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Choreographing the Silence Women Dancing Democracy in Post Choreographing the Silence Women Dancing Democracy in Post-Franco Spain by Eva Aymamí Reñé Submitted for the Degree of Doctor of Philosophy School of Arts Faculty of Arts and Human Sciences University of Surrey Supervisors: Melissa Blanco Borelli Matthew Wagner August 2015 71,456 words ©Eva Aymamí Reñé 2015 Declaration of Originality This thesis and the work to which it refers are the results of my own efforts. Any ideas, data, images or text resulting from the work of others (whether published or unpublished) are fully identified as such within the work and attributed to their originator in the text, bibliography or in footnotes. This thesis has not been submitted in whole or in part for any other academic degree or professional qualification. I agree that the University has the right to submit my work to the plagiarism detection service TurnitinUK for originality checks. Whether or not drafts have been so-assessed, the University reserves the right to require an electronic version of the final document (as submitted) for assessment as above. Signature: Date: August 2015 ii Abstract This thesis comprises a critical exploration of female dance performances in the recent democratic history of Spain. It discusses democratic Spain’s relationship with the memory and forgetting of its repressive dictatorial past. In the aftermath of Francoism (1939-75), Spain transitioned to a democratic system without confronting those responsible for the repression of the previous regime. This tacit sociopolitical agreement, known as the Pact of Silence, imposed a process of collective amnesia on Spain. As a way of breaking the pact of silence, this analysis traces the development of gender values, under the effects of this social oblivion. My research suggests that this collective historical amnesia has had direct repercussions on the construction of feminine identity in post-Franco Spain. My methodologies depart from a critical dance studies perspective, and borrow from contemporary semiotics and post-structural criticism to analyse dance pieces as socially encoded discursive practices that generate meaning. Through their choreographies, a democratic generation of female choreographers, Anna Maleras, Avelina Argüelles and Sol Picó, have opened up possibilities for discussing the female body’s relationship with historical silence, offering choreographic tactics to vanquish the national amnesia. iii Acknowledgements I would firstly like to thank my two supervisors Melissa Blanco Borelli and Matthew Wagner for their support and generosity in sharing their insights about my research. The pertinent questions they posed helped to frame the scope of this research and make my analysis more rigorous. They have channelled the quality of my work, and have been an inspirational guidance. I would like also to thank the three choreographers featured in this research. They have given me the opportunity to join their lives, their teams and their way of seeing dance. This research would not have been possible without their generosity: Anna Maleras, Avelina Argüelles and Sol Picó and her team. I am likewise grateful to my colleagues in the School of Arts, University of Surrey. Sharing the process of becoming a scholar with them has been of immeasurable help. I would specifically like to thank the members of the reading group who believed in sharing and discussing our intellectual capital: Jocelyn, Jinny, Melina and Connie. I extend my thanks to my other PhD accomplices: Manrrutt, Laura, and Betina, for their insights in every research week. I would like to acknowledge the financial assistance of the Departmental Fellowship of the School of Arts at the University of Surrey. Sincere thanks to my family: to the memory of my father, my siblings, Àngel and especially to my mother Àngels for her strong belief in me, and my sister Laia for accompanying me in life and showing how similar and at the same time different we can be. I could not have managed this research project if I did not have the encouragement and support of my close friends in Barcelona, Los Angeles, Japan and my recent and very important friends in England. Finally, a special mention goes to my partner Vincent who has been my deepest emotional and intellectual support since I decided to pursue this project. I am, and always will be, grateful for his sincere company, his endless patience, and his strength in assisting me with this project; without his determined readings and challenging questions I would probably not have accomplished the submission of this thesis. This work is dedicated to Vincent Barlier. iv Table of Contents Declaration of Originality ..................................................................................................... ii Abstract ...................................................................................................................................... iii Acknowledgements ................................................................................................................ iv Table of Figures ...................................................................................................................... vii A Note on Translations ....................................................................................................... viii Chapter 1. Introduction: Situating Dance ........................................................................ 1 Dancing Ghosts ....................................................................................................................................... 1 Political Ghosts ....................................................................................................................................... 4 Historical Context .................................................................................................................................. 6 Research Questions ........................................................................................................................... 10 A Note on Moving Bodies ................................................................................................................ 14 The Body and Corporeality ....................................................................................................... 15 Movement Analysis ...................................................................................................................... 17 Dance as Political ........................................................................................................................... 19 Theoretical Foundations: The Problem of Memory ............................................................ 22 Theoretical Foundations: Choreographing Power and Resistance ............................... 26 Theoretical Foundations: Politicising Gender ........................................................................ 30 Structure of The Thesis .................................................................................................................... 34 Chapter 2. Choreographing El Pacto del Silencio ......................................................... 37 I. Choreographing Memory ............................................................................................................ 41 II. Choreographing Amnesia .......................................................................................................... 49 III. Moving Identities ......................................................................................................................... 59 Modernization and Commodification ................................................................................... 59 Disenchantment ............................................................................................................................. 62 Responses to The Amnesty Law ............................................................................................. 65 Chapter 3. Historicising The Dancing Body .................................................................. 70 I. Liberating The Female Body: Early Modern Dance in Spain ........................................ 71 The Forgotten Bodies of Tórtola Valencia and Aurea Sarrà ....................................... 74 II. Female Bodies at War .................................................................................................................. 82 The muted Dance Scene ............................................................................................................. 84 The Republican Female Body ................................................................................................... 85 The Fascist Female Body ............................................................................................................ 87 III. The Re-Establishment of The Domestic Body (1934-75) .......................................... 88 The Feminine Section .................................................................................................................. 90 The Use of Dance ........................................................................................................................... 93 How Chorus and Dances Collected The Dances ............................................................... 94 Ideology ............................................................................................................................................. 97 Chapter 4. Introducing Modern Dance: Maleras’ Narrativity .............................. 102
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