José Limón and La Malinche
The Dancer and the Dance
Publication Year: 2008
Published by: University of Texas Press
TABLE OF CONTENTS
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I would like to thank the Center for Humanities and the Center for the Study of Writing and Translation at the University of California, Irvine, for their generous support of Manuel Gómez’s translation of “José Limón and La Malinche in Mexico: A Chicano Artist Returns Home.” I would also like to thank editor extraordinaire Kathleen Much...
INTRODUCTION: Jos� Lim�n and La Malinche
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During the 1950s and 1960s, one of the great Mexican American artists of the century traveled to more than a dozen countries in Europe and Latin America as a cultural ambassador of the United States. He trained a generation of students at New York’s famed Juilliard School in his technique, received two of the highest honors in his field...
1. LA MALINCHE: The Inspiration for the Dance
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As a choreographer, José Limón was often most eloquent in creating compact dance-dramas with archetypal, mythic, or literary characters: The Moor’s Pavane, The Exiles, The Emperor Jones, and La Malinche. None is more powerful than the latter, the ballet created at the very start of Limon’s career, reconciling his artistic ambitions with his Mexican...
2. JOSÉ LIMÓN’S LA MALINCHE
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La Malinche’s role in the Spanish Conquest has been a constant source of conflict in Mexican society, wavering according to the sociopolitical climate of the time. Was she a trusting and resourceful victim of circumstance? or a self-serving temptress/traitor? When the Limón Dance Company performed La Malinche in Mexico in 1951, they were...
3. THE MUSIC: Interview with David LaMarche, Musical Director, Lim�n Company and American Ballet Theater
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Patty Delaney: How would you describe your affi liation with the Limón Company? David LaMarche: I’m the music director of the Limón Company, and I believe I began my association with the company in their 50th anniversary season. I conducted the repertoire at the Joyce Theater, and we had a season shortly thereafter at Riverside Church. That...
4. VISUAL COMMUNICATION: Props and Costumes
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Religious images, cultural motifs, paintings, photos of significant events, films, film clips, television and computer programs, plays, and other performances, live as well as recorded, form the visual heritage of a civilization. Both the props and costumes of José Limón’s La Malinche drew upon the rich visual tradition of Europe and the Americas...
5. MARINA, MALINCHE, MALINTZIN: Nahua Women and the Spanish Conquest
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The variously named woman do�a Marina, Malinche, Malintzin, who lived a brief and violent life, has gone down in history as one of the most important yet enigmatic participants in the Spanish Conquest of the Mexica and other Nahuatl-speaking peoples of the central region of Mexico. No document exists in which she narrates or interprets her...
6. MALINCHE IN CROSS-BORDER HISTORICAL MEMORY
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The opening lines of a recent song by the popular norte�o band Los Tigres del Norte exemplify the constant juggling of two cultures by Mexican immigrants and Mexican Americans in the United States: For those who say...
7. JOS� LIM�N AND LA MALINCHE IN MEXICO: A Chicano Artist Returns Home
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Mexican artists began to embrace modern dance in 1939, following the arrival of two North American women: Waldeen (known only by her first name; 1913–1993) and Anna Sokolow (1919–2000). Waldeen, whose performances had been coolly received by New York dance critics, found Mexico’s ethnic variety entrancing. She soon began composing...
8. THE DIRECTOR: Thoughts on Staging José Limón’s La Malinche
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Alexander Pope, in his second Essay on Man, wrote, “[Man is] created half to rise, half to fall.” José Limón devoted his life to choreographing that thought. In many of his dramatic works man is either falling or being felled, often because of his own nature. This is true of Limón’s La Malinche, created in 1949 from the history, sights, and sounds of Mexico...
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Page Count: 208
Illustrations: 17 b&w photos, 1 DVD
Publication Year: 2008