Her exotic appearance and unique dance style, which incorporated European and Native American influences, created a sensation in the late 1920s.

[4] Soon, she and her daughter fled the unhappy family life with Huara's husband, going with More to Havana before going to the United States.

[2] Arriving in the U.S., Huara was hired for the prestigious Ziegfeld Follies and billed as a captivating Spanish or Peruvian dancer,.

[9] When the show closed 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.

[13][14] 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 that was hypnotizing and bewitching.

[20][21][6] 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.

She and More lived in a small basement apartment shared with other revolutionary figures who opposed the conservatives in the Spanish Civil War.

[29] At the end of the war, the couple returned to Paris,[2] where Huara remained a fixture among the avant-garde circles, before having to withdraw from activities due to illness and loss of her sight.

[2] Huara was the central character in a trilogy of novels by Carlos Calderón Fajardo, La noche humana which focuses on the Peruvian expatriate community of Paris who were political leftists.

[31][22] In 2017, Revista Vuelapluma (volume 10), a journal from the Universidad de Ciencias y Humanidades of Los Olivos published a chronicle of Huara's life by the journalist Pablo Paredes.