Group+2+Ballet+Folkorico+de+San+Antonio

Melinda Moon, Marisa Gloria, and Kasandra Martinez

**Ballet Folklorico de San Antonio** **By: Marisa Gloria, Kasandra Martinez, and Melinda Moon** **UTSA IDS 3123-91J** **Professor: Dentith** **7-10-2011**


 * Introduction**

Ballet Folklorico was originated in Mexico and has now become a famous dance here in Texas. As you will learn later in the essay, Ballet Folklorico can be performed by anyone, because of its diversity. This type of dance can be performed in a more modern fashion or a more traditional fashion, depending upon the place that it is being performed or due to the audience attending. This dance is very flashy; it has elaborate costumes and over exaggerated makeup as well as outstanding props used throughout the entire performances. In this essay we are going to talk about: how Ballet Folklorico came about, its social, political, and economic aspects, the elaborate costumes, the flowing music, photos of events, special written letters, and finally we are going to talk about an interview from a performer of Ballet Folklorico.


 * Thesis Statement**

Ballet Folklorico is a “melting pot” based upon the many different //cultures// that make up the dance, music, and costumes. It is also a //postmodernism// type of folk dance due to its traditional and //modern// type of dance styles.

**History/Background** The great land that we live on has always been known as the “melting pot.” It is said to be the “melting pot” because of the diffusion of so many different cultures that make our country so different than other countries. The main idea of folklorico comes from the ancient people of Mexico. The mezcla; which means the mixing of the races by foreign peoples and their evolution of culture and traditions all are contributions to the origin of this old time dance (Folklorico, 2008). The origin of the dance called Ballet Folklorico comes from the merging of two different cultures: the Spanish and the pre-Colombian cultures.

When the Spanish arrived in the American continent, they found many well established and enriched cultures in the territory that belonged to Mexico. Such cultures were those of the Aztecs, Maya, Olmecs, Zapotecs, Purepechas, and many other ancient civilizations (Performances, 2007). Folklorico is composed of Ballet steps and musical pieces reflecting various regions and folk music genres of Mexico.The dances all reflect the different traditions the indigenous Mesoamerican culture, which is a region in the middle lands of the Americas. The word “ballet “conjures up images of a formal discipline that takes years to master. Folk dancing, on the other hand, is known for its easy spontaneity.The two words rarely were used together until Hernandez coined the term “ballet folklorico“in 1952 (Catalano, 2002).

The colors, costumes, and the overall appearance of the dancers were all related to their Mexican heritage and background. All these folk dances have remained alive, and quite unchanged, in the heart of the people, and the unique effort of modern Mexican choreographers has succeeded in refining and purging these ancient dances that expressed an awe-inspired adoration to Nature, Courage, Love and Death (Overview of Mexico and Its People, 2005). The reason behind why they designed folklorico is this special sense of interpretive dance, this easy flow of movement and elegance of attitude that flourish into expressions of great artistic fame (Overview of Mexico and Its People, 2005).

The folklorico dance owes its honor to Amalia Hernandez. Amalia Hernandez was the founder of the internationally renowned Ballet Folklorico de Mexico.

“She always has displayed an innovative genius. At age 8, Hernandez said she received "the gift" of dance and choreographic abilities. This did not sit well with her father, a prominent political figure with different plans for his daughter. But he gave in when faced with the tenacity of her vision" (Catalano, 2002).

She was first trained in classical ballet, but she then decided to specialize in native Mexican dance. Hernandez was inspired by the way the children played and wanted to express her feelings and emotions that she had through dancing. In 1952, Hernandez founded the Mexican Folkloric Ballet with only eight dancers. By 1959 the ensemble grew to fifty performers (Amalia Hernandez, 2011). The folklorico dances are folk dances. They were performed at social functions by people with little or no professional training, often to traditional music or music based on traditional music.

The way people perceived folklorico was a way of their folk culture being expressed through dance and music. The Folklore Ballet of San Antonio was brought together in January 1965, and was started as a non-profit organization. The reason it was all started in San Antonio was for the reason to preserve the cultural traditions of Mexico and Spain and song that exist in the country and to spark up new talent.


 * Social, Political, and Economic**

In the text //__“Western Folklore”__**,**// Linda Degh points out Raymond Williams’ political and social dimension over folklorico. Williams mentions that the hegemonic process that involves a selective tradition:

“From a whole possible area of past and present, in a particular culture, certain meanings and practices are selected for emphasis and certain other meanings and practices are neglected or excluded. Yet within a particular //hegemony//, and as one of its decisive processes, this selection is presented and usually successfully passed off as ” the significant past” (Ramirez, 1989). Hegemony is the political, economic, and/ or cultural power exerted by a dominant group over other groups. It requires the consent of the majority to keep the dominant group's leader in power. “Williams’ limits to the framework is to deal with the hegemonic struggle within one national and political state.” Ballet folklorico de San Antonio social impact on the people was that it brought the communities together as one and gave the people strength and knowledge about their heritage and culture. // Culture // is the works and practices of intellectual and especially artistic activity. In class we discussed how sociologists see culture as a mode of living in the world as a social being, represented by the practices, rituals, behaviors, activities, and artifacts that make up the experience of everyday life. People were all brought together in plazas where music was played and women danced in their very outlandish costumes, and their heritage was slowly being spread through dance. It didn’t matter what your race was, you were still being taught something that you didn’t know. "The Ballet Folklorico has a very special relationship to the public, after 43 years of political changes, economic crises and everything else that has happened in Mexico, it's a miracle they have survived. It is a tribute to the strength of Mexican culture and to Amalia that right now the company is in its finest moment “(Salas Special to the Express-News, 1995). “


 * Cultural aspects **

Due to this dances cultural history and how it has been passed down from generation to generation, this dance is a type of //folk culture//. Folk culture is a lifestyle of culture and is what a group of people value. Not only can this dance be represented as folk culture but it can as be considered a type of //mass culture// as well. It can be viewed as mass culture because the dance itself helps bring individuals together to help keep a cultural heritage alive.

This dance can be viewed as a //functionalist approach// to society. “A functionalist approach to //popular culture// emphasizes how the symbols, rituals, and practices surrounding its production and consumption can bring people together by generating a shared sense of social solidarity” (Grazian, 27). This dance brings many people together, no matter their cultural heritage. This dance shares with others the practices around the Hispanic’s cultural beliefs and background.


 * Costumes **

Just like American cultures, the Mexican culture has widely been influenced by many other cultures. The Mexican culture has been influenced by the: African, French, Spanish, Asian, German, Irish, Italian, and more. Due to the wide range of culture influences each region of Mexico was influenced differently. Because of their diversity, their costumes for the Ballet Folklorico are also widely influenced. The types of costumes vary from the different regions in Mexico. Here are the different regions and how each of them dressed for the Ballet Folklorico.

In the Northern region, there is a placed called Nuevo Leon. In the Nuevo Leon area, the men wear leather fringed vests or coats. The men also wear boots, bandanas, and cowboy hats. The women wear dresses like the women in “The Sound of Music.” The women also braid their hair up with ribbons (McFeaters, n.d.).

In the Eastern region, there is a placed called Veracruz. In the Veracruz area, the men wear white guayabera pants and shirts. They also wear red waist sashes and straw hats. The women wear white laced dresses with shawls. They wear their hair up in buns and danced with fans (McFeaters, n.d.).

Jalisco is a small region located in the western part of Mexico. In Jalisco, the men wear big sombreros. The men also wear a more traditional outfit with includes the men wearing a Spanish style charro suit with silver studs on the pant leggings. The women wear ranchero design dressed with an Indian influence. They also wear bright colored ribbons (McFeaters, n.d.).

Nayarit can be found in the southwest region of Mexico. In the Nayarit area, the men wear white shirts under a colored shirt, which is tied in the front. They also wear white pants with bandanas on their heads. The women wear a small flowered print ranchera style outfit. The women also use Huichol fans while they dance (McFeaters, n.d.).

In the South region in Mexico, there is a placed called Michoacan. In the Michoacan region the men wear Muslim white pants and shirts which are embroidered at the legs and the arms. The men also wear a sash and a poncho. The women wear black skirts with a multi- colored apron. They also wear a long black head wrap which they tie behind their heads. The women also wear straw hats as well (McFeaters, n.d.).

Each of these costumes can be represented in the Ballet Folklorico de San Antonio dance as well. Because of the Mexican Revolution in 1910-1920, many Hispanics moved to the United States looking for a better life. When they moved to the United States, many of the Hispanic people settled here in Texas. When the people from Mexico moved to the United States, they did not leave behind their cultural beliefs, they brought them with them. That is why still to this day, the Ballet Folklorico de San Antonio is very diverse.

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**Music & Dance** ====Ballet Folklorico music is different depending upon the regions of Mexico. In Nuevo Leon, known as the North region of Mexico “Tejano conjunto music was mostly used” (McFeaters). The style of dance is polkas and waltzes. This type of music included base guitars and accordions. In Veracruz, which is the East region of Mexico, the music was influenced by European cultures that include violins and harps. In this region the type of dance is bambas and the use of flamenco steps. In Jalisco, which is West Mexico, “is the birthplace of los mariachis”(McFeathers). Mariachis use such trumpets, acoustics, and violins to create their music. The dance in this region consists of flirtatious courtship dancing. In South Guerroero Mexico, the music and dance was influenced by African slaves, which they brought the drum rhythms of cambia’s and salsa. We can tell by the diverse type of music in the different regions that Ballet Folklorico’ s originates some of its music from other cultures.====

Since Ballet Folklorico is such a diverse dance, the dance can be performed in different ways. The costumes may be different, the props may be different, and the music and dance itself may be different as well. Ballet Folklorico is like //code-switching//. Code-switching is when a person or a group of people can negotiate among multiple and varied cultural worlds (Grazian, 2010). Ballet Folklorico changes their dance depending upon the audience, or event they are performing for.

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** Photos ** When looking through the Ballet Folklorico de San Antonio box at the Institute of Texans Culture we came across many pictures of different performers. We are going to talk about two of the pictures that we came across. For each picture we are going to talk about the six C’s when finding a primary source. The six C’s are as follows: content (what you see), citation (about the author), context (what is going on in the world at that time), connections (linking the primary source to what we already know), communication (is the source reliable), and conclusions (how the primary source contributes to our understanding of history).

The first picture that we are going to talk about is of the Ballet Folklorico of San Antonio performing in a parade. First we are going to talk about what we see in the picture. The picture is of the Ballet Folklorico dancers and their float. The picture was taken in front of a foreign used car shop. There are three little girls dressed in all white holding fans standing on top of their float. All the little girls have their hair put up with flowers in their hair. There is one little boy standing on the float who is also dressed in all white. He has on long dress pants and a long sleeved coat. He is also wearing a white hat and a red bandana around his neck. There is also a lady standing beside the float dressed all in black. On the side of the float it says, “Folklore Ballet of San Antonio”. The float is very colorful, like the colors of the rainbow. There are flowers placed all over the float. The next C of the primary analysis is called citation. We are not sure what year the picture was taken but what we do know is that it was taken at a San Antonio parade. Context is the next C in the primary analysis process. Since we are not sure what year it this picture was taken we are not able to tell what was going on in this region at that time.The next C in the primary analysis process is connections. When looking at the photo we all had a connection to it. Melinda was in band so she always had to perform in parades. She remembers people from all over coming together to watch the event. There were all kinds of different performers at the event, and all kinds of music being played. After looking at this picture Marisa had a flash back of a Ballet Folklorico performance that she attended when she was younger. The next C is called communication. In any photo, if you do not know why it was taken and who took it, then there is no way to tell what point-of –view this photo was taken in. The last C is the conclusion. This photo helps us see how Ballet Folklorico was present her in San Antonio Texas.



The other picture that we wanted to talk about is of six little girl’s posing for their picture on stage. The context of this picture is what we see. Of the six girls, five of them are standing and one of them is in the front kneeling. All of the little girls are wearing the same dress. The dress is knee length and has ruffles on the top by their necks and on the bottom. The dress is mainly orange and has black and white lines on the ruffles. Each girl’s is holding their dresses out a little bit on each side of them. Each girl’s hair is put up and tied with ribbons. The little girls are wearing black shinny shoes with a silver buckle on the side. The picture was taken on a stage with a curtain closed behind them. The next C in the primary analysis is called citation. There was no information on this picture so we are not sure when this picture was taken. Since we are not sure when this picture was taken, then we cannot do the next C called context. Context is what is going on in the region when this picture was taken. We do not know when this picture was taken or where it was taken. The next C in the analysis process is called connections. When Marisa saw this picture, she had a flash back to when her cousin was little and wore dresses like that when she performed for Ballet Folklorico. Kasandra had a flash back to when she was younger and wore dressed like that when she performed for Ballet Folklorico. The next C is communication. We do not know who took this photo or why they took it, so there is no way for us to know what point-of-view this photo was taken in. The last C is for conclusion. This photo helps us have a better understanding of what the dancers looked like in this time period and what they wore. This picture helps us see how the Ballet Folklorico was back then compared to how it is represented in today’s society.



**Letter and program** When going through the special collections box at the Institute of Texan Cultures we came across a very short but interesting letter. The letter was written by Louis Alvares-Cabral from the San Antonio Mexican Chamber of Commerce to a Miss Olga Bredberg. Louis Alvares-Cabral wrote this letter to Olga Bredbreg on April 15th, 1965. Miss Olga Bredbreg and her group of Ballet Folklorico dancers agreed to participate in a Fiesta program. Miss Olga Bredbreg and her group agreed to dance in the Fiesta program on April 22nd, 1965. Mr. Louis Alvares-Cabral also stated in the letter that his company was going to make a donation to Olga Bredbreg’s dance group.

We also found another letter addressed to Olga Bredberg, but this letter was sent to her and her group by Reynolds Andricks, the director of the Fiesta Flambeau of the Festival San Jacinto Association. This letter was written by Reynolds on May 14th 1965. In this letter Reynolds stated how happy he was that Miss Bredberg and her group were able to perform in his parade. He informed them about how terrific they were in the parade. He thought the performance was highly entertaining and the float was very attractive.

These letter let us know how Ballet Folklorico can be performed anywhere. It can be performed on stage, in a parade, at a festival or even in a street. These letters let us know that these dancers love what they do and they want to share their love with others. By reading these letters we can tell how appreciative people are that these dance groups come out and perform for them as their guest.

Also, when looking through the Ballet Folklorico de San Antonio box from the Institute of Texan Cultures, we came across a few programs based on the performances of Ballet Folklorico. The first program that we are going to talk about was performed on August 29th, 1965 at 3:00pm at the Y.W.C.A. Auditorium. This performance was for the Student-Teacher Literacy Rally. On the front cover there is a picture of a person’s hands holding a pencil. There is a piece of white paper with the letters Sac on it. On the first page on the inside, it list all of the people on the program, all of the entertainers, and one song, America the Beautiful. The entertainers were a mix of both male and female dancers. Some of the entertainers were: Miss Maria Dominquez, Miss Esther Fotios, Mr. Victor Bustamante, Mr. Eric Bredberg, and Mrs. Olga Bredberg. On the last page, at the bottom it stated that the refreshments were served by literacy students.

The second program that we found was performed on Sunday, September 15th, 1968 at 3:00pm. The title of this performance was called: Ballet Folklorico De San Antonio. This performance was directed and choreographed by Irene Garcia. On the front cover in the middle of the page you see a lovely woman in a beautiful, colorful dress standing by a man wearing a long sleeve shirt and long black pants. The man was also wearing a big black hat. On the inside of the program, it gives up a little bit of an insight to what the play is about. The play was based off of an event that happened on the 15th and 16th of December in the year 1810. “In the history of Mexico the 15th and 16th of September, 1810, are the fateful dates in which the people broke loose from the yoke which held the country in virtual slavery to the Spanish throne” (anonymous). Also on the inside there is a list of all the acts that were performed. For this performance there were eight different acts performed. They are as follows: act I. Nuevo Leon, act II. Spain, act III. Tehuantepec, act IV. Spain, intermission, act V. Veracruz, act VI. Mexican Kaliedescope, act VII. Jalisco, and act VIII. Colombia.

The third program that we found was performed at Our Lady of the Lake College on December 13th 1968 at 8:00 pm. This program was called, Fiesta Navidena. On the cover, there is a picture of a woman dressed in a long flowing dress with a flower in her hair and a top hat. On the inside cover, there is a picture of all of the performers with their names listed below the picture. Also on the inside they are talking about another event that they are going to be performing on Mother’s Day. On the last page of the program, they give a little description of how the Ballet Folklorico came about here in the state of Texas.


 * Interview **

As a dance member of the Roy Lozano’s Ballet Folklorico de Texas, Marisa Cano has dedicated herself for sixteen years to the diverse type of folk dace. She was introduced to Ballet Folklorico at the age of nine while on a field trip to the Paramount Theater. While interviewing her I had learned quite a bit. The folk styles of this dance vary amongst groups; it can be very traditional or modern. The group tries to keep the audience in mind when performing the different types of dances, keeping the dances diverse and interesting. Ballet Folklorico dancers perform just about anywhere, on the sidewalk, stage, street, to show their love for their heritage, roots, and or love for dance. Depending upon the region of the dance, the costumes are different. Some are a little more revealing other show very little skin. Marisa teaches her passion for dancing by teaching the youth 4-12 year olds. She wants other to know that ballet folklorico is “so diverse, there are so many styles, stories, traditions, and histories told through this type of dance”(Cano, 2011).

**Conclusion** From reading this essay we hope that you have gained a better understanding of this unique and exhilarating dance. As you read this dance is very diverse and it can be performed by people of all ages and cultural backgrounds, even though it was originated from the Mexican culture. Depending upon the audience this dance was either performed in a modern or traditional way. As you can tell by the photographs, they would wear amazing costumes and perform almost anywhere there would be an audience. We talked about: the history of Ballet Folklorico, its social, political, and economic aspects, the flashy costumes, the unique music, the special photos taken of events, the written letter, and finally the amazing interview from Marisa Cano ( the full interview can be found in appendix A). We all have a better grasp on the true dance and meaning behind this dance and now hope that you do also.


 * Appendix A **

Interview with Marisa Cano A Ballet Folklorico dancer for Roy Lozano’s Ballet Folklorico de Texas

1. When and how did you start performing this type of dance? I saw my dance company Roy Lozano's Ballet Folklorico perform at the Paramount Theater while on a field trip. I loved the colorful costumes and diverse type of dances. (You have your ceremonial and/or indigenous ones, your Spanish-influenced ones, your polkas, etc.)They put on (and still do) a 1-hour show for Austin area schools every year. When I was 9, my parents finally put me in the school for dance for RLBFT. I still haven't left, and I'm 25 now.

2. Has Ballet Folklorico changed any since you have been dancing? If so how? Folklorico styles vary among groups. Some are very traditional and follow strict rules, some are a little more modern and creative. I would say my group does both, but really tries to follow tradition. Like I said, folklorico varies among groups, and like any art form evolves.

3. Do you change up the dances depending on your audiences? If we are doing a big show, we try to keep audiences in mind. For example, if we are performing for a lot of kids and are doing dances from the Revolution on 1910, we'll leave out the song where we re-enact an execution. Also, with any show that requires us to do dances from more than one state/region, we try to make sure the program is diverse. We don't want to do dances that are too similar for too long or else the audience will lose interest.

4. How does this dance make you feel when you are performing? I feel various things when I dance. Sometimes I am on autopilot--I have done the dance for so long I don't have to think. Sometimes I am so relaxed and just have a good time. Sometimes if I am performing somewhere weird (like a sidewalk or a slanted stage) I am thinking about how I can do the next move without hurting myself. And lots of times I just really try to be the person on stage that I am supposed to represent. If I am dancing Concheros, I become that Aztec dancer dancing for the gods/God. If I am dancing Adelitas to pay homage to the women in the Revolution, I am a badass bitch with a gun. If I am supposed to be a flirty girl trying to win the affections of a guy, then I am that. I try to become/embody who I am supposed to be in that dance.

5. Can you compare how the dance is preformed today compared to back when it was first created? I may not be the best person to answer this question, but from what I know, some dances have evolved over time, some are new, some have stayed the same, and some are still danced today--both for fun and for performing purposes.

6. Do you wear a particular type of costume depending on what dance you perform? If so can you explain the difference between the costumes? Costumes vary depending upon the region, style of dance, and influence. People from many different countries made their way to Mexico, so you can definitely see that influence in the dances. You can see the European influences in the polka dresses, and protestant influences as well. You'll notice in a lot of the polka costumes, the women are not allowed to show very much skin and the costumes have high necks and/or sleeves. In some of the Campeche dances, you see Spanish influence, as the skirts resemble flamenco skirts. The list goes on and on.

7. Do the dances have a particular name? If so can you give examples of some of the dances? Each dance has its own name. Probably the most popular ones are "La Bamba" from Veracruz and "La Negra" and "Jarabe Tapatio" from Jalisco.

8. What is your favorite dance that you like to perform and why. I can't choose a favorite. The reason I love folklorico is because there are so many different styles of dances. So many histories and stories. But if I had to choose I'd probably say Baja California Norte. In this dance, the girls wear cowboy hats, denim skirts and button up tops with a vest a cowboy boots. In these dances, the girls are from the ranch and they can be as loud and showy as the boys when it comes to footwork--I like that. I don't consider myself the most feminine person in the world, so I feel BCN comes a little more naturally to me

9. Do you teach Ballet Folkorico to the youth? I teach at my company on Saturdays. 4-8 year olds at 9AM and 7-12 year olds at 10AM. They are awesome. I love those girls. It makes me happy to see them passionate about something I am passionate about.

10. What would you like for others to know about this particular type of dance? Folklorico is so diverse. Most people just think of mariachi music and swirling skirts, but it's so much more than that. There are so many styles, stories, traditions, and histories told through this type of dance.


 * Work Cited**

//Amalia Hernandez//. (2011, June 22). Retrieved from Wikipedia: [] Box 1, Ballet Folklorico, Ballet Folklórico de San Antonio Records, MS 206, University of Texas at San Antonio Libraries Special Collections. Box 1, Ballet Folklorico de San Antonio Festival San Jacinto Association, Ballet Folklórico de San Antonio Records, MS 206, University of Texas at San Antonio Libraries Special Collections. Box 1, Ballet Folklorico de San Antonio Mexican Chamber of Commerce, Ballet Folklórico de San Antonio Records, MS 206, University of Texas at San Antonio Libraries Special Collections. Box 1, Ballet Folklorico de San Antonio parade picture, Ballet Folklórico de San Antonio Records, MS 206, University of Texas at San Antonio Libraries Special Collections. Box 1, Ballet Folklorico de San Antonio program one, Ballet Folklórico de San Antonio Records, MS 206, University of Texas at San Antonio Libraries Special Collections. Box 1, Ballet Folklorico de San Antonio program two, Ballet Folklórico de San Antonio Records, MS 206, University of Texas at San Antonio Libraries Special Collections. Box 1, Ballet Folklorico de San Antonio program three, Ballet Folklórico de San Antonio Records, MS 206, University of Texas at San Antonio Libraries Special Collections. Catalano, J. (2002). Ballet Folklorico a dazzling fiesta of joy. //San Antonio express-news//, 4D. Grazian, D. (2010). //Mix it up//. New York: W.W. Norton & Company, Inc. //Folklorico//. (2008, April 1). Retrieved from The History of Folklorico: [] McFeaters, B. (n.d.). //Tradition of Mexico: Ballet Folklorico//. Retrieved from MEXICO: THE OTHER MELTING POT: [] //Overview of Mexico and Its People//. (2005). Retrieved from Ballet Folklorico de Mexico Amalia Hernandez: [] //Performances//. (2007, March 23). Retrieved from Ballet Folklorico Aztlan : []