldberg)The First Academy of Flamenco Dance: Frasquillo and the “Broken Dance” of the Gitanos (Clara Chinoy)The Critical Reception of Le Tricorne (Joan Acocella)Purity and Commercialization: The View from Two Working Artists, Pericón de Cádiz and Chato de la Isla (John C. Moore)Carmen Amaya, 1947: The (Gypsy) Beloved of America Reconquers Europe (Montse Madridejos)Flamenco: The Real Stories (Brook Zern)Spanish Artists in Love and War, 1913–1945: Meditations on Female Embodiment and Populist Imagination (Ninotchka Devorah Bennahum)Part III—Disobedient Bodies: Flamenco in the “New” World Normative Aesthetics and Cultural Constructions in Flamenco Dance: Female and Gitano Bodies as Legitimizers of Tradition (Cristina ­Cruces-Roldán)Las Tocaoras: Women Guitarists and Their Struggle for Inclusion on the Flamenco Stage (Loren Chuse)Dancing the Ideal Masculinity (Ryan Rockmore)Flamenco in La flor de mi secreto: Re-Appropriation and Subversion in a Film by Pedro Almódovar (Nancy G. Heller)Flamenco Fusion: ­Cross-Cultural Coalitions and the Art of Raising Consciousness (Jorge Pérez)Y Para Rematar: Contemplations on a Movement in Transition (Niurca Márquez)Blancenieves, Flamenco and National Identity (William Washabaugh)Choreographing Contemporaneity: Cultural Legacy and Experimental Imperative (Michelle Heffner Hayes)GlossaryBibliographyAbout the ContributorsIndex

K. Meira Goldberg teaches at the Fashion Institute of Technology; she has taught at and guest lectured at Sarah Lawrence College, Duke, NYU, Flamenco Festival International in Albuquerque, Ballet Hispanico, Julliard, Bryn Mawr, Princeton and Smith College. Ninotchka Devorah Bennahum is a professor of dance history, theory, and performance studies in the Department of Theater and Dance at the University of California, Santa Barbara. 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.

• Table of ContentsAcknowledgmentsIntroductionPart I—Mapping Spanish Dance on the International StageThree Centuries of Flamenco: Some Brief Historical Notes (Marta Carrasco Benítez)Ancient Dancers of Cádiz, Puellae Gaditane and Creations of Myth (Kathy Milazzo)Hopeful Futures and Nostalgic Pasts: Explorations into Kathak and Flamenco Dance Collaborations (Miriam Phillips)From the Járaca to the Sarabande (Ana Yepes)Spanish Dance in Europe: From the Late Eighteenth Century to Its Consolidation on the European Stage (Rocío Plaza Orellana)Fandangos and Bailes: Dancing and Dance Events in Early California (Anthony Shay)Hispanomania in Nineteenth Century Dance Theory and Choreography (Claudia Jeschke with Robert Atwood)Some Notes Toward a Historiography of the ­Mid-Nineteenth Century Bailable Español (Kiko Mora)Antecedents of Carmen in the History of Spanish Dance (Gerhard Steingress)Part II—Becoming Flamenco: Gitano Embodiment and Modernist Subjectivity Jaleo de Jerez and Tumulte Noir: Primitivist Modernism and Cakewalk in Flamenco, 1902–1917 (K. Meira Goldberg)The First Academy of Flamenco Dance: Frasquillo and the “Broken Dance” of the Gitanos (Clara Chinoy)The Critical Reception of Le Tricorne (Joan Acocella)Purity and Commercialization: The View from Two Working Artists, Pericón de Cádiz and Chato de la Isla (John C. Moore)Carmen Amaya, 1947: The (Gypsy) Beloved of America Reconquers Europe (Montse Madridejos)Flamenco: The Real Stories (Brook Zern)Spanish Artists in Love and War, 1913–1945: Meditations on Female Embodiment and Populist Imagination (Ninotchka Devorah Bennahum)Part III—Disobedient Bodies: Flamenco in the “New” World Normative Aesthetics and Cultural Constructions in Flamenco Dance: Female and Gitano Bodies as Legitimizers of Tradition (Cristina ­Cruces-Roldán)Las Tocaoras: Women Guitarists and Their Struggle for Inclusion on the Flamenco Stage (Loren Chuse)Dancing the Ideal Masculinity (Ryan Rockmore)Flamenco in La flor de mi secreto: Re-Appropriation and Subversion in a Film by Pedro Almódovar (Nancy G. Heller)Flamenco Fusion: ­Cross-Cultural Coalitions and the Art of Raising Consciousness (Jorge Pérez)Y Para Rematar: Contemplations on a Movement in Transition (Niurca Márquez)Blancenieves, Flamenco and National Identity (William Washabaugh)Choreographing Contemporaneity: Cultural Legacy and Experimental Imperative (Michelle Heffner Hayes)GlossaryBibliographyAbout the ContributorsIndex