Modern dance has boasted political leftwardness since Isadora Duncan set up camp in Red Russia. But until George Floyd and #MeToo, the midcentury choreographer José Limón was mainly celebrated for his humanism—the formal elegance of his choreographic design, the body’s noble gravity, the themes we once called universal. Now his venerable troupe is doubling down on what is obvious from even a cursory look at the repertory: the man cared about his Mexican heritage and made dances about unsung heroes among the despised and disenfranchised. The company recently commissioned work from Mexican and immigrant choreographers and, this year, is honoring its women—one of whom, Limón’s mentor Doris Humphrey, served as its founding director and co-choreographer from the troupe’s start until her death. For this short season, titled “Women’s Stories,” Israeli video artist and choreographer Hilla Ben Ari reframes Limón’s most enduring dance, the Othello-inspired Moor’s Pavane, around the play’s hard-suffering women. Meanwhile, the repertory—Orfeo, Dances for Isadora, and an excerpt from The Winged—will feature women-only casts. —Apollinaire Scherr