The opening decades of the twentieth century saw a passing fashion for “Aztec” dancing in the vaudeville theaters of the United States. Russian classical dancers Kosloff and Fokine tapped the orientalist currents of the Ballets Russes, adopting the Aztec as superficial signs of the American. Conversely, works by Shawn and film director Cecil B. DeMille, which served as points of reference for the Russians, represented a continuation of equally orientalist attitudes toward Mexico's past, forged during the realization of the United States’ policy of Manifest Destiny. The emergence of a cadre of trained dancers from Mexico, trained by students of Kosloff and Shawn, would bring a distinctively different perspective on the presentation of their heritage to the dance stage, one that was no longer based in the imagination of an expansionist America.

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东方化的阿兹特克人：对戏剧舞蹈美国化的观察

二十世纪的前几十年，在美国的杂耍剧院中，“阿兹特克”舞蹈风靡一时。俄罗斯古典舞者科斯洛夫（Kosloff）和福金（Fokine）利用了俄罗斯芭蕾舞团的东方主义潮流，将阿兹特克人视为美国人的肤浅标志。相反，作为俄罗斯人的参考点的肖恩和电影导演塞西尔·B·德米勒的作品代表了对墨西哥过去的同样东方主义态度的延续，这种态度是在美国实现“昭昭天命”政策期间形成的。由科斯洛夫和肖恩的学生训练的一批来自墨西哥的训练有素的舞者的出现，将为他们在舞蹈舞台上的传统呈现带来截然不同的视角，这种视角不再基于扩张主义美国的想象。