Baile y cine: Mariemma en la Bolera de la danseuse espagnole (1943)

Authors

  • Victoria Cavia Naya
Keywords: sculpture, religious sculptures, 19th century, Murcia, Araciel, gilding, decoration, estofado

Abstract

The particular role that Mariemma (Guillermina Martinez Cabrejas, Valladolid 1917 - Madrid 2008) played in the identity ofSpanish Dance through the Civil War merits investigation due to the numerous elements that molded her life as ballerina, choreographer, and instructor. With this in mind, previously unknown documents have been disclosed that allow verifcation of the acceptance, the formal context, and the repertoire in which Mariemma develops her artistic career from Spain (1940) and through her childhood years in Paris (1920 - 1939). These dates have passed unnoticed because they pertain to the immediate years following the SpanishCivil War and chronologically coincide with the artistic beginnings of the ballerina. Moreover, the artistic accomplishments of the Mariemma have been given minimal attention on having remained buried in the confnes of the library or in the vast cinematographic industry. At any rate, Mariemma's style and characteristics have left an indelible mark on the delightful union between dance and film, especially to the point of touching on one of the most authentic forms of Spanish Dance: the Bolero School.

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How to Cite
Cavia Naya, V. (2010). Baile y cine: Mariemma en la Bolera de la danseuse espagnole (1943). Imafronte, (21-22), 45–60. Retrieved from https://revistas.um.es/imafronte/article/view/200821
Issue
No. 21-22 (2010)
Section
Artículos

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