Abstract
New Mexican Matachines dances have long been discussed as descendent dances of medieval morescas. This article explores this ‘ancestral relation’, beginning on New Year’s Day in 1896 at the colonial outpost of Cubero, New Mexico. There, the German art historian Aby Warburg met a local shepherd who endeavoured to explain the pantomimic killing of a bull in the dance drama by saying the blood was ‘good for making sausages.’ Accordingly, this article investigates Warburg’s lifelong exploration of Matachines antecedents in the margins of his research on early Italian Renaissance images of medieval festive drama, and ‘headhuntress’ figures, such as Judith and Salome. Warburg’s thoughts on New Mexican Matachines meandered over the course of his life from Aztec sacrifice to medieval morescas, to the Mithras cult. Through these explorations, Warburg pursued a cultural evolutionary theory that would situate New Mexican Matachines as a descendent of antique pagan blood ceremony.
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