Abstract
This work is embedded in the subject related to the propaganda efforts of Franco’s uprising and dictatorship through the mediatization of the arts. In this specific case, it is centered on dance and its development in an enclave that was representative during the civil war, the city of Seville, witness to the main festivals and propaganda events that took place within national Spain. Immersed in this environment, the purpose has been to analyze the frequency and the way in which dance took part in this type of events as a propagandistic tool, as well as its possible similarity with the postwar dance in terms of its participation as a key element of political-propagandistic discourse traced by Francoism. For these purposes, an extensive review has been made of specific bibliography, the main newspapers of the time, and the diverse sources of archives conserved, perceiving both the strategic propagandistic use of this choreographic art and its leading role in terms of definition and concretion of what would be the Spanish war and post-war characteristic dance of Franco’s side.
Abella Bermejo, Rafael. 1975. La vida cotidiana durante la Guerra Civil. Barcelona: Planeta.
Casero García, Estrella. 2011. La España que bailó con Franco: coros y danzas de la Sección Femenina. Madrid: Nuevas Estructuras.
Langa Nuño, Concha. 2000. “La formación del franquismo en Sevilla: las fiestas políticas durante la Guerra Civil”. Revista de Historia Contemporánea 9 (2): 345-371.
— 2007a. “De republicanos a ‘rojos’: la imagen de la República en la prensa nacional durante la Guerra Civil (el caso de ABC de Sevilla)”. En La comunicación durante la Segunda República y la Guerra Civil, coordinado por Antonio Checa, Carmen Espejo, Concha Langa y Miguel Vázquez, 450-470. Madrid: Fragua.
— 2007b. De cómo se improvisó el franquismo durante la guerra civil: la aportación del ABC de Sevilla. Sevilla: Centro de Estudios Andaluces.
Escolar Sobrino, Hipólito. 1987. La cultura durante la Guerra Civil. Madrid: Alhambra.
Fernández Higuero, Atenea. 2015. “Catalanes en Madrid: la danza tradicional como embajada de la Generalitat en el primer aniversario de la resistencia (noviembre de 1937)”. En Danza, educación e investigación: pasado y presente, coordinado por José Luis Chinchilla y Ana María Díaz, 319-333. Archidona: Aljibe.
Iglesias, Iván. 2013. “De ‘cruzada’ a ‘puente de silencios’: mito y olvido de la Guerra Civil española en la historiografía musical”. Cuadernos de Música Iberoamericana 25-26: 177-188.
Martínez del Fresno, Beatriz. 2010. “La sección femenina de la falange y sus relaciones con los países amigos: música, danza y política exterior durante la Guerra y el primer franquismo (1937-1943)”. En Cruces de caminos: intercambios musicales y artísticos en la Europa de la primera mitad del siglo XX, coordinado por Gemma Pérez Zalduondo y María Isabel Cabrera García, 357-406. Granada: Universidad de Granada.
— 2012. “Mujeres, tierra y nación: las danzas de la sección femenina en el mapa político de la España franquista (1939-1952)”. En Discursos y prácticas musicales nacionalistas (1900-1970), coordinado por Pilar Ramos López, 229-254. Logroño: Universidad de La Rioja.
— 2013. “La danza en España durante el franquismo”. En Música, ciencia y pensamiento en España e Iberoamérica durante el siglo XX, coordinado por Adela Presas y Leticia Sánchez de Andrés, 347-385. Madrid: Universidad Autónoma de Madrid.
— 2015. “Una cruzada necesaria: música, danza y tradición nacionalsindicalista (1940-1945)”. En Danza, educación e investigación: pasado y presente, coordinado por José Luis Chinchilla y Ana María Díaz, 335-358. Archidona: Ediciones Aljibe.
This journal is registered under a Creative Commons Attribution 4.0 International Public License. Thus, this work may be reproduced, distributed, and publicly shared in digital format, as long as the names of the authors and Pontificia Universidad Javeriana are acknowledged. Others are allowed to quote, adapt, transform, auto-archive, republish, and create based on this material, for any purpose, provided the authorship is duly acknowledged, a link to the original work is provided, and it is specified if changes have been made. Pontificia Universidad Javeriana does not hold the rights of published works and the authors are solely responsible for the contents of their works; they keep the moral, intellectual, privacy, and publicity rights.
Approving the intervention of the work (review, copy-editing, translation, layout) and the following outreach, are granted through an use license and not through an assignment of rights. This means the journal and Pontificia Universidad Javeriana cannot be held responsible for any ethical malpractice by the authors. As a consequence of the protection granted by the use license, the journal is able to publish retractions or to correct information already published. Publishing contents in this journal does not generate royalties for contributors.