Antonia Mercé

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. She was one of the major influences on Japanese butoh dancer Kazuo Ohno.

"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."

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.

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.

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