4 1 ▁Mar ic ones , ▁received ▁massive ▁press ▁coverage ▁and ▁prompt ed ▁a ▁series ▁of ▁widely ▁circul ated ▁prints ▁by ▁José ▁Gu ad alu pe ▁Pos ada ▁that ▁dep icted ▁the ▁dance . ▁The ▁cross - d ress ers ▁were ▁public ly ▁hum ili ated , ▁forced ▁to ▁swe ep ▁the ▁streets ▁under ▁police ▁guard , ▁induct ed ▁into ▁the ▁ 2 4 th ▁Battalion ▁of ▁the ▁Mexican ▁Army ▁and ▁sent ▁to ▁the ▁sout he astern ▁state ▁of ▁Y uc at án , ▁where ▁the ▁C aste ▁War ▁was ▁still ▁being ▁fought . ▁Rum ors ▁that ▁then - Pres ident ▁P orf i rio ▁Dí az ' s ▁nep hew , ▁Ig na cio ▁de ▁la ▁Torre , ▁had ▁attended ▁the ▁dance ▁but ▁was ▁permitted ▁to ▁escape ▁further ▁added ▁to ▁the ▁sc andal ' s ▁not or iety . ▁Although ▁the ▁official ▁account ▁was ▁that ▁she ▁was ▁a ▁" real ▁woman ." ▁Histor ians , ▁including ▁well - known ▁cultural ▁comment ator ▁Carlos ▁M ons iv á is , ▁argue ▁that ▁male ▁hom osex ual ity ▁in ▁the ▁modern ▁sense ▁was ▁" in vent ed " ▁in ▁Mexico ▁when ▁the ▁ 1 9 0 1 ▁ra id ▁occurred . ▁Since ▁that ▁time , ▁the ▁number ▁ 4 1 ▁has ▁come ▁to ▁symbol ize ▁male ▁hom osex ual ity ▁in ▁Mexican ▁popular ▁culture , ▁fig uring ▁frequently ▁in ▁j okes ▁and ▁in ▁cas ual ▁te asing . ▁Although ▁the ▁ra id ▁on ▁the ▁Dance ▁of ▁the ▁ 4 1 ▁was ▁followed ▁by ▁a