688:" daily classes became the center of my life. She demanded utter dedication from her students and imparted an unusually strong classical ballet technique. But technique was never an end in itself, rather it was necessary to give form to powerful images, to express the heights and depths of human experience. Music, emotion and dance were inseparable. Carmelita's accompanists were usually pianists of concert caliber who played with great feeling. The beauty of the music moved many of her students to tears, so it was not unusual to dance and at the same time weep."
452:, an exceptional woman whose emotional radio oratory championed a Republican faction. Maracci's political views were strongly held; she "wanted to change the world through theater." Yet she probably overreacted in St. Paul. At the theater manager, according to Agnes de Mille, Maracci "let loose... the full extent of her primal rage. She attacked the man personally and all the people of St. Paul." Forty years later, in a private letter, "she still referred to 'the drunken audience jeering at Spanish heroes'."
1853:"Then, like the splitting of wood, the earth-anger erects her and throws her out into space. She wrecks herself against the surface of the world. ... She spikes at the ground with her heels. ... She can kick up the ground all right! ¶ This is a punishment. This is the anger of the dust, the wrath of the grave. The weakening pulse shudders through her body. Her eyes roll back--her fear becomes audible. 'Ay!' she cries, and her teeth cannot hold the quivering lips. 'Ay!'"
587:"Her reputation attracted students" whether the young or the professional dancer. For Maracci "teaching gave her more autonomy." She had offered instruction in ballet since the 1930s, but it became her focus as she approached her fiftieth year. "Her teaching included politics, poetry, music, and cooking, as a way to nurture the art of dance as an integral part of the student's journey of life." "She lived in a world of people who came to sit at her feet."
532:"contrived to hide flaws" yet her "talent was immaculate". Although managers want reliable clients, "anyone who prefers practical cooperation to genius is a fool." To build a great career, however, takes realistic courage, and a steadfast character; "those with a great gift generally have in their character a certain instinctive protection of the endowment." Here, "Carmie was a tragic exception."
561:
cause her vulnerability, her surprising fragility. Perhaps it led her to become overly sensitive, apprehensive before a general audience that likely would be ill-prepared, unsuspecting of her intense emotional charge. On the other hand, it was the very strength of her principles that guided her when she grew and nurtured her art, and appraised the various offers to perform. Carmelita wrote:
408:"But unlike those who struggle for immortality, Maracci refused to compromise her sensibilities or her convictions. She turned away from the fame-makers and artist-merchants, often with just scant cause, and generally made herself inaccessible. By choice, she never connected with the major institutions nor lingered for long in the limelight."
556:"In literal terms, she Carmelita knew only privilege and doting parents, and never encountered a land of terror and blood soaked pits. Hers was purely a case of identification with its victims, an overt rallying to their cause, an imaginative leap. At its most profound, she tapped a kinship based on interior terror and ravaged spirit."
515:"People tell me my unplanned oblivion was a tragedy. ... But I say no. Save that word for human suffering, for wars that kill innocent people, for the devastation of the poor and unwanted, for the corruption and cruelty that cause these things in the world. Mine is no tragedy. If art could relieve misery, I'd gladly sacrifice it."
137:"Camelita Maracci, the fiery and brilliantly talented West Coast dancer, who combined ballet and Spanish dance" first performed at the Y. "Maracci mesmerized New Yorkers with her smoldering passion and unique movement style. Here were wonderfully spiraling hands, a spine that arched proudly, and dazzling technical footwork."
219:, which, although impeccably correct, was not classic in style, and Spanish, which was virtuoso in its range but highly unorthodox in form and flavor. She had no wish to perpetuate aesthetic traditions and used only those stock gestures so deeply imbued with emotion as to have become, under her manipulation, original."
429:"Although regarded by her peers as one of the leading dancers in the United States... Maracci shrank from the concert stage after two experiences which devastated her." In 1946 a lone drunken heckler in St. Paul, Minnesota, mocked her three dancers. They were on stage doing Maracci's choreographed tribute to the
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writes, "As a teacher
Carmelita was able to impart and illuminate... the ineffable qualities as well as the technical points of ballet." She treated me as an imaginative child, celebrated my learning, and taught me "that dancing can be a profound experience for the performer and the audience alike."
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After interviews, especially of her husband Lee
Freeson, and years of research, Perlmutter comes to layered conclusions. Her fate had elements of tragedy. The great gifts in the dance arts that she possessed and crafted were enjoyed for the most part by a few hundreds, by knowledgeable people in the
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had early "predicted international glory." True, "Carmelita had imagination, verve, energy, and fascination. What she did not have was the ability to cope with the practicalities of her career." At a setback in the late thirties in New York, she had "tongue-lashed all concerned". Collapses often are
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After she died of a heart attack her husband had to identify her body at the mortuary. Later he told Agnes de Mille that when he saw her
Carmelita "lay like a little girl, at most thirteen or fourteen years old, absolutely pure, incorporeal, weightless, a spirit. He thought she would float from the
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A contrary view was expressed in a speech by dance journalist Donna
Perlmutter. Although de Mille harbored an "intense admiration" for Maracci, she also had a "burning... I guess you could call it... jealousy." About the 1951 incident with Ballet Theatre, "Agnes had no small part in this." Maracci
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Maracci's dancing was already special; it sparked "extravagant" rumors. "It is no ordinary experience to discover one evening that an intimate, a known, well-loved, daily companion, has genius." In her studio, the night before
Maracci left for a San Francisco concert, de Mille saw her dance for the
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Molina
Fajardo (1998), pp. 49â50; cf. 169â175, 177â208, 209â226. De Falla favored the appellation 'Cante jondo', and made a point of only calling the debased versions of the music 'flamenco' (Molina, p. 173, quoting de Falla (1922)). Maracci apparently followed de Falla's special terminology, not
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According to de Mille, however, Maracci's performances had fascinated everyone in the ballet company. Yet when staged her brilliant solo dances did not fit well into the larger piece. The New York audience was "puzzled and not a little put off by
Carmelita's austere, sardonic personality" and was
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After touring across
America with other troupes, in the 1930s and 1940s she led her own company, nationwide. The distinctive performances that Maracci presented were "a repertory of her own dances". Between Maracci's featured solos, the six other dancers took the stage. Her act was considered top
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de Mille (1990), pp. 61â62 (St. Paul incident), quotes at 62; La
Pasionara at p. 57. Expresses same anger in letter to de Mille (p. 66, cf. 65). Not telling her husband, Lee Freeson, who handled the payroll, Maracci had others "send half the box office receipts to the Spanish refugees" (p. 61).
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However hard and durable was her perfectionist spirit, and however vivid her anger at acts of intentional cruelty or political mayhem, she also possessed a corresponding sensitivity for the suffering of the victims of the world. Although this might fuel her artistic expression, it also seemed to
33:
who creatively combined ballet arts and
Spanish techniques. She excelled when before an audience with dance experience, receiving enthusiastic praise from performers and critics. Her stage career began in the mid-1920s. Her programs often were of her own design. From the 1950s she remained
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In Los Angeles in the late 1920s she had brought together in her person the ingredients to craft one-of-a-kind performances. "Maracci began to experiment with choreography that was a blend of ballet and Spanish dance techniques." From her conjuring of the two styles emerged a singularity.
699:"Passionately opinionated, Miss Maracci taught classes with a Socratic tinge, including talk of politics and the other arts of the time. She continued teaching during her last illness by gathering students around her bedside to talk with them of the art of ballet," wrote dance journalist
61:
she continued her dance lessons, while attending a private school for girls. "Carmie was her mother's spoiled darling." On a nine-foot Steinway her mother played, music to which "Carmie danced, from the moment she could move--danced before she could walk," according to what choreographer
495:, a resident choreographer with Ballet Theatre, however, afterward made some puzzling remarks. Perlmutter continued. After "reflecting on that April night... " de Mille "says she immediately told Maracci the ballet was no good, and because Maracci was always on the emotional brink,
437:(1936â1939). She emerged from backstage quite angry, and ordered the curtain pulled down. It terminated the performance, outraged the local theater, and eventually ended the financial backing for her touring shows. The second event concerned the 1951 staging of her choreography
503:"Yes, I was devastated," Maracci admitted. "Agnes can be unbearably cruel. She came to my dressing room like a matador, people on either side of her... . She came to deliver the verdict. She told me that Tudor always says what he doesn't mean, that he meant I'm no good... ."
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said of her, "There was, and still is, no one like her. She had incredible strength and supreme delicacy. Her technique was astonishing, perfection itself... ." Maracci was known, according to dance writer Walter Terry, as "one of the major dance figures of our time."
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Cynthia Gregory remembers her teaching class "on pointe and wearing pink tights puffing a cigarette, flicking it out the window and dashing off a fast, furious set of pirouettes." "I think that a technique should be subordinated to the idea," Carmelita wrote.
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In later years, "her performances, though infrequent, drew lines around the block and enthralled the audiences." Yet "Maracci freely admits that her art was not for the masses." She began rehearsals, but ultimately declined to dance the lead role in the ballet
483:, the co-director of Ballet Theatre, told de Mille it needed work, and to give Maracci a "pep talk" to pull the piece together. In Maracci's dressing room, the pep talk unexpectedly "produced in no time a collapse. She had to be carried out of the theater."
46:, the daughter of Josephine Gauss and her second husband Joseph Maracci, a restaurateur and gambler. Her French German mother was a concert-level pianist. Her father, Italian and Spanish, had considered a career singing opera; his father was first cousin to
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She was generous. "Carmelita showed me that feelings and emotions had to be genuine, not put on like a spangled dress for a party." Dancers listened to the music. "Somewhat like an athlete but also as an artist, we had to paint sound and sculpt rhythm."
106:(Spanish dance), and Enrico Zanfretta and Luigi Albertieri (ballet). Again as a soloist she toured with a dance company; in San Francisco she joined a small troupe. Maracci then ceased performing. While in seclusion she created her new style of dancing.
190:. Simply done with the eloquence of her dancer's art, her idiosyncratic solo designs worked to dazzle audiences. These rare shows were worth the wait, the long lines. Freely she'd chosen from several traditions to create her works of art. From early
85:"I found the atmosphere of the house, comforting. There was always a group of radicals, malcontents, and indigent writers, intermingled with painters and dancers, waiting to be recharged by Carmelita's personality, for she was great fun to be with."
353:. She clearly preferred her intimate solos, alternating with the 'individual voices' of her several dancers, accompanied by a chamber ensemble, rather than a large ballet company with a full orchestra. She refused to dance in a Spain ruled by
50:(1843â1919), a celebrated soprano. Hence the name Carmelita Patti Maracci. "Carmelita was brought up as Spanish." Her mother had told her that she was born in Montevideo, Uruguay; Maracci only learned differently much later from her husband.
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Perlmutter (1985), "he refused to perform on stage a ballet from the repertory or an authentic Spanish dance--although her command of both was formidable. She called herself 'a hybrid' and created her own highly individual, interstylistic
677:" as well as she could in a Spanish style. She sought in her teaching to "influence the overall well-being" of her students. In "imaginative ways" Maracci related "the history of dance to that of music." She might say, "And now do an
543:'s land of terror and blood soaked pits... ." Accordingly, "I could not be a dancer of fine dreams and graveyard decor. So I danced hard about what I saw and lived. I was not an absentee landlord. I was one of the dispossessed."
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Perlmutter (1985), describes a dauntingly difficult venue, even absent the "lone drunk" provocation: "It was 1946 and a crowd of 14,000 filled the sports stadium/makeshift concert hall. ... The postage-stamp piano had 10 keys
214:
Plainly and simply, Carmelita's best dances were the most passionate and powerfully devised solos I have ever seen. ... ¶ Her line was visually flawless. ¶ She baffled criticism because her technique fell into two categories:
565:"The performing artist is in a difficult position because the buying public doesn't want people who have dissenting opinions to disturb the illusion." "Aridity is the price we pay for fear of listening to the human cry."
1609:"One night in St. Paul a lone drunk... rose and began to burlesque the dances, prancing up and down the aisles. The audience welcomed the diversion and started to call out encouragement and laugh." de Mille, p. 61.
1883:
Perlmutter video at youtube, 14:49â15:17. "She did live in those 'blood soaked pits,' in her, in her mind, in her heart, in her soul. She was ravaged with fear. ... That's why the whole world didn't know
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Cf. Ălvarez Caballero (1994, 1998), pp. 213â214: de Falla attributes higher musical qualities to 'Cante Jondo' and distinguishes it from other song types included in what "common people call flamenco" .
1811:"She was her own worst enemy. ... Such a difficult person. ... She had a temper and was very opinionated. She had tremendous technique. Yet so few people ever saw her. ... But she was wonderful too!"
1795:, had had psychiatric analysis and recommend it. Maracci was greatly offended, taking it as "wickedly mocking"; the fault was public taste and venal managers. She retired from the stage. de Mille,
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Joan Bayley (website), 'Early life and training': in the 1930s Bayley performed a 'flamenco' dance number taught her by Maracci, whose classes included heel work, hand clapping, and castanets.
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quote at p. 58, "imagination, verve" quote at pp. 58â59, "tongue-lash" quote at p. 59, "talent" quote at p. 64, "genius" quote at p. 63, "instinctive" quote at p. 63, "exception" quote p. 64.
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Joan Chodorow describes Maraccii as "a great artist and teacher". She writes that when she was a young teenager, circa the late 1950s, she began "intensive studies" with her in Los Angeles.
294:'s philosophy. Her dances could be satirical, witty, or flirtatious; a passionate protest of inhumanity or a celebration of human spirit, a plunge to deepest sorrow or an expression of joy."
206:, came to conclude: "Both styles are merely materials out of which she fashions an art that is altogether personal, purely subjective in its creative approach, and utterly unique." Later
535:
Donna Perlmutter, the Los Angeles journalist who carefully followed her career, quotes Maracci who here is musing on her own inner constellation, on her soul's passage through the arts:
282:"Maracci's dancing was deeply personal and an innovative art form. With fiery, passionate individuality and deep political and social convictions, she created dances inspired by
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room. He had seen nothing like it in his life. This was the essence of la Maracci, a born dancer, a great one who had concealed herself, hidden somehow until this moment... ."
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Joan Bayley website. Maracci "turned down a lot of movie stars who came to her school wanting to take private lessons, even though she was struggling and needed the money."
1966:
1944:
129:. A similar debut in New York City came in 1937. Her arrival in New York was troubled by her sponsor's sudden default. Yet undeterred she continued, first on stage at the
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de Mille (1963), p. 165 (terrain quote of Maracci). "I was a gypsy joad," Maracci then said at the end, probably here referring to the Joad family in the 1939 novel
102:
Maracci had performed as a soloist, by way of her dance teacher Ernest Belcher. In New York she studied several dance styles, among her teachers: Hippolita Mora and
552:, rather than by multitudes of aficionados nationwide, worldwide. Yet her fate was born of her character, her compass of principles. Perlmutter from a podium said:
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and a lot of things heavily influenced by Spanish dance." In the late 1930s Bayley and other students accompanied Maracci on dancing tours, including to New York.
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de Mille (1990), pp. 54â55, 66. Among her talents: cooking, drawing, dress design. She "showed me how to enjoy a city when one had no money at all" (p. 55).
182:
Maracci's innovative fusions of ballet and baile were cutting-edge works. Whether solo or small group, some critics saw her shows as 'hybrid dance'. For her
1856:
On Maracci's art: taken from personal notes made contemporaneously by de Mille, later presented in her 1980 book, at pp. 111-115 (with photographs).
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Manuel de Falla (1922), in Molina (1998), pp. 209, 211. The composer concluded the major non-native elements in Spanish flamenco music were: early
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re 1946 event in St. Paul: "It was a traumatic experience for Maracci... , particularly after Agnes de Mille alluded to the incident in her book
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for Ballet Theatre, and she danced the lead on opening night. The ballet met with a mixed reception but remained in the repertoire for a time."
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event in NYC). De Mille writes that it was she who successfully suggested that "Ballet Theatre produce a suite of Carmelita's dances" (p. 60).
430:
2419:
864:
de Mille (1990), p. 54. Her teachers: Mora (Spanish), Zanfretta and Albertieri (ballet), during the late 1920s in New York, then California.
825:' or 'Deep Song'" (p. 56). De Mill then quotes several paragraphs from her contemporary notes (pp. 56â57; on how Maracci danced, pp. 51-53).
2521:
1765:
de Mille (1980), p.116: "Maracci's tremendous career was cut short by illness, her influence is still intense... she has left a mark... ."
1009:(Madrid: Espasa-Calpe 1972), vol.2, p.76: a type of French ballet was sometimes performed in Spanish theaters during the 17th century.
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267:
1527:, her gay frivolity gone, is portrayed in somber hues of sorrow, and finds through her castanets an affinity with the nightingale."
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Adelina, an Italian born in Madrid, came of age in New York. She became a world-wide star of the opera, starting in 1861 at
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had expressly requested dance and theater conditions that were promised, but not delivered. Consequently, she felt that the
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Maracci also worked as a choreographer for Hollywood films, although with pause and an instinctive reluctance. In 1951 for
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in New York City. Its debut was not considered successful enough by the ballet company, concludeding that it needed work.
527:, her former student, expressed admiration for Maracci. In her book, de Mille describes the paradox of Maracci's career.
2501:
1492:
de Mille (1990), p. 57, dances; quote: "a savage satire, an animalistic, savage caricature of a ballet dancer preening".
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was a modern Spanish dancer with a distinctive style of castanets, who also performed Peruvian dances. She recalled the
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Beyond the dissimilar views as to how it happened, there are different commentaries on its significance. The journalist
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LĂ©onide Massine (1968), pp. 114â118, 122: describes the flamenco and Spanish origin of both the music and the dance in
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de Mille (1990), p. 54 (earliest dancing to mother's piano, quotes). She "never mentioned her father," de Mille opines.
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1195:
678:
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Jackson (2000), pp. 123â124 (her troubled arrival), 124 (pictured), 125 (her dance performance, quotes). New York's
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764:(1987) writes, "She was christened Adelina Patti Maracci, but took the name Carmelita early in her dancing career."
317:
199:
1906:
Kuang (1955), she was "incapable of compromising her principles for financial gain, which limited her performing."
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Donna Perlmutter, quoted in Jones (1987). Perlmutter in 1985 wrote a 'Calendar profile' of Carmelita Maracci for
151:
20:
1865:
Perlmutter video at youtube, 7:41 (tragedy); 8:52â9:10 (graveyard decor); 9:39â10:05 (privilege, leap, terror).
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by Walt Disney released in 1944. While "commercially successful" it was for Maracci "personally unsatisfying."
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508:
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1222:(1887-1979), the popular Spanish dancer, of her 1907 South America tour Maracci spoke. Bernal (2020), p.45.
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Castanets, heartbeats to the music, may add "an intellectual power". De Mille (1963), p.55. Known in Roman
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Throughout her career, Maracci excelled in fashioning and performing her singular dances, performed solo:
78:
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during the mid-1930s Agnes and Carmelita hung out together. De Mille described the situation and people:
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635:
334:
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She was long acknowledged by admirers in the ballet world for her inner knowledge of the art. In 1985
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de Mille (1990), pp. 60â61: NYC debut, pep talk. de Mille was a member of Ballet Theatre (later the
934:
Kuang (2005), at the 92nd Street Y Maracci danced before an audience of "artists and intellectuals".
2368:
1833:
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Perlmutter video at youtube, 7:11â7:24 (admiration, jealousy); 11:40 (no small part); 12:55â15:25 (
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Joan Bayley website, "Carmelita was never purely ballet, she was very experimental. We did lots of
615:
449:
373:
191:
1949:
1927:
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Perlmutter video at youtube, 7:55â8:05 (terrain quote of Maracci, apparently taken from de Mille).
322:
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she took, or from popular Spanish dance, not specifically flamenco yet with its moods and lines.
126:
73:, to widen her horizons and advance her dancing skills. She made her debut, traveled to study in
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164:
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Some of Perlmutter's oral remarks at the 2008 Centenary celebration drew from her 1985 article.
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The Bolero School: An Illustrated History of the Bolero, the Seguidillas and the Escuela Bolera
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A centennial event celebrating Maracci's birth was held on September 28, 2008, in Los Angeles.
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607:
434:
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In 1930, she was ready to present for the first time "a program of her own works" to music by
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Notable American Women. A biographical dictionary. Completing the twentieth century, volume 5
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Starting in the 1930s, she received press reviews that noted her extraordinary art, e.g., in
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de Mille (1990), p. 65 (quote). Students attributed their "steel and brilliance" to Maracci.
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described to me as the most beautiful solo dance he had ever seen. In this dance Carmie's
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According to Perlmutter (video at 6:10-7:00), Maracci 'gave' this quote to Agnes de Mille.
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1039:
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Elspeth Kuang (2005), pp. 411â412, at 411: birth and parents. Some doubt as to birth name.
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603:
330:
146:
122:
114:
727:
287:
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Jane Wollman Rusoff, "Celebrating Carmelita Maracci, who 'took the girdle off ballet'",
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Jennifer Dunning, "Carmelita Maracci, a Ballet Instructor and Choreographer", Obituary,
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2073:
1894:
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Carmelita Maracci Papers. "ccording to her husband, had deep fears of performing... ."
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Over a teaching career spanning 50 years, among others Maracci taught John Clifford,
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54:
47:
30:
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wrote six-column reviews hailing Maracci, recognizing her as "a unique phenomenon".
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1443:
1373:
1047:
1043:
973:
922:
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Kuang (2005), re H. Bowl, NY study and tour, L.A. debut, N.Y.C. 1937; her teachers.
776:(1990), p. 54 (second husband, birth place, Montevideo); p. 57 (quote: as Spanish).
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643:
631:
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599:
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492:
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first time. She writes, "my jaw dropped". Adding, "This girl worked with thunder."
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asked to use her name in his 1977 film about the world of ballet in New York City
1194:(New York: Norton 1941, Dover 1959), p.250. Cross-rhythms come from the dancer's
1095:. Cf. pp. 88-90: de Falla's early flamenco dance projects, e.g., the 1915 ballet
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emerged at the Madrid court in the eighteenth century. It was a synthesis of the
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944:
822:
659:
651:
549:
103:
70:
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703:. A longtime student remarked, "Every class of hers was really a performance."
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2209:
Elspeth Kuang, "Carmelita Maracci" in Susan Ware and Stacy Braukman, editors,
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752:
Carmelita Maracci Papers, re her parents, her name, the soprano Adelina Patti.
639:
595:
306:
1339:
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rung by those in the business. In New York City she performed in 1939 at the
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1603:
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1249:
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de Mille (1990), pp. 54, 55, 56 (quotes). "The dance she showed me was her '
300:
242:
187:
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662:. She was a major influence on Los Angeles dance teacher, Irina Kosmovska.
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developed "a sense of mild rebellion--I became an original dance creature."
339:, released in 1952. During the war she was a source for dances in the film
2322:
Converging Movements. Modern Dance and Jewish Culture at the 92nd Street Y
2107:
Amove (2009), Chapter 7 "Modern Dance Masters", section "Characteristics".
1179:
1123:
969:
925:. Maracci is here listed among the "little known artists" (pp. 123, 125).
381:
233:
1519:
Allegra Kent (2001), quotes from a Los Angeles program's description of
1433:, quote. She declined to be listed in the credits, but Chaplin insisted.
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castanets were more recently adopted by some Gitano bailaoras. La Meri,
812:
Kuang (2005), to Los Angeles with her German grandmother, begins career.
133:, then at other theatrical venues. Her performances were well received.
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855:. Bernal (2020), pp. 78-81 (Huara, and Maracci p.80); 46-53 (Valencia).
785:
Carmelita Maracci Papers: her paternal grandmother was from Montevideo.
350:
291:
176:
2388:
1897:, "weren't ready for her dramatic insights into the human condition."
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961:
216:
58:
1808:
Joan Bayley, her young student in the 1930s, writes at her website:
1787:
de Mille wrote to Carmelita that she and other dance professionals,
29:(July 17, 1908 â July 26, 1987) was an American concert dancer and
1915:
Perlmutter (1985), she avoided "fame-makers and artist-merchants."
1207:
844:
1461:
Cf. Joan Bayley website, re her dancers for de Mille's 1936 film
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She was superb "in the Spanish and gypsy styles". John Martin in
1159:
and "the flamenco posture concert dancer Carmelita Maracci... ."
2471:"Celebrating Carmelita Maracci, who 'took the girdle off ballet'
2372:
1524:
448:
During the Spanish Civil War, Maracci had been greatly moved by
141:
To ballet she added Spanish dance. Some techniques derived from
2280:
Talent Abounds. Profiles of master teachers and peak performers
511:
writing about it, quotes what later "Maracci said of herself":
1850:
Cf. de Mille (1990), pp. 56â57, describing Maracci's dancing:
167:
used elements from the two dance arts. In 1922 Falla and poet
2401:, "Early Life and training," as her student during the 1930s.
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de Falla (1922), in Molina (1998), pp. 209â226, quote at 212.
673:, called Maracci a "fabulous dancer" who could "dance ballet
378:(a radio voice of civil-war Spain, a coal-miner's daughter),
186:, with a subtlety both novel and smooth, she'd syncopate the
69:
In 1924, when sixteen, she relocated with her grandmother to
2230:
Nancy Reynolds, "Carmelita Maracci" in Selma Cohen, editor,
2191:
Jack Jones, "Carmelita Maracci, the Dancers' Dancer, Dies",
1311:
de Mille (1990), p.58 (her quote "Carmelita's best dances").
404:(inspired by a poem written in 1500, to music by Granados).
2308:
America Dances. A personal chronicle, in words and pictures
2216:
Carmelita Maracci, "The Portrait--the Individual Voice" in
1025:(New York: A. S. Barnes 1948), pp. 9, 11, 14 (18th century
681:
as if you were standing on top of the world looking down."
2420:"Carmelita Maracci, a Ballet Instructor and Choreographer"
2118:
Dance Therapy and Depth Psychology. The moving imagination
1351:
Dunning (1987), some of her touring done "under aegis of
237:" was a dance solo created by Maracci. De Mille writes, "
2223:
Donna Perlmutter, "A Legend's 'Unplanned Oblivion'," in
1669:"Carmelita took up causes like a street fighter" (p.61).
1235:(1890-1936) she compared herself. De Mille (1990), p.59.
1153:
Snodgrass (2015), p. 153, here citing de Falla's ballet
921:
praised her. The 92nd St. Y was a well-known center for
372:(a satire, a "caricature of a ballet dancer preening"),
2013:
Perlmutter, dance journalist, quoted in Dunning (1987).
400:(about the nineteenth century Italian ballet dancer),
1952:
1930:
1071:
Lynn Garafola (1989), pp. 88, 243, 253. Produced by
1368:Perlmutter (1985), in concert series that included
669:Tina Ramirez, the founder and artistic director of
463:in New York, Maracci "was told by the famed dancer
1960:
1938:
1602:de Mille (1990), pp. 61, 62 (1946 St. Paul event,
499:carried her from the theater shortly thereafter."
77:, toured with a show, then came to California. In
57:her formal schooling began at a convent. Later in
19:"Maracci" redirects here. Not to be confused with
2412:SideBarre, October 20, 2020. Accessed 2021-08-25.
2179:Portrait Gallery. Artists, impresarios, intimates
2064:danced with Maracci's touring troupe. She taught
1394:Carmelita Maracci Papers, the mixed reception re
956:Bernal (2020), p.2. A new style of Spanish dance
2343:No Fixed Points. Dance in the twentieth century
2177:Agnes de Mille, "Carmelita Maracci" chapter in
1774:de Mille (1990), pp. 58â65. Career paradox and
1571:website: titles of her dances and choreography.
2430:"Carmelita Maracci, the Dancers' Dancer, Dies"
2218:Impulse 1961. The Annual of Contemporary Dance
1483:Kuang (2005), her preference; refuses: Franco.
491:performance "wasn't a ballet but a disaster."
1452:she refused, but was included as "Carmelita".
968:and native folk dances. Folk dances included
8:
34:influential as a Los Angeles-based teacher.
2338:(Universidad de Granada 1962, 2d ed. 1998).
333:she contributed to the dance scenes in his
2294:El 'Cante Jondo' {Canto primitivo andaluz}
1649:Kuang (2005), p. 412, quote, La Pasionara.
1407:Kuang (2005), pp. 411â412, p. 412 (quote).
1062:is the song counterpart to Flamenco dance.
1954:
1953:
1951:
1932:
1931:
1929:
467:that the ballet was 'no good'." So wrote
2460:"Perlmutter on Maracci Centenary - 2008"
2341:Nancy Reynolds & Malcolm McCormick,
1320:de Mille (1990), p.57 (quoting Robbins).
245:made the sound of the bird's song... ."
175:, a flamenco song and dance festival in
2275:(Madrid: Alianza Editorial 1994, 1998).
2232:The International Encyclopedia of Dance
1474:Perlmutter (1985), two quotes, Giselle.
1186:(1948), p.29. Seldom used in flamenco.
715:
658:, Laurie Sibbald, Christine Sarry, and
539:"The terrain I've traveled led me into
1398:; see also "Mid-career" section below.
895:Carmelita Maracci Papers, debut quote.
2198:Allegra Kent, "Carmelita Maracci" in
2147:Perlmutter, quoted by Dunning (1987).
1738:See section "Ambivalent reflections".
171:with a coalition of artists produced
7:
1536:Perlmutter (1985), immortality quote
1338:Her group's principal dancer became
1501:Kuang (2005), her dances, the poem.
368:("Live for the one who bore you"),
2336:Manuel de Falla y El 'Cante Jondo'
1623:: "In 1951, Maracci choreographed
1329:Dunning (1987), "repertory" quote.
1302:in 1946, quoted by Dunning (1987).
908:website: list of her performances.
274:she staged her choreographic work
14:
2454:"A Legend's 'Unplanned Oblivion'"
2296:(Granada: Editorial Urania 1922).
2287:The Golden Age of Spanish Dancing
2089:Denning (1987), pirouettes quote.
1799:(1990), pp. 64â65, at 64 (quote).
1636:de Mille (1990), pp. 60â61 (1951
1416:Perlmutter (1985), press reports.
16:American dancer and choreographer
2350:The Encyclopedia of World Ballet
2181:(Boston: Houghton Mifflin 1990).
2138:Dunning (1987), teaching quote.
2120:(Routledge 1991), p.11 (quote).
1593:Dunning (1987), the two events.
2442:, as her student in the 1950s.
2352:(Rowman and Littlefield 2015).
1977:de Mille (1990), p.68 (quote).
1893:Jones (1987): Audiences, said
1694:Jones (1987), "no good" quote.
1521:The Nightingale and the Maiden
402:The Nightingale and the Maiden
225:The Nightingale and the Maiden
42:Carmelita Maracci was born in
1:
2497:20th-century American dancers
2379:Carmelita Maracci photographs
2345:(Yale University Press 2003).
1995:Kuang (2005), p. 412: quotes.
834:de Mille (1980), pp. 111-115.
2129:Allegra Kent (2001), quotes.
1961:{\displaystyle \mathbb {P} }
1939:{\displaystyle \mathbb {P} }
1747:Jones (1987), Maracci quote.
1558:Dunning (1987), Terry quote.
993:(Binsted: Dance Books 2002).
2522:20th-century American women
2324:(Wesleyan University 2000).
2310:(New York: Macmillan 1980).
2303:(London: Paul Hamlyn 1963),
843:Helba Huara (1905-1986) of
2538:
2315:Diaghilev's Ballets Russes
2282:(New York: Rutledge 2009).
2213:(Harvard University 2005).
2076:, and directed Clifford's
1510:Carmelita Maracci website.
1048:music of Gitanos (Gypsies)
310:, and the English monthly
53:After the family moved to
18:
2331:(London: Macmillan 1968).
2317:(Oxford University 1989).
2271:Ăngel Alvarez Caballero,
2234:(Oxford University 1998).
2031:Dunning (1987), students.
1385:Kuang (2005), NYC venues.
1290:(1987): experiment quote.
579:As a student of Maracci,
152:El Sombrero de Tres Picos
2389:Carmelita Maracci Papers
2334:Eduardo Molina Fajardo,
2245:Carmelita Maracci Papers
1679:Carmelita Maracci Papers
1621:Carmelita Maracci Papers
1442:Perlmutter (1985): when
1244:Cf. Kuang (2005), e.g.,
1091:, with stage designs by
1046:, and more recently the
875:Los Angeles Philharmonic
794:Kuang (2005), schooling.
574:Teaching the ballet arts
268:Metropolitan Opera House
2507:Dancers from California
2492:American choreographers
2487:American female dancers
2393:New York Public Library
2289:(Las Vegas: Lulu 2020).
2022:Jones (1987), students.
1705:American Ballet Theatre
1087:) was choreographed by
853:Carmen TĂłrtola Valencia
202:, then dance critic at
173:Concurso de Cante Jondo
145:. Inspired by flamenco
2348:Mary Ellen Snodgrass,
2202:, January 1, 2001, at
1962:
1940:
1855:
1841:. Cf., Maracci (1961).
1813:
1611:
1085:The Three-cornered Hat
690:
585:
567:
558:
545:
520:Ambivalent reflections
517:
505:
410:
296:
249:Fruits of her creation
221:
159:) delivered its music
139:
87:
2469:Jane Wollman Rusoff,
2301:The book of the Dance
2225:The Los Angeles Times
2193:The Los Angeles Times
1963:
1941:
1851:
1809:
1607:
1582:The Los Angeles Times
686:
577:
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479:"tepid in response".
473:The Los Angeles Times
406:
385:(to a piano suite by
280:
212:
149:, in his 1919 ballet
135:
94:New styles of dancing
83:
1950:
1928:
1079:in 1919, de Falla's
964:from dancers of the
431:republican loyalists
2502:Dancers from Nevada
2447:"Carmelita Maracci"
2440:"Carmelita Maracci"
2186:The New York Times,
1834:The Grapes of Wrath
1007:La MĂșsica de España
873:Then a site of the
616:Carmen de Lavallade
471:, a journalist for
425:Mid-career troubles
192:neoclassical ballet
125:, probably held at
2452:Donna Perlmutter,
2239:The New York Times
2078:Los Angeles Ballet
2043:website, students.
1958:
1936:
1720:incident, quotes).
1569:Carmeliita Maracci
1272:The New York Times
1192:The Music of Spain
602:, William Carter,
529:The New York Times
461:Metropolitan Opera
323:The New York Times
204:The New York Times
127:Trinity Auditorium
2406:Carmelita Maracci
2404:Bethany Beacham,
2369:Carmelita Maracci
2363:Carmelita Maracci
2329:My Life in Ballet
2327:LĂ©onide Massine,
2292:Manuel de Falla,
2278:Robert F. Amove,
2273:El cante flamenco
2251:Carmelita Maracci
2227:, April 21, 1985.
2157:Carmelita Maracci
2041:Carmelita Maracci
1683:To a Young Dancer
1449:The Turning Point
1276:Carmelita Maracci
906:Carmelita Maracci
610:, Joan Chodorow,
608:Geraldine Chaplin
435:Spanish Civil War
370:Dance of Elegance
286:'s war drawings,
266:. In 1951 at the
256:St. James Theatre
44:Goldfield, Nevada
27:Carmelita Maracci
2529:
2416:Jennifer Dunning
2306:Agnes de Mille,
2299:Agnes de Mille,
2285:Michael Bernal,
2241:, May 22, 2017.
2204:The Free Library
2195:, July 30, 1987.
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457:Circo de España
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364:("Deep Song"),
331:Charlie Chaplin
316:. In the 1940s
304:of London, the
290:'s poetry, and
276:Circo de España
262:and in 1946 at
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389:about painter
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2049:
2046:
2042:
2037:
2034:
2028:
2025:
2019:
2016:
2010:
2007:
2001:
1998:
1992:
1989:
1983:
1980:
1974:
1971:
1946:8 & last
1921:
1918:
1912:
1909:
1903:
1900:
1896:
1890:
1887:
1880:
1877:
1871:
1868:
1862:
1859:
1854:
1847:
1844:
1840:
1836:
1835:
1828:
1825:
1819:
1816:
1812:
1805:
1802:
1798:
1794:
1793:Martha Graham
1790:
1784:
1781:
1777:
1771:
1768:
1762:
1759:
1753:
1750:
1744:
1741:
1735:
1732:
1726:
1723:
1719:
1713:
1710:
1706:
1700:
1697:
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1672:
1665:
1662:
1655:
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1643:
1639:
1633:
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1626:
1622:
1617:
1614:
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1596:
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1587:
1583:
1577:
1574:
1570:
1564:
1561:
1555:
1552:
1548:
1542:
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1533:
1530:
1526:
1522:
1516:
1513:
1507:
1504:
1498:
1495:
1489:
1486:
1480:
1477:
1471:
1468:
1464:
1458:
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1445:
1439:
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1432:
1428:
1422:
1419:
1413:
1410:
1404:
1401:
1397:
1391:
1388:
1382:
1379:
1375:
1371:
1365:
1362:
1358:
1354:
1348:
1345:
1341:
1335:
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1326:
1323:
1317:
1314:
1308:
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1301:
1296:
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1289:
1284:
1281:
1277:
1273:
1267:
1264:
1258:
1255:
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1247:
1241:
1238:
1234:
1228:
1225:
1221:
1216:
1213:
1209:
1205:
1201:
1197:
1193:
1189:
1188:Gilbert Chase
1185:
1181:
1175:
1172:
1165:
1162:
1158:
1157:
1156:El Amor Brujo
1150:
1147:
1141:
1138:
1132:
1129:
1125:
1118:
1115:
1111:
1105:
1102:
1098:
1097:El Amor Brujo
1094:
1093:Pablo Picasso
1090:
1086:
1082:
1078:
1074:
1068:
1065:
1061:
1056:
1053:
1049:
1045:
1041:
1035:
1032:
1029:), cf. 23-27.
1028:
1024:
1020:
1015:
1012:
1008:
1004:
999:
996:
992:
989:Marina Grut,
986:
983:
979:
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967:
966:Italian Opera
963:
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946:
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770:
767:
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749:
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733:
729:
725:
724:Covent Garden
719:
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709:
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633:
629:
625:
621:
617:
613:
612:Janet Collins
609:
605:
601:
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593:
592:Gerald Arpino
588:
584:
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566:
562:
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551:
544:
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533:
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500:
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482:
476:
474:
470:
466:
462:
458:
453:
451:
450:La Pasionaria
446:
444:
440:
436:
432:
424:
422:
419:
415:
409:
405:
403:
399:
398:in Retrospect
397:
392:
388:
384:
383:
377:
376:
375:La Pasionaria
371:
367:
366:Viva la Madre
363:
358:
356:
352:
346:
344:
343:
338:
337:
332:
327:
325:
324:
319:
315:
314:
313:Dancing Times
309:
308:
303:
302:
295:
293:
289:
285:
279:
277:
273:
269:
265:
264:Carnegie Hall
261:
257:
248:
246:
244:
240:
236:
235:
230:
226:
220:
218:
211:
209:
205:
201:
195:
193:
189:
185:
180:
178:
174:
170:
166:
162:
158:
154:
153:
148:
144:
138:
134:
132:
131:92nd Street Y
128:
124:
120:
116:
112:
107:
105:
101:
93:
91:
86:
82:
80:
76:
75:New York City
72:
67:
65:
60:
56:
55:San Francisco
51:
49:
48:Adelina Patti
45:
37:
35:
32:
31:choreographer
28:
22:
2463:
2436:Allegra Kent
2349:
2342:
2335:
2328:
2321:
2314:
2307:
2300:
2293:
2286:
2279:
2272:
2256:
2250:
2244:
2238:
2231:
2224:
2217:
2210:
2203:
2199:
2192:
2185:
2178:
2167:Bibliography
2156:
2152:
2143:
2134:
2125:
2117:
2112:
2103:
2094:
2085:
2077:
2057:
2048:
2040:
2036:
2027:
2018:
2009:
2000:
1991:
1982:
1973:
1920:
1911:
1902:
1889:
1879:
1870:
1861:
1852:
1846:
1832:
1827:
1818:
1810:
1804:
1796:
1783:
1775:
1770:
1761:
1752:
1743:
1734:
1725:
1717:
1712:
1699:
1690:
1682:
1678:
1674:
1664:
1654:
1645:
1637:
1632:
1624:
1620:
1616:
1608:
1598:
1589:
1581:
1576:
1568:
1563:
1554:
1541:
1532:
1520:
1515:
1506:
1497:
1488:
1479:
1470:
1462:
1457:
1447:
1444:Herbert Ross
1438:
1430:
1426:
1421:
1412:
1403:
1395:
1390:
1381:
1374:Pablo Casals
1364:
1356:
1347:
1334:
1325:
1316:
1307:
1295:
1283:
1275:
1271:
1266:
1257:
1240:
1233:La Argentina
1227:
1215:
1191:
1183:
1174:
1164:
1154:
1149:
1140:
1131:
1117:
1109:
1104:
1084:
1080:
1067:
1055:
1044:Arabic music
1034:
1022:
1014:
1006:
998:
990:
985:
957:
952:
939:
930:
923:modern dance
918:
913:
905:
900:
891:
882:
869:
860:
848:
839:
830:
817:
808:
799:
790:
781:
769:
757:
748:
739:
731:
718:
705:
698:
693:Allegra Kent
691:
687:
683:
668:
664:
644:Tina Ramirez
632:Julie Newmar
628:Allegra Kent
600:Leslie Caron
589:
586:
581:Allegra Kent
578:
568:
564:
559:
555:
546:
538:
534:
528:
523:
514:
506:
502:
493:Antony Tudor
488:
485:
481:Oliver Smith
477:
472:
456:
454:
447:
438:
428:
411:
407:
401:
394:
379:
374:
369:
365:
361:
359:
347:
340:
335:
328:
321:
311:
305:
299:
297:
288:GarcĂa Lorca
281:
275:
252:
232:
224:
222:
213:
203:
196:
183:
181:
169:GarcĂa Lorca
161:orchestrated
156:
150:
140:
136:
108:
97:
88:
84:
68:
52:
41:
26:
25:
2517:1987 deaths
2512:1908 births
2464:youtube.com
2432:, obituary.
2422:, obituary.
2399:Joan Bayley
2257:Joan Bayley
1340:Joan Bailey
1300:John Martin
1206:, and also
1110:Le Tricorne
1081:Le Tricorne
1060:Cante jondo
1042:, medieval
945:avant-garde
823:Cante Jondo
660:Gwen Verdon
652:Janice Rule
550:Los Angeles
362:Cante Jondo
318:John Martin
210:retold it:
200:John Martin
157:Le Tricorne
104:Helba Huara
71:Los Angeles
2481:Categories
2473:, article.
2456:, article.
2449:, article.
2426:Jack Jones
2259:(website).
2253:(website).
2247:(website).
2206:(website).
1198:, and the
978:Sevillanas
849:modernismo
762:Jack Jones
710:References
640:Tommy Rall
596:Erik Bruhn
509:Jack Jones
469:Jack Jones
455:About her
441:, for the
307:Paris-Soir
2266:Secondary
2062:Kosmovska
1659:missing."
1604:Sol Hurok
1427:Limelight
1353:Sol Hurok
1274:1937, at
1250:castanets
1246:zapateado
1196:zapateado
1073:Diaghilev
970:Fandangos
732:BBC Wales
679:arabesque
675:on pointe
636:Ruth Page
336:Limelight
301:The Times
243:castanets
188:castanets
155:(French:
79:Hollywood
2159:website.
1278:website.
1210:(p.252).
1180:Hispania
1124:flamenco
548:City of
433:of the
387:Granados
380:Another
260:Broadway
234:Goyescas
184:pas seul
123:Schumann
119:Granados
115:de Falla
21:Marracci
2172:Primary
1547:Joffrey
1523:: "The
1359:staged.
1169:works."
1019:La Meri
459:at the
382:Goyesca
351:Giselle
292:Unamuno
177:Granada
38:Origins
1549:quote.
1208:jaleos
1204:palmas
1027:bolero
962:Ballet
355:Franco
217:ballet
121:, and
59:Fresno
2408:, at
2383:LACMA
1884:her."
1638:Circo
1357:Circo
1200:pitos
974:Jotas
845:Cuzco
227:from
111:Ravel
2373:IMDb
1791:and
1567:Cf.
1525:Maja
1429:and
1372:and
904:Cf.
541:Goya
284:Goya
270:for
2462:at
2410:ABT
2391:at
2381:at
2371:at
1837:by
1776:NYT
1606:).
1355:";
1231:To
1075:'s
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416:of
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1968:.
1955:P
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1112:.
1099:.
1083:(
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734:.
223:"
23:.
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