Helen Delpar - The enormous vogue of things Mexican: cultural relations between the United States and Mexico, 1920-1935
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The enormous vogue of things Mexican: cultural relations between the United States and Mexico, 1920-1935
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Beginning about 1900 the expanded international role of the United States brought increased attention to the cultures of other peoples and a growth of interest in Latin America. The Enormous Vogue of Things Mexican traces the evolution of cultural relations between the United States and Mexico from 1920 to 1935, identifying the individuals, institutions, and themes that made up this fascinating chapter in the history of the two countries.
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The Enormous Vogue of Things Mexican : Cultural Relations between the United States and Mexico, 1920-1935
author
:
Delpar, Helen.
publisher
:
University of Alabama Press
isbn10 | asin
:
0817305823
print isbn13
:
9780817305826
ebook isbn13
:
9780585340739
language
:
English
subject
United States--Relations--Mexico, Mexico--Relations--United States.
publication date
:
1992
lcc
:
E183.8.M6D45 1992eb
ddc
:
303.48/273072
subject
:
United States--Relations--Mexico, Mexico--Relations--United States.
Page i
The Enormous Vogue of Things Mexican
Page ii
Page iii
The Enormous Vogue of Things Mexican
Cultural Relations between the United States and Mexico, 19201935
Helen Delpar
Page iv
Some images in the original version of this book are not available for inclusion in the netLibrary eBook.
Copyright 1992 The University of Alabama Press Tuscaloosa, Alabama 35487 All rights reserved Manufactured in the United States of America Designed by Paula C. Dennis
The photograph on the cover is The Ames Corn Mural (19361938) by Lowell Houser, in the main post office, Ames, Iowa. Photography by Chuck Greiner. (Courtesy of Mary L. Meixner)
The paper on which this book is printed meets the minimum requirements of American National Standard for Information Science-Permanence of Paper for Printed Library Materials, ANSI Z39.48-1984.
Library of Congress Cataloging-in-Publication Data Delpar, Helen. The enormous vogue of things Mexican : cultural relations between the United States and Mexico, 19201935 / Helen Delpar. p. cm. Includes bibliographical references (p. ) and index. ISBN 0-8173-0582-3 (alk. paper) 1. United StatesRelationsMexico. 2. MexicoRelationsUnited States. I. Title. E183.8.M6D45 1992 303.48'273072dc20 92-6125
British Library Cataloguing-in-Publication Data available
Page v
Contents
Preface
vii
Introduction
1
1. Political Pilgrims in the "New Mexico": Cultural Relations, 19201927
15
2. The Mexican Vogue at Its Peak: Cultural Relations, 19271935
55
3. Native Americans in the Spotlight
91
4. The Mexican Art Invasion
125
5. Cultural Exchange in Literature, Music, and the Performing Arts
165
Conclusion
193
Notes
209
Selected Bibliography
255
Index
267
Page vii
Preface
In May 1929 New York's Madison Square Garden was transformed into the capital of ancient Mexico as the setting for a benefit pageant called Aztec Gold. Announced as "the most elaborate and resplendent event of the social season," the pageant boasted a cast of one thousand who represented personages ranging from Hernn Corts and Montezuma to a Hopi Indian chief, who was portrayed by impresario Florenz Ziegfeld. Ted Shawn and one hundred members of his Denishawn company performed Native American harvest dances. The cast also included the Mexican artists Miguel Covarrubias and Jos Clemente Orozco and two American women, Alma Reed and Frances Flynn Paine, who had dedicated themselves to the promotion of Mexican art in the United States. The Mexican ambassador to the United States was an honorary patron of the event.1
In many ways the pageant can be considered a symbol of the flowering of cultural relations between Mexico and the United States that had begun in the early 1920s. By 1929 it was reaching its zenith, prompting occasional remarks that a Mexican "invasion" was under way. The growing popularity of Mexican art in the United States, owing partly to the efforts of Reed and Paine, was bringing recognition to Covarrubias and Orozco, who, like other Mexican artists, spent extended periods in New York. Another participant in the pageant, the American painter George Biddle, had befriended Orozco in New York and had gone to Mexico in 1928, a journey made by many other artists during this
Page viii
period. By helping to organize an exhibition of modern American and French art in Mexico City in 1929, Biddle contributed to the diffusion of American culture in Mexico in the same years. The inclusion of the Mexican ambassador among the honorary patrons testifies to the interest of his government in encouraging a favorable image of Mexico in the United States and, more important, to the easing of the strained diplomatic relations that had existed between the two nations earlier in the decade. The choice of the Aztec theme for the pageant illustrates the interest of contemporary Americans, as well as Mexicans, in the preconquest civilizations of the Western Hemisphere, and the presence of a Hopi chief demonstrates the tendency to link the Native Americans of the United States with those of central Mexico. Finally, the pageant's romanticized depiction of ancient Mexico points up the fact that the development of cultural relations could be replete with distortion and misunderstanding.
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