“Lo femenino” y “lo masculino” del baile flamenco y su actual hibridación: Manuel Liñán
[EN] The purpose is to advance on the study of flamenco dance these days from the perspective of gender, taking into account the body as a medium of expression from which we can observe the phenomena of hybridization, diversity and transgression present in the artists of the era of globalization. Th...
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| Tipo de recurso: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2019 |
| País: | España |
| Institución: | Consejo Superior de Investigaciones Científicas (CSIC) |
| Repositorio: | DIGITAL.CSIC. Repositorio Institucional del CSIC |
| OAI Identifier: | oai:digital.csic.es:10261/422568 |
| Acceso en línea: | http://hdl.handle.net/10261/422568 |
| Access Level: | acceso abierto |
| Palabra clave: | Flamenco dance Gender Body Hybridization Manuel Liñán Baile flamenco Género Cuerpo Hibridación Dance Sexual behaviour |
| Sumario: | [EN] The purpose is to advance on the study of flamenco dance these days from the perspective of gender, taking into account the body as a medium of expression from which we can observe the phenomena of hybridization, diversity and transgression present in the artists of the era of globalization. Therefore, the characteristics of “feminine” and “masculine” in “traditional” flamenco dance and its subsequent development will be studied. For that, we will analyze the dancer Manuel Liñán for being a clear example of all this, including his last show, Baile de autor, as the culmination, until now, of his artistic and aesthetic development |
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