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UNIVERSITY of CALIFORNIA RIVERSIDE Bodily Renderings Of UNIVERSITY OF CALIFORNIA RIVERSIDE Bodily Renderings of the Jarabe Tapatío in Early Twentieth-Century Mexico and the Millennial United States: Race, Nation, Class, and Gender A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Critical Dance Studies by Gabriela Mendoza-Garcia June 2013 Dissertation Committee: Dr. Linda J. Tomko, Chairperson Dr. Anthea Kraut Dr. Jaqueline Shea Murphy Copyright by Gabriela Mendoza-Garcia 2013 The Dissertation of Gabriela Mendoza-Garcia has been approved: __________________________________________________________ __________________________________________________________ __________________________________________________________ Committee Chairperson University of California, Riverside ACKNOWLEDGEMENTS This dissertation would not be possible without the support and love of my husband, Flavio Garcia and my three children Sally, Alejandra, and Javier. I would also like to thank Ron Houston for his help in collecting, retrieving archival materials, and reviewing drafts of my manuscript. Special thanks to Maria Guadalupe Castro Paramo, Julio Bustos, Julian Hernández, José Tena, Alicia Veronica McKinnis and their students for sharing their stories with me. Thanks to my mentor, Michael Carmona, who first gave me a copy of Alura Flores de Angeles’ notated score thirteen years ago which would inspire my writings. I would like to thank Nelda Drury Guerrero and Sanjuanita Martinez-Hunter for sharing their insights on the life of Alura Flores de Angeles. Also, I would like to thank Gregorio Garza who spent countless hours reviewing my translations. A special thanks to Jacqueline Shea Murphy, Anthea Kraut, and especially Linda J. Tomko who guided me throughout this process. Thank you to Dr. Stephen Brown and David VerMilyea who encouraged me in this endeavor. My mom, Sara Mendoza, and siblings Laura, Christi, Carla, and Francisco were there to hear my concerns and share my joys. This work would not have been possible without the generous support of the following organizations that awarded me a grant/fellowship to pursue my academic studies: University of Calfornia, Riverside (UCR) Dean’s Distinguished Fellowship Award, UCR Gluck Fellowship, UCR Graduate Research Mentorship Program, Ford Foundation Pre-Doctoral Diversity Fellowship, University of California Institute for Mexico and the United States (UCMEXUS), University of California Center for New Race Studies, University of California’s Dissertation Year Fellowship. iv DEDICATION This work is dedicated to my husband, Jose Flavio Garcia, who shared my dream of earning a doctoral degree. With his help, we began this marvelous adventure which involved moving from Texas to California and back, raising two young girls with the addition of a baby boy, as well as experiencing family tragedies and triumphs along the way. I would like to also dedicate this work to my mother, Sara Alicia Mendoza, who when I was a young girl shared her passion for reading and her talent for writing with me. My aunt Sanjuanita Martinez-Hunter showed me though example that anything is possible. Lastly, this work is dedicated to my children Sally, Alejandra, and Javier who inspire me every day. v ABSTRACT OF THE DISSERTATION Bodily Renderings of the Jarabe Tapatío in Early Twentieth-Century Mexico and the Millennial United States: Race, Nation, Class, and Gender by Gabriela Mendoza-Garcia Doctor of Philosophy, Graduate Program in Critical Dance Studies University of California, Riverside, June 2013 Dr. Linda J.Tomko, Chairperson My dissertation project examines past and current understandings of the Jarabe Tapatío, which has come to be widely recognized as the national dance of Mexico. To conduct this investigation, I have utilized textual sources and oral accounts from personal interviews. I have also drawn on bodily renderings of the Jarabe Tapatío - some from my own practice of the dance, others that I observed in performance, and still others that I taught students to embody as imparted by Alura Flores de Angeles’ “the God Mother of Mexican Dance.” First, I investigate how the teaching and performance of the Jarabe Tapatío in 1920s and 1930s Mexico was sanctioned by the state to operate alongside a post-revolutionary nationalism which built up seemingly inclusionary polices that were in fact designed to eradicate the indigenous population, promote mestizaje as the ideal race for a homogeneous nation, re-affirm class positioning, and consolidate traditional gender roles. I examine the teaching and performance of the JarabeTapatío at events organized by the Secretary of Public Education (SEP) in rural schools, Cultural Missions programs, festivals, and weekly concerts. I unpack the love narrative as articulated by Flores de vi Angeles to examine the intersectionality of nation, race, gender, and class and how these constructs were incorporated within the costume, music, and dance movements of the dance. I also analyze the many ways in which several public presentations of the Jarabe Tapatío, by SEP school girls and by Nellie and Gloria Campobello- bodily consolidated and also contested post-revolutionary ideas as espoused by the SEP in the 1920s and 1930s. Secondly, I explore the teaching and performance of the Jarabe Tapatío in the twenty-first century to ask whether the dance has changed over time with immigration. I interviewed five twenty-first century United States practitioners and a number of dancers from California, Illinois, New Mexico, and Texas. In my interviews I found that contemporary performances of the Jarabe Tapatío ignited internal discussions concerning gender, race, class, and nation. Nonetheless, preservation of Mexican heritage assumed greater importance. Thus, a 1920s post-revolutionary ideology continues to be reinforced by these twenty-first century United States practitioners. vii Table of Contents Introduction……………………………………………………………………………...1 Chapter 1: Early Twentieth-Century Mexico (1920-1931): The Jarabe Tapatío as a Tool for Cultural Nationalism…………………………………………………….34 Chapter 2: The Jarabe Tapatío as a Form of Bodily Remembrance of Early Twentieth-Century Mexico…………………………………………………………….91 Chapter 3: Nation, Class and the Gendering of Men and Women in Performances of the Jarabe Tapatío………………………………………………………………….119 Chapter 4: The Jarabe Tapatío in the Twenty-First-Century United States………155 Conclusion…………………………………………………………………………….197 viii INTRODUCTION The brightly lit room held a captive audience who was leaning forward in their chairs, standing against the wall, and listening intently while seated on the floor. The commanding presence of Alura Flores de Angeles, the “God Mother of Mexican Dance” was felt by every single person. She was seventy-seven years old and wore a brightly woven Mexican huipil to complement her indigenous skirt.1 Her black, long hair was loosely pulled up in a high bun. She had brought her famous collection of Mexican costumes to the University of Texas at Austin in 1982 (Martinez-Hunter; “Folk Dancer to Speak;” “Memo to the University of Texas at Austin Faculty and Staff”). As the student models walked before the audience and posed, Flores de Angeles, who spoke in English, gave a dynamic presentation on the historical and cultural significance of each costume in her collection. These costumes represented her life’s work. As a physical education teacher employed by the Secretaría de Educación Pública [Secretary of Public Education] or the SEP, Flores de Angeles was part of the cultural nationalist movement in which she taught and collected the dances of Mexico. Every costume represented knowledge earned from her many years of work as a Mexican folkloric dance teacher at Mexico’s National Autonomous University. Her gestures, speech, and attire showcased her desire to share Mexico’s dance heritage with the world. With a dramatic effect, Flores de Angeles during her presentation at the 1 University of Texas at Austin recited a poem on the Mexican rebozo or indigenous shawl using every ounce of feeling and emotion to inspire patriotic love of the country of Mexico. Yes, this was one presentation that was remembered by all in attendance. I have heard many inspiring stories about Flores de Angeles from my dance teachers, her colleagues, and her friends. Yet, I did not have the opportunity to meet her. Flores de Angeles was not of my generation. This dissertation invokes the legends of the Jarabe Tapatío, called by nearly everyone the national dance of Mexico, as articulated through the spoken word and bodily memories of Flores de Angeles, through archival sources, as well as oral histories, to situate the socio-political significance of this dance in early twentieth-century Mexico and in the twenty-first-century United States. To begin my analysis, I interweave the historical narratives of the jarabes and the Jarabe Tapatío to demonstrate the manner in which this dance has been continuously re-created and re- invented to legitimize the efforts of those seeking or possessing political powers. Throughout my writings, I utilize the theories of Benedict Anderson as a framework for understanding the nationalistic underpinning behind the Jarabe Tapatío. For Benedict Anderson in Imagined Communities (2006), nationalism is as an “imagined political community. It is imagined because the members of even the smallest nation will never know most of their fellow-members, meet them, or even hear of them, yet in their minds of each lives the image of their communion” (6). Furthermore,
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