The editorial categories are research topics that have guided researchers during the recovery phase and continue to be the impetus behind the Documents Project’s digital archive and the Critical Documents book series. Developed by the project’s Editorial Board, each of the teams analyzed this framework and adapted it to their local contexts in developing their research objectives and work plans during the Recovery Phase. Learn more on the Editorial Framework page.
After a scandalous raid in Mexico City— known as the Ball of the Forty-One—in which forty-two homosexual men were detained, El Popular kept up its mocking tone in sarcastic short pieces: “––Listen, bitch, I thought of an idea to keep them from messing us up. / ––¡Ay, you don’t say, Rebeca! So what’s your idea? For God’s sake, tell me right away, my heart’s about to burst out of my chest! / ––Well, I can barely breathe, myself. Look, what we’re going to do is tell them that we’re men... / ––They’ll never believe it, love of my life.”
This article reflects the jokey, sensationalist perspective that emphasized the participation of "poor" people and the discovery and arrest of groups of "faggots" who held dances in different neighborhoods at which the men wore women’s dresses and were romanced by other men. During the Porfirio Díaz administration, any press references to sexual diversity were veiled. However, starting with a clandestine dance, the subject assumed importance and permeated different social classes. From that night on, in Mexican culture, to say "forty-one" was both a reference to homosexuality and an indicator of intolerance. Years later, through portraits and caricatures, artists such as Diego Rivera (1886-1957), José Clemente Orozco (1883-1949) and Antonio Ruiz (1897-1964) ridiculed and attacked the feminization of a certain sector in Mexican culture.