This article examines Antonia Mercé La Argentina's stay in Manila in 1929 and the creation of her solo La Cariñosa as a case study to analyze the place of Spanish dance as both colonizing and colonized on the basis of the cultural legacies since Romanticism, when Spanish dance was an exoticized and racialized “Other dance” in relation to the canon and hierarchies of Western dance. La Argentina's supposed homage to the Filipino people in the creation of a solo that stylized their national dance performed for Western audiences continued the exercise of colonial power. The result of those processes of appropriation would be the creation of a repertoire of “Hispanic essences” of that constructed postcolonial “community”; a catalogue equivalent to the rock-hard monumentality of a Hispanidad—the commemoration through Columbus statues and colonial architecture—now celebrated from the body, its performativity, its symbolism, and its gesture.

中文翻译：

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菲律宾的 Antonia Mercé “La Argentina”：西班牙舞蹈和殖民地姿态

这篇文章考察了阿根廷安东尼娅·梅塞·拉阿根廷 1929 年在马尼拉的逗留以及她独唱的创作卡里诺萨作为案例研究，根据浪漫主义以来的文化遗产，分析西班牙舞蹈作为殖民地和被殖民地的地方，当时西班牙舞蹈是一种异国情调和种族化的“其他舞蹈”，与西方舞蹈的经典和等级制度有关。La Argentina 为向西方观众表演的民族舞蹈创作了一段独奏，据称是对菲律宾人民的敬意，继续行使殖民权力。这些挪用过程的结果将是创建一个构建的后殖民“社区”的“西班牙本质”的曲目；相当于西班牙裔美国人坚如磐石的纪念碑——通过哥伦布雕像和殖民地建筑的纪念——现在从身体、它的表演性、它的象征意义和它的姿态来庆祝。