329:, according to him. La Argentina created her own style by reviving forgotten traditions and seeking out traditional steps from village squares and humble dance schools. She refined and pruned each pattern of steps, keeping only what was essential to conform to her own aesthetic, which combined the purity of classical style with the ardor and character of popular art. La Argentina believed that stylized dance should retain the nature and flavor of folklore while respecting the demands of the stage, such as creating space, accentuating movement, and fitting different parts into the whole.
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403:, a family friend, served as her guitarist throughout her career. She gradually transitioned from performing in variety programs and pieces with orchestral music to dances where less importance was given to the orchestra. Her first shows in 1925 were during a European tour and performed in the South of France, where she shared the stage with other artists. Her first solo recital was in Berlin in 1926, and she continued performing in the same format in various venues around the world, including
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1932 Almeria, music by
Albeniz La Romeria de los Cornudos, music by Pittaluga (The Shawl Dance, a dance from Granada). Puerta de Tierra, music by Albeniz Danse du Meunier, music by de Falla Légende, music by Albeniz Charrada, popular music from Salamanca Malaguena, music by Albeniz Castilla, music by
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at a very young age, around three or four. Later on, she developed her own method to obtain more pleasing sounds from the instrument and even modified the design of castanets. Her approach to playing the castanets was so influential that many other
Spanish artists began to adopt her musical notation
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Juerga, choreographed in 1928 by Julien
Bautista, depicted scenes of popular life in Madrid around 1885, with young people from good families mingling with common folk and engaging in unrestrained jollity.
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El
Fandango de Candi was choreographed in 1927 with music by Duran. Argentina danced in a pink costume with cubist flounces cut into scallops, expressing feminine shrewdness, thwarted love, and tenderness.
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Ernesto
Halffter composed the music for Sonatine in 1928. Argentina danced in this ballet, which mixed elements of Old France and Castilla and featured a shepherdess gliding and pirouetting imperceptibly.
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1934 Sacra-Monte, music by Turina
Esquisse Gitane, music by Infante La Fregona, music by Vives Suite Argentina, based on a popular air (Condicion-Bailecito-Zamba). Suite Andalouse, based on popular songs
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into her
Spanish dance performances. These composers' music demanded broad choral movements that were not present in traditional folkloric dances. She also worked with young Spanish composers, including
180:, to professional Spanish dancers Manuel Mercé and Josefina Luque. At the age of four, she began her dance career in ballet, primarily trained by her father. She made her debut performance at the
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1912's El
Garrotin, based on a popular song La Corrida, music by Valverde (taken from choreographies created in 1910 for the opérette L’Amour en Espagne Tango Andalou, music by Ballesteros).
298:. Following her death, she was "honored with a plaque at the Metropolitan Opera House, in addition to receiving the medals of Alfonso X the Wise and the Order of Isabella the Catholic."
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1925 Danse du Feu, music by Manuel de Falla
Andalouse Sentimentale, music by Turina Boléro Classique, music by Iradier Bohémiene, based on a popular song Seguidilla (without music).
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by the age of eleven. After the death of her father, La
Argentina retired from ballet and began studying native Spanish dances with her mother at the age of 14.
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1928 Serenata Andaluza, music by Manuel de Falla Jota Valenciana, music by Granados Danse Gitane, music by Infante Lagerterana, music by Guerrero
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Argentina was a pioneer in the recital format, performing her own choreography for concerts with only a pianist or occasionally a guitarist.
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At the beginning of her career, La Argentina faced disapproval in her dancing style from society, which prevented her from performing in
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expressed her admiration for La Argentina's classical formation, knowledge, and taste, which brought dignity and nobleness to Spanish
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Varieté-Tänzerinnen um 1900. Vom Sinnenrausch zur Tanzmoderne, Ausstellung des Deutschen Theatermuseums München 23.10.1998–17.1.1999.
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1930 Goyescas, music by Granados Danse Ibérienne, music specially composed by Joaquin Nin Danse de la Meunière, music by de Falla
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97:. She was widely regarded as one of the most famous Spanish dancers of the 20th century and was nicknamed the "Queen of the
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La Argentina was recognized for her contributions to dance with several prestigious awards. She was awarded the French
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1929, La Vie Brève, music by de Falla Carinosa, popular music from the Philippines Jota Aragonesa, music by de Falla
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866:, Antonia Merce, La Argentina, Queen of Coins(c) Cheryl Lynne Bradley 2003] at TarotCanada.tripod.com La Argentina
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composed the music for Le Contrebandier, a ballet featuring the future Empress Eugénie and the countess of Teba.
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Between 1916 and 1921: Habanera, music by Pablo de Sarasate Cordoba, music by Albeniz Danza V, music by Granados
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The following is a list of dances and their corresponding music that were created during various time periods:
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435:. Her popular shows at the Trocadéro drew large crowds, and she continued to perform there to great acclaim.
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Triana, composed by Albeniz in 1929, depicted lovers' tiffs during the Corpus Christi festival in Sevilla.
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Also in 1927, a flamenco cuadro called "Au coeur de Seville" was performed, featuring a popular air.
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1936: La Firmeza, based on Argentinian popular music, becomes the last dance in the Suite Argentina.
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to prepare the dances for her portrayal of Bizet's "Carmen" under La Argentina's guidance in 1935.
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1921, Sevilla, music by Albeniz Serenata, music by Malats Sérénade Andalouse, music by C. Ruecker
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La Argentina's contributions to formal dance include her unique style, music selection, use of
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Maria Pia de Saxe-Cobourg,Memoire d’une Infante vivante. Editions Mondiales, Paris, 1957
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243:-style dance and adapted it into her own style. Her rendition of this dance inspired
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Albeniz, "Matid 1 800". Cuba, music by Albeniz Alegrias, music by Ballesteros
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La Argentina incorporated music from contemporary Spanish composers such as
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1926 Mexico, based on a popular air Ciel de Cuba, based on a popular song
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Antonia Mercé y Luque, known by her stage name La Argentina, was born in
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139: in this section. Unsourced material may be challenged and removed.
669:"La Argentina (née Antonia Mercé y Luque) - National Portrait Gallery"
378:. La Argentina used a variety of music that suited her performances.
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Antonia Merce,́ "La Argentina": Flamenco and the Spanish Avant Garde
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Argentina. Antonia Mercé. Kastagnettenstücke, entstanden 1912-1936.
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Edwige Feuillère. Les feux de la mémoire. Albin Michel. Paris, 1977
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Archive of Antonia Mercé La Argentina, Fundación Juan March-Madrid
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Antonia Mercé, "LaArgentina": Flamenco and the Spanish Avant Garde
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In 1925, Manuel de Falla composed the music for L’Amour Sorcier.
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Homenaje en su Centenario 1890-1990 Antonia Mercé 'La Argentina'
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Legado de Antonia Mercé La Argentina en la Fundación Juan March
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1916 Danse des Yeux verts, music specially composed by Granados
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On July 18, 1936, La Argentina passed away at the age of 46 in
231:, where she performed at various prominent locations like the
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Throughout her career, La Argentina embarked on six tours in
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1935 Fandango, music by Turina Polo Gitano, music by Breton
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1933 Zapataedo, music by Granados Tientos, music by Infante
85:(September 4, 1890 – July 18, 1936), also known as
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Femand Divoire, Pour la Danse. Saxe Editeur. Paris. 1935
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Serge Lifar, Ma vie. Editions René Julliard, Paris. 1965
89:, was an Argentine-born Spanish dancer who created the
192:, at the age of nine, and became a star dancer at the
212:. She performed in venues accessible to her, such as
801:. Bienal de Arte Flamenco (V el Baile). Sevilla 1988
813:Toi qui dansais, (you danced and danced) Argentina
310:, and the way she structured her performances.
740:. Les Cahiers de Danse et Culture, Paris, 1955
8:
615:"La Argentina | Spanish dancer | Britannica"
591:"La Argentina | Spanish dancer | Britannica"
696:"Encarnación López Júlvez (La Argentinita)"
239:. Later on, she developed an interest in a
753:. Editions Gilberte Coumand. Paris, 1956.
155:Learn how and when to remove this message
62:Learn how and when to remove this message
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864:Tarot & Dance: The Dancing Queens
7:
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137:adding citations to reliable sources
912:Argentine people of Spanish descent
470:1927 Valencia, music by C. Ruecker
738:Deux visages de la danse espagnole
641:Bennahum, Ninotchka (2014-08-26).
34:tone or style may not reflect the
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836:, Stroemfeld, Frankfurt/M. 1998,
832:Brygida M. Ochaim, Claudia Balk:
820:La Argentina, fue Antonia Mercé.
494:(Sevillanas-Peteneras-Bulerias).
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44:guide to writing better articles
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124:needs additional citations for
101:" and the "Flamenco Pavlova".
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804:Ministerio de Cultura (ed.):
795:Gilberte Cournand, Paris 1956
786:La vie brève de la Argentina.
647:. Wesleyan University Press.
569:. Wesleyan University Press.
927:Argentine emigrants to Spain
563:Bennahum, Ninotchka (2000).
302:Contribution to formal dance
386:La Argentina started using
296:Orden de Isabel la Católica
227:, La Argentina traveled to
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791:Monique Paravicini (ed.):
421:Théâtre des Champs-Elysées
237:Théâtre des Champs-Élysées
16:Spanish dancer (1890–1936)
922:Dancers from Buenos Aires
902:Argentine female dancers
854:La Argentina's biography
258:, often accompanied by
38:used on Knowledge (XXG)
784:Suzanne F. Cordelier:
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42:See Knowledge (XXG)'s
825:Ria Schneider (ed.):
391:for this instrument.
83:Antonia Mercé y Luque
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413:the Imperial Theatre
401:Salvador Ballesteros
133:improve this article
751:Mes premiers essais
619:www.britannica.com
595:www.britannica.com
474:, music by Albeniz
245:Metropolitan Opera
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907:Argentine dancers
822:Buenos Aires 1993
811:Suzanne de Soye:
654:978-0-8195-7557-9
576:978-0-8195-6383-5
444:1. Concert dances
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356:Ernesto Halffter
327:Vicente Escudero
319:Edwige Feuillère
294:and the Spanish
292:Légion d'honneur
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194:Madrid Opera
174:Buenos Aires
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131:Please help
126:verification
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91:neoclassical
87:La Argentina
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897:1936 deaths
892:1890 births
525:Óscar Esplá
425:Paris Opera
360:Óscar Esplá
225:World War I
218:music halls
182:Teatro Real
886:Categories
878:(English).
872:(Spanish).
793:Argentina.
788:Paris 1936
705:2023-02-10
678:2022-11-10
624:2023-03-09
600:2022-11-10
505:2. Ballets
376:Luis Galve
262:guitarist
168:Early life
145:April 2022
799:Argentina
523:In 1928,
433:Trocadéro
388:castanets
382:Castanets
308:castanets
178:Argentina
105:Biography
99:Castanets
93:style of
538:See also
472:Chaconne
347:Granados
343:de Falla
323:folklore
260:flamenco
235:and the
210:concerts
206:theaters
52:May 2018
276:Bayonne
223:Before
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374:, and
351:Turina
349:, and
286:Awards
280:France
241:Romani
200:Career
186:Madrid
550:Notes
417:Tokyo
333:Music
314:Style
270:Death
247:star
229:Paris
190:Spain
838:ISBN
649:ISBN
571:ISBN
216:and
208:and
415:in
184:in
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