on Broadway, it made a nationwide tour throughout 1928 with Huara appearing successfully in such venues as Abilene, Chicago, Detroit, Oakland, and San Francisco, among others. Wildly inventive biographies of Huara's origins appeared in the press, adding to her allure. Huara's dances were described as a fusion of Peruvian folklore and Spanish techniques, using castagnets and sinuous, snake-like movements, proving a technical skill which was hypnotizing and bewitching. Performed to modern music composed by artists like Arthur Honegger and Vincent d'Indy, she balanced her wild "Incan" abandon with the bohemian music and style of the period. Huara designed her own costumes and even took films of her movements in slow motion so that she could patent her dance moves. In 1930, she played in the musical Nina Rose, at the Majestic Theatre. The following year, she was the subject of photographs entered in the Rochester International Salon of Photography by Dr. Max Thorek. Suffering from a nervous disorder and increasing deafness, Huara and More, left the United States for Paris. In 1931, Huara, More and Henríquez arrived in Paris, where Huara, became known as "the dancing Inca". She performed at several of the soirées hosted by Désirée Lieven, an expatriate from Lithuania who often was referred to as a princess and became the center of leftist intelligentsia activities in Paris. Huara's elaborate costumes and dancing style combined savagery and soul. More served as Huara’s accompanist and the two caught Anaïs Nin’s attention when she saw Huara perform the "Dance of the Woman without Arms" in the early 1930s at the Théâtre de la Gaîeté. In 1933, Huara and More toured Germany to much acclaim, afterwards continuing to perform in Paris through 1935. In 1936, Huara and More attended a party where they met Nin for the first time. By that time, Huara's deafness and illness had impacted her ability to continue dancing. She and More lived in a small basement apartment, shared with other revolutionary figures who opposed the conservatives in the Spanish Civil War. In her diaries, Nin wrote that she was the benefactress of the couple, though in actuality Nin was having an affair with More. She rented a houseboat on the Seine to facilitate her rendezvous with More. In her journals Nin referred to More as "Rango" and Huara as "Zara" disparaging Huara as a neurotic, dependent on her husband's care. In actuality, More was an alcoholic,