The Queer Losses of Latinx Orpheus
Bibliographic Data
| ID | 24215697 |
|---|---|
| Authors | Christofer A Rodelo |
| Year | 2026 |
| Volume | 32 |
| Issue | 4 |
| Pages | 605-625 |
| Publication date | 2026-10-01 |
| Open Access | No |
| Type | ARTICLE |
| Venue | GLQ A Journal of Lesbian and Gay Studies (JOURNAL) |
| Journal identifiers | ISSN: 1064-2684 • E-ISSN: 1527-9375 |
| Publisher | Duke University Press (PUBLISHER • US) |
| DOI | 10.1215/10642684-12601699 |
| Language | EN |
| Citations received | 1 |
| References cited | 17 |
This essay reexamines the New York City Ballet's 1948 production of Orpheus, centering two of its major dancers: Nicholas Magallanes and Francisco Moncion. These two queer Latinx figures (from Mexico and the Dominican Republic, respectively) performed in the roles of Orpheus and the Dark Angel, captivating audiences and critics alike with their intimate choreography. The essay indexes this performance as an early example of how queer Latinx performance and aesthetic practices were imagined through classical Greek narratives. It argues that the tale of Orpheus, as one based in moments of loss and failure through a queer protagonist, has manifested as an apt allegory through which minoritarian subjects in the modern era can imagine their own experiences in a world where perfect outcomes are not promised. It also emphasizes the duet as a method for engaging with historical formations of queer of color aesthetics. In focusing on this rendition of Orpheus, this essay underscores its impact as part of a longer genealogy of queer Latinx philhellenism that has continued to shape Latinx expressive cultures to this day.
| Citations per year | 1 |
|---|---|
| Citation span | 2026 - 2026 (1) |
| Highly cited | No |