Mexican and Universal
Dancers outside the sphere of theatricalized folk performances continued to interact with painters and musicians in creating their works for the public, just as they had done in the 1950s, but they no longer felt the impulse to develop explicitly nationalist works. Rufino Tamayo provided the scenic designs for Guillermina Bravo’s Constelaciones y danzantes (Constellations and Dancers), honoring his seventieth year as a painter. The work mixed movement and sound from Tamayo’s home stage of Oaxaca, whose indigenous dancers had influenced Bravo early in her career, with materials drawn from across the globe. Bravo rendered homage to Tamayo through an expression that embraced both Mexico’s local roots and its place in the broader world, just as the painter had done throughout his career.
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