Albinism
Classification and external resources
An African boy with albinism
ICD-10	E70.3
ICD-9	270.2
OMIM	203100 103470, 203200, 606952, 203290, 203300, 203310, 256710, 278400, 214450, 214500, 220900, 300500, 300600, 300650, 300700, 600501, 604228, 606574, 606952, 607624, 609227
DiseasesDB	318
MedlinePlus	001479
eMedicine	derm/12
MeSH	D000417

Albinism (from Latin albus, "white"; see extended etymology, also called achromia, achromasia, or achromatosis) is a congenital disorder characterized by the complete or partial absence of pigment in the skin, hair and eyes due to absence or defect of an enzyme involved in the production of melanin. Albinism results from inheritance of recessive gene alleles and is known to affect all vertebrates, including humans. While an organism with complete absence of melanin is called an albino ( /ælˈbaɪnoʊ/ American English,^[1] or /ælˈbiːnoʊ/ British English)^[2] an organism with only a diminished amount of melanin is described as albinoid.^[3]

Albinism is associated with a number of vision defects, such as photophobia, nystagmus and astigmatism. Lack of skin pigmentation makes for more susceptibility to sunburn and skin cancers.

Signs and symptoms[link]

Albinistic girl from Papua New Guinea

In humans, there are two principal types of albinism, oculocutaneous, affecting the eyes, skin and hair, and ocular affecting the eyes only.

Most oculocutaenous albinistic humans appear white or very pale as the melanin pigments responsible for brown, black, and some yellow colorations are not present. Ocular albinism results in pale blue eyes, and may require genetic testing to diagnose.

Because individuals with albinism have skin that entirely lacks the dark pigment melanin, which helps protect the skin from the sun's ultraviolet radiation, their skin can burn more easily from overexposure.^[4]

The human eye normally produces enough pigment to color the iris blue and lend opacity to the eye. However, there are cases in which the eyes of an albinistic person appear red or purple, depending on the amount of pigment present, due to the red of retina being visible through the iris. Lack of pigment in the eyes also results in problems with vision, both related and unrelated to photosensitivity.

The albinistic are generally as healthy as the rest of the population (but see related disorders below), with growth and development occurring as normal, and albinism by itself does not cause mortality,^[5] although the lack of pigment blocking ultraviolet radiation increases the risk of skin cancer and other problems.^[6]

Visual problems[link]

Development of the optical system is highly dependent on the presence of melanin, and the reduction or absence of this pigment in albinistic individuals may lead to

• Misrouting of the retinogeniculate projections, resulting in abnormal decussation (crossing) of optic nerve fibres^[4]
• Photophobia and decreased visual acuity due to light scattering within the eye (ocular straylight)^[4][7]
• Reduced visual acuity due to foveal hypoplasia and possibly light-induced retinal damage^[4]

Eye conditions common in albinism include:

• Nystagmus, irregular rapid movement of the eyes back and forth, or in circular motion.^[4]
• astigmatism^[8]
• Amblyopia, decrease in acuity of one or both eyes due to poor transmission to the brain, often due to other conditions such as strabismus.^[4]
• Optic nerve hypoplasia, underdevelopment of the optic nerve

Some of the visual problems associated with albinism arise from a poorly developed retinal pigment epithelium (RPE) due to the lack of melanin.^{[citation needed]} This degenerate RPE causes foveal hypoplasia (a failure in the development of normal foveae), which results in eccentric fixation and lower visual acuity, and often a minor level of strabismus.

The iris is a sphincter formed from pigmented tissue that contracts when the eye is exposed to bright light, to protect the retina by limiting the amount of light passing through the pupil. In low light conditions the iris relaxes to allow more light to enter the eye. In albinistic subjects, the iris does not have enough pigment to block the light, thus the decrease in pupil diameter is only partially successful in reducing the amount of light entering the eye.^{[citation needed]} Additionally, the improper development of the RPE, which in normal eyes absorbs most of the reflected sunlight, further increases glare due to light scattering within the eye.^[9] The resulting sensitivity (photophobia) generally leads to discomfort in bright light, but this can be reduced by the use of sunglasses and/or brimmed hats.^[10]

Genetics[link]

Most forms of albinism are the result of the biological inheritance of genetically recessive alleles (genes) passed from both parents of an individual, though some rare forms are inherited from only one parent. There are other genetic mutations which are proven to be associated with albinism. All alterations, however, lead to changes in melanin production in the body.^[5][11]

The chance of offspring with albinism resulting from the pairing of an organism with albinism and one without albinism is low. However, because organisms can be carriers of genes for albinism without exhibiting any traits, albinistic offspring can be produced by two non-albinistic parents. Albinism usually occurs with equal frequency in both sexes.^[5] An exception to this is ocular albinism, which it is passed on to offspring through X-linked inheritance. Thus, ocular albinism occurs more frequently in males as they have a single X and Y chromosome, unlike females, whose genetics are characterized by two X chromosomes.^[12]

There are two different forms of albinism; a partial lack of the melanin is known as hypomelanism, or hypomelanosis and the total absence of melanin is known as amelanism or amelanosis.

Diagnosis[link]

This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (November 2007)

Genetic testing can confirm albinism and what variety it is, but offers no medical benefits except in the cases of non-OCA disorders (see below) that cause albinism along with other medical problems which may be treatable. The symptoms of albinism can be treated by various methods detailed below.

Treatment[link]

For the most part, treatment of the eye conditions consists of visual rehabilitation. Surgery is possible on the ocular muscles to decrease nystagmus, strabismus and common refractive errors like astigmatism.^[4] Nystagmus-damping surgery can also be performed, to reduce the "shaking" of the eyes back and forth.^[13] The effectiveness of all these procedures varies greatly and depends on individual circumstances.

Glasses and other vision aids, large-print materials as well as bright but angled reading lights, can help individuals with albinism, even though their vision cannot be corrected completely. Some people with Albinism do well using bifocals (with a strong reading lens), prescription reading glasses, and/or hand-held devices such as magnifiers or monoculars.^[10] Contact lenses may be colored to block light transmission through the iris. But in case of nystagmus this is not possible, due to the irritation that is caused by the movement of the eyes. Some use bioptics, glasses which have small telescopes mounted on, in, or behind their regular lenses, so that they can look through either the regular lens or the telescope. Newer designs of bioptics use smaller light-weight lenses. Some US states allow the use of bioptic telescopes for driving motor vehicles. (See also NOAH bulletin "Low Vision Aids".)

Epidemiology[link]

Albinism affects people of all ethnic backgrounds; its frequency worldwide is estimated to be approximately one in 17,000. Prevalence of the different forms of albinism varies considerably by population, and is highest overall in people of sub-Saharan African descent.^[14]

Society and culture[link]

In physical terms, humans with albinism commonly have visual problems and need sun protection. But they also face social and cultural challenges (even threats), as the condition is often a source of ridicule, discrimination, or even fear and violence. Cultures around the world have developed many beliefs regarding people with albinism.

In African countries such as Tanzania^[15] and Burundi,^[16][17] there has been an unprecedented rise in witchcraft-related killings of albino people in recent years, because their body parts are used in potions sold by witchdoctors. Numerous authenticated incidents have occurred in Africa during the 21st Century.^{[18][19][20][21]} For example, in Tanzania, in September 2009, three men were convicted of killing a 14-year-old albino boy and severing his legs in order to sell them for witchcraft purposes.^[22] Again in Tanzania and Burundi in 2010, the murder and dismemberment of a kidnapped albino child was reported from the courts,^[16] as part of a continuing problem.

Another harmful and false belief is that sex with an albinistic woman will cure a man of HIV. This has led, for example in Zimbabwe, to rapes (and subsequent HIV infection).^[23]

Certain ethnic groups and insular areas exhibit heightened susceptibility to albinism, presumably due to genetic factors. These include notably the Native American Kuna and Zuni nations (respectively of Panama and New Mexico); Japan, in which one particular form of albinism is unusually common; and Ukerewe Island, the population of which shows a very high incidence of albinism.^[24]

Famous people with albinism include historical figures such as Emperor Seinei of Japan, Oxford don William Archibald Spooner; actor-comedian Victor Varnado; musicians such as Johnny and Edgar Winter, Salif Keita, Winston "Yellowman" Foster, Brother Ali, Sivuca, Willie "Piano Red" Perryman; and fashion models Connie Chiu and Shaun Ross.

In other animals[link]

Many animals with albinism lack their protective camouflage and are unable to conceal themselves from their predators or prey; the survival rate of animals with albinism in the wild is usually quite low.^[25][26] However the novelty of albino animals has occasionally led to their protection by groups such as the Albino Squirrel Preservation Society.

In partial albinism there can be a single patch or patches of skin that lack melanin. Especially in albinistic birds and reptiles, ruddy and yellow hues or other colors may be present on the entire body or in patches (as is common among pigeons), because of the presence of other pigments unaffected by albinism such as porphyrins, pteridines and psittacins, as well as carotenoid pigments derived from the diet.

In some animals albinism-like conditions may affect other pigments or pigment-production mechanisms:

• "Whiteface," a condition that affects some parrot species, is caused by a lack of psittacins.^[27]
• Axanthism is a condition common in reptiles and amphibians, in which xanthophore metabolism is affected rather than synthesis of melanin, resulting in reduction or absence of red and yellow pteridine pigments.^[28]
• Leucism differs from albinism in that the melanin is, at least, partially absent but the eyes retain their usual color. Some leucistic animals are white or pale because of chromatophore (pigment cell) defects, and do not lack melanin.
• Melanism is the direct opposite of albinism. An unusually high level of melanin pigmentation (and sometimes absence of other types of pigment in species that have more than one) results in an appearance darker than non-melanistic specimens from the same genepool.^[29]

Intentionally bred albinistic strains of some animal species are commonly used as model organisms in biomedical study and experimentation, although some researchers have argued that they are not always the best choice.^[30] Examples include the BALB/c mouse and Wistar and Sprague Dawley rat strains, while albino rabbits were historically used for Draize toxicity testing.^[31] The yellow mutation in fruit flies is their version of albinism.

The incidence of albinism can be artificially increased in fish by exposing the eggs to heavy metals (arsenic, cadmium, copper, mercury, selenium, zinc).^[32]

The eyes of an albino animal appear red because the colour of the red blood cells in the underlying retinal blood vessels shows through where there is no pigment to obscure it.

Famous albino animals include Migaloo, a humpback whale off the coast of Australia; Pinky, a bottlenose dolphin living in and around in Calcasieu Lake, Louisiana; Snowflake, a Barcelona Zoo gorilla; Snowflake, a Bristol Zoo penguin; and Mahpiya Ska (Sioux for "White Cloud"), a buffalo in Jamestown, North Dakota.^[33] The inspiration for Herman Melville's novel Moby-Dick was a sperm whale known as Mocha Dick.

See also[link]

References[link]

Notes

External links[link]

Wikimedia Commons has media related to: Albinism

• Albinism explained
• GeneReview/NCBI/NIH/UW entry on Oculocutaneous Albinism Type 2
• GeneReview/NCBI/NIH/UW entry on Oculocutaneous Albinism Type 4

Refilwe Modiselle is a South African model and entertainer born in Rockville, Soweto. She started her modelling career at the age of 13 when she was approached by “Y!” magazine. She also appeared as a runway model in 2005 for star South African designer David Tlale, making her the first albino model to appear on a runway in South Africa.^[1] Refilwe has also had some experience in the music industry, where she performed as a backing vocalist for South African singer Keabetswe "KB" Motsilanyane while in school.

Early life[link]

Refilwe was born in Rockville, Soweto (in Gauteng, South Africa) and lived with her mother and father until she was 4 years old, after which her family moved to Orange Grove, Johannesburg. Her family relocated again following the death of her father when she was a girl. She has two younger sisters.^[2]

After High School[link]

Following her graduation from high school in Johannesburg, Refilwe studied advertising at Varsity College, graduating with distinction in her course. Throughout her work life Refilwe has accepted modelling work – including modelling for David Tlale at South Africa Fashion Week in 2005. She has also featured in a number of South African print magazines.^[3]

Career[link]

Alongside Soweto born model Tshego Seakgoe, Refilwe was approached by advertising agency “Black River FC” in 2012 to be the face of female fashion retailer LEGiT’s summer fashion campaign. The campaign formed part of the retailer’s rebranding, and her tenure as brand ambassador included print and online campaigns as well as a television ad aired on South African television. Refilwe was officially named the retailer’s brand ambassador at a launch event in Kyalami, Johannesburg. She followed in a line of LEGiT brand ambassadors including TV presenter and actress Minnie Dlamini, TV presenter Bonang Matheba, model Noni Gasa, actress and model Zizo Beda, and radio and TV personality Sade Giliberti.^[4]

References[link]

La Argentina

Antonia Mercé y Luque (September 4, 1890 – July 18, 1936), stage name La Argentina, was a dancer known for her creation of the neoclassical style of Spanish dance as a theatrical art.^[1] She was one of the major influences on Japanese butoh dancer Kazuo Ohno.^[2]

It is given to few artists to incarnate in their art, at a given epoch, the distinct characteristics of their race and its conception of the beautiful, and this, in a manner so in complete and significant that their names get identified with a peculiar way of living and the story of their life becomes a page of history. It is to one such artist representative of her art, of her country, of her age that this short study is consecrated. The recent unexpected renaissance of Spanish dancing, an art whose creative power seemed to have been exhausted, is due primarily to the singular genius of one dancer, La Argentina. Alone she has epitomized and regenerated a form long cheapened and falsified by the music-hall gypsies turned out wholesale in Seville. And her indescribable success has loosened a new onslaught of Spanish dancing, the oldest and noblest of European exotics."^[3]

Early life[link]

She was born in Buenos Aires, Argentina. A talented young dancer, her career was greatly influenced by her parents Manuel Mercé (an Andalusian), and Josefina Luque (a Castilian), themselves professional Spanish dancers. It was due to them that La Argentina's entire life was mainly focused on dance, where her parents greatly wanted her to excel. She studied ballet with her parents in her youth. She trained mainly with her father, who taught her to dance at the age of four. When she was nine years old, she debuted at the Teatro Real in Madrid, Spain. At the age of 11, she was a star dancer at the Madrid Opera.

Shortly after the death of her father, La Argentina retired from ballet. After this life-transforming event, at the age of 14, La Argentina started studying native Spanish dances with her mother.

Career[link]

For several years to come, her style of dancing was not highly admired in her society; therefore she could not perform in theatres or in concerts (in which she was used to dancing). She danced wherever she could, which meant performing in café cantantés and music halls.

Prior to World War I, La Argentina was extremely admired in Paris,^{[citation needed]} where she accepted invitations to dance at the Moulin Rouge, the Théâtre des Champs-Élysées, and other important locations. Years later, she took interest in a gypsy-style dance and made it her own.

In her career she made six transcontinental tours in North America, sometimes accompanied by flamenco guitarist Carlos Montoya.

Awards[link]

She received several awards, including the French Légion d'honneur and the Spanish Orden de Isabel la Católica.

Death[link]

She died on July 18, 1936, in Bayonne, France.

Contribution to formal dance[link]

Her contributions to formal dance are expressed in her style, her choice of music, her use of castanets, and her structuring of performances.

Style[link]

« For the past year I have had a passion for Argentina. The rigour of her classical formation, her knowledge and her taste bring dignity and nobleness to Spanish folklore, and fills me with respect. I feel like I am entering the Escurial when I am with her. » (Edwige Feuillère )^[4]

« While there had always been a great flowering of folkloric dances in Spain, the history of formal dance itself began only in 1920 with Argentina and Escudero. Diaghilev admired them a lot. » (Serge Lifar)

« From what it was, a colourful facet of popular culure, Spanish formalized dance turns, thanks to her genius and infinite patience, into a choreographic style destined to universal acceptance. »(Jean Dorcy)

La Argentina created her own style. Spain has 49 provinces with very different traditions, where the levels of artistic interpretation go from the crudest popular taste to the most austere sobriety. Certain dances were shapeless, deformed, and forgotten as society changed. La Argentina revived the folklore, catalogued it, sought traditional steps wherever she could fnd them in village squares and in humble dance schools ; she used diplomacy and even subterfuge to be shown a particular step or dance by the elders, such as occurred near Salamanca, where she was able to reconstitute the genuine charrada. She felt strongly that what was presented under that name on stage was not authentic. In denying its popular ancestral roots, Spanish dance in the theatre had become insipid. Italian and French influences had deprived it of its originality. The spirit of genuine Spanish dance had deserted it. La Argentina rekindled that spirit. ^{[5] [6]}

Parallel with this search for authenticity, she systematically made the dances she found conform to her own aesthetic. She married the purity of classical style with the ardour and character of popular art. No element, musical or plastic, escaped her labour of re-creation. She devoted more than eight hours a day to it, submitting each pattem of steps to her sense of rhythm and music. She refined and pruned, keeping only what was essential, she stylized and transformed the lead of regional dances into the finest gold. Thanks to her, Spanish formal dance went into a new phase, and rose to a hitherto unattained level of sublimation.

What do we mean by stylizing or adapting for the stage ? Stylised dance must retain the nature and flavour of folklore while respecting the demands of the stage. What are these ?

- To create space - To accentuate movement - The different parts must fit into the whole - The body becomes moving architecture.

The Spanish dancer has the advantage on this last point. Classical dance extends the form and inflects only during moments of transition, in linear continuity. Essentially it offers surfaces, the Spanish body volumes. Classical dance offers surfaces because it is a product of the stage. On stage we are best seen from the front and in three quarters profile; seen from the side the body loses its radiance. and from the back it loses it entirely. Traditionally the Spanish dancer is seen from all angles. He constantly offers volumes to the eye. A thousand fluid body positions give vigour, ardour and celerity. Classical dance paints, Spanish dance sculpts. Classical form elongates itself, shimmers, rises on tip-toe ; it glides, it loses substance, becomes idealised. Spanish form is earthy, it strikes, presses, accentuates downward, stays close to the ground. Made of broken lines, of sinuous and constantly inflected form. It is ready to leap not in the air as in classical dance. but like a wild animal. In adapting itself to the stage, Spanish dance must retain its specific shapes. If it conforms only to stage demands, it would undoubtedly turn into classical dance. It has no right to do so, because of its roots: it is born in the street, in the bars. It represents a region. It reflects the life of the people. its games and bullfighting, the enticing fan of a young girl, African eroticism, oriental gypsy mystery. The court dancer did not possess the triple benefit of their historical, ethnographical and psychological background. That is why he could care only about linear beauty. (^[7])

Music[link]

La Argentina was the first to use music for Spanish dance of the great contemporary composers such as Isaac Albéniz, de Falla, Granados and Turina. The musical monuments of these four composers demanded broad choral movements that folklore did not possess. Taking as their base the guitar's melodic micro-universe, and influenced by foreign (especially Russian and French) composition styles, they considerably widened their musical palette. She also elicited scores from the young composers of her country such as Halffter, Espla, Duran.

Great artists accompanied her on the piano. In 1926 Joaquin Nin, pianist and composer arranged many popular songs and Amparo Navaro, née Iturbi, sister of José Iturbi. Carmencita Perez played in 1926 and 1929–30; Miguel Berdion in late 1929 and 1930, and in 1931 in New York. Luis Galve was her accompanist from 27 March 1931 until the end.

La Argentina used any music that suited her temperament. The interaction between music and dance, the parallels she found between melodic line and body profile, intermingled. Her inner vigour seemed to produce both music and dance, so much that any gesture became music for the eye.

Castanets[link]

Of using castanets she

As a little girl ( I was three or four perhaps), I used to hear the insistent, percussive sound of the big castanets when my parents gave lessons. The unmusical noise irritated me so much that I would go and hide in the furthest part of the apartment so as not to hear its reverberation. There I would practice my tiny hands on a pair of castanets my father had given me, and more or less unconsciously - one hardly uses reason at that age - I sought to draw sounds from my instrument that did not hurt my ears. Such were my beginnings and I can only say that my liking for castanets came from the disgust that other’s castanets inspired in me".^[8]

Even as a simple accompanist to regional dances, Argentina became an astonishing soloist and the castanets a genuine concert instrument, even going so far as to modifying their design to obtain more satisfying tones. "The public not only liked Argentina's dancing, and her slim, gently curving arms, it also enjoyed her castanet performance. It was a virtuoso display. "The perfection of her interpretation and the faultless manner of expressing the smallest musical nuance drew comparison with the great Toscanini. « Her performance contained such subtleties » André Levinson said, « such a variety of tones that they were almost like a voice, and such an intensity of expression impatience, challenge and triumph - that they not only amounted to a voice but to a language! « As the famous Spanish-Cuban composer, Joaquin Nin, who styled himself as teacher of perfect Bach and whom I used to see for this reason once said, I always refused to be shackled, even if the chain was the customary pearl necklace offered young women after marriage. But I adored the thread of pearls provided by Argentina's castanets, when she would come as my lessons with him were fnishing to rehearse the wonderful dances of her first recitals at number 27, rue Henri-Heine. » Nothing henceforward would be as before. She was imitated. Some tried to equal her. All the great artists of Spain adopted her musical notation for castanets. She gave Spanish dance her own special imprint, which nowadays it would be inconceivable to do without; she showed the way to future castanet performers, and facilitated the instrument's admittance to the orchestra.^[9][10]

Recital format[link]

Argentina was also the first to inaugurate the recital format, performing her own choreography for concerts in which she was alone on stage, accompanied simply by a pianist, occasionally by a guitarist, especially for the flamenco dances. Her guitarist throughout was Salvador Ballesteros, a family friend. She did not succeed all at once. Like everything else in her career (which began very modestly in Madrid, to end up at the Paris Opera), it happened progressively. She first performed dances in variety programmes, then in pieces with orchestral music; later on in dances where less importance was accorded the orchestra. Her first shows in 1925 during a European tour and in the South of France were shared with Joaquin Nin the composer and soloist, the singer Alicita Felici, with Mme Ginesty-Brisson at the piano, or with the opera singer Dolores de Silvera. The same programme took place at the Salle Gaveau, in Paris, on January 10, 1926. It was in Berlin, on October 15, 1926, that she gave her first solo recital with Carmencita Perez as accompanist. At the end of October of the same year, she gave the same performance in Stockholm, then at the Salle Gaveau in Paris. From then on, she retained the same format:

1927: Salle Gaveau, Théâtre Femina 1928: Salle Pleyel 1929: Théâtre des Champs-Elysées 1933: On December 3, first recital at the Paris Opera 1934: Gala at the Opera, and recital at the Opera Comique 1936: Springtime saw her in Cannes where the kings of Sweden and Denmark applauded her; in May she retumed to Paris and, except for her own ballets, always performed alone on stage with ever-increasing triumph around the world. Argentina was also the first artist of such fame to give recitals at inexpensive prices that were within everybody's range, at the old Trocadero which held more than fve thousand seats. The success of these popular shows was sheer madness. She was obliged to renew the experience several times a season as it had become a tradition expected by all Parisians, who jammed the box-offces, the thousands of seats available beind sold out in a single day.

Main creations[link]

1. Concert dances

1912 El Garrotin, based on a popular air. La Corrida, music by Valverde (taken from choreographies created in 1910 for the opérette l’Amour en Espagne Tango Andalou, music by Ballesteros.

1916 Danse des Yeux verts, music specially composed by Granados.

Between 1916 and 1921 :Habanera, music by Pablo de Sarasate. Cordoba, music by Albeniz. Danza V, music by Granados.

1921 Sevilla, music by Albeniz. Serenata, music by Malats. Sérénade Andalouse, music by C. Ruecker.

1925 Danse du Feu, music by Manuel de Falla. Andalouse Sentimentale, music by Turina. Boléro Classique, music by Iradier. Bohémiene, based on a popular air. Seguidilla (without music).

1926 Mexicaine, based on a popular air. Ciel de Cuba, based on a popular air.

1927 Valencia, music by C. Ruecker. Chaconne, music by Albeniz.

1928 Serenata Andaluza, music by Manuel de Falla. Jota Valenciana, music by Granados. Danse Gitane, music by Infante. Lagerterana, music by Guerrero.

1929 la vie brève, music by de Falla. Carinosa, popular music from the Philippines. Jota Aragonesa, music by de Falla.

1930 Goyescas, music by Granados. Danse Ibérienne, music specially composed by Joaquin Nin. Danse de la Meunière, music by de Falla.

1932 Almeria, music by Albeniz. La Romeria de los Cornudos, music by Pittaluga (The Shawl Dance - a dance from Granada). Puerta de Tierra, music by Albeniz. Danse du Meunier, music by de Falla. Légende, music by Albeniz. Charrada, popular music from Salamanca. Malaguena, music by Albeniz. Castilla, music by Albeniz, « Matid 1 800 ». Cuba, music by Albeniz. Alegrias, music by Ballesteros.

1933 Zapataedo, music by Granados. Tientos, music by Infante.

1934 Sacra-Monte, music by Turina. Esquisse Gitane, music by Infante. La Fregona, music by Vives. Suite Argentine, based on a popular air (Condicion-Bailecito - Zamba). Suite Andalouse, based on popular airs (Sevillanas-Peteneras - Bulerias).

1936 1935 Fandango, music by Turina. Polo Gitano, music by Breton. La Firmeza, based on Argentinian popular music, becoming the last dance in the Suite Argentine.

2. Ballets

1925 L’Amour Sorcier, music by Manuel de Falla.

1927 El Fandango de Candi, music by Duran. Argentina successively expressed feminine shrewdness, thwarted love, tenderness, wearing a pink costume with cubist flounces cut into scallops.

1927 Au coeur de Seville, cuadro flamenco based on a popular air.

1928 Sonatine, music by Ernesto Halffter. This ballet, a mixture of Old France and Castilla, made Spanish courtly dancing come to life again. With delightful touch, Argentina introduces a shepherdess on stage, gliding and pirouetting imperceptibly.

1928 Le Contrebandier, music by Oscar Espla, where the future Empress Eugénie meets Prosper Mérimée and where the countess of Teba saves a smuggler who is pursued by two opérette gendarmes.

1928 Juerga, music by Julien Bautista. Scenes of popular life in Madrid around 1 885 : returning from a popular festival, young people from good families in search of pleasure mingle with common folk, and give themselves to unrestrained jollity : turmoil, dancing, and colourful to-ing and fro-ing.

1929 Triana, music by Albeniz. Lovers' tiffs during the Corpus Christi in Sevilla.

Notes[link]

Further reading[link]

• Suzanne F. Cordelier: La vie brève de la Argentina. Paris 1936
• Monique Paravicini (ed.): Argentina. Gilberte Cournand, Paris 1956
• Argentina. Bienal de Arte Flamenco (V el Baile). Sevilla 1988
• Ministerio de Cultura (ed.): Homenaje en su Centenario 1890-1990 Antonia Mercé 'La Argentina'. Madrid 1990
• Suzanne de Soye: Toi qui dansais, (you danced and danced) Argentina. Paris 1993
• Carlos Manso: La Argentina, fue Antonia Mercé. Buenos Aires 1993
• Ria Schneider (ed.): Argentina. Antonia Mercé. Kastagnettenstücke, entstanden 1912-1936. IGkK, Köln 1993
• Brygida M. Ochaim, Claudia Balk: Varieté-Tänzerinnen um 1900. Vom Sinnenrausch zur Tanzmoderne, Ausstellung des Deutschen Theatermuseums München 23.10.1998–17.1.1999., Stroemfeld, Frankfurt/M. 1998, ISBN 3-87877-745-0

External links[link]

• La Argentina's biography
• Short Biography
• Tarot & Dance: The Dancing Queens, Antonia Merce, La Argentina, Queen of Coins(c) Cheryl Lynne Bradley 2003] at TarotCanada.tripod.com La Argentina
• Legado de Antonia Mercé La Argentina en la Fundación Juan March(Spanish).
• Archive of Antonia Mercé La Argentina, Fundación Juan March-Madrid(English).