This article argues that the unrealized balletCaaporá(1915), conceived for choreography by Vaslav Nijinsky, and Oscar Araiz'sLa consagración de la primavera(1966,The Rite of Spring) fundamentally shaped the establishment and reimagination of concert dance as a site of modernity in Argentina. Both works danced modernity through imagined pre-Columbian indigenous myths choreographed in Euro-American concert dance forms. In Argentina, “unmarked” ballet and modern dance forms signaled a universalized cultural advancement aligned with the West, while indigenous myths staged “marked” Latin American origins that held racial difference at a distance from the modern present.CaaporáandConsagraciónnegotiated the “marked” and the “unmarked” toward different ends. WhileCaaporástrove to “Argentinize” European ballet at the turn of the century,Consagraciónmarked the move to claim concert dance as Argentine at midcentury. By focusing on the role of indigenism in these two works, this article contributes to scholarship on the modernist negotiation of the marked and unmarked in Latin American concert dance as a strategy for staging—and transcending—the nation.

中文翻译：

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跳舞的阿根廷现代性：布宜诺斯艾利斯音乐会舞台上想象的土著身体（1915-1966）

本文认为，未实现的芭蕾卡波拉(1915)，由 Vaslav Nijinsky 和 ​​Oscar Araiz 为编舞构思La consagración de la primavera（1966 年，春之祭) 从根本上塑造了音乐会舞蹈作为阿根廷现代性场所的建立和重新想象。这两部作品都通过以欧美音乐会舞蹈形式编排的想象中的前哥伦布时期土著神话来跳动现代性。在阿根廷，“无标记”芭蕾和现代舞蹈形式标志着与西方一致的普遍文化进步，而土著神话上演了“有标记”的拉丁美洲起源，使种族差异远离现代。卡波拉和康萨格拉西翁为不同的目的协商“有标记”和“无标记”。尽管卡波拉在世纪之交努力将欧洲芭蕾舞“阿根廷化”，康萨格拉西翁标志着在本世纪中叶将音乐会舞蹈称为阿根廷人的举动。通过关注原住民主义在这两部作品中的作用，本文有助于研究拉丁美洲音乐会舞蹈中标记和未标记的现代主义谈判，作为登台和超越国家的策略。