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Introduction: Flamenco's Exotic Currency 1
1 Desiring Narratives: Flamenco in History and Film 29
Conflicting Histories 29
Origin Points 31
Romantic Excursions 38
La Edad de Oro/The Golden Age 39
Transformation Abroad and Tourism at Home 40
Purity and Preservation 41
The Ideology of Flamenco Histories 43
The Desiring Subject 45
A Choreographic In(ter)vention 48
Film Narrative as a Discourse of Desire 49
2 Purism, Tourism and Lost Innocence 53
Flamenco Bodies: Essence or Effect? 53
International Exposure 56
Model Exotics 57
Paradise Lost 64
The Taint of Tourism 68
3 Imagining Andalusia 75
Divine Inspiration: Origins Reconsidered 75
Passionate Nature: The Academic Appeal of a Universal Humanity 80
Sober Clinicism: Demystifying the Other 84
(Re)discovering the Women in Cante 91
4 Fatal Filmic Flamencas 97
The Spectre of Carmen 97
That Obscure Object of Desire (1977) 98
Marked: The Character of La Novia in Blood Wedding (1981) 101
Carmen Revisited (1983) 109
Love, the Magician (1986) 119
5 Realism Reinvented 123
The Documentary and Nacionalflamenquismo 124
Sevillanas (1992) and Flamenco (1995) 128
Opening Credits (Sevillanas) 129
Opening Credits (Flamenco) 130
The Performances (Sevillanas) 132
The Performances (Flamenco) 134
Sevillanas Flamencas, Sevillanas Gitanas 137
Endings: Sevillanas 140
Endings: Flamenco 141
Flamenco Women (1997) 142
6 Reinterpreting the Exotic 145
Calculated Unruliness 146
Strategic Presence 157
Practiced Spontaneity 159
The Dancing Lesson (Anaheim, California, 1995) 160
The Problem of Improvisation/Giving Up the Ghost 162
Rising from theAshes: Spain's Position in the New World Order 165
7 "Somos Anti-Guapas" - Against Beauty in Contemporary Flamenco 167
Belen Maya 169
Pastora Galvan 173
Rocio Molina 178
Chapter Notes 187
Bibliography 193
Index 197
| Price | Condition | Delivery | Seller | Action |
| $99.99 | Digital |
| WonderClub |
Kimberly Mclaughlin
reviewed Flamenco: Conflicting Histories of the Dance on July 15, 2013
Flamenco: Conflicting Histories of the Dance
A volume in the Global Music series. I didn't like this as well as some of the other volumes. Japanese music tradition is complex, derived from many foreign influences, as this book documents. Unfortunately, the book did not seem well organized, and moved back in forth in time, which is especially difficult for someone not familiar with the periods of Japanese history to keep track of. The CD was especially disappointing; because of economic and copyright issues, presumably, it was composed of short fragments, which made it difficult to really get into any of the styles presented. (It was also poorly bound; the cover fell off before I was finished reading it.)
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