social consequences of the recession to explain the recent past of flamenco dance through the conceptualization of the term “queer” as economically marginal. In tune with other cultural activities within the Spanish territory during the crisis, flamenco is defined during this period by its precarity. This resulted in the disappearance of an artistic network, leading to an impoverishment of flamenco dancers who ultimately started to dance in the streets or came back to the tablaos. The supposed artistic freedom of these spaces is brilliantly problematized by the author (241), but the originality of this chapter resides in two fundamental notions for queer flamenco today: historia guiri del flamenco (guiri history of flamenco) and LGTBIQ-F activism. “Guiri” is an ambiguous Spanish term usually used to refer to white foreign tourists spending their vacations in Spain. López Rodríguez engages with international scholarship and practice to advocate for the importance of international approaches to flamenco for which other scholars such as K. Meira Goldberg and Ninotchka Bennahum (2003) have advocated. From Kazuo Ohno’s homage to La Argentina to relevant world dance figure La Meri, the author clearly demonstrates that flamenco does not only come from Andalusia, despite its institutionalization when declared intangible heritage by UNESCO in 2010 (275). López Rodríguez also emphasizes the importance of LGTBIQ-F activism in the last decade. By adding an F in reference to the first letter of the term “flamenco,” the author highlights the practice of artists such as Manuel Liñán or Carlos Carvento to explicitly underline the social impact that emerges at the intersection of flamenco dance and the defense of LGTBIQ+ rights. López Rodríguez ends this chapter by briefly engaging with notions of coloniality, disability, and race in relation to flamenco dance in order to expand his understanding of the term “queer.” To conclude, López Rodríguez advocates for the life-changing potential of flamenco dance and advocates for the term inclusion rather than for a queerer understanding of queerness. His intellectual project presents a publicly engaged academic dimension that also appears in his role as a dancer and choreographer as well as in his participation in different public media. This book is, in fact, an example of both academic writing as well as a rich text for broader audiences. Despite of the length of the book, its division in short sections contributes to an agile reading. The same structural facet of the text partially weakens the argument building, whose main goal does not ultimately turn into a clear thesis apart from the one that the title states. López Rodríguez’s diverse entry points of inquiry allow the reader to be exposed to a multitude of queer flamenco practices while also raising provocative yet-to-be-answered questions for the field. Historia queer del flamenco is an important contribution not only to flamenco studies but to dance and Peninsular studies as well. This book opens the door for new scholarly endeavors within flamencology, serves as a reference for similar intellectual exercises in other dance genres, and engages with current conversations in contemporary Spain that often relegate flamenco to the periphery.

中文翻译：

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Katia Savrami 追踪希腊的舞蹈景观。安·库珀·奥尔布赖特的前言。2019. 英国纽卡斯尔：剑桥学者出版社。155 页。58.99 英镑精装本。国际标准书号（13）：9781527542204。国际标准书号（10）：1527542203

经济衰退的社会后果通过将“酷儿”一词概念化为经济上的边缘来解释弗拉门戈舞的最近过去。与危机期间西班牙境内的其他文化活动相一致，弗拉门戈在此期间以其不稳定而定义。这导致了一个艺术网络的消失，导致弗拉门戈舞者的贫困，他们最终开始在街上跳舞或回到小酒馆。这些空间所谓的艺术自由被作者巧妙地质疑（241），但本章的独创性在于当今酷儿弗拉门戈舞的两个基本概念：historia guiri delflamenco（弗拉门戈舞的guiri历史）和LGTBIQ-F激进主义。“Guiri”是一个模棱两可的西班牙语术语，通常用来指代在西班牙度假的白人外国游客。López Rodríguez 参与国际学术和实践，倡导国际方法对弗拉门戈舞的重要性，其他学者如 K. Meira Goldberg 和 Ninochka Bennahum (2003) 所倡导的。从 Kazuo Ohno 向 La Argentina 向相关的世界舞蹈人物 La Meri 致敬，作者清楚地表明弗拉门戈不仅来自安达卢西亚，尽管它在 2010 年被联合国教科文组织宣布为非物质遗产时已制度化（275）。López Rodríguez 还强调了过去十年 LGTBIQ-F 激进主义的重要性。通过在“flamenco”一词的第一个字母中添加 F，”作者强调了 Manuel Liñán 或 Carlos Carvento 等艺术家的实践，以明确强调弗拉门戈舞蹈与捍卫 LGTBIQ+ 权利的交汇处所产生的社会影响。López Rodríguez 在本章结束时简要介绍了与弗拉门戈舞蹈有关的殖民性、残疾和种族的概念，以扩大他对“酷儿”一词的理解。最后，洛佩斯·罗德里格斯 (López Rodríguez) 提倡弗拉门戈舞蹈改变生活的潜力，并提倡包容这个词，而不是对酷儿的更酷的理解。他的智力项目呈现了一个公开参与的学术维度，这也体现在他作为舞者和编舞的角色以及他对不同公共媒体的参与中。这本书其实是 既是学术写作的例子，也是面向更广泛受众的富文本的例子。尽管这本书很长，但它在短节中的划分有助于敏捷阅读。文本的相同结构方面部分地削弱了论点的构建，其主要目标最终并没有变成一个清晰的论点，除了标题所陈述的论点。López Rodríguez 多样化的探究切入点使读者能够接触到大量的酷儿弗拉门戈练习，同时也为该领域提出了具有挑衅性的尚未回答的问题。Historia queer del Flamenco 不仅对弗拉门戈研究，而且对舞蹈和半岛研究也有重要贡献。这本书为弗拉门戈学的新学术努力打开了大门，为其他舞蹈流派的类似智力练习提供了参考，