Female flamenco dancer |
Female flamenco singer |
| Name:Encarnación López Júlvez |
| Birth: 1895 Buenos Aires (Argentina) |
"Her dancing is the most Roman that I know. It has nothing gypsy about it, no serpentine pondering about her art. Rather, it is made of marble gestures". Ernesto Giménez Caballero, writer.
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La Argentinita was a variety show star, although the popular flamenco and Andalusian styles were preponderant in her dancing. She trained in several dance schools and started very young, so much so that she was presented as a child prodigy in high society parties, in the theatres and halls staging variety shows of the greatest renown, and in tours that she undertook around Spain and America. She even managed to supersede other artists who were more firmly established, like Raquel Meller, with her cunning and special grace, although her voice wasn't quite as exceptional as theirs. She was more outstanding as a dancer than as a singer.
La Argentinita belongs to what may be termed the "Generation of 27" in dancing, which managed to renew the Spanish artistic and theatre scenes, in the same way as others did in the fields of humanities or plastic arts (i.e. sculpture and modeling). La Argentinita was artistically related to them, especially to García Lorca, Alberti and the bullfighter Sánchez Mejías, with whom she also had a love story. In 1931 she sang and recorded some popular folk songs that had been collected by García Lorca. Sánchez Mejías wrote "Las Calles de Cádiz" for her; Dalí designed the decoration and Lorca composed the verses for "El Café de Chinitas".
She also had some important successes during her years in exile as a result of the Spanish Civil War, years that she spent in New York (1938-1945), the city where an important number of Spanish artists and intellectuals gathered. There, she became one of the great figures in international dancing. |
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