447:
608:
228:
215:". In particular at the Cafe Novedades in Sevilla for fifteen years she held sway, setting the pace, defining the art. When La Macarrona 'consented' to dance, she might arise from her place like a queen of Sheba, sovereign, knowing, riding the music, proud of her art, perhaps too proud. As she raised her arms above her head it was as if favoring the world with the sight of her
108:
472:. A bailaora herself, she turned her admiring gaze to La Macarrona as she performed the flamenco arts. When Juana sat afterward La Argentina came to her, and gently knelt down at the feet of the goddess! Carefully, perhaps a bit mischievously, she took off La Macarrona's dancing shoes. Then carried them away.
352:
She was able to extend her dancing career well past sixty. "Such was her dominance in the dance that in the 1920s, when she was in her sixties, she still drew crowds as a headliner in the major cabarets of
Sevilla and Madrid." In part, however, she performed out of necessity, caused by the loss of
310:
Macarrona in
English would mean "macaroni or macaroon". In addition to the foods, the word "macaroni" in 18th century England also signified an "English dandy... who affected foreign mannerisms and fashions." This second meaning originally derived from Italian, and is retained in the Spanish cognate
72:
Her mother was Ramona de las Heras
Valencia, a flamenco singer, her father Juan de Vargas BarrĂo, a flamenco guitarist. At the age of seven Juana began dancing in the streets to their accompaniment, hers being a flamenco family. Among Juana's gypsy ancestors was Josefa Vargas, also a bailaora. More
193:
She also became known to aficionados for quotable, impromptu expressions. For example, after performing with flamencos often in Paris Juana had become familiar with speaking French. On a later trip north from Spain, she was asked to make arrangements when the train reached Paris. Upon arrival, for
292:
La
Macarrona was her stage name of Juana Vargas. The name is said to be taken from two flamenco ancestors of Juana Vargas. Each named MacarrĂłn, they flourished in the 18th century: TĂo Juan MacarrĂłn and TĂo Vicente MacarrĂłn. Juana's family was long accustomed to performing the flamenco arts. Her
275:
On stage her elusive movements drew rapt attention, almost reverence from many audiences. She attracted poetic lines. Radiant was her stage presence, her rhythmic grace fluid. With her turns of emotional intensity, and her sudden stillness, she'd conjure a fragrance of roses. La
Macarrona
1397:"La Macarrona, supple as if she had remained still set in her unforgettable sixteenth year, became a goddess of ancient rites, full of hesitation and mystery, yet she then summoned the ardor and accelerated the rhythm. Her flamenco dress appeared to become a wave, the wind, a flower."
766:(Madrid: Imprenta Helénica, 1935, facsimile reprint by Extramuros Edición, Sevilla, 2009), pp. 148, 150. Accounts given of Juana, followed by Maria, both called La Macarrona. No mention is made of a family connection. Photographs of Juana at pp. 72 and 73, and of Maria at p. 75.
457:
La
Macarrona, flexible como si se hubiera quedado plantada en sus enolvidables dieciséis años, se hizo una diosa de rito antiguo, lleno de parsimonia y de misterio, que luego recobraba ardor y acelerado ritmo. Su traje de flamenca se transformaba en ola, en viento, en
96:. By the early 1890s Juana was appearing at illustrious venues in Paris, and elsewhere in Europe. Entertained were several "zares de Russia", a "shah de Persia", various "reyes, principes y duques", as well as "señorĂos" and "comerciantes". La Macarrona performed her
1620:(Madrid: Espasa-Calpe, 1979), two volumes, 2: pp. 527â528, 531â539. This era has been called the era of "Ăłpera flamenco". Said to be unfortunate for adulterating flamenco for commercial purposes, nonetheless these flamenco performances continued its popularity.
638:
Santa MarĂa" was brought to the stage. The flamenco artists played a variety of city characters, while occasionally performing the art's song and dance accompanied by guitarists. This CĂĄdiz barrio was then an entertainment spot, with
374:
La
Macarrona had taught "droves" of younger dancers. Among them was Teresita España, who she considered turned out the best. Also her student was Florencia Pérez Padilla, the Rosario of the performing pair "Rosario and Antonio".
580:
In the "magic circle of flamenco art" a new star began to shine. Macarrona suddenly cried out, "You are the Queen!" The audience laughed, stirred, murmured... clapped in rhythm. All the while they shouted encouragement, various
1577:(2013), p.86. The author similarly describes a scene: Carmen Amaya encountering the enthusiasm of La Macarrrona and La Malena during a memorable night in Sevilla. Yet Hidalgo's very brief version is apparently dated circa 1923.
675:. It was at a time when the flamenco arts in general had suffered a loss of popularity. Hence the once well-known bailaora passed from the scene "poor and forgotten". She herself thought her beloved flamenco was dying. "
156:
The people are silent, holding their breaths with an almost religious fervor, while the feet of La
Macarrona give rhythm to her dance. The chords of the guitar have little value now. Because La Macarrona dances to the
1180:(New York: Simon and Schuster, 3d college ed. 1991) at 809. As British colonial overreaching, mocked in a popular song of the American revolution: "Yankee Doodle dandy, stuck a feather in his hat and called it
401:, was chiefly a contest for amateur flamenco artists, but it also attracted veteran performers. Honored as a judge for the contest, in that role La Macarrona joined three other stars of flamenco, the cantaores
686:, had written: "Everything that can be said about La Macarrona is not enough." She is "appraised by many as the greatest female flamenco dancer of all times. Others claim she was the greatest of her epoch."
576:
Soon her demons took hold of her. 'And, Good Lord, what broke loose there!' La
Macarrona and La Malena were on their feet, crying. It was a dream: they had come back to life in the person of Carmen.
311:"macarronea" , which currently is defined as "burlesque verse" mixing "real or coined words from two or more languages." So that, if in itself it carries a meaning in addition to family ancestry,
1487:(Madrid 1964, 1988), p. 368 (the three dancers in "gipsy caves", the star dancers, quote re Ballet Español, tour) . Cf. Vicente Escudero, p. 191. Pilar López was La Argentinita's sister (p. 229).
682:
Yet a decade later the flamenco arts were experiencing a grand renaissance, in which Juana Vargas as La
Macarrona was well remembered. Years earlier, in 1935, Ferdinando el de Triana, a flamenco
239:
Her reputation in international dance was correspondingly high, no less in the world of ballet and classical music. Four well-known traveling companions saw her dance, circa 1917: the impresario
647:. The lively show included well-known singers and tocaors of the guitar. Also featured for flamenco nostalgia were veteran dancers, the stars La Macarrona and three other elder bailaoras, whose
561:. The meeting was said to be "one of the great moments" in Amaya's life. During those years the two elder gypsy dancers were being celebrated as "the most famous in the grand old style of the
73:
distant ancestors were among the earliest flamenco performers known. MarĂa Vargas, Juana's sister, was the lesser-known dancer MarĂa La Macarrona. Juana landed her first regular job at a
627:", then in the flower of her career. She played a leading role, too, in the musical show. During this era, flamenco song and dance was often moved from the café venue into the theater.
92:
she then danced. Quickly La Macarrona became a well-known bailaora throughout Spain, dancing in company with the best flamenco performers (singers, dancers, guitarists) at well-known
1543:(1964, 1988), pp. 218â219: "It was a matter of opinion who danced better, La Malena or La Macarrona, but it was almost universally agreed that these friendly rivals were the supreme
194:
whatever reason, nobody seemed able to understand her. She explained, "It's not that my French isn't good, it's just that they've changed the damned language since I was here last."
989:(Barcelona: Ediciones Carena, 2010, 2013), p. 82: La Macarrona "possessed an amazing flexibility in moving her body and with incredible mastery she dominated the management of the
1147:
she created. ... And by her waist, by her arms, she was climbing on the fluid surge of the dance... ." Quoting Caballero Bonald in Spanish article "Juana la Macarrona" at website
959:
Paco Sevilla describes La Macarrona, and other bailaoras (female flamenco dancers) of the era, as equal to today's dancers in footwork. Sevilla's book on Carmen Amaya,
1230:
The film involved a gypsy girl from Granada called Violeta, who reads the hand of a young lady who marries the emperor of France Napoleon III. The film was
553:(1913â1963). Her reputation already reached to the Americas, and she'd been featured in commercial films. The occasion was a performance by Amaya with the
1681:"The modern kids, the youth of today, look at us as if we were something rare, without stopping to think that we have made three generations cry with our
77:
in Sevilla, but she earned more in the streets by the equivalent of "passing the hat". Later she danced beside the singer El Mezcle at a flamenco café in
263:
dancers of the day. Their dancing more than lived up to our expectations, and we were dazzled by the ferocious power and elegance of their performance."
181:, and bailes "festeros" (festive dances). By eye-witness accounts La Macarrona was "a fireball, her dance full of gypsy temperament." It is said "her
1908:
307:" (One of the earliest flamenco interpreters known). Of another of her namesakes, TĂo Vicente MaccarĂłn, an equal antiquity and rĂŽle is referenced.
565:
dance." Both "full of years and infirmities" they were yet "basking in the admiration and homage of the Sevilla public, that loved them dearly."
1855:
824:
1691:(1964, 1988), at pp. 214â215. Juana had given a 1935 interview, printed in a Sevilla newspaper, excerpts appearing in Juan de la Plata's book
1923:
1913:
663:
of 1933 is said to have been "the high point of theatrical flamenco." In 1940 La Macarrona did this show again, produced by Conchita Piquer.
847:
professors Daniel Pineda Novo (who wrote her biography) and Juan de la Plata, Pablillos de Valladolid, and her contemporary the flamenco
1928:
677:
Los niños modernos, la juventĂș, nos mira como cosas raras, sin pensĂĄ que hemos jecho yorĂĄ con nuestras gitanerĂas a tre generaciones.
1898:
1277:
led lives guided by ancient tribal values, enjoying a rural vitality and a savvy intuition. Yet changing urban customs eluded many.
1918:
1903:
1933:
1423:(1999), pp. 169â170 ("folkloric" quote at 169); p.65 (La Argentina's earlier production at request of Falla; cf. p. 186).
799:. A mix of "Italian honey and our lemon" who "opening the mirror's quicksilver, suffered his songs without breaking them".
503:
Three elders of flamenco dance, La Macarrona, La Malena, and Fernanda AntĂșnez, were featured. They played in roles of the
101:
1866:
1118:
750:
549:
La Macarrona and La Malena had a memorable, emotional meeting with the rising international star of flamenco dance,
740:(Sevilla: Signatura de Flamenco ), p. 165 (sister MarĂa), pp. 165â166 (Juana Vargas de las Heras was born in 1870).
1303:
anymore, when we have always been the queens of the world. But time does away with everything." Juan de la Plata,
446:
353:
much of her wealth in a house break-in. Stolen was a small fortune in "cash and jewels". Eventually, however, her
500:), it "stressed the folkloric elements of the music and, as a result, was more 'flamenco' than other versions."
327:
Juana la Macarrona when fifty (in 1910) established a permanent home in Sevilla. In 1922 she was a judge at the
148:
About the footwork then current among flamenco bailaoras, there is a disputed issue. Some assert that today the
607:
836:
788:
518:
410:
398:
1629:
The other bailaoras were: Fernanda AntĂșnez (b. 1875), La Sordita (b. 1870), and La Malena (b. 1870). Pohren,
1817:
386:
370:"Ni en los cafĂ©s nos quieren ya, cuando hemos sĂo siempre las reinas der mundo. Pero to lo acaba er tiempo."
368:
When she was seventy-five, she gave a newspaper interview in Sevilla. She lamented the decline of flamenco.
329:
1708:(1935, 2009), p. 148: "Todo cuanto se diga de su arte es pĂĄlido ante la realidad." Translation by Pohren,
522:
1938:
1823:
1424:
465:
920:--dress with a train--superbly... skillfully and elegantly... an art in itself." Barbara Thiel-Cramér,
267:
The "Ramirez" mentioned with La Macarrona is probably Antonio LĂłpez RamĂrez or "Ramirito" (1885â1930).
1052:
Juana "is the one that for many years reigned over the art of flamenco dance." Fernando el de Triana,
1893:
1888:
1807:
821:
315:
could mean "exotic talker", analogous to how she dances, also fitting her knack for off-stage humor.
294:
85:
40:
507:(the three sorcerers) during "the scenes in the gipsy caves". At the end the three also danced an
1270:
127:
From reports of her performances, La Macarrona followed a style then considered traditional. Her
115:
1143:
La Macarrona "grafted onto the dance very ancient emotions, feminine force and grace, as in the
248:
1633:(1988), pp. 217, 218, 219 (bailaoras); 127â128, 226 (the barrio), "high point" quote at p. 226.
1231:
402:
140:
1872:
278:
le injertĂł al baile una antiquĂsima fuerza emotiva, llena de feminidad y gracia, como en los
1812:
1002:
525:
attended the "triumphant" first performance, which was dedicated to him. This production of
514:
428:
74:
1560:(c.1955), "her demons" quote, "the Queen" quote, Faraona status; related by Sevilla in his
808:
Café Silverio: its patio's platform (el tablao) briefly described in Barbara Thiel-Cramér,
167:
poseĂa una asombrosa flexibilidad en los movimientos del cuerpo y dominaba el manejo de la
1845:
1010:
828:
711:
483:
394:
244:
240:
131:
directed attention to the upper torso, with movements of the arms and of the hands. These
282:
de su creaciĂłn. ... Y por la cintura, por los brazos, le subĂa el chorro de la danza... .
152:
is more developed, others disagree. A contemporary describes her spell over an audience.
1337:(1988), pp. 214â215 (Teresita the favorite); 237â238 (Rosario's ballet flamenco ), 199 (
1833:
1828:
1797:
1121:(2015). Evidently there is 1917 film of La Macarrona dancing, taken by LĂ©onide Massine.
848:
624:
590:
546:
497:
440:
432:
299:
128:
27:
211:
she remained much in demand for decades, the performance star among bailaoras. Juana "
1882:
1682:
840:
488:
338:
232:
52:
1307:, quoting the La Macarrona interview, repeated by Pohren who then translates in his
1802:
844:
779:(Madrid, 1964, 1988), pp. 212â213 (Juana's parents, early career; born circa 1860).
550:
406:
182:
135:
she did knowingly, aware, with a delightful ease she displayed her strength. The
1764:
1530:(New York: Luo Dunetz and Paul Lovette, 1955), quoted in Sevilla (1999), p. 178.
509:
178:
851:
Fernando el de Triana (1870â1940) who wrote his account of fellow performers,
585:
to Carmen who kept on dancing, her eyes wet, "full of tears". She'd be the new
533:". After opening in CĂĄdiz (de Falla's birthplace), La Macarrona with the other
644:
615:
In 1933 and again in 1940, La Macarrona toured with the celebrated stage show
436:
227:
727:
Regarding her earlier MacarrĂłn ancestors, see section "Her stage name" below.
572:
danced solo by Carmen Amaya. The magic hush of the audience inspired Carmen.
1752:
1290:(1988), p.213-214 (as elder dancing, the burglary, benefits, author quotes).
44:
1164:(Madrid: Editiones Istmo, 1972, 1988), at 231 (the singers). The honorific
171:
que enroscaba a sus pies despuĂ©s de dar las vueltas con encreĂble maestrĂa.
78:
1144:
569:
493:
279:
174:
23:
1427:(1890â1936) and La Argentinita (1898-1945) were not related (pp. 72-73).
521:, Rafael Ortega, Antonio de Triana, as well as La Argentinita. The poet
1354:(Madrid: Alianza Editorial, 1994), p. 216 (the judges; "ÂĄlapoteosis!").
1274:
683:
672:
558:
427:" Later the maestra herself danced, to a trio of guitarists including
390:
208:
139:
she moved beautifully, impeccably. According to a flamenco writer, her
107:
89:
56:
1590:(Madrid 1964, 1988), pp. 214, 226, 125â126 (the show, La Argentinita).
259:"In Seville we went to see Ramirez and Macarrona, the two outstanding
1196:(Madrid: Espasa Calpe, 18th edn Real Academia Española, 1956) at 823.
643:(grocery store-bar combinations) open all night" and streets full of
635:
950:, Spanish article (citing Fernando el de Triana on her dance style).
1547:
of their epoch." Views on Carmen Amaya (1913â1963), at pp. 230â237.
341:. In a trio of elder dancers, Juana performed on stage in the 1933
333:
in Granada (see below). In 1931 Juana danced in the motion picture
1687:." Quoted from a 1935 newspaper article and translated by Pohren,
1440:, p. 113: La Argentina (Antonia Mercé Luque) had produced Falla's
620:
606:
496:, accentuating its flamenco roots. Produced by EncarnaciĂłn LĂłpez (
445:
419:
106:
972:
Pablillo de Valladolid, in JosĂ© Blas Vega and Manuel RĂos Ruiz,
365:
in Sevilla. "Occasionally benefits would be held in her honor".
1380:(Universidad de Granada, 1962, 2nd edn 1998), pp. 136â137 (her
213:
es la que hace muchos años reina en el arte de bailer flamenco
104:
in Paris. Not yet thirty, she had attracted wealth and fame.
1367:
Spanish for "cries of encouragement to flamenco performers".
655:
and other cries of appreciation. The roles they played were
345:. Also in 1933, and in 1940, she toured with the stage show
88:, the legendary flamenco cantaor, at whose Café Silverio in
1738:
has been named the "Juana la Macarrona" prize in her honor.
753:(New York Public Library, 2015): sister MarĂa la Macarrona.
993:
which swirled around her feet after she'd made the turns".
319:
could advertise her being a "dandy" of the flamenco arts.
1515:
Queen of the Gypsies. The life and legend of Carmen Amaya
1457:(Barcelona: Salvat Editores, 1965), pp. 63â73 re Falla's
866:
Queen of the Gypsies. The life and legend of Carmen Amaya
1784:(1935, 2009): photographs of La Macarrona at pp. 72, 73.
1095:(London: Macmillan 1968), pp. 114â119, quote at 117â118.
59:
career, which lasted well into the twentieth century.
1869:(New York Public Library 2015). Photographs and text.
976:(Madrid 1988), p.436, cited by Sevilla (1999), p.100.
916:
La Macarrona "handled the huge Manilla shawl and her
219:. Her vital moves elicited 'lightning and thunder'.
1751:, pp. 166-167, dances and music named for her. Two
1069:, Spanish article (citing Pablillos de Valladolid).
623:). It was another production by EncarnaciĂłn LĂłpez "
1867:"Juana Vargas 'La Macarrona': A flamenco treasure"
1119:"Juana Vargas 'La Macarrona': A flamenco treasure"
795:(1931), the section "Viñetas Flamencas" the verse
751:"Juana Vargas 'La Macarrona': A flamenco treasure"
357:era fame had faded; she then mostly performed in
84:At about the age of 16 Juana was "discovered" by
22:(3 May 1870 – 17 April 1947) was a Spanish
1082:(1999), p. 99 (quoting Pablillos de Valladolid).
1384:dance and the quoted description), p. 139 (her
1026:(1964, 1988), at 214 ("fireball" reference and
1725:(1964, 1988), p. 215; "greatest" quote p. 212.
1474:(1999), p. 169 (GarcĂa Lorca, Ballet Español).
835:. This Spanish article references the writers
303:(flamenco singer) of 18th-century Spain and "
8:
1504:" (who personified the three enchantresses).
1324:(1999), pp. 63, 216 (Juana teaches Rosario).
1108:(Oxford University, 1989), pp. 88â90, at 89.
1695:. Pohren draws a string of quotes from it.
881:(1964, 1988), p. 213 (discovered, career).
305:Uno de mås antiguos intérpreters conocidos
1875:a Knowledge (XXG), La enciclopedia libre.
611:La Argentinita, by Julio Romero de Torres
1030:quotes), 219 ("fireball" quote, duende).
568:Guitars began the flamenco event, for a
226:
1852:, article in Spanish, with photographs.
1444:at the TrianĂłn LĂrico de ParĂs in 1925.
695:
413:. Juana's presence richly animated the
1862:, article in Spanish, with photograph.
1603:, p. 115 (show; La Macarrona played a
1500:(c.2001), p. 115: the three dancers, "
1056:(Madrid, 1935, Sevilla, 2009), p. 148.
1273:, 1971, 1974), pp. 19â21. Often then
1003:"La Macarrona [Juana Vargas]"
903:Long ruffled dress with a train, the
843:(who also painted her portrait), the
529:was said to facilitate "the birth of
492:(Love the Magician) was re-staged in
417:festivities, for one, by her excited
7:
1502:queines encarnaban a las tres brujas
985:Quote from Francisco Hidalgo GĂłmez,
937:(1935, 2009), p. 148 re dance style.
513:. The show starred flamenco dancers
393:. This event, promoted by composer
16:Spanish flamenco dancer (1870â1947)
1517:(San Diego, 1999), p. 178 (quote).
1378:Manuel de Falla y el "Cante Jondo"
1265:Cf. Juan de Dios Ramirez Heredia,
812:(Lidingö: Remark 1991), pp. 86-87.
702:For sources see footnotes to text.
537:went on the show's tour of Spain.
14:
1194:Diccionario de la Lengua Española
443:. Eduardo Molina Fajardo writes:
161:of her own magnificent footwork."
145:accents were dramatic and sharp.
47:, she later added the stage name
1909:People from Jerez de la Frontera
1672:(1999), pp. 206â207 (1940 show).
1299:"They don't even want us in the
439:punctuated the music with their
797:Retrato de Silverio Franconetti
247:, the choreographer and dancer
1573:Cf., Francisco Hidalgo GĂłmez,
1208:(3rd college edn 1991) at 809.
1162:IntroducciĂłn al Cante Flamenco
924:(Ligindö: Remark 1991), p.105.
868:(San Diego, 1999), pp. 99â100.
718:(parents, year of birth 1860).
385:In 1922 Juana appeared at the
293:namesake TĂo Juan MacarrĂłn of
1:
1749:AntologĂa del Baile Fllamenco
1723:Lives and Legends of Flamenco
1588:Lives and Legends of Flamenco
1541:Lives and Legends of Flamenco
1485:Lives and Legends of Flamenco
1288:Lives and Legends of Flamenco
1219:AntologĂa del Baile Fllamenco
1132:Lives and Legends of Flamenco
1065:Cf., "Juana la Macarrona" at
1043:(1964, 1988), p. 213 (quote).
1024:Lives and Legends of Flamenco
879:Lives and Legends of Flamenco
777:Lives and Legends of Flamenco
671:In 1947 La Macaronna died in
1924:20th-century Spanish dancers
1914:19th-century Spanish dancers
1850:El Arte de vivir el flamenco
1736:Concurso nacional de CĂłrdoba
1601:AntologĂa del Baile Flamenco
1498:AntologĂa del Baile Flamenco
1438:AntologĂa del Baile Flamenco
1206:Weber's New World Dictionary
1178:Weber's New World Dictionary
892:AntologĂa del Baile Flamenco
738:AntologĂa del Baile Flamenco
716:El Arte de vivir el flamenco
634:, "the colorful life of the
165:Juana Vargas la Macarrona "
102:1889 Exposition Universelle
55:parents started her on her
1955:
1929:20th-century Spanish women
1616:Cf., FĂ©lix Grande, in his
1575:Carmen Amaya. La biografĂa
1243:See below for these shows.
1106:Diaghilev's Ballets Russes
987:Carmen Amaya. La biografĂa
231:Portrait of Diaghilev, by
223:Ballets Russses in Sevilla
1782:Arte y Artistas Flamencos
1767:(type of flamenco song):
1706:Arte y Artistas Flamencos
1350:Ăngel Ălvarez Caballero,
1339:Los Chavalillos de España
1054:Arte y Artistas Flamencos
935:Arte y Artistas Flamencos
853:Arte y artistas flamencos
764:Arte y Artistas Flamencos
435:sang, and Gitanas of the
37:Juana Vargas de las Heras
1899:Spanish flamenco dancers
1820:: Events of the Concurso
1769:AlegrĂas de la Macaronna
1642:"Juana la Macarrona" at
1406:"Juana la Macarrona" at
1376:Eduardo Molina Fajardo,
1134:(1964, 1988) at 187â188.
946:"Juana la Macarrona" at
297:is described as being a
255:Felix Fernandez GarcĂa.
1919:Romani flamenco dancers
1818:Concurso de Cante Jondo
1168:is Spanish for "uncle".
933:Fernando el de Triana,
762:Fernando el de Triana,
387:Concurso de Cante Jondo
380:Concurso de Cante Jondo
361:(flamenco taverns) and
330:Concurso de Cante Jondo
323:Later years in flamenco
1904:Spanish female dancers
612:
578:
557:'SalĂłn Variedades' in
486:'s ballet composition
462:
451:
265:
236:
163:
119:
1934:Spanish Romani people
1873:es:Juana la Macarrona
1659:(1988), pp. 125, 214.
1256:(1988), p.99 (quote).
1117:Cf., Meira Goldberg,
837:José Manuel Caballero
793:Poema del Cante Jondo
617:"Las Calles de CĂĄdiz"
610:
574:
453:
449:
411:La Niña de los Peines
399:Federico GarcĂa Lorca
257:
230:
154:
110:
1808:Silverio Franconetti
1761:Macarrona Flamencona
1670:Queen of the Gypsies
1618:Memoria del Flamenco
1562:Queen of the Gypsies
1472:Queen of the Gypsies
1453:Manual Orozco Diaz,
1421:Queen of the Gypsies
1322:Queen of the Gypsies
1311:(1988), pp. 214-215.
1267:Nosotros Los Gitanos
1254:Queen of the Gypsies
1080:Queen of the Gypsies
961:Queen of the Gypsies
822:"Juana la Macarrona"
736:Manuel RĂos Vargas,
295:Jerez de la Frontera
86:Silverio Franconetti
41:Jerez de la Frontera
1865:K. Meira Goldberg,
1757:Vargas la Macarrona
1104:Cf. Lynn Garafola,
749:K. Meira Goldberg,
661:Las Calles de CĂĄdiz
641:tiendas de montañés
632:Las Calles de CĂĄdiz
602:Las Calles de CĂĄdiz
409:, and the cantaora
347:Las Calles de CĂĄdiz
335:Violetas Imperiales
1856:Juana la Macarrona
1846:Juana la Macarrona
1693:Flamencos de Jerez
1646:, Spanish article.
1305:Flamencos in Jerez
1271:Editorial Bruguera
1160:Manuel RĂos Ruiz,
1007:BiografĂas y Vidas
827:2011-06-15 at the
712:Juana la Macarrona
651:continued to draw
613:
545:In early 1936 the
452:
431:, while the young
237:
185:was exceptional."
173:" She favored the
123:Her flamenco style
120:
63:Renown as bailaora
20:Juana la Macarrona
1710:Lives and Legends
1689:Lives and Legends
1657:Lives and Legends
1631:Lives and Legends
1564:(1999), at p.178.
1352:El cante flamenco
1335:Lives and Legends
1309:Lives and Legends
1093:My Life in Ballet
1041:Lives and Legends
841:es:Alfonso Grosso
198:The crown of fame
1946:
1785:
1778:
1772:
1745:
1739:
1734:An award at the
1732:
1726:
1719:
1713:
1702:
1696:
1679:
1673:
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1660:
1653:
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1451:
1445:
1434:
1428:
1417:
1411:
1404:
1398:
1395:
1389:
1388:"ÂĄlapoteosis!").
1374:
1368:
1363:Here "jaleo" is
1361:
1355:
1348:
1342:
1331:
1325:
1318:
1312:
1297:
1291:
1284:
1278:
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994:
983:
977:
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964:
957:
951:
944:
938:
931:
925:
914:
908:
901:
895:
888:
882:
875:
869:
862:
856:
819:
813:
806:
800:
786:
780:
773:
767:
760:
754:
747:
741:
734:
728:
725:
719:
709:
703:
700:
619:(The Streets of
515:Vicente Escudero
207:In the flamenco
1954:
1953:
1949:
1948:
1947:
1945:
1944:
1943:
1879:
1878:
1842:
1794:
1789:
1788:
1779:
1775:
1746:
1742:
1733:
1729:
1720:
1716:
1712:(1988), p. 214.
1703:
1699:
1680:
1676:
1667:
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1650:
1641:
1637:
1628:
1624:
1615:
1611:
1598:
1594:
1585:
1581:
1572:
1568:
1556:José Samperio,
1555:
1551:
1538:
1534:
1526:José Samperio,
1525:
1521:
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1116:
1112:
1103:
1099:
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1086:
1077:
1073:
1064:
1060:
1051:
1047:
1038:
1034:
1021:
1017:
1001:
997:
984:
980:
971:
967:
958:
954:
945:
941:
932:
928:
915:
911:
902:
898:
889:
885:
876:
872:
863:
859:
829:Wayback Machine
820:
816:
807:
803:
787:
783:
774:
770:
761:
757:
748:
744:
735:
731:
726:
722:
710:
706:
701:
697:
692:
690:Reference notes
669:
667:Flamenco memory
605:
543:
484:Manuel de Falla
480:
468:" attended the
464:Antonia Mercé "
395:Manuel de Falla
383:
355:cafés-cantantes
325:
290:
249:LĂ©onide Massine
245:Manuel de Falla
243:, the composer
241:Serge Diaghilev
200:
191:
125:
112:Flamenco dancer
70:
65:
17:
12:
11:
5:
1952:
1950:
1942:
1941:
1936:
1931:
1926:
1921:
1916:
1911:
1906:
1901:
1896:
1891:
1881:
1880:
1877:
1876:
1870:
1863:
1860:Flamenco World
1853:
1841:
1840:External links
1838:
1837:
1836:
1834:Women in dance
1831:
1829:La Argentinita
1826:
1821:
1815:
1810:
1805:
1800:
1798:Flamenco dance
1793:
1790:
1787:
1786:
1773:
1740:
1727:
1714:
1697:
1674:
1661:
1648:
1644:Flamenco World
1635:
1622:
1609:
1592:
1579:
1566:
1549:
1532:
1519:
1506:
1489:
1476:
1463:
1446:
1429:
1412:
1408:Flamenco World
1399:
1390:
1369:
1356:
1343:
1326:
1313:
1292:
1279:
1258:
1245:
1236:
1232:remade in 1952
1223:
1210:
1198:
1186:
1170:
1153:
1149:Flamenco World
1136:
1123:
1110:
1097:
1084:
1071:
1067:Flamenco World
1058:
1045:
1032:
1015:
995:
978:
965:
963:(1999), p.100.
952:
948:Flamenco World
939:
926:
909:
896:
883:
870:
864:Paco Sevilla,
857:
833:Flamenco World
814:
801:
781:
775:D. E. Pohren,
768:
755:
742:
729:
720:
704:
694:
693:
691:
688:
668:
665:
625:La Argentinita
604:
599:
542:
539:
531:Ballet Español
498:La Argentinita
479:
474:
433:Manolo Caracol
403:Antonio ChacĂłn
382:
377:
324:
321:
289:
288:Her stage name
286:
273:
272:
225:
224:
205:
204:
199:
196:
190:
187:
133:brazos y manos
124:
121:
94:café cantantes
69:
66:
64:
61:
15:
13:
10:
9:
6:
4:
3:
2:
1951:
1940:
1937:
1935:
1932:
1930:
1927:
1925:
1922:
1920:
1917:
1915:
1912:
1910:
1907:
1905:
1902:
1900:
1897:
1895:
1892:
1890:
1887:
1886:
1884:
1874:
1871:
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1857:
1854:
1851:
1847:
1844:
1843:
1839:
1835:
1832:
1830:
1827:
1825:
1822:
1819:
1816:
1814:
1813:Café Cantante
1811:
1809:
1806:
1804:
1801:
1799:
1796:
1795:
1791:
1783:
1777:
1774:
1770:
1766:
1762:
1758:
1754:
1750:
1747:RĂos Vargas,
1744:
1741:
1737:
1731:
1728:
1724:
1718:
1715:
1711:
1707:
1701:
1698:
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1645:
1639:
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1606:
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1599:RĂos Vargas,
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1516:
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1507:
1503:
1499:
1496:RĂos Vargas,
1493:
1490:
1486:
1480:
1477:
1473:
1467:
1464:
1460:
1459:El Amor Brujo
1456:
1450:
1447:
1443:
1442:El Amor Brujo
1439:
1436:RĂos Vargas,
1433:
1430:
1426:
1422:
1416:
1413:
1410:, in Spanish.
1409:
1403:
1400:
1394:
1391:
1387:
1383:
1379:
1373:
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1366:
1360:
1357:
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1347:
1344:
1340:
1336:
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1317:
1314:
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1302:
1296:
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1259:
1255:
1249:
1246:
1240:
1237:
1233:
1227:
1224:
1220:
1217:RĂos Vargas,
1214:
1211:
1207:
1202:
1199:
1195:
1190:
1187:
1183:
1179:
1174:
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1167:
1163:
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1111:
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1101:
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1059:
1055:
1049:
1046:
1042:
1036:
1033:
1029:
1025:
1019:
1016:
1012:
1009:(her favored
1008:
1004:
999:
996:
992:
988:
982:
979:
975:
969:
966:
962:
956:
953:
949:
943:
940:
936:
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927:
923:
919:
913:
910:
906:
900:
897:
893:
890:RĂos Vargas,
887:
884:
880:
874:
871:
867:
861:
858:
854:
850:
846:
842:
838:
834:
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724:
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713:
708:
705:
699:
696:
689:
687:
685:
680:
678:
674:
666:
664:
662:
659:(sorcerers).
658:
654:
650:
649:pure flamenco
646:
642:
637:
633:
628:
626:
622:
618:
609:
603:
600:
598:
596:
592:
588:
584:
577:
573:
571:
566:
564:
560:
556:
552:
548:
540:
538:
536:
532:
528:
527:El Amor Brujo
524:
520:
516:
512:
511:
506:
501:
499:
495:
491:
490:
489:El Amor Brujo
485:
478:
477:El Amor Brujo
475:
473:
471:
467:
461:
459:
448:
444:
442:
438:
434:
430:
429:RamĂłn Montoya
426:
422:
421:
416:
412:
408:
404:
400:
396:
392:
388:
381:
378:
376:
372:
371:
366:
364:
360:
356:
350:
348:
344:
343:El Amor Brujo
340:
339:Henry Roussel
336:
332:
331:
322:
320:
318:
314:
308:
306:
302:
301:
296:
287:
285:
283:
281:
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176:
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160:
153:
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146:
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138:
134:
130:
122:
117:
113:
109:
105:
103:
99:
95:
91:
87:
82:
80:
76:
75:café cantante
67:
62:
60:
58:
54:
50:
46:
42:
38:
33:
31:
30:
25:
21:
1939:Romani women
1859:
1849:
1824:La Argentina
1803:Carmen Amaya
1781:
1780:Cf. Triana,
1776:
1768:
1760:
1756:
1748:
1743:
1735:
1730:
1722:
1717:
1709:
1705:
1700:
1692:
1688:
1683:
1677:
1669:
1664:
1656:
1651:
1643:
1638:
1630:
1625:
1617:
1612:
1604:
1600:
1595:
1587:
1582:
1574:
1569:
1561:
1558:Carmen Amaya
1557:
1552:
1544:
1540:
1535:
1528:Carmen Amaya
1527:
1522:
1514:
1509:
1501:
1497:
1492:
1484:
1479:
1471:
1466:
1458:
1454:
1449:
1441:
1437:
1432:
1425:La Argentina
1420:
1415:
1407:
1402:
1393:
1385:
1381:
1377:
1372:
1364:
1359:
1351:
1346:
1338:
1334:
1329:
1321:
1316:
1308:
1304:
1300:
1295:
1287:
1282:
1269:(Barcelona:
1266:
1261:
1253:
1248:
1239:
1226:
1218:
1213:
1205:
1201:
1193:
1189:
1181:
1177:
1173:
1165:
1161:
1156:
1148:
1139:
1131:
1126:
1113:
1105:
1100:
1092:
1087:
1079:
1074:
1066:
1061:
1053:
1048:
1040:
1035:
1027:
1023:
1018:
1006:
998:
991:bata de cola
990:
986:
981:
973:
968:
960:
955:
947:
942:
934:
929:
921:
918:bata de cola
917:
912:
904:
899:
891:
886:
878:
873:
865:
860:
852:
845:flamencĂłlogo
832:
817:
809:
804:
796:
792:
789:GarcĂa Lorca
784:
776:
771:
763:
758:
745:
737:
732:
723:
715:
707:
698:
681:
676:
670:
660:
656:
652:
648:
640:
631:
629:
616:
614:
601:
594:
586:
582:
579:
575:
567:
562:
554:
551:Carmen Amaya
544:
541:Carmen Amaya
534:
530:
526:
523:GarcĂa Lorca
508:
504:
502:
487:
481:
476:
469:
466:La Argentina
463:
456:
454:
450:La Argentina
425:ÂĄLapoteosis!
424:
418:
414:
407:Manuel Torre
384:
379:
373:
369:
367:
362:
358:
354:
351:
346:
342:
337:directed by
334:
328:
326:
317:La Macarrona
316:
313:La Macarrona
312:
309:
304:
298:
291:
277:
274:
266:
260:
258:
252:
238:
216:
212:
206:
192:
170:
169:bata de cola
166:
164:
158:
155:
149:
147:
141:
137:bata de cola
136:
132:
126:
111:
97:
93:
83:
71:
68:Early career
49:La Macarrona
48:
36:
34:
28:
19:
18:
1894:1947 deaths
1889:1870 births
1848:at website
974:Diccionario
839:Bonald and
714:at website
645:aficionados
519:Pilar LĂłpez
189:Personality
1883:Categories
1753:pasodobles
1684:gitanerĂas
597:of dance.
593:, the new
437:Sacromonte
423:cries of "
251:, and the
116:Castelucho
1763:; and an
1668:Sevilla,
1545:bailaoras
1513:Sevilla,
1470:Sevilla,
1419:Sevilla,
1365:agitanado
1320:Sevilla,
1252:Sevilla,
1221:, p. 166.
1182:macaroni!
1091:Massine,
1078:Sevilla,
894:, p. 166.
547:bailaoras
397:and poet
271:La poesĂa
150:zapateado
142:zapateado
118:(c.1905).
45:Andalusia
1792:See also
1765:alegrĂas
1721:Pohren,
1704:Triana,
1655:Pohren,
1586:Pohren,
1539:Pohren,
1483:Pohren,
1382:Concurso
1333:Pohren,
1286:Pohren,
1145:soleares
1130:Pohren,
1039:Pohren,
1022:Pohren,
922:Flamenco
877:Pohren,
825:Archived
810:Flamenco
570:soleares
510:alegrĂas
482:In 1933
470:Concurso
415:Concurso
389:held in
280:soleares
261:flamenco
203:La reina
179:alegrĂas
175:soleares
29:bailaora
26:dancer (
24:flamenco
1275:Gitanos
855:(1935).
849:cantaor
684:cantaor
673:Sevilla
595:Pharaoh
589:of the
587:Faraona
559:Sevilla
391:Granada
359:colmaos
300:cantaor
253:bailaor
235:(1906).
100:at the
90:Sevilla
57:dancing
1028:duende
657:brujas
636:barrio
583:jaleos
555:cuadro
535:brujas
505:brujas
441:palmas
363:ventas
183:duende
177:, the
159:compĂĄs
79:MĂĄlaga
53:Gitano
51:. Her
1605:bruja
1455:Falla
1386:jaleo
1301:cafés
1011:palos
621:Cadiz
591:baile
563:jondo
494:CĂĄdiz
458:flor.
420:jaleo
233:Bakst
217:baile
209:cafés
129:baile
98:baile
35:Born
1759:and
905:cola
653:olés
405:and
32:).
1858:at
1166:TĂo
1005:at
831:at
791:'s
630:In
114:by
43:in
39:in
1885::
1755::
1607:).
1341:).
1013:).
679:"
517:,
349:.
284:"
81:.
1771:.
1461:.
1234:.
1184:"
1151:.
907:.
639:"
460:"
455:"
276:"
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