Colonial Mimicry: Jose Limon and Transnationalism

Jose Limon is a considerable contributor to the construction of modern dance in America. Limon emigrated from Mexico to the United States in 1917 and he is known for his energetic and masculine qualities in his movement and choreography. His contributions to modern dance are immeasurable and can be explored as an adaptation of colonial mimicry.

Colonial mimicry is a critical concept Homi K. Bhabha. In Sabine Sorgel’s essay, “Transnationalism and Contemporary African Dance: Faustin Linyekula,” colonial mimicry is examined as having “introduces an emancipating trajectory by which an appropriation of Western contemporary dance forms by African dancers and choreographers should not be regarded as a form of neocolonialism, but rather decolonization...the dancing body emerges as an enunciative presence from which a transnational dance politics may be developed.” As Limon immigrated to America, he brought with him the culture behind his movement - and even more so the meaning behind experiencing this. Limon also upheld masculine stereotypes and contributed to the instillation of the “ideal” male body and aesthetic in the dance world. After fighting in World War II - and experiencing war firsthand - Jose founded his company in 1947. The success of the Jose Limon Dance Company further instilled the narrow mindedness that is still being used today as apart of the stereotypical male ideal.