LC Meridian

Issue date: 11/5/07 Section: Arts & Entertainment

Media Credit: www.balletamalia.com

The dancers and musicians of Amalia Hernandez's "Ballet Folklórico de Mexico" created a joyful atmosphere for the audience of mostly Mexican families of all ages. The audience shouted, clapped, and grinned during the performance at the Lehman's Performing Arts Center on Friday, October 5th.

The program opened with "Matachines", a dance performed in Northern Mexico City, based on a Pre-Hispanic dance to worship their Gods. At least 36 men danced in perfect unison wearing wide multi-colored flat hats and shaking gourds. In "Guerrero" (warlike courage), women in brilliant embroidered multi-flowered white dresses, danced barefoot waving orange handkerchiefs that matched their hair ribbons. They displayed delicate ballet-like hand movements. Men who performed skillful percussive heel stomping, known as zapateados, then joined them.

In "Revolution, a dance depicting the Mexican Revolution of 1910, couples marched in military precision, brandishing ammunition belts and rifles. Dancers surprised the clapping audience with the inclusion of European polka style movements. Emilio Neri Lopez, a 56-year-old Mexican-American, said that he loved the song "La Adelita," which was sung. This folk song was inspired by one of the many women who joined the men fighting.

In the "Charreada" (Rope Dance), a man swung a lasso into intricate shapes. This became increasingly complex as he invited a female dancer into the circle created by the twirling rope. Before the audience could catch their breath, "Tlacotalpan Festivity" began and two wide boxes appeared on the stage. Women dressed in yards of white skirting with interwoven satin ribbons jumped onto the boxes and danced a fandango. The opening and closing of their skirts appeared like the wings of soaring eagles.

"This show was wonderful," said Gloria Pizarro, a 39-year-old Puerto Rican woman and graduate of Lehman. "I brought my children [so that they] could experience another culture."

In "The Quetzals of Puebla," which has its origins in the legend of the mythological quetzal bird, the male dancers balanced plumed crowns six feet wide. A danzon from the state of Yucatan combined many rhythms including the Cuban La Habanera. This was followed by the "Deer Dance," which represents a Yaqui hunting rite. It included deer-like movements by a man wearing antlers.

The evening ended with "Jalisco." Their dances included: The Snake, El Tranchete, and La Negra. The audience shouted back "Viva Mexico!" The thunderous applause and standing ovation brought the group back as multi-colored streamers filled the air.

The performance could not have happen had it not been for Amalia Hernandez, who died in 2000 at the age of 83. Blanca De Andrade, a Morris High School teacher in her sixties, remembers studying with Amalia Hernandez in her home state of Veracruz.

"Amalia created choreographies [that] represented the music of our 58 indigenous groups," De Andrade said. "She was my hero, as she did what she wanted to do at a time when women were expected to remain home."

For more information on Ballet Folklórico de Mexico, visit: www.balletamalia.com

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