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1940s: The Falling Body

  • Ellie Guerrero
Chapter

Abstract

Stage dance in Mexico grew increasingly privatized in the 1940s, when the party in power shifted to more conservative policies and added “institutional” to its previous “revolutionary” title. This chapter examines how gender norms and artistic expectations shifted during this period, and how these changes played out on the stage. Dancer-choreographer Nellie Campobello no longer received acclaim for dancing the masculine roles of a revolutionary soldier. At the same time, Waldeen and Anna Sokolow arrived from the United States with modern dance and the art of falling and recovery. The dancers and the public in Mexico embraced the visitors and the novel possibilities of movement they introduced. However, Nellie Campobello attempted to preserve 1920s standards of nationalist purity, and her company folded as a result.

Bibliography

Texts

  1. del Río, Carlos. “Nelly y Gloria Campobello, creadoras de danzas.” Excélsior, 1930: np.Google Scholar
  2. Hall, Stuart. “Cultural Identity and Cinematic Representation,” Framework, Vol. 36 (1989): 68–81.Google Scholar
  3. ———. “Interview,” México en la Cultura, July 1956: 4.Google Scholar
  4. ———. “Los nacionalismos en la danza: construcción del cuerpo social e individual,” in La identidad nacional mexicana en las expresiones artísticas, eds. Raúl Béjar and Héctor Valdés. Mexico: Plaza y Valdés/UNAM, 2008: 81–95.Google Scholar
  5. ———, ed. Mujeres de danza combativa. Mexico: Conaculta, 1998.Google Scholar

Copyright information

© The Author(s) 2018

Authors and Affiliations

  • Ellie Guerrero
    • 1
  1. 1.Department of SpanishBucknell UniversityLewisburgUSA

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