Page Ten
THE MICHIGAN
D A ILY
Sunday, February 26, 1956
Sunday, February .26; 1956
THE MICHIGAN
DA IL Y
P:-.....g...e-- ten.:.....::-..... --...--. .T:-:.H:.....E ..... .. -.- -.- . : - IC.GA.D A L Y ..d . .b --y 26.-95
Sunday, February 26; 1956 THE MICHIGAN DAILY
I.
"EL
TORERO"
America s
The Matador of Bravery and Daring
is
a Spanish National Hero
Tsel
City
AROIND TA
" The us
By SHIRLEY KLEIN
THE young prince charming, tall,
slender and handsome, walked
quietly into Madrid's Palace Ho-
tel.
Immediately the lobby began to
buzz; old men with diamond stick
pins, young students and working
men, American tourists flocked to
his side. In Spain such popular-
ity can mean one of several things,
a famous football player, a writ-
er or painter perhaps, or a bull-
fighter.
Julio Aparicio, Spain's foremost
matador, had just finished an af-
ternoon at the bull-ring, a bene-
fit performance for the poor at
Christmas time. One of the year's
big social as well as "athletic"
events, even Generalissimo Fran-
cisco Franco and his wife were
there. According to custom, many
lovely "senoritas" adorned their
heads with the traditioiAl lacy
"mantilla." Tickets sold at prem-
ium prices.
And now, the young prince had
used his sword well, and his faith-
ful subjects had come to pay hom-
age.
So self-assured and brave at
the points of a bull's horns, the
nervous young man eagerly slipped
upstairs torelax and change from
his "traje de luces," a tightfitting
"suit of lights" worn during the
"corrida," often valued at hund-
reds of dollars, into his street
clothes.
Later he explained, "I always
dress here instead of at my home
because I don't want to worry my
mother." This way no "good-
byes" are said, and the youthful
torero feels this relieves some of
the pressure upon his parents.
"Mother wants me to retire
soon," he said. Mrs. Aparicio, like
concerned mothers the world over,
would prefer any other career for
her son to bullfighting "
NOW 24, Julio began "toreando"
at the tender age of ten. Prac-
ticing on country farms rather
than attending the formal "Es-
cuela Taurina," or Bullfighting
School, in Madrid, he has always
been strongly attracted to this
dangerous career.
The likeable matador comes by
his talent naturally. 'Papa' was
a "banderillero," one who places
the wooden sticks ending in a har-
poon shaped steel point in the
bull's withers, until he was badly
gored and had to retire.
Shirley Klein, '56 spent last
year In Madrid studying and
meeting people ike Julio Ap-
ariclo, to whom she was intro-
duced by a bullfighting "aff-
condo," devote of the sport.
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BLUSHING furiously and tearing
up little bits of paper the
whole time, the serene, composed
killer of bulls, whose parents used
to run a beauty shop, revealed him-
self as a reticent young man.
Asked how many ears, tails, and
hoofs he had cut (these are award-
ed the matador in acGordance with
the excellence of his performance).
he modestly answered, "I've nev-
er counted them."
We know, however, that in his
first fight in Madrid, before he
had even taken the "alternativa"
to become a full fledged matador,
he cut an ear, and within that
week he had cut two from another
animal. As to his favorite pass
with the cape or the muleta, he
explained, "As long as I fight well,
the pass doesn't matter." ,
During the winter, when the
bullfighting season is at -a stand-
still except for the annual char-
ity "corrida," Julio says, '.I rest,
I sleep, I eat." But he also keeps
on shape by doing gymnastics and
"toreando" with calves on the
f arms.
Lucrative monetarily are his
fights in Lima, Bogota, and other
cities in South America, during
Spain's cold weather. "I earn
more money there," he comment-
ed. In 1951-and 1953 he stopped
in New York City and called it
"muy bonita."
Born when his mother was six-
teen, Julio has one younger sister.
As for marriage, Spain's most pop-
ular matador claims that he "will
wait." "I am not going to marry
>until I retire," he smiled. And
how long will he continue his ca-
reer . . . "Well, that depends on
desires and luck." "Perhaps I'd
like to raise brave bulls after that."
By TAMMY MORRISON
AMERICA SEEMS to have more
than its share of tinsel cities,
cities built on the shadowy half-
world of entertainment vendors
and seekers.
All of them have an individual
glitter-Hollywood has its cellu-
loid colony; New York has Broad-
way and television; Las Vegas has
the eternal click-click of the rou-
lette wheel:
But the strangest one of all
clings to the tip of Florida, land
of the Spanish explorers. It is
built on the solidest foundation
there is: dollars and sense. .
Miami is unlike any other part
of Florida, indeed, unlike any
other part of the United States.
Florida as a whole clings some-
what to its Spanish heritage, but
Miami is a highly urbanized ne-
gation of the leisurely Hispanic
tradition - commercial, blatant
and to a great extent heartless. It
makes no bones about being a
Tourist Citybout to clip the fun-
seeker with the skill of an experi-
enced streetwalker.
Y ET THERE MUST BE some-
thing more to this glittering
city because~ of the n'ature of the
people who visit it. To be sure,
there are the' usual platinum hair-
ed, carefully coiffed and groomed
women spawned by resort areas
hanging on the arms of balding,
well-heeled men long past their
prime.
Said men's wives are probably
sunning themselves by the side of
a blue pool, accepting the atten-
tions of bronzed young gods that
double as life-guards and worry-
ing about the extra folds of skin
that have begunto show on their
necks,
Surprisingly enough, Miami is
a family resort, too. Particularly in
the summer, when prices are al-
most reasonable, do young gouples
with three or four children frolic
on the white sands and elderly
couples relax by the side of the
pool, enjoying a well-deserved sec-
ond honeymoon.
THE TRAVELER approaching
the city from the northwest,
after driving through miles of
beautiful lake country teeming
with orange groves and more miles
of the mysterious Everglades, will
be surprised to find himself sud-
denly in the middle of a metro-
polis that would be hard to dis-
tinguish from the industrial parts
of Chicago or Detroit.
However, the most fantastic ap-
proach to the city is Collins Aven-
ue. U.S. 101 runs along the east
coast, becoming Collins when it
hits Miami Beach. Traffic moves
at a crawl on Collins in the eve-
ning, because everybody, even the
most jaded world-traveller, is
gaping in undisguised disbelief.
Collins Avenue is, in the most
conservative terms, a garish, roe-
coco potpourri of Times Square,
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JULIO APARICIO at left triumphantly holds up two ears cut from the bull, after he has performed
a particularly good "corrida." At right is "shown a young newcomer, Carlos Gomez. The picture
shows the elaborately embroidered cape and official costume of the matador.
Like -any other tempermental
young artist, Julio has his good
and bad days. In 1952 he had
four or five of the closest shaves
of his career, two of which took
place on the isle of Mallorca and
another in Mexico. The off-day
or mistake in bullfighting, how-
ever, is harder to remedy than a
composer's or sculptor's, for ex-
ample. Sometimes there is no
remedy . .
But "now after so much time1
I don't really worry," he com-
mented seriously, "I worry per-;
haps, but it is not fear." There]
is a chapel in every "Plaza de
Toros," and, Julio confided, "I al-I
ways enter to ask the blessing of
God."
Asked if he was superstitious,
the dark, lithe torero replied,
"Regular." Other noted matadors
such as "El Gallo" are known to
have refused to fight if they
spotted an ill omen enroute to the
Plaza.
Flu mencan Dance In America
By RENE GNAM
"FA too dance is like a
augtfuaffectionate woman
that one not only loves but is
both dedicated and devoted to."
This is the opinion of Carlos
Cortes, second only to Jose Greco
in the field of Spanish dancing in
America.
"Flamenco dance," says Cortes,
"is a dance of the Spanish gyp-
sies. The spirit of the dance is
hard to boil down in a few words."
Among the Spanish gypsies, it is
not a novelty to be a dancer or
singer. "Dance and music are
thought to be a cultural tradition
of these gypsies," many of whom
spend a major portion of their
lives dancing.
Of those who make dancing and
singing their occupation, ". .. a
single gypsy family may compose
an' entire Spanish Flamenco dance
company. In this 'case, some
dance, some sing, and some play
the guitar for accompaniment.
"Until the last 15 years," Cortes
points out, "the Spanish, gypsies
cornered the Flamenco market.
They wouldn't teach the dance to~
anyone but a Spanish gypsy."
ITS INTEIIPIETOlI:
CARLOS CORTEZ
CORTES, who has studied, taught
and performed Flamenco dance
from Ann Arbor to Hollywood,
lists the Spanish gypsies as hav-
ing two styles of dancing:
"One is 9; stilted, reserved form
that is used in public." The other
style occurs when the gypsy danc-
ers ". . . let themselves go"--this
only when they perform with their
own people.
Plymouth, Mich., born Cortes
knows what he is talking about.
In dancing shoes even before high
school, he is now considered one
of the foremost Spanish dancers.
It was only three years ago that
Cortes took up dancing in earn-
est, and it was only after encour-
agement from Ruth St. Denis that
he began studying Flamencan
dance, now his specialty.
IN ORDER to test his ability as
a dancer, Cortes, who never
took a dancing lesson in his life,
sought Miss Denis, ethnic dance
specialist who is credited with hav-
ing created modern ballet.
Miss Denis informed Cortes that
he not only had excellent ability
as a dancer, but that he was also
a note dancer.
A note dancer is a person who
is capable of dancing not only
with the rhythm, but on the notes
as well-considered a near im-
possibility. Most dancers dance
only with the rhythm, ignoring
the notes.
She told Cortes that there was
only one other note dancer in his-
tory. Further research proves that
dancer to be Vaslav Nijinsky, pop-
ularly considered the greatest
dancer of all time.
With Ruth St. Denis' encourag-
ing evaluation of his capabilities,
Cortes decided to abandon Haitian
dance and concentrate on Flam-
enco, a dance form which he had
admired early in life.
CORTES, a ls a self-taught
choreographer, next sought
Julia Stewart, a Santa Monican,
authority on Spanish dance di-
rection and choreography.
Miss Stewart told him he was
one of the most natural dancers
she had ever seen. His choreo-
graphy, she said, was capable and
spontaneous with provocative var-
iations. She -suggested that Cortes
visit Eduardo Cansino, a Holly-
wood dance specialist, for an ev-
aluation.
After Cortes had danced for
Cansino, the latter's first state-
ment was, "Young man, I have
nothing to teach you."
Now in Ann Arbor, Cortes is
planning a future South American
dance tour with a company of his
ow-n.
A GUEST instructor of Flamenco
during the University's 1955
summer session, he also danced
for La Sociedad Hispanica, a Uni-
versity Spanish club. Last sum-
mer he performed at an Interna-
tional Center Tea, and did a guest
appearance on WUOM-TV.
Cortes has been invited to do an-
other WUOM-TV program, sched-
ulgd for March or April.
This show will combine the
Flamenco with Spanish symphonic
music, a type dancing seldom done
in Spain-never in America.
Cortes has completed his own
choreography for the program.
One of Cortes' sidelines is sculp-
turing. While a radioman in the
Army Air. Corps, Cpl. Cortes picked
up oil painting. In 1947, he be-
came interested in sculpturing and
hasn't done much painting since.
preferring to concentrate on sculp-
tured portraits and figurines.
Sculpturing, however, is merely
an avocation. Flamenco, to Cor-
tes, is life itself.
Rome
(Continued from Page 6)
viewer and worshipper suffer alike,
but the Roman reply is generally
that "They were created for the
church and there they belong."
S T. PETER'S is the largest
church in the world. It houses
some of the greatest work of the
Bernini genius. Here is some of
his most powerful sculpture, finest
portraiture, and greatest expres-
sion of the Baroque conception of
death.
In the work on St. Peter's, Bern-
mi emerged as a versatile genius,
applying his talent to many fields
here adding architectural accom-
plishments to his fame.
THE SIZE of St. Peter's is nearly
incomprehensible. Upon enter-
ing it, man is lost in a structure
of highly colored marble, nearly
400 feet high in the dome.
Bernini's Baldacchino, an altar-
like structure is at the far end
from the entrance, and perfectly
integrated into the whole of the
church, though it itself is 100 feet
high,
Outside, Bernini's genius again
becomes apparent. Even in hand-
ling an approach, a piazza for the
entrance of the huge church, his
talent doesn't falter.
BERNINI IS A continuation of
the huge scale which makes
Rome famous. As the ancient city
was monumental, likewise Bern-
in's feats were so. He captures the
spirit of his age and superim-
poses it on the city of many ages.
Without Bernini's work Rome
might suffer a break in the con-
tinuity of time which stamps it
eternal. He is today considered by
many the link betweenpast and
present.
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