Evening star. [volume] (Washington, D.C.) 1854-1972, 1906-10-27

dered un-spanish by their pointes and en-.
trechats. 1t is like seeing the ballet In
Milan or Paris.
The true Spanish dances are those Of
the girls OF the people. The ole, the bo-
lero. the vito. the pepo lilo, the jaleo the
zapataedo are poetic dances. whose eternal
theme is love-so much so that these girls
! have been brought up to despise money,
prosperity, correctness and all settled ways.
Some of the greatest dancers of Seville are
cigar-grls belonging to no troupe. They
dance night after night in public for tho
pride and pleasure of 1t. When they &C
cept pay II Is with insolent indifference.
And SO throughout all Spain-the popular
dance atmosphere is more bohemian than
anywhere else on earth.
On the other hand, II may be observed
that the homicidal Flower and Rose found
their true future, after they had fed from
SPAIN in conventional, law-abiding, money
loving Paris Carmen and her mother hid
in South America. moved on to London,
where she was a year more In the
Alhambra ballet, and reached Paris finally
by way of the 1900 exposition. Conchita
fed to Italy with an English tourist. danced
her way to notice in Milan. drifted to az
fuence in Vienna-and settled down in
Paris as the best place for a beautiful
woman.
In Partisan Music Halls.
And SO on. At the present hour there
are in Paris thirty and perhaps fifty such,
who have engagements. either permanent
or desultory, from the ballet of the Opera
ComiQue to the swell music halls.
There continually spring up reviews. OPP
erettas and musical farces with roles in
them for a Spanish dancer. For their fire
and grace as Spanish girls; for the color
and dash of the costume. and for the stir
ring rhythms Of their music. the Spanish
dance episode IS always popular.
These girls who have arrived in Paris
q trN-itr ~ tha h.A nv or,,hT
ton or despite in love. or some dark acci-
dent like that of the Rose and the Flower,
have quit the hard life of Spain for lux
ury in the City of Light
The great dance of the flamenco" ex-
claimed one of them to me. what a dance
1t is. senior. and what tragedy. II is the
whole of passion in three acts, desire. de-
ception and abandon Never has dramatic
work expressed feminine love with the in
tensity. grace and fury OF those three
scenes.
I'm the south of Spain they say II takes
eight years to form a flamenco" she con-
tinued. Perfection is unattainahle, be-
cause this exhausting dance twelve min
utes-show me a danseuse of the Madrid
opera who Will accept a variation OF twelve
minutesO contains three roles that are
quite unconn ected-the ingenue. the
amoureuse and the tragedienne. One ought
to be sixteen years old to dance the first
and thirty-fve to dance the end of the
drama!"
This same lovely creature admitted to
thirty-ive years herself
IF I am not faded like many of the
great fiamencas. 1t Is thanks to the life
Of Paris" she admitted. Those OF us
who remain in Spain wear ourselves out.
1t Is a magnificent public-those same bull
fighters and street loafers included-but It's
very appreciation uses up the artistic. In
Paris the good people interest themselves
as much in my jewels as in my dances, ac-
cepting what 1 give them. So L live nor
mally without abusing"
. ~ IT,. A., - 49, 1,-n
Spanish Dances can convince its sprightly
young subjects of this central truth, II will
do them immense good both physically and
spiritually; but whether 1t will help their
dancing-made up as It is of dash and
devltry-is quite another question.
STERLING HELLO.