the author？s purpose here is to trace the profile of mexican revolution in nellie campobello？s main narratives works, 1931 cartucho and 1937 las manos de mamá, linking them with her dancing practices developed throughout those same years. this article intends to underline the experimentalism of both, focusing the search for an alternative type of historicity in order to tell the events of the revolution and to develop a feminine-centric view on the war state. finally, it situates campobello？s work in an understanding of the mexican revolution as a sexual revolution.
