El Es Dios!

This article outlines a brief historical sketch of the Danza Azteca-Chichimeca, or danza for short, which is becoming ubiquitous in areas of the United States with a significant Mexican American population. It looks at its origins during the early colonial period of Mexico, especially its mythological beginnings, to help elucidate the deep foundation of the dance tradition. This sketch also addresses the evolution of danza after it spread from its place of origin in the Bajío into major urban areas like Mexico City, where, once there, it changed due to ideological and political trends that circulated in the post-revolution period. The article also looks at danza’s pseudo-militaristic undertones to suggest that it might have contributed to the growing discontent among peasants and indigenous people, leading to Mexican independence. Some scholars have suggested that it, as a revitalizationist tradition, belongs in the “crisis cult” category. This analysis became evident when danza encountered neo-Aztec philosophies that promoted nationalistic and restorationist ideologies. In sum, the article touches on the popularity of danza in the United States despite the current climate of xenophobia and anti-migration, and nods at its growing international and global appeal.

Living in Two Worlds

This chapter focuses on Ray Bradbury's experience living and writing in two worlds, both in Los Angeles, during the war years: at a rental house in Venice Beach and in a downtown tenement. In the spring of 1942 Bradbury moved with his family to Venice Beach, settling in a rental house attached to a power substation. Bradbury set up a work area in the garage and worked there off and on until his marriage in 1947. He also maintained a parallel writing regimen at a day-office in the Los Angeles tenement, with neighborhoods that were dominated by a Mexican-American population. This chapter describes Bradbury's life in both Venice Beach and downtown Los Angeles, as well as his experiences during the so-called Pachuco riots of June 1943. It also considers how Bradbury's passion for the cinema led him to discover new influences on his writing, including the informal writing group sponsored by mystery author Virginia Perdue.