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Dialectical Indigenism in Postrevolutionary Mexico and the United States Dialectical Indigenism in Postrevolutionary Mexico and the United States
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H.P. and “Yankee Palates” in 1926 H.P. and “Yankee Palates” in 1926
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H.P. Onstage: Politics or Porquería? H.P. Onstage: Politics or Porquería?
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Return to Ur-Classicism Return to Ur-Classicism
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3 The Good Neighbor Onstage: Carlos Chávez’s H.P. and Dialectical Indigenism
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Published:October 2013
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Abstract
This chapter explores the explicitly Pan Americanist ballet H.P. (Horsepower), with a score by Chávez and sets and costumes by Diego Rivera. In depicting the technologically advanced North with modernist machine music and the fertile South with salon-type, body-conscious Latin American dances, Chávez, at first blush, would seem to be enshrining north-south difference. Yet musical and visual elements of H.P. embrace sameness through a phenomenon the cultural historian Jeffrey Belnap calls “dialectical indigenism,” which proclaims the continued presence of indigenous culture in modern technology. Likewise the Chávez enthusiast Paul Rosenfeld masculinized the habitually feminized South in H.P. with his customary panegyrics. Ultimately, however, Chávez returned almost immediately to ur-classicism, resulting in the Sinfonía India, his best-known work. Considered “exotic-primitivistic” in the 1970s, the Sinfonía India inspired a series of sameness-embracing paeans from critics the stature of Colin McPhee and John Cage, all of whom found little to exoticize.
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