Juana la Macarrona
Encyclopedia
Juana la Macarrona was a famous Spanish flamenco
dancer (bailaora). Born as Juana Vargas at Jerez de la Frontera
in Andalusia
, her Gitano parents started her on her dancing career, which lasted well into the twentieth century.
. At about sixteen she was 'discovered' by Silverio Franconetti
, the lengendary flamenco cantaor (singer), at whose Café Silverio in Sevilla 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 café cantantes. By 1889 she 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 "señoríos" and "comerciantes". She had become rich and famous.
, and bailes "festeros". It is said "her duende
was exceptional."
In the flamenco café
s she remained for decades much in demand, the performance star among bailaoras. In particular at the Cafe Novedades in Sevilla for fifteen years she reigned, setting the pace, defining the art. When La Macarrona 'consented' to dance, she might arise from her seat like a queen of Sheba, sovereign, perhaps too proud. As she raised her arms above her head it was as if favoring the world with her flamenco baile. She could give lightning and thunder.
On stage her elusive movements drew rapt attention, almost reverence from many audiences. She also attracted poetic lines addressed to her and her ruddy radiance, her rhythmic grace, her sudden turns of emotional intensity, her stillness. La Macarrona "le injertó al baile una antiquísima fuerza emotiva, llena de feminidad y gracia, como en los soleares de su creación. ... Y por la cintura, por los brazos, le subía el chorro de la danza... ."
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 "macarronea" [English: "macarronic"], which currently may signify "burlesque verse" mixing "real or coined words from two or more languages." So that, if in itself meaningful, Juana la Macarrona would mean something like "Jane of the mixed-language verse", fitting her exotic knack for off-stage humor. Or perhaps more appropriately, Juana la Macarrona would mean "the dandy", suiting her engaging theatrics, and enigmatic presence on stage.
held in Granada
. Honored as a judge for the contest, in that role she joined three other celebrated flamencos, the cantaors Antonio Chacón
and Manuel Torre
, and the cantaora La Niña de los Peines
. Juana's presence richly animated the Concurso festivities, for one, by her excited jaleo cries of "¡Lapoteosis!" [English: "thunderstrike!"]. Later the elder maestra danced, to a trio of guitarists including Ramón Montoya
, while the young Manolo Caracol
sang, and Gitanas of the Sacromonte
punctuated the music with their palmas
.
Evidently Antonia Mercé "La Argentina
" attended the Concurso and watched La Macarrona as she danced. When Juana sat afterward La Argentina came and knelt down at her feet, carefully took off her dancing shoes, and then carried them away.
", for whom she staged "Las Calles de Cádiz". This show featured several other elder bailaoras, whose dancing continued to be celebrated by flamenco aficionados.
Flamenco
Flamenco is a genre of music and dance which has its foundation in Andalusian music and dance and in whose evolution Andalusian Gypsies played an important part....
dancer (bailaora). Born as Juana Vargas at Jerez de la Frontera
Jerez de la Frontera
Jerez de la Frontera is a municipality in the province of Cádiz in the autonomous community of Andalusia, in southwestern Spain, situated midway between the sea and the mountains. , the city, the largest in the province, had 208,896 inhabitants; it is the fifth largest in Andalusia...
in Andalusia
Andalusia
Andalusia is the most populous and the second largest in area of the autonomous communities of Spain. The Andalusian autonomous community is officially recognised as a nationality of Spain. The territory is divided into eight provinces: Huelva, Seville, Cádiz, Córdoba, Málaga, Jaén, Granada and...
, her Gitano parents started her on her dancing career, which lasted well into the twentieth century.
Early career
At the age of seven she began dancing in the streets accompanied by her mother's singing and her father on guitar. Her's was a flamenco family, among her ancestors being Josefa Vargas, also a bailaora. Her first professional job at a café cantante was in Sevilla, but she earned more in the streets by the equivalent of "passing the hat". Later she danced with the singer El Mezcle at a flamenco café in MálagaMálaga
Málaga is a city and a municipality in the Autonomous Community of Andalusia, Spain. With a population of 568,507 in 2010, it is the second most populous city of Andalusia and the sixth largest in Spain. This is the southernmost large city in Europe...
. At about sixteen she was 'discovered' by Silverio Franconetti
Silverio Franconetti
Silverio Franconetti, also known simply as Silverio was a singer and the leading figure of the period in flamenco history known as The Golden Age, which was marked by the creation and definition of most musical forms or palos, the increasing professionalization of flamenco artists, and the shift...
, the lengendary flamenco cantaor (singer), at whose Café Silverio in Sevilla 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 café cantantes. By 1889 she 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 "señoríos" and "comerciantes". She had become rich and famous.
Her flamenco sytle
In the performance of her arte flamenco, La Macarrona apparently followed the then traditional style of the baile, with attention directed to the upper torso along with movements of the arms and of the hands. The brazos y manos she did knowingly, aware, displaying strength with a delightful ease. Although she moved the bata de cola [long trailing dress] beautifully and impeccably, her footwork would not be as developed as currently—even though her zapateado accents were dramatic and sharp. She favored the soleares, the alegríasAlegrías
Alegrías is a flamenco palo or musical form, which has a rhythm consisting of 12 beats. It is similar to Soleares. Its beat emphasis is as follows: 1 2 [3] 4 5 [6] 7 [8] 9 [10] 11 [12]. Alegrías originated in Cádiz. Alegrías belongs to the group of palos called Cantiñas and it is usually played in...
, and bailes "festeros". It is said "her duende
Duende
Duende is a difficult-to-define word used in the Spanish arts, including performing arts. From the original meaning , the artistic and especially musical term was derived...
was exceptional."
In the flamenco café
Café
A café , also spelled cafe, in most countries refers to an establishment which focuses on serving coffee, like an American coffeehouse. In the United States, it may refer to an informal restaurant, offering a range of hot meals and made-to-order sandwiches...
s she remained for decades much in demand, the performance star among bailaoras. In particular at the Cafe Novedades in Sevilla for fifteen years she reigned, setting the pace, defining the art. When La Macarrona 'consented' to dance, she might arise from her seat like a queen of Sheba, sovereign, perhaps too proud. As she raised her arms above her head it was as if favoring the world with her flamenco baile. She could give lightning and thunder.
Personality
She also became known for quotable, impromptu expressions. For example, after performing often in Paris Juana became familiar with French. On a trip north from Spain she was asked to make arrangements when the train reached Paris, but upon arrival nobody could 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."On stage her elusive movements drew rapt attention, almost reverence from many audiences. She also attracted poetic lines addressed to her and her ruddy radiance, her rhythmic grace, her sudden turns of emotional intensity, her stillness. La Macarrona "le injertó al baile una antiquísima fuerza emotiva, llena de feminidad y gracia, como en los soleares de su creación. ... Y por la cintura, por los brazos, le subía el chorro de la danza... ."
Her stage name
La Macarrona was the stage name of Juana Vargas. The name is said to be taken from two of her flamenco ancestors named Macarrón, who flourished in the 18th century: Tío Juan Macarrón and Tío Vicente Macarrón.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 "macarronea" [English: "macarronic"], which currently may signify "burlesque verse" mixing "real or coined words from two or more languages." So that, if in itself meaningful, Juana la Macarrona would mean something like "Jane of the mixed-language verse", fitting her exotic knack for off-stage humor. Or perhaps more appropriately, Juana la Macarrona would mean "the dandy", suiting her engaging theatrics, and enigmatic presence on stage.
Concurso de Cante Jondo
In 1922 she appeared at the Concurso de Cante JondoConcurso de Cante Jondo
El Concurso del Cante Jondo was a well-known celebration of the art of flamenco, its music, song, and dance, held in Granada, Andalusia on Corpus Christi, the 13th and 14th of June, 1922.-Falla's purpose:...
held in Granada
Granada
Granada is a city and the capital of the province of Granada, in the autonomous community of Andalusia, Spain. Granada is located at the foot of the Sierra Nevada mountains, at the confluence of three rivers, the Beiro, the Darro and the Genil. It sits at an elevation of 738 metres above sea...
. Honored as a judge for the contest, in that role she joined three other celebrated flamencos, the cantaors Antonio Chacón
Antonio Chacón
Antonio Chacón was a Spanish flamenco singer [cantaor].Chacón began earning a living by performing flamenco around 1884. He toured Andalucia with his two friends, the Molina brothers - dancer Antonio Molina, and guitarist Javier Molina. He was later hired by Silverio Franconetti for his café in...
and Manuel Torre
Manuel Torre
Manuel Soto Loreto, known as Manuel Torre or Manuel Torres , was a Romani flamenco singer.- Beginning :...
, and the cantaora La Niña de los Peines
La Niña de los Peines
Pastora Pavón Cruz, known as La Niña de los Peines , is considered the most important woman flamenco singer of the 20th century. She was a sister of singers Arturo Pavón and Tomás Pavón, also an important flamenco singer, and aunt to Arturo Pavón, the first flamenco pianist...
. Juana's presence richly animated the Concurso festivities, for one, by her excited jaleo cries of "¡Lapoteosis!" [English: "thunderstrike!"]. Later the elder maestra danced, to a trio of guitarists including Ramón Montoya
Ramón Montoya
Ramón Montoya , Flamenco guitarist and composer.Born into a family of Gitano cattle traders, Ramón Montoya used earnings from working in the trade to buy his first guitar...
, while the young Manolo Caracol
Manolo Caracol
Manuel Ortega Juárez. , was a flamenco cantaor.Born in Seville, Spain, he was descended from a long line of flamenco artists including Enrique Ortega and Curro Dulce, and he was possibly related to El Planeta and El Fillo...
sang, and Gitanas of the Sacromonte
Sacromonte
Sacromonte is a neighbourhood of Granada, in Spain. It derives its name from the nearby Sacromonte Abbey, which was founded in 1600 on the hill of Valparaiso outside the old city, and is built over catacombs ....
punctuated the music with their palmas
Palmas (music)
In Flamenco, Palmas is an essential form of percussion to help punctuate and accentuate the song and dance. Good palmas can be a substitute for music, certainly in the corrillo at the end of a show. Good palmistas can assist the musicians by keeping a strong tempo, or the dancer by accentuating the...
.
"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 flor."
Evidently Antonia Mercé "La Argentina
La Argentina
Antonia Mercé y Luque , stage name La Argentina, was a dancer known for her creation of the neoclassical style of Spanish dance as a theatrical art...
" attended the Concurso and watched La Macarrona as she danced. When Juana sat afterward La Argentina came and knelt down at her feet, carefully took off her dancing shoes, and then carried them away.
Les Calles de Cádiz
Juana la Macarrona managed to continue dancing well past sixty, in part motivated by necessity due to the loss of much of her wealth from a house break-in. As late as 1933 she was touring with the stage show headed by Encarnación López "La ArgentinitaLa Argentinita
La Argentinita is the stage name of a famous dancer born Encarnación López Julvez in Buenos Aires, Argentina. Among her performances was as the Butterfly in the premiere of Federico García Lorca's El maleficio de la mariposa...
", for whom she staged "Las Calles de Cádiz". This show featured several other elder bailaoras, whose dancing continued to be celebrated by flamenco aficionados.
Flamenco memory
At the age of eighty-seven she died in Sevilla, "poor and forgotten," thinking that flamenco was also dying. "Los niños modernos, la juventú, nos mira como cosas raras, sin pensá que hemos jecho yorá con nuestras gitanerías a tre generaciones." Yet a decade later the flamenco arts were experiencing a renaissance, and she herself as Juana la Macarrona was well remembered. An award at the Concurso nacional de Córdoba has been named the "Juana la Macarrona" prize in her honor.See also
- Flamenco dance
- Silverio FranconettiSilverio FranconettiSilverio Franconetti, also known simply as Silverio was a singer and the leading figure of the period in flamenco history known as The Golden Age, which was marked by the creation and definition of most musical forms or palos, the increasing professionalization of flamenco artists, and the shift...
- Café Cantante
- Concurso de Cante JondoConcurso de Cante JondoEl Concurso del Cante Jondo was a well-known celebration of the art of flamenco, its music, song, and dance, held in Granada, Andalusia on Corpus Christi, the 13th and 14th of June, 1922.-Falla's purpose:...
: Events of the Concurso - La ArgentinaLa ArgentinaAntonia Mercé y Luque , stage name La Argentina, was a dancer known for her creation of the neoclassical style of Spanish dance as a theatrical art...
- La ArgentinitaLa ArgentinitaLa Argentinita is the stage name of a famous dancer born Encarnación López Julvez in Buenos Aires, Argentina. Among her performances was as the Butterfly in the premiere of Federico García Lorca's El maleficio de la mariposa...
External links
- "Juana la Macarrona" at Flamenco World, article in Spanish, with photograph.