included student performers from the Escuela Plástica Dinámica (today known as the Escuela Nacional de Danza Nellie y Gloria Campobello) and elementary school students (who symbolized the common people). Nellie, dressed in red, representing the Revolution. The Ballet de masas 30-30 would later go on to travel throughout the country as part of Las Misiones Culturales (Cultural Missions). It was also reprised for President Lázaro Cárdenas in 1935 at the Estadio Nacional de México to commemorate the Día del Soldado (Veterans' Day). In 1937 Campobello was designated the director of the Escuela Nacional de Danza (National School of Dance), a role which she occupied until 1984. Several famous Mexican dancers and choreographists have egressed of the school as Amalia Hernández. Together with Martín Luis Guzmán and José Clemente, she founded the Mexico City Ballet, which she presented in the Palacio de Bellas Artes (Palace of Fine Arts) in collaboration with artists such as Carlos Chávez, Julio Castellanos, Carlos Orozco Romero, and Romero Montenegro. In addition to the Ballet de masas 30-30, her body of dance work includes La virgen de las fieras, Barricada, Clarín, Binigüendas de plata, and Tierra. Her folk choreographic work includes Cinco pasos de danza o danza ritual, Danza de los malinches, El coconito, Bailes istmeños, Ballet tarahumara, and Danza de los concheros. With the Mexico City Ballet, she choreographed Fuensanta, Obertura republicana, Ixtepec, El sombrero de tres picos, Vespertina, Umbral, Alameda 1900, Circo Orrín, La feria, and many others. Literary works Yo, poems, 1928; second edition, 1929 In 1928, Campobello published her first book of poetry under the name Francisca (her birth name). Entitled Yo, the book was edited by LIDAN, Gerardo Murillo's editorial. Yo is composed of five poems, considered by Doris Meyer (a North American literary critic) as “necessary precursors in the formation of the spirit of social critique”. Irene Matthews described them as “[...]verses whose rhythms are at once childish and dance-like. Much of the poetry “dances” rhythmically”. Alongside poetry Campobello wrote during her time in Havana as a ballerina, some of the poems from Yo were published in the Cuban magazine “Revista de La Habana”. This collection was titled “Ocho poemas de mujer” (Eight poems of womanhood). “Ocho poemas de mujer” was also published under her birth name. Some of these poems were translated into English by Langston Hughes in his anthology of Dudley Pitts. Cartucho, 1931; second edition, 1940 In 1931,