Embracing the Forgotten Feminine in Flamenco

Embracing the Forgotten Feminine in Flamenco


The present study embarks on an invigorating journey into the realm of feminine Flamenco, accompanied by the esteemed Fernando López, a luminary in the fields of flamenco dance, philosophy, and research. López's illuminating work has paved the way for the examination of crucial yet marginalized aspects of Flamenco's queer history.


Rediscovering the Neglected Feminine
Throughout the annals of Flamenco's history, femininity has endured disdain and disregard, with the original feminine Flamenco style, characterized by expressive movements of the hands, arms, torso, and hips, being largely overshadowed and forgotten until recent times. While considerable scholarly attention has been devoted to women executing masculine dance forms in flamenco, the exploration of men performing feminine dance in the tradition has been conspicuously absent from the discourse, as if their existence had been erased.


Reclaiming the Forgotten Gems: Men Expressing the Feminine Dance in Flamenco
Notwithstanding historical omissions, a cadre of men, such as Vianor, Mirko, Egmont D'Bries, La Perla Murciana, Antonio Alonso, and La Asturiana, have been at the vanguard of preserving the essence of feminine flamenco. Their presence, largely concealed from flamenco history books, was unveiled through the groundbreaking research undertaken by Fernando López, who fervently seeks to illuminate the queer dimensions of flamenco.


The Footwork-Centric Shift in Flamenco
Since the 1930s, Flamenco has undergone a transformative shift, increasingly prioritizing footwork-centric masculine dance forms. This evolution has witnessed an accentuated emphasis on technique and complexity, inadvertently relegating the graceful and expressive elements of the feminine dance. The influence of iconic dancers like Carmen Amaya, renowned for her electrifying fast and furious footwork, has left an indelible mark on shaping Flamenco's modern trajectory.


Fernando López's Pioneering Work
López's scholarly pursuits are anchored in the revival of the forgotten feminine facets of Flamenco. His seminal research and notable tome, "A Queer History of Flamenco," delve into the deep-rooted history of Flamenco and its queer complexities, thereby resurfacing diverse expressions and identities within this rich art form.


Skirt Dancing: From Flamenco to International Mesmerizing Spectacles
Beyond the realm of Flamenco, skirt dancing has transcended cultural boundaries. Lunaris' codification of over 33 distinct skirt techniques attests to the versatility of this art form. Tracing its origins back to the late 1800s and early 1900s, the craze surrounding skirt dancing reached its zenith during this period. Even luminaries of modern dance, such as Ruth St. Denis and Loie Fuller, commenced their illustrious careers as skirt dancers, captivating global audiences with simple yet enchanting movements.


The Legacy of Loie Fuller
Loie Fuller's enduring legacy remains an inexhaustible source of inspiration for scholars and performers alike. As a trailblazer, Fuller validated the profound potential of dancing with fabrics as artistic props, including skirts, capes, veils, or shawls. Under her innovative vision, these skirts evolved into mesmerizing spectacles, enhanced by the incorporation of sticks and creative lighting techniques. Fuller's work stands as a testament to the intrinsic artistic value that simplicity can bestow upon even the most unassuming movements.

Through the captivating journey alongside Fernando López Rodriguez, the hidden facets of Flamenco's past have been unveiled with scholarly rigor. Puela Lunaris is rekindling appreciation for femininity's essence and embracing the resplendent beauty of the original feminine dance. Through Lunaris' work Flamenco continues to evolve as a rich, inclusive, and accessible art form for all.