Exportando “marginalidad”: Consuelo Tamayo Hernández, “la Tortajada” (1867–1957)

Is Mademoiselle Mercédès Always Julienne Mathieu? The Challenges of Using a Stage Name to Reconstruct the Career of a Parisian Belle Époque Music Hall Dancer

“…On stage, the Spanish dancer became a “safe commercial product” not only in France but also in Russia, the United States, Belgium, Germany, and England (Cavia Naya 2013, 58). Some artists, such as La Belle Otero and La Tortajada, exploited this theatricalization of Spanish identity to establish themselves as consumable and commercial commodities (Versteeg 2019, 31). In addition to the inspiration they took from predominantly Andalusian folklore, these dancers dialogued with an alternative morality rooted in this imaginary of Spain (Cruces-Roldán 2017, 162).…”