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    El viaje de los cuarenta y uno. Diario colectivo
    El Popular : Diario independiente de la mañana (México, D. F, México). -- Nov. 29, 1901.
    p. [2]
    Newspaper article – Reviews
    "El viaje de los cuarenta y uno. Diario colectivo." El Popular: Diario independiente de la mañana (Mexico City), November 29, 1901.
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El Popular continued its series of articles riddled with mockery and denigrating comments, such as the supposed “Trip Diary” that described the tribulations of the consigned Forty-One before they reached the Yucatán. Sarcasm based on their feminization, plays on words with double entendres [are rife] in these supposed diaries: “Sofío sufrió algunos desmayos... , Pepita comenzó a abortar... malas palabras” [Sofío fainted a few times..., Pepita began to abort... dirty words]; “probablemente Lucrecio está muy embarazado con lo que le pasa...” [it is likely that Lucrecio is pregnant with embarrassment over what is happening], and “lo malo es que esta travesía durará tres días, de aquí a Progreso, y no sabemos a lo que se atreverán esos marineros, al saber que somos mujeres y solas, y con la seguridad de que no tenemos madre” [the worst is that this trip from here [Veracruz] to Progreso will take three days, and we don’t know how far those sailors will go when they find out that we are women traveling alone and, with the certainty, that we have no mothers to protect us].


The journalists stopped finding it interesting to cover the news about the dance in De la Paz Street, where forty-two men were detained, many dressed as women. However, in popular culture the number 41 continued to be stigmatized, and it remained a symbol of homosexuality. Over time, the supposed "logbook"gave way to a few popular folk songs. In the Cancionero folklórico de México [Folkloric Songbook of Mexico], coordinated by Margit Frenk (1985), two songs were included that allude to this dance. This first mentions that: "De aquellos que están allá / no me parece ninguno: / uno ya está muy viejo / y el otro es cuarenta y un". [Of those that are there/ resembling me are none: / one shows wear and tear/ and the other is forty-one]. And the other goes: "Uno, dos, tres, cuatro, cinco, / cinco, cuatro, tres, dos, uno, / cinco por ocho cuarenta, / con usted cuarenta y uno" [One, two, three, four, five, / five, four, three, two, one, / five times eight forty, / with you, forty-one.]

Through portraits and caricatures, artists such as José Guadalupe Posada (1852-1913), Diego Rivera (1886-1957), José Clemente Orozco (1883-1949) and Antonio Ruiz (1897-1964) ridiculed and attacked the feminization of a certain cultural sector in Mexico.

Alejandro García
CURARE, Espacio crítico para las artes, Mexico City, Mexico

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