By Ageeth Sluis
In the turbulent a long time following the Mexican Revolution, Mexico urban observed a drastic inflow of lady migrants looking break out and security from the ravages of struggle within the nation-state. whereas a few settled in slums and tenements, the place the casual financial system frequently supplied the single technique of survival, the revolution, within the absence of guys, additionally caused girls to absorb characteristically male roles, created new jobs within the public sphere open to girls, and carved out new social areas during which ladies may workout agency.
In Deco physique, Deco City, Ageeth Sluis explores the results of fixing gender norms at the formation of city house in Mexico urban through linking aesthetic and architectural discourses to political and social advancements. via an research of the connection among girl migration to the town and gender performances off and on the degree, the publication indicates how a brand new transnational perfect girl body knowledgeable the actual form of the town. via bridging the distance between indigenismo (pride in Mexico’s indigenous historical past) and mestizaje (privileging the suitable of race mixing), this new lady deco physique prepared the ground for mestizo modernity. This cultural heritage enriches our figuring out of Mexico’s postrevolutionary many years and brings jointly social, gender, theater, and architectural heritage to illustrate how altering gender norms shaped the foundation of a brand new city modernity.
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Extra info for Deco Body, Deco City: Female Spectacle and Modernity in Mexico City, 1900-1939
8 Not surprisingly, the popularity of these daring actresses persisted into the nineteenth century. In fact, popular theater, especially the género chico—as the genre of comedies, operettas, zarzuelas, and revistas was known—increasingly played a major role in forging Mexico City’s sexual and social attitudes during the Porﬁriato. By the 1870s, drama and 30 p e r f o rm a nce opera, referred to as the género grande, had been replaced in popularity by the zarzuela, a picaresque comedy that became increasingly affordable and popular among the middle classes.
The positioning of theaters and other theatrical spectacles in the city and their spatial organization reﬂected concerns over gender as well as class. spatial understandings of espectáculos By the end of the Porﬁriato, the city counted two distinct entertainment districts: the areas situated around the markets to the east and north of the Zócalo, and the elite theaters of the west. The zone around the Zócalo included an assortment of spectacles—theaters, carpas (tent theaters that moved around largely working- class neighborhoods), street performances, salons, and cantinas—that catered to the tastes of the popular classes.
This inspired lower- and middle- class women in Mexico to take on a greater role in public life and resist the status quo at a time of social and political upheaval.