There we stood by the stage outside the St. Augustine Cathedral in Laredo, Texas, dressed in full costume. All my dancers and I were waiting our turn to perform at their Jamaica. Suddenly the bells rang indicating that mass had ended. As the churchgoers exited the building they walked right next to us as we stood by the stage. The priest came out of the church and walked all around us blessing us with holy water. Sprinkles of water touched my arms, dress, and head. Then, the priest got up on stage and welcomed everyone with a prayer. As we bowed our heads, I spoke silently to God thanking him with all my heart. Then, I prayed to God dedicating these dances to Him. Just then, the organizer gave us the cue to begin. I took the stage performing the dances of Costa Chica, Guerrero with my dance group. We danced in front of the cathedral, before parishioners, family, friends and God.
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Folklorico Dance as an Invented Tradition
Many times we believe that the Mexican folklorico dances that we perform have a long, long history. In reality, many times the costumes, music, and dance steps are recent creations but are thought of as ancient. Eric Hobsbawn in his classic text “Inventing Traditions” (1983) coins this term to refer to “traditions actually invented, constructed and formally instituted and those emerging in a less easily traceable manner within a brief and date-able period-a matter of a few years perhaps- and establishing themselves with great rapidity (1).” He notes that these invented traditions are practices with a given set of rules, rituals, that are repeated and that are thought to have a long history but in actuality are very recent (1). Many of our Mexican Folklorico costumes, music, and dances fall under this definition of invented traditions. I argue that many folklorico dances are thought to be old traditions but are were invented in the 20th century for performances. Let use a few examples of Mexican Folklorico costumes, music, and dances so we can think about this a bit further.
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Teaching Folklorico Dance as a Living Practice
Read More“Empecé a enseñar el jarabe tapatío a los extranjeros en 1932 y nunca lo he enseñado dos veces exactamente igual. Yo enseño parte del ‘Proceso Folclórico’ viviente, que como una mariposa, se transforma para hacerse más hermosa.”[I began teaching the Jarabe Tapatío to foreigners in 1932 and I have never taught it the same way twice. My teachings reflect the living ‘folkloric process’, in which like a butterfly it is transformed to make it even more beautiful.] Alura Flores de Angeles “Godmother of Mexican Dance”
Bodily Memories
Bodily memories, teachings, feelings, movements passed on from one person to another. I have ingrained in my dancing body memories of my fabulous aunt, Sanjuanita Martinez-Hunter Ph.D., who was also my Dance Teacher. Yes, I inherited her knick-knacks and collectibles but these are all just trivial pieces of material items in comparison to what I have truly inherited. I inherited her bodily knowledge. She was a dynamic personality who commanded attention upon entering every room. She connected on a personal level with every single student she taught. Most importantly, she imparted her Dance wisdom as taught from her own dance teachers to her students as a faculty at the University of Texas at Austin (UT).
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Creation, Growth, and Inspiration: The Beginnings of the Asociación Nacional de Grupos Folklóricos (1974-1976)
This article was written specifically for the Asociación Nacional de Grupos Folkloricos in 2016. This blog post includes an excerpt. To read the article in its entirety please click on the link below
Asociación Nacional de Grupos Folklóricos
As I write this account, I note that it has been forty-one years since the Asociación Nacional de Grupos Folklóricos or ANGF first began as a non-profit organization. The purpose of ANGF is “to serve as a voice for the promotion and preservation of Mexican folklore traditions…” This is accomplished by organizing an annual conference whereby participants meet to learn regional dances, music, and traditions of Mexico and Latin America countries by renown teachers. Read More
Alura Flores de Angeles “Godmother of Mexican Folk Dance” (1905-2000)
Alura Flores de Angeles was a woman who was ahead of her times. She was born in 1905 the daughter of an indigenous man from Xochimilco and an American born Protestant missionary. At a time in Mexico when more than 50 percent of the population was illiterate, Flores de Angeles graduated from the National Preparatory School in San Ildelfonso in 1924. She was a star athlete who participated in the swim, volleyball, and basketball teams. She graduated from the Universidad Nacional Autónoma de México (UNAM) majoring in Physical Education. Flores de Angeles stated that as part of her Physical Education training she learned Mexican folkloric dances.
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Gabriela Mendoza-Garcia Ballet Folklorico 