This printed material is a chronological history of dance, bringing together many different dancers and styles, a unification of Spanish art-forms. We have seen a handful of dance biographies always declaring the career of their subject as the most important. Let's place into perspective that we had many dancers during the same time frame and each one contributed, some more than others. Noting the artistic contributions made by these performers made it easier to review the period of Spanish dance as an 'era'. We took these performers and placed them into one account, foretelling how this style of dance contributed to the overall American style of the Spanish dance. Americans Ted Shawn, Ruth St. Denis, La Meri, Carmelita Maracci and Ballet Russes Anna Pavlova, Adoph Bolm and Leonide Massine were all in some way affected by the Spanish dance. Even Hollywood and Broadway were instrumental in the birth of Hispanic culture in the country. In this first book I have highlighted the careers of two artists, La Argentina and Vicente Escudero, both worked together forming a part-time partnership important in this early era. Later Spaniards who exemplified the art-form in America were La Argentinita, Pilar Lopez, Rosario & Antonio, Jose Greco, and Nana Lorca whos reflections are mirrored within these pages and later editions.

Spanish Drama of the Golden Age describes this little-known field of European drama. This book describes and analyzes Spanish plays and drama. It reviews the Spanish plays from the 1580s to the death of Pedro Calderon de la Barca in 1681. This text also discusses the controversy to which direction the Spanish theater would take: whether it is for entertainment or a representation of the intellect and emotions. This book describes Miguel de Cervantes, Lope de Vega, and the rise of the Spanish comedia. The text describes how Lope wrote his plays and how he sold them outright to the manager of an acting company, which became its property. The text also describes the life of Tirso de Molina who was often criticized for his cavalier treatment of a historical fact. This book also discusses the works of Ruiz de Alarcon, Guillen de Castro, Velez de Guevara, and Mira de Amescua. This book also assess this period of Spanish drama in terms of the influence of other countries in Europe such as Britain and France. This book can prove valuable for university students of Spanish, Spanish literature teachers to students of sixth forms, and Spanish historians.

A book about life in Spain from the succession of Philip II (1556) to the death of Philip IV (1665). The author relies primarily upon careful use of literary works and travel accounts written during this 'golden age'. In addition to delightful descriptions and anecdotes, he has woven into his text important political and economic developments. He provides a general view of Spain, stressing the importance of the Catholic faith and the emphasis upon personal honour, before surveying life and society in urban and rural areas. He then examines in some detail life in the Church, university, military and home; public entertainment; and the picaresque life.

"The Dance" by Margaret West Kinney is a book about dance as a form of art. The writing includes a chapter of explanation of the salient steps of the ballet. These steps, with superficial variations and additions, form the basis also of all-natural or "character" dances that can lay claim to any consideration as interpretative art. Direct practical instruction is furnished on the subject of present-day ballroom dancing, to the extent of clear and exact directions for the performance of steps now fashionable in Europe and America. Some notable titles are: The "Schuhplatteltanz" Classic Ballet Positions Fundamental Positions of the Feet The "Tango" Development of an Arch "À La Pirouette", etc.

This analytical history traces representations of flamenco dance in Spain and abroad from the twentieth century to the present, using histories, film, accounts of live performances, and practitioner interviews. Beginning with an analysis of flamenco historiography, the text examines images of the female dancer in films by Luis Bunuel, Carlos Saura, and Antonio Gades; stereotypes of flamenco bodies and Andalusian culture in Prosper Merimee's Carmen; and the ways in which contemporary flamenco dancers like Belen Maya and Rocio Molina negotiate the stereotype of Carmen and an idealized Spanish feminine that pervades "traditional" flamenco. Instructors considering this book for use in a course may request an examination copy here.