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A Revolution in MovementDancers, Painters, and the Image of Modern Mexico$
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K. Mitchell Snow

Print publication date: 2020

Print ISBN-13: 9780813066554

Published to University Press Scholarship Online: May 2021

DOI: 10.5744/florida/9780813066554.001.0001

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date: 08 December 2021

Ballets without Ballerinas?

Ballets without Ballerinas?

José Clemente Orozco and the Ballet de la Ciudad de México

Chapter:
(p.171) 8 Ballets without Ballerinas?
Source:
A Revolution in Movement
Author(s):

K. Mitchell Snow

Publisher:
University Press of Florida
DOI:10.5744/florida/9780813066554.003.0009

The production of socially conscious dance associated with the Lázaro Cárdenas administration suffered a decline when his successor pointed Mexico in a more conservative direction in terms of economic and cultural policy. Ballet temporarily re-emerged as the favored form. Foreign ballet companies figured prominently in the programming decisions of the government’s Palacio de Bellas Arte and the Ballet Theatre’s production of a Mexican-themed ballet, Léonide Massine’s Don Domingo de Don Blas revived Mexican aspirations for increased international exposure through ballet. On a bet, the government even extended its support to the creation of the Ballet de la Ciudad de Mexico, led by Nellie and Gloria Campobello. While initially well-received, the company soon fell into disfavor; the critics could applaud the scenery, created by the likes of the company’s spokesman José Clemente Orozco, but not the dance for which it had been designed.

Keywords:   Nellie and Gloria Campobello, Don Domingo de Don Blas, Léonide Massine, José Clemente Orozco, Palacio de Bellas Arte, ballet, Ballet de la Ciudad de Mexico

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