Enclaves. Revista de Literatura, Música y Artes Escénicas - 2024 - Nº 4

URI permanente para esta colecciónhttps://hdl.handle.net/11441/170445

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Mostrando 1 - 11 de 11

Après vous, Madame y la estela infinita de Antonia Mercé
(Universidad de Sevilla, 2024) Comitre, Paula
Una conferencia bailada: el lenguaje de las líneas
(Universidad de Sevilla, 2024) Leal, Leonor
Estudiante en París: Ana Gimeno Fuster (1908-1931) y la renovación musical de Sevilla
(Universidad de Sevilla, 2024) Duque, Adriano
El artículo trata sobre la vida y contribuciones musicales de Ana Gimeno Fuster, pianista nacida en 1908 en Villena, Alicante, que jugó un papel clave en la renovación musical de Sevilla a principios del siglo XX. Se estructura en varias secciones que cubren su biografía, colaboraciones con músicos destacados, sus estudios en París, su relación con el maestro Eduardo Torres y su impacto en la música tanto en Sevilla como en París. El texto se enfoca en cómo Gimeno fusionó la música clásica europea con el folclore español, influenciada por maestros como Joaquín Nin y Theodor Szántó. La investigación tiene como objetivo principal destacar el rol de Ana Gimeno en la evolución musical de la época, vinculando sus experiencias con las tendencias europeas y los movimientos musicales españoles. Se argumenta que su trabajo no solo promovió una fusión de estilos, sino que también ayudó a definir una nueva estética musical en Sevilla. Además, se pone de relieve su labor pedagógica y el impacto que tuvo en sus contemporáneos. En cuanto a las conclusiones anticipadas, se sugiere que la contribución de Ana Gimeno fue crucial en la creación de un puente entre la tradición musical local y las corrientes modernistas europeas. Su legado, aunque menos conocido, es presentado como fundamental para la historia de la música en Sevilla y para la expansión del repertorio español en el ámbito internacional.
La Argentina, Where? Fascination and Scopic Filiation in O senseï (2012) and Ôno-Sensation (2019)
(Universidad de Sevilla, 2024) López Rodríguez, Fernando
This article describes two contemporary choreographic pieces—O Senseïby Catherine Diverrès (2012) andÔno-Sensationby Pauline Le Boulba (2019)1—that are inspired by Kazuo Ohno’s Admiring La Argentina(1977), itself a response to Antonia Merce’s flamenco legacy. The study introduces two original theoretical concepts: scopic filiation, which describes the affective and creative gaze of the spectator-turned-artist, and a floral theory of gesture transmission, which posits the migration of gesture as a transformative and embodied process. Methodologically, the article adopts a hybrid form of academic writing and «stream of consciousness», rooted in phenomenological and corporeal observation of dance through video documentation and archival materials. The article explores how admiration can become a fertile gesture of creation and how inherited gestures reappear—often transformed—across time and space.
Traces of Antonia Mercé in the Post-War Period: From Hauntology to Mythology
(Universidad de Sevilla, 2024) López Fernández, Raquel
The death of Antonia Mercé in 1936 caused a profound shock to Spanish artistic culture and its performance scene. However, her name did not disappear from the stage during the postwar period;rather,it was appropriated by various artistic and cultural agents under the Franco regime, especially related to otherdancers. This article aims to analyze the different ways in which the figure and body of La Argentina remained present on stage after her death, and the role that this spectral survival played in the construction of her mythological and foundational status in Spanish dance. To that end, particular attention has been paid to the analysis of a series of material traces (press clippings, photographs, costumes, etc.), which can be understood both as signs in themselves and as carriers of meaning. In this sense, the concept of trace in this research is approached in both its mnemonic and material dimensions, encompassing all those phenomena, media, and objects capable of invoking her presence.
Spanish Dance Modernism Between Ethnography, Personality, and National: Identity Views of La Argentina from Abroad
(Universidad de Sevilla, 2024) Franko, Mark
This article compares critical receptions of the Spanish dancer Antonia Mercé Luque, La Argentina, in France in 1928 and the United States in 1930. Expatriate Russian dance critic in Paris André Levinson praised La Argentina as an exemplar of Spanish classical dance and of Spanish national character. Expatriate scholar of Spanish literature in New York Federico de Onís extolled her dance as iconic of the Spanish national character but without arguing her classical vision. The comparison allows us to see thefragility of the ideaof national identity itself as translated into movement and to understand it as the result of a critical reception that itself is displaced from national origins in a diasporic sense.
El lenguaje de las líneas: primeras lecturas latinoamericanas de Antonia Mercé
(2024) Clayton, Michelle
Antonia Mercé (la Argentina) no sólo revolucionó las formas y expectativas de la danza española, sino que participó en la reconceptualización de la danza moderna como arte digno de comentarios serios, contribuyendo a su engranaje en el horizonte de las artes modernas. Como Duncan, como Pavlova, como Nijinsky, no sólo produjo nuevas formas en su propia disciplina, sino que también impulsó nuevas lecturas que dieron cuenta del cambio en el lugar y el alcance de la danza en el panorama estético moderno. En cada una de las etapas de su carrera, Mercé se convirtió en piedra de toque para los escritores más ambiciosos de la escena occidental, que pugnaron por dar cuenta de sus aportaciones a la danza y al horizonte amplio de las artes modernas. Este artículo se enfoca en los primeros años de su carrera, en particular en su recepción en diferentes países de América Latina durante su primera gira continental (1915-1917), para mostrar cómo Mercé suscitó nuevas maneras pensar y escribir sobre la danza, a la vez que explora el fenómeno poco estudiado de la bailarina lectora.
Flying Frills: When Flamenco is All About Gestures, Machines, and Nymphs
(Universidad de Sevilla, 2024) Navarro, Alicia
This paper re-evaluates the modernist significance of flamenco by focusing on Antonia Mercé, La Argentina, as a foundational yet overlooked figure in avant-garde dance. As well, it claims a common pattern of artistic and choreatic practices between Mercé and Isadora Duncan within avant-garde art and dances. Through the lens of Aby Warburg's Mnemosyne Atlasand critical theories from Agamben, Foucault, and Deleuze, it demonstrates how Mercé’s choreography embodies the lost gestures of Western modernity. It is necessary to clarify, on the one hand, that there were different levels of impact and common influences between the avant-garde art and both dancers. On the other hand, the bidirectional transfer that went on amidst modern dance, and philosophy and feminism thought, which emerged in the West at the beginning of the 20th century with a liberating germ. In this context, the article argues that flamenco's marginalization in dance historiography stems from entrenched narratives that oppose folkloric expression to modernist innovation. By revisiting visual, historical, and philosophical sources, this study reclaims flamenco as a crucial mode of cultural and feminist resistance in the early 20th century.
In the Shadow of Petrouchka: Constructions of Identity in the Work of Anna Pavlova, La Argentina, and Katherine Dunham
(Universidad de Sevilla, 2024) Garafola, Lynn
This paper will examine efforts of Anna Pavlova, La Argentina (Antonia Mercé), and Katherine Dunham to use folk and vernacular movement to create modernist narratives of national and cultural identity. Critics have noted the many connections that existed between Pavlova and La Argentina. Both were divas, adored by the public, withLa Argentina frequently referred to as «the other Pavlova» or the «Pavlova of Spanish dance». Preeminently solo artists, although both founded companies, they embarked on tours that took them to the four corners of the world. Although considerably younger, Katherine Dunham shared many of the qualities that distinguished the other two. In Chicago, where she lived from 1928 until 1940, she saw Argentina perform and studied with teachers who had danced with Pavlova. By 1937, when she created her first «ballet», L’Ag’Ya, her performances followed the structure of theirs, featuring at least one longer narrative work along with short dances that often spotlighted a particular form. Like both Pavlova and La Argentina, Dunham headed a company of her own creation, traveled the world to great acclaim, and was a diva —this at a time when racial segregation was the rule in most walks of American life. Dunham’s debt to La Argentina remains unacknowledged. Yet the latter’s repertory —mining folkloric, flamenco, and classical Spanish dance forms and performing them on a single program—may well have represented an idea of national identity as inspirational as the African diasporic identity that Dunham sought to represent in her own repertory
Between Spain and Argentina: Representacions of Identity in the Quest to be Modern
(Universidad de Sevilla, 2024) Cadús, Eugenia
I propose to examine the connections between Spain and Argentina through the representation of identity in Antonia Mercé’s dances and in the construction of her figure as an artist. These connections are complex rather than homogeneous and bear witness to Mercé’s process of exoticizing Argentine national identity. I will first discuss the notions of Argentineness» and «Spanishness» in Argentina at the time, before briefly examining Antonia Mercé’s influence on the Argentine dance scene in the first half ofthe twentieth century. Finally, I will analyze some aspects of her Suite Argentina. My hypothesis is that with this piece Mercé achieved the goal of the intellectual elite in Buenos Aires, namely to create a choreography of stylized Argentine folkloric dances filtered through the prism of modernity. Thus, this piece functioned as a cohesive representation of identity in a romantic stereotype of the Argentine nation both for the country itself and abroad, where it was widely performed by Mercé and lent legitimacy to local dances.
Introducción
(Universidad de Sevilla, 2024) Murga Castro, Idoia

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