From the information that Manolo from Huelva provided to Virginia de Zayas In the various notebooks in his family archive, we have some of great interest. Among them, Manolo de Huelva stated that the first person to dance seguiriyas was Argentinita, although not with him. Given this fact, we would have to accept that she created a first dance choreography before Vicente Escudero He would come up with his own and premiere it in the Falla Theater of Cadiz in 1939 and then in the Spanish Theater from Madrid ¹. Escudero once said of his seguiriya that he spent five years thinking about how to do it ², so as not to profane the essence of this palo flamenco.
While we must be cautious with many pieces of information from the Flemish oral tradition passed down from one person to another, as sometimes they are fabricated, or with successive additions and, generally, exaggerated, other times they turn out to be true, or at least convey some truth. The truly difficult thing is to find references from other sources—press, novels, books, etc.—that corroborate the same information.
Vicente Escudero was a "payo chanelador", as he defined himself, and often recounted situations born of his imagination, not always faithful to reality. Why did he say he spent five years imagining how to choreograph this dance, when we know of his rapid inventiveness, his improvisation when creating new proposals based on his inspirations? Vicente Escudero was incapable of sitting still; even when he was sick in bed, he never stopped writing scripts for new ballets and choreographies. He remained active well into his eighties and toured well into his late twenties, with the 1955-1956 tour in the United States being, as he claimed, the most successful of his career. He was 69 years old at the time, but as we say, he continued dancing until almost the end of his days, touring further (he returned to the US in 1960), making films, and giving lectures on "authentically pure" dance. ³
We believe that Escudero was not telling the whole truth and that he knew that before him, another person, whom he knew very well, had gotten there first, and it was none other than Encarnación López 'Argentinita' (1897-1945) 4The artist that we claim today as one of the greatest creators of Spanish dance, sometimes confused and compared with her predecessor, the great Antonia Mercé 'The Argentine' (1890-1936), did so before our admired Vicente Escudero (1888-1980), as we will now reveal. We also note that the two dancers, born in Buenos Aires, although seven years apart, were not very close in age professionally, as our protagonist was dancing at just six years old. In March 1904, she did so in Madrid, dancing a Vito 5, when Argentina was not yet very well known and was dedicated to the variety genre, 1906 being the official date of the latter's first tour in Spain.
But let's return to the subject at hand. Argentinita, as she was often described in the foreign press, without the article, must have created her choreography after leaving Spain following the start of the Spanish Civil War in July 1936. From the tracking we have been doing for several years in the press, and in the correspondence preserved in the Zayas archive of Seville It can be deduced that by the end of 1937, Argentinita was already dancing seguiriyas as part of some of her extensive shows on European tours, where Vicente Escudero was able to see her. In October 1938, these two geniuses shared various stages. On October 28, 1938, the Paris newspaper Musical Page announces that in Knocke-Sur-Mer (Belgium):
“In just a month and a half, the Kursaal Casino season has featured a veritable constellation of international stars. […] Vicente Escudero, Argentinita.”
Escudero was in France since the outbreak of the war. He performed on October 27, 1936 in the Lyon OperaIn January and February 1937 he performed with Carmita García in Marseille, later in Brussels, Belgium and Holland in 1938 and Paris on November 28, 1938 in the Pleyel RoomFrom there, he returned to Belgium, Holland, Sweden, Norway, and Germany, culminating again in Paris on May 22, 1939, and in Geneva on July 5.
"We don't know what we admire most about Argentinita, so we can't define what stands out in her creative endeavor. Is it her wonderful sensitivity or her admirable intelligence? Because her art is as cerebral as it is instinctive, and she knows how to judiciously control her innate gifts of movement, mimicry, and attitude."
Argentinita was in Paris in February 1937, performing on the 28th at the Salle Pleyel, in Brussels on March 3, travelling to London that month and in April performing in Biarritz, Paris, Geneva, Montreux, Grenoble, Lausanne, The Hague, Biarritz, Deauville, Bordeaux, Lille and Montpellier. In 1938 she passed through Marseille, Belgrade, Monte Carlo and Bayonne, until her departure for Buenos Aires in September and her arrival in the United States in November 1938 and her return to Europe in February 1939, making another extensive tour of Monaco, Monte Carlo and Nice, before returning to Buenos Aires in July 1939 and the United States in November of the same year.
We might think that Escudero would have been familiar with Argentinita's seguiriya dance, and that it occurred to him to devise a personal choreography. We do not think that he copied the dancer, since Vicente Escudero's dance has not been continued by any subsequent dancer, but, as can be seen in several interventions of Spanish Television 6, I think a very personal choreography based on his ideas of dance, which no one has followed, except for the recent recreations of Israel Galvan paying tribute to his figure.
From Argentinita we knew the 1938 film directed by Marius de Zayas, even if the name of appears Jean de Limur as a director, where he participates, among other numbers, in some seguiriyas in which he sings, although he does not dance, he limits himself to marking the rhythm with a cane while Manolo de Huelva sings and plays the guitar.
But as we mentioned before, already at the end of 1937 Argentinita was dancing some seguiriyas that she announced as Gypsy seguidillas, traditional name for this style jondo which continued into the 20th century on the records of artists such as Pastora Pavón y Antonio Chacon, to name two of the greatest in these fields. Here are various press reviews we've translated from the French press that feature this dance.
-November 25, 1937. Roubaix. Journal de Roubaix. Concerts and shows. Torchlight Nights in Lille. The Spanish dancer "Argentinita"
“We must not confuse “Argentinita,” whom we will have the pleasure of seeing on Wednesday evening at the “Antorchas” evening at the Industrial Pavilion in Lille, with the Argentine dancer who died last year. Both are Spanish. This one, more fragile, more graceful than the first, represents all the grace, all the charm ofcante from Spain: that one had the sense of color, boldness in the stroke, power, pathos. It was enough just to judge the "Gypsy seguidillas" in which Argentinita was accompanied by guitarist Manolo de Huelva.
Argentinita possesses a sense of humor that she owes to her love of popular music, whose flavor, variety, and picturesqueness could not be better expressed. Her marvelous technique is combined with a charm and simplicity that captivated the audience. To her art, whose perfection generously demonstrates that it is not an illustration of anything else—music—but rather overflows with itself, Argentinita occasionally adds the stimulus of a supple and captivating voice, with which she likes to accompany her dancing. Witness the "Romance of the Smugglers of the Sierra de Ronda."
The composer Manuel Infante, accompanying the famous dancer, doubled the pleasure by including a piano recital dedicated to Spain in the program.
And when the curtain fell on Argentinita's last dance and Manuel Infante's last note, it seemed to us that a vision of dazzling colors disappeared with them, whose disturbing reflection we kept in our eyes and in our hearts for a long time."
Here is the press clipping in French 7:
In November 1937, Argentinita was already performing some gypsy seguidillas with Manolo de Huelva. It must be assumed that this wasn't what she filmed in 1938, since the columnist compares her dancing style with that of La Argentina, so our protagonist was already dancing this style in 1937. Again, she is compared to La Argentina, pointing out different aesthetics in her dancing. According to her description, La Argentina had a sense of color, bold strokes, power, and pathos, while Argentinita was more graceful, fragile, and graceful, judging by her performance in the gypsy seguidillas with Manolo de Huelva.
-December 27, 1937. Bordeaux. The Little Gironde. At the Municipal Casino. The Christmas Gala with La Argentinita.
“Lovers of choreographic art cannot hope to find a more precious taste in their Christmas than the one offered by the Municipal Casino with a revealing gala held on Friday night. Argentinita is currently in top form and more than ever in possession of all the resources of her art. Since her first appearance on stage, in the dance of The Brief Life, Manuel de Falla, demonstrated the great artist that she is through the sovereign mastery of her dancing technique, and through the contained ardor in her role as a performer.
We don't really know what we admire most about Argentinita, so we can't define what stands out in her creative endeavor: is it her wonderful sensitivity or her admirable intelligence? Because her art is as cerebral as it is instinctive, and she knows how to judiciously control her innate gifts of movement, mimicry, and attitude.
Let's look at his precise steps, in the movements of his legs, in the movements of his arms and in his body; let us follow the eloquent dialogue of her castanets with the discreet tapping of her heels: let us listen to her sing her songs, we always find the same characteristics of taste, tact, and sense of proportion.
However, we shouldn't think that Argentinita's dances are exercises in virtuosity. Nothing; on the contrary, everything is spontaneous, inspired, and enthusiastic. There is fire, passion, and even sensuality.
The first part of the program was dedicated to the artist's great compositions, where we joyfully rediscovered her in long-admired creations, such as the fiery Gypsy Seguidillas, or the already famous Mazurka of the Verbena of the PalomaAlong with these old hits, there were new dances for us, like this picturesque and vibrant one Luis Alonso's dance, Giménez, and especially the Legend de Albéniz, moving and fascinating.
But this time Argentinita reached the summit with Triana, by Albéniz. It was a whirlwind of dance born from the imperative need to express music through movement.
[…] The art of flamenco He was not forgotten and the young virtuoso guitarist Manolo de Huelva, accompanying Argentinita as a soloist, achieved his well-deserved share of success.
DK”
The laudatory dance chronicle of Argentinita once again highlights the "fiery" gypsy seguidillas, which are said to be "old hits" rather than new.
-September 6, 1938. Biarritz. Gazette de Biarritz. Argentinita.
"Argentinita and her Spanish Company will offer a unique gala of Spanish and South American dances and songs at the Municipal Casino Theater tomorrow, Wednesday, September 7, at 21:15 p.m. In addition to Ms. Argentinita, Ms. Pilar López and Mr. Triana, Carlos Montoya, and Manuel Infante will be collaborating in this festival.
The delicately composed and varied program will delight you. Here's a preview: Álbeniz's Seville, Barbieri's Bread and Bulls, Falla's Miller's Dance, Albéniz's Triana, Albéniz's Córdoba, follow-ups y Soleares and a poem by Manuel Machado, Goyescas by Manuel Granados, Mazurka from the Verbena de la Paloma by T. Bretón, Castilian Dance by Navarro, etc…
It is an evening of high artistic level that you should not miss.
Tickets are available at the Municipal Casino. Prices range from 8 to 30 francs.
Here we find them joined to the soleares, they are probably the same seguiriyas seen in the previous reviews.
-September 6 and 7, 1938. Bayonne. LA PRESSE DU SUD-OUEST.
“Wednesday at 21.15:XNUMX p.m., Spanish dancer Argentinita and her company: Pilar López, Triana, Carlos Montoya, Manuel Infante. Program: Seville (Albéniz), Bread and Bulls (Barbieri), Miller's Dance (by Falla), Triana and Córdoba (Albéniz), seguidillas and soleares and a poem by Manuel Machado, Goyescas (Granados), Mazurka of the Verbena of the Paloma (Breton), Castilian Dance (Navarrese)”.
-June 4, 1939. Paris. Le Petit Journal. In the Dance Archives. Argentinita's recital.
"[...] Argentinite directly evokes Argentina, and those unfamiliar with the context might see this as a profanation. But Argentinita's name, though less famous than Argentina's, has appeared in programs for a long time. When Argentina was still an unknown debutante, Argentinita was already reaping success. And while the student surpassed her teacher, the latter retains all her talent and enthusiasm.
[…] And finally, after the study, came the show. To the sounds of Rogelio Machado's piano, Argentinita danced a fandango by Gombau and sang a Spanish song by the same composer. She didn't dress like the Spanish dancers in the music halls. She wore a rather short, yellow, pleated skirt, a colorful silk bolero, a small shawl, and a peasant hat. Spanish dance is the most misrepresented. On commercial stages, numerous dancers perform whose trivial and mediocre art has lost the raw authenticity of traditional dance. When you think of those dancers and see Argentinita, you deeply perceive the difference, although it's difficult to explain. There are so many subtleties and intangible nuances!
The rhythm of Gombau's fandango is quite calm, allowing for singing. It is graceful and elegant.
Then Argentinita, dressed in a long white dress with red polka dots, danced the dance of Mallorca, which is more nervous and syncopated than the previous one. During this dance, Argentinita didn't sing, and it was a pure pleasure for the eyes. The singing returned, and Carlos Montoya's guitar accompanied her. Argentinita sang and danced. Soleares y Gypsy Seguidillas. This popular piece, whose author is unknown, is, as its name suggests, typically gypsy. Argentinita lent her supple silhouette, this time dressed in black silk, to the melancholic music. The gypsy dance is perhaps less dynamic than the other, but it is more absorbing.
The program also included a Jota of Alcañiz, de Font, and Mazurka of the Verbena of the Paloma, by Breton
Claude DELPEUCH.”
"Argentinita danced a seguiriya dance choreography at least since 1937, years before Vicente Escudero. But remember that Manolo de Huelva said he first danced them with another musician, so there must be some precedent prior to the information we present here."
There's no doubt now that Argentinita danced seguiriyas in that number, along with the soleares. It is also noted, her gypsy character.
-July 5, 1939. Buenos Aires. La Nación. La Argentinita. She performed yesterday with Pilar López and dancer Triana. Her program included Latin American Dances.
“La Argentinita once again achieved a highly significant success yesterday at the Odeón, where she performed her second dance show, before an audience even larger than at the previous recital, which was frequently carried away by its enthusiasm, even bringing to the room a touch of Andalusian flair as typical as those offered on stage. This time she was accompanied by her sister Pilar López, already well-known in Buenos Aires, and the dancer Antonio Triana, new to our audience, throughout a program that alternated Spanish dances and Latin American dances, the latter partly derived from the former, but also representations with a unique spirit, an Ibero-Indian fusion, full of original nuances and a vigorous local color.
[…] No less colorful picture, this one with a rough gypsy tone, were the bulerías, also performed by the three dancers, imbued with that emotion that is at once a lightning shudder, a hurtful mockery, a proud, proud race, and a display of posture and sway. La Argentinita repeated her fine Triana, by Albéniz; his lively and picaresque mazurka from "The verbena of the Palo"ma" by Breton; his soleares y follow-ups gypsy, with the recitation of verses by Manuel Machado; the hilarious testamentary dictation of a gypsy from Cádiz, while tapping the tight Andalusian tango, and Alcaniz, by Font, which, like all jotas, has that deep feeling and contagious courage of the music of Aragon, Venezuela, Mexico and Peru paraded, in a rapid panorama, through the numbers dedicated to Latin America: curious the joropo Venezuelan, tapped with maracas attached to the ankle, danced by Pilar López and Antonio Triana; very fine and insinuating in his song zapateado Mexican, from Argentinita, with bells on the foot, and strong color, suggestive and with deep indigenous roots Huayno Peruvian, in which the two sisters wore decorative chola costumes from the mountains. These dances were performed with an evident understanding of their spirit, of their meaning, not in a trivial imitation, but with the authentic accent that can only be achieved through an assimilation of the popular character, of the racial core. Like the previous ones, like all, they were widely applauded by the audience, who also listened attentively to Rogelio Machado, who once again distinguished himself, in the piano accompaniment and in the performance as a concert artist, for his clean fingering, for the variety of nuances, for a very expressively felt and communicated emotion, and also to Carlos Montoya, who repeated his Joys and its TarantasLa Argentinita and her collaborators, who will perform today in Rosario, will return on Friday to the Odeón stage.
The gypsy seguidillas carried the recitation of the verses of Manuel Machado, so they would be the same ones that appeared in their first reviews from the end of 1937.
The following review is also from his time at the Odeon Theatre of Buenos Aires, although we do not know the exact date of publication:
" Argentinita will offer her latest show on the Odeón stage today, the second of the extraordinary shows she has added to those initially announced, in light of the keen interest shown by our audiences in her choreographic interpretations. During this new performance in Buenos Aires, Encarnación López not only renewed the flattering success she achieved four years ago at the Coín Theater, but also further affirmed her already well-defined personality as a dance artist. Through the dances she has known here and the new ones she offered in each of her performances, Argentinita brilliantly and precisely presented her concept of Spanish and also Latin American folk dance, her authentic way of expressing it, maintaining all the characteristics of form and refining its essence.
[…] For this recital, which will take place today at 18 p.m. at the Odeón, a program has been prepared that includes the following creations by La Argentinita: Dance X, from Granados; gypsy rhythms (soleares and seguidillas), with the recitation of the well-known poem by Manuel Machado about the "cante jondo»; […] and the piano and guitar numbers by Rogelio Machado and Carlos Montoya, respectively; the first will offer the concert Allegro, of Granados and the Little dance, by Navarro; the second will perform Spanish airs and variations on Farruca".
For now, and until the contributions of this fundamental artist of dance are better studied, we have to assume that Argentinita danced a dance choreography for seguiriyas at least since 1937, years before Vicente Escudero. But let's remember that Manolo de Huelva said he first danced them with another musician, so there must be some precedent prior to the information we present here. It is true that the film Mary of the O de Francisco Elias, released in 1936, incorporates a small dance note by seguiriyas by a girl, being Pastora Empire present on the scene, but we do not know that, at that time, or before, anyone danced this palo as such on stage flamencos, except for the data that Demophilus collected from Silverio Franconetti in his book of 1881, when he said:
"The three-verse solitudes are also called songs of excitement and they are, like the wheels, the sevillanas and even the Gypsy seguidillas, danceable […] The gypsy seguidilla is, as we have said, danceable; at least that is what we have been assured Silverio y Juanelo that of Jerez […] we for our part have never seen it danced, and many fans feel the same; which proves once again that they are not the cantes flamenco"It is as popular and well-known to the people as some people suppose."
The dance of the gypsy seguidillas from the coffee era must have passed into obscurity, until it was revived again in the 20th century by the creative geniuses of Argentinita and Vicente Escudero. Pilar Lopez whoever follows her sister's lead, using castanets, while Escudero's choreography will have no followers, due to its avant-garde and misunderstood approach. We still have to know with whom, where, and when Argentinita danced seguiriyas before Manolo de Huelva.
- According to interviews with Escudero and other publications about the premiere of his seguiriya, both 1939 and 1940 are cited as the official years of its premiere in Madrid.
- That's what he said in an article published in the New York magazine Dance Magazine October 1955 titled “What is flamenco dance?”, p. 21.
- We recommend the recent publication by his nephew Julio Fraile Muñumer: Portrait of Vicente Escudero, Valladolid City Council, 2024. Also previous works such as those of José Luis Navarro: Vicente Escudero. A cubist dancer, Libros con duende, Seville, 2012; and the edition resulting from the exhibition commissioned by Pedro G. Romero in 2022: Choreography. Dances by Vicente Escudero, Federico García Lorca Foundation, Granada, 2023.
- Although many documents indicate that Argentinita was born in 1898, her sister Pilar López claimed it was in 1897. We are waiting to obtain her birth certificate.
- He did so at the Salón Variedades, during an artistic evening dedicated to his mentor, Julia Castelao. Argentinita and Pilar López de Madrid Archives. I am deeply grateful to José Manuel Presa Matute for access to the family's personal archive.
- See the documentary Vicente Escudero by Julio Diamante, broadcast on June 16, 1967, on Spanish Television. Available on RTVE on demand.
- Original preserved in the Zayas archive in Seville.
- MACHADO Y ALVAREZ, Antonio: Collection Cantes Flamencos, collected and annotated by Antonio Machado and Álvarez (Demófilo). DVD editions, Barcelona, 1998. 1st edition 1881. Pages 16 and 17.
