Modern Folklorico Dancing - Week 31

Modern Folklorico Dancing!:

Thank you for reading my blog!  Back on week 10 I wrote a post called "What Is Folk Dancing?", on week 13 I wrote a post called "Competition Movie Time" and on week 17 I wrote a post called "Ballet Vs. Danza".  If you are reading the blog for the first time, I would recommend going back and reading these three posts as there is a lot of foundational information in them which I hope to build upon in this week's post "Modern Folklorico Dancing!"  However, if you don't have the time to review, you'll still enjoy this week's read.

Folk dancing has existed for a long, long time.  It has become a popular art form in current society and is embraced in many settings as a form of viewing entertainment and cultural presentation.  From its humble beginnings, it has evolved, developing into a vast array of portrayals and expressions.  So what are the roots of the modern folklorico movement we see today?  Let's go exploring and find where the modern forms of Mexican folk dance stem. 

In the 1950s, lifelong resident of Mexico City, Amalia Hernandez (September 1,1917 - November 5, 2000), played a significant role in formalizing and popularizing the art form we call folklorico, or ballet folklorico.  Hernandez founded her group, Ballet Folklorico de Mexico in 1952 and established the first school completely dedicated to the art of ballet folklorico in 1968 in Mexico City called the Folkloric Ballet School. 

Mexican President Adolfo Lopez Mateos was a fan of Amalia's group and endorsed it, allowing her to perform Sunday mornings and Wednesday evenings at The Palace Of Fine Arts in Mexico City. Along with this notoriety and her television exposure, momentum rapidly picked up and caught the attention of the Mexican Department of Tourism, which assisted her launching the group on a national scale.  The dance company toured throughout the world, including a performance for U.S. President John F. Kennedy.  The company has gone on to perform over 15,000 times and reaching an overall audience of 22 million people.

The ensemble itself grew from its original 8 members to over 60.  Hernandez is credited with choreographing about 70 dances.  Her research, development and preservation of Mexican folk dances has been a primary foundation for many folklorico groups around the world.  There's not a folklorico dancer alive that isn't familiar with her work or her name.  She has left a defining mark on ballet folklorico and is responsible for its spread  around the globe.
 

Recently I have had the opportunity to learn some of Amalia's dances and I have enjoyed the opportunity.  I have also enjoyed watching videos of her group on YouTube.  If you haven't seen any yourself then you have been missing out! Click on the links below to see some of my favorites.  Very impressive.  I have learned so much from watching her group.  Her group is an inspiration to many aspiring folklorico dancers. 

http://youtu.be/_mkqUffnzjk

 http://youtu.be/WGiM4v7d3ng

http://youtu.be/i0JguOuZXyM

 

Of course there always seems to be this balance in the Mexican culture and folklorico dance world. Why even in the dances themselves, typically what you do in one direction, you repeat in the other. Amelia's counterpart came along - another respected choreographer from Guadalajara, Jalisco, Mexico named Rafael Zamarripa Castaneda (born February 8, 1942).  After initially refusing to join Amalia, he reconsidered after she convinced him it could help his art career as well.  He is talented painter, sculptor and designer in addition to dancing and choreographing.  This link to Amalia and his contribution to the art has earned him the title of "The father of folklorico" or "Godfather" by some. Amalia is often associated with Ballet Folklorico whereas Rafael is associated with Danza Folklorica Mexicana.  The two make the perfect pair and are hailed as the king and queen of the Mexican folk dancing kingdom.

In the United States, ballet folklorico was popularized in the 1960s and 70s, right along with The Twist, The Cool Jerk and the Disco Revolution!  Specifically, there was a strong representation in Los Angeles, California and in El Paso, Texas (the Sun City).  Two cities with large Mexican American, Hispanic American and Latin American populations. In fact, I would even go as far to say that folklorico has become part of the local culture in these cities as well.  Folklorico today continues to be utilized in many ways including:  it's a way of bringing people and cultures together, a way to promote pride in Mexican cultural heritage, to enhance self esteem, to provide cultural themed entertainment, building community among people and sharing it with others and so on.
 

Although Amalia Hernandez and Rafael Zamarripa are the most prominently recognized and credited choreographers associated with ballet folklorico, and rightfully so because they worked hard and earned it, it is important to mention that there have been many other respected dancers, teachers and choreographers who have contributed to this great art.  Maestros of the dance come from all over.

Today, as the dance form has evolved with all its deviations and variations, you see a wide arrange of presentations.  Originality is encouraged. Every folklorico group wants to make their group special in some unique and self defining way.  How do they make themselves stand out?  They build upon a foundation that was set by Amalia and Rafael.  Today, you see groups alter costuming, accessories, colors and so on.  Dance choreography has changed and stylizing emphasized.  Details to make the group original, yet rooted.
 

You could easily assemble 30 or more folklorico groups together today and have each of them dance the same dance, for example the Jarabe Tapatio, and you would see 30 different variations of the same dance.  Some more traditional than others.  All utilizing similar costuming, footwork and movement fitting the region, music and theme.  Just designed in a unique fashion to fit their group. Same for other common dances as well.  

Many people do not like thinking that is outside the box.  However, I would argue that most great and influential people think outside the box. Nonetheless, for many it makes them uncomfortable to step out.  For example, oftentimes when you hear someone try and sing a song karaoke, they will try to imitate the artist famous for singing the song.  They attempt to copy them and give the same sort of experience.  However, if someone gets up and makes the song their own, people often critique and criticize them.  Same is true in the dance world.

Back during my days in music conservatory, my teacher would ask me to describe my voice, my style, my sound and so on.  She wanted me to know what made me special and unique.  Why?  Because that's what I had to offer the world that was mine.  Not everyone may like it, but it was my contribution that no one else had (or has).  She would tell me to sing it like Michael Smith, not Michael Jackson.  Let Michael Jackson be Michael Jackson, you be Michael Smith.  You have to know your niche and market and sell that.  You are your own product.   
 

That's what all these television shows like American Idol and the like, are trying to discover.  A unique product.  Someone who can sing a known song and make it their own and still appeal to the masses.  Something fresh and different.  Why do I bring this up?  Because I have witnessed how harsh and critical groups and dancers have been judged by others in the field for stepping out and being different. 

Preservation of folk dancing is important, I agree.  As I have argued in the past, most folk dance presentations we see today are very different from the original true and authentic dances they represent.  Although they are based on dances from a period of time and had certain specific elements, all modern folk dancing deviates from the original to some degree.  So when terminology like true and authentic are applied to modern folk dancing it really is subject to an individuals personal interpretation and preference.  Remember, original folk dances were for the enjoyment of the common people who danced them.  More than likely they would be very conservative and somewhat boring to the people of today who are accustom to big productions.  I love how people use the phrase "the dance has been set for stage" rather that altered.
 

A lot of groups today copy each other.  Granted they all are doing the same thing - folk dancing.  But a lot of them copy the same style of other groups and choreographers.  Which after a while becomes mundane and boring.  Everyone has heard the idiom,  "imitation is the sincerest form of flattery."  Well, that may be true but it can lead to disinterest.
 

Recently, I had the opportunity to attend an informal luncheon consisting of dancers, choreographers and teachers, including some from the folklorico dancing scene.  The whole topic of creativity, innovation, originality, diversity and the like in regards to dancing was discussed.  One respected and known folklorico figure made a comment that some might find a bit controversial.  "I love the work of Amalia Hernandez.  She was an amazing talent.  It's understandable why other groups like to pay tribute and homage to her by performing her dances and style; however, it was her style.  When I see it performed, I enjoy it when her dance company, Balket Folklorico de Mexico, performs it.  It belongs to them.  When I see other groups perform I want to see what they have to offer.  Not someone else's work or material.  Folklorico is a living art, the moment we all conform and impersonate the work of one, it will eventually become dull and die."  

I have seen many, many folklorico performances by various groups over the past few years.  The ones I remember most, are those where they did something different and out of the box.  Even at the risk of heavy criticism of others.  Two recent ones consisted of costume creativity.  When I saw them they visually sparked my interest.  Although many dancers in the audience gave them flack over the travesty of it all
 

The first was a Guerrero performance where the hairpiece had been altered, they used Popsicle looking pieces to represent the little balls (Pom poms).  It was well done, although I heard comments, including "Aye, Dr. Suess Folklorico!"  It was more like something you would see from Munckinland in my opinion.  Regardless, it worked.  The second was a group that embroidered their names in their dresses.  I agree its not traditional, but it was something different that made me remember the group.

I think it would have been fascinating to have tracked the history of folklorico dancing once it changed over from folk dancing to performance art.  It would have been neat to build a sort of Folklorico Family Tree where you started from the beginning with the original groups and people and show how those people taught others, who taught others, who taught others and so on.  That way you could see all the transference and influence passed along over time.  You could trace everyone's folklorico circle.  You could even track creation of dance groups and such.  What a massive undertaking it would be, but I think it would be interesting.  You would know you whole dance Pedigree in a sense.  Just a thought!

At the end of the day, my advice to those who like to compete in competitions and showcase would be, "if you don't want to be criticized then keep your costumes very traditional and conservative but in colorful and excellent condition, be energetic but not gaudy, have clean perfected foot work and you'll do well.   Even then, there will still be critics!"  

Everyone is entitled to their thoughts and opinions out there.  You don't have to agree with mine.  My intent was not to create controversy, but to provoke thought and consideration.  That's something every good writer does!
 

In closing, the United States was formed on July 4, 1776.  As I was writing this blog I couldn't stop thinking about American folk dancing.  The country is relatively new.  No doubt, the indigenous people of this land had dances of their own before this country was established. With vast immigration to the USA, people of all cultures brought their dances with them.  These days, dances get categorized differently - they don't call it folk dancing anymore.  Yet they are folk dances of a present time.  Can you imagine 1000 years from now dance groups forming to do folk dances from our time?  That's sort of sobering isn't it. So what would American folk dances include?  Here's my list!  You can have fun adding to it:

Square Dancing

Country Line Dancing

Hip Hop Dancing

Freestyle

Saloon Dances

Swing Dancing

The Shuffle

Twerking

The Running Man

The Jitterbug

The Electric Slide

The Macarena

The Hustle

The Mash Pit

Crunking and Krumping

And so on!

I wonder how they'll be set for the stage 1000 years from now?  Anyways, that's all folks!

All The Other Stuff!

Welcome, welcome, welcome all my new readers!  Thank you for taking the time to spend a few minutes with the Wedo!  My Facebook fan page blew up this week as well with over 60 new friends! I love it!  This week alone One Big Wedo reached a global audience with readers from Australia, Canada, China, France, Germany, Indonesia, Japan, Malaysia, Mexico, Netherlands, Pakistan, Poland, Romania, Russia, South Korea, Spain, Ukraine, United Kingdom, and the United States.  I am amazed and very excited - the list keeps growing!  Thank you to all the blog writing groups that have accepted me into their circles.  Keep sharing and spreading the word out there so others can discover the blog and enjoy it too.  A world tour may just become a reality!  Any dancers out there want to join me?

I posted my first "Bonus Post" this week. I think I am going to randomly submit them without any notice.  Just a little bit more Wedo for your week.  Keep checking back and you might get a surprise! Official weekly posts will continue to be published by Sunday each weekend.  

 

I've been receiving a lot more feedback from people as well.  My favorite question this week was from a reader who asked me if I used wire hangers for my costumes.  The question came in reference to my Mommie Dearest comment in my post "Full Exposure: A Look Behind The Curtain".  My response, "No Wire Hangers!"  In fact, I bought special color coded hangers to distinguish my costumes from other dancer's back stage.  Keep that feedback and interaction coming!

 

Lastly, don't forget the logo contest.  All entries are due by August 31st 2013!  So if you haven't started, it's time to get going on it!  Until next week everyone, Wedo out!  

 

****ATTENTION ALL BIG WEDO FANS & FOLLOWERS:  MARK YOUR CALENDARS - SEPTEMBER 29, 2013 - HERENCIA MEXICANA WILL BE PERFORMING AT THE LA COUNTY FAIR.  THIS IS A GREAT OPPORTUNITY FOR THOSE OF YOU IN THE SOUTHERN CALIFORNIA AREA TO COME OUT AND SHOW YOUR SUPPORT!  MEET THE WEDO!  LET'S PACK THE PLAZA AND SET RECORD ATTENDANCE FOR THE SHOW!  HOPE TO SEE EVERYONE THERE!  PLAZA DE LAS AMERICAS FROM 1:30 TO 2:00 PM****


Contact Information for "The Big Wedo":

Google E-mail: onebigwedo@gmail.com
Facebook: One Big Wedo (Guero)
Twitter: Michael Smith @onebigwedo
Blogger: www.onebigwedo.blogspot.com

Contact Information for Ballet Folklorico de Herencia Mexicana:

Richard Solorzano, Director: (909) 201-1957
Facebook: Herencia Mexicana
E-Mail: Bf_herencia_mexicana@yahoo.com

Note: Looking for your own adventure or journey? Herencia is a great place to find one!  Folklorico lessons and performances are both available. Herencia Mexicana performs for private & public events of all kinds. Book your event today! Herencia Mexicana welcomes new students. No previous folklorico or dance experience required.  All are welcome.

Competition Movie Time! - Week 13

Welcome Romania to the journey!  Happy Easter everyone!  Due to the busy holiday on Sunday, I am publishing a day early this week.  Wow!  Here we are at week 13, a quarter of the blogging journey is complete!  That was quick.  Some say that the number 13 is unlucky or bad.  I think it's great because I get to provide you another post for your reading entertainment!  This week is about the folklorico competition.  What more can I say other than "Bring It On!"

THE COMPETITION!

In the summer of 2012, Richard was notified that there was going to be a folklorico competition in Anaheim, California on August 12th - The Third Annual Ballet Folklorico Competition at the Anaheim Indoor Marketplace.  Three judges were being selected for the event.  Richard, after going through several qualifying interviews, was selected to sit on the panel as one of the three judges. 

The competition featured over 20 folklorico groups from Orange County, the Inland Empire and Los Angeles.  There were three age categories for groups to compete in - ages 9 and under, ages 10 - 15, ages 16 and over.  The first-place winner in each age category was awarded a $500 cash prize. 

Competing groups were required to have a minimum of four dancers and a maximum of twelve.  Each group had to present a monograph which included a description of the costumes, the region they were dancing, the culture and the music, in Spanish prior to performing.  Some groups presented in both English and Spanish which was nice for us non-Spanish speaking folks.  After they presented the introduction, each group performed for 7 to 10 minutes.

The event began at 11am and was open to the public free of charge.  Although it was a competition, the event was created to "preserve the Mexican heritage through dance and to present a show with amazing spirit and cultural pride."  The event took place in La Placita at the Anaheim Marketplace, which was outdoors.  There was a covered stage and a covered seating area for spectators.  Most of the competition took place in the heat of the day and weather records indicate the temperature in Anaheim that day was 103 degrees!  Toasty!

As far as judging criteria and guidelines, groups had to select a region to present.  The regions allowed for this event were:

Central Mexico - Includes Michoacan, Nayarit, Zacatecas, Aguascalientes, and Jalisco
Veracruz
Southern Mexico - Includes Guerrero, Puebla, and Oaxaca
Northern Mexico - Includes Sinaloa and Tamaulipas
Baja California - North or South

The Judges

Judging Criteria included:

Appearance, Makeup and Accessories, Costumes fitting the region, Music true to the region, Precision and Execution of the steps, Expression and Movement, Choreography and Stage Use, Showmanship and Enthusiasm, Originality. 

There was also this statement:  "Although the Anaheim Marketplace instills traditional folkloric, groups are allowed to be as original, unique, and creative as they want to be with their choreography and/or costumes as long as they are kept true to the region they are representing during the competition."

Each criteria category had a designated point value and after the judges scored, the points were added up and the best out of 100 possible points took 1st place.  Awards were given for 1st, 2nd and 3rd place in each age category.

THE DAY OF THE EVENT:

The day of the event fell during the week of my 38th birthday.  My niece, Sarah, flew out from Michigan to spend the week with me.  Although Herencia Mexicana did not compete, as Herencia is solely a performing company and not a competing group, some of the members from the group went to watch the competition.  I was one of the dancers from Herencia in attendance that day along with my niece.  It was both Sarah's and my first time ever seeing a folklorico competition.  We were a couple of wedos about to get educated!

My niece Sarah (with Richard & the Big Wedo)

The judges took their places and the show kicked off with a performance by some Bolivian dancers.  Then it was time for the competition to begin.  The first age group to perform that day were the adults, 16 and over.  The first group to perform set the standard.  They were amazing and suddenly I realized I have a tremendous amount of work to do still.  They were Broadway stage ready.  Nearly flawless and superbly entertaining.  WOW!  For the next several hours the adults performed and the temperature kept on climbing.  It was miserable out there.  Why August to hold an outdoor competition is beyond my understanding.  I realize that the motherland of the dance, Mexico, is a hot place.  But this was just ridiculous.  

Every imaginable variable was represented, from young to old, big to small, amateur to professional and so on.  It was a wonderful show and there was an exciting energy in the air.  Everyone brought their "A" game.  By the attitude, energy and expression of the dancers, you would have never even known that it was 103 degrees out there.  The performers all rose to the occasion and performed with a smile and showed no signs of fatigue or misery.  How they did all that in those thick, heavy, layered costumes is mind boggling.  Perhaps I'm just a spoiled prima donna because there is no way I could perform under those conditions and pretend it was a cool fall day.  In fact, after the adult portion of the show, Sarah and I retreated back to our car to sit in the air conditioning until the award ceremony later that evening.  Meanwhile, the two other age groups performed.  The place was packed with spectators regardless of the scorching heat.  I guess wedos just can't handle the heat!

Later that evening the award ceremony took place and everyone waited in anticipation for the results, the judges included.  The winners were announced.  I agree with the results of the adult competition winners and ranking.  Of course, I'm not a folklorico expert of any kind, but I would say based on entertainment value alone, their ranking was accurate.  The group that kicked off the event took 2nd place.  However, it wasn't really about the competition or the awards, it was a day dedicated to folklorico and the preservation of Mexican culture.

PERSONAL THOUGHTS:

Personally, I don't care for competing that much.  In high school and college I participated in many music competitions.  Some people live for it and there is some gratifying satisfaction in being labelled "the best".  But for me, I can do without it.  After this folklorico competition, there was a lot of talk about it among dancers in the folklorico community - both positive and negative.  Everyone

has an opinion out there and is entitled to it.  I like to think the only competition is with yourself!

From my analysis I think where the problem with a folklorico competition lies is with the criteria and judging requirements themselves.  There is no governing organization over folklorico.  In the Olympics, there is a governing organization and the minimal requirements for a routine are clearly stated.  There is also a set standard for executing certain elements - a right way and a wrong way.  Take figure skating for example.  They may say that a figure skater has to do a double axel in the routine, that's the minimal requirement.  Now, if the skater is able to do a triple axel, then they have the option of doing that in place of the double, thus going above and beyond, for the higher score.   

Folklorico is different.  Originality is encouraged, yet there is this concept of being true to the region.  Personally, modern day folklorico is very different than folklorico dancing in its original state.  Much of what is seen today is based upon a style and period of time but has developed over time.  Folklorico has evolved and is ever changing.  There are common practices and aspects according to the region, but they are not necessarily "true".  They are more of an adaption to fit our time and entertainment expectations in my opinion.  I recommend reading my post called "What Is Folk Dancing? - Week 10" for more details on folk dance origins and use.  

So, If it were my way. I would change the statement "true to the region" to, "what is commonly accepted in folklorico circles as "true.""  Another observation I made, dance styles of the different regions vary and each have their own unique feel to them.  Slower dances may be masterfully done but may not create the excitement in the crowd.  Whereas some high energy regions may get the crowd going but may not be performed as well.  So competing groups that are "in it to win it" have to choose the region carefully and work all the angles.  

Granted competition organizers want to draw a crowd and showcase many different regions to keep it interesting for the audience.  But I feel that in the effort of fairness and getting everyone on an equal playing field, one region for all groups to execute should be selected.  For example, all groups would perform Jalisco and one dance required to perform could be the Jarabe Tapitio.  The best performance would then take first place.  You could still have multiple regions for the competition, however; each region would be evaluated separately.  Just my thoughts. 

Although many declare that the Amalia Hernandez style of folklorico is the right standard for all groups to be judged upon, not all Mexican folk dancing groups utilize her style today.  My view may be an unpopular one, but let me clarify.  First let me say that I have nothing against the Amalia Hernandez style.  There are several folklorico dancing academies established that teach her style.  But I don't think that her style should be the only basis to judge upon in these competitions unless it is specifically stated that her dancing style, techniques, etc are the criteria being used.  In a future post on the modern folklorico movement, I will explore how folklorico has developed and those who were instrumental in doing so - you can't write about that without mentioning Amalia Hernandez.

Several who competed in this event felt the judging should have been based on her style alone, since that is the style their group utilizes.   I think that it would be beneficial if the "rules" of folklorico were clarified for everyone.  I think a good debate would be:  What are the hard core unbending rules?  I think that there are definitely some commonly accepted folklorico practices and a lot of preferences and styles, but are these the official rules?  Don't misunderstand me here, I believe there is a standard and there are some absolutes, I just believe they could be clarified better.  Perhaps I should write a book called, The Absolutes In Folklorico Dancing.  But creating such a thing would to some extent ruin folk dancing and the freedom of expression that goes along with it.   

At the end of the day, it's not my decision to make.  Unless of course, I promote a folklorico competition myself.  At this point, I don't see that happening.  Perhaps there should just be auditions for groups to perform in a folklorico showcase event and then one group is awarded "Best In Show" based on audience response.  Even then, that somewhat undermines technique and discipline.  I think I just need to put it to rest....moving on! 

THE MOVIE!

All this talk about competition reminds me of the movie "Bring It On!"  It made me think about an adaption of the movie embracing the theme of competitive folklorico dancing!  How cool is that?  I think it's a great idea.  Instead of the Toros verses the Clovers, I would create a plot of The Wedos verses La Familia!  I can see it now, The Wedos led by the One Big Wedo go up against La Familia in a fierce folklorico battle show down.  Of course, Richard would be the leader of La Familia.  I see his character played by Mario Lopez because no one works dimples better.  Well, no one better other than Richard himself that is.  Let's not forget to mention Mario has great hair too.   

My character, The Big Wedo, could be played by Vin Diesel.  Why?  Because he's got a shaved head like me and for once in my lifetime I'm going to have an incredible body like that.  After all this is fiction and I get to "make believe it" in my own special way.  Ladies and gentlemen, eat your heart out!  However, I have been told several times that I look like Kevin Spacey's character from the movie Seven.  Yikes!  What do you think?  I vote Vin!

or

I shared this movie idea with a friend of mine who is a published author and has written many scripts and such.  He had an interesting idea for a movie and I ran with his idea too.  Here's the plot.  La Familia reluctantly accepts the Big Wedo into their folklorico group.  Not making the cut, the Big Wedo does not get to compete with the group in the folklorico competition.  The day of the competition arrives and the Big Wedo goes to support the group.  Minutes before La Familia takes the stage their lead male dancer has a tragic event happen.  Not necessarily a tragic event like the Tonya Harding and Nancy Kerrigan Olympic incident.  I'm thinking more along the lines of eating way too much chocolate and having a cleansing moment hit, perhaps a competing group spikes his ground beef taco with lettuce, onion and cheese (my personal favorite), with a laxative or something.  Regardless, it's the Big Wedo's opportunity to step in.  The Big Wedo takes the stage with La Familia and leads them to victory!  GO BIG WEDO! 

The movie ends with a scene that takes place 100 years in the future.  There you see a bronze monument of a string bean of a man with a pouch for a belly in a charro suit and sombrero, located in the middle of Olvera Street.  A plaque on the monument reads "The Big Wedo (A.K.A. Miquel de wedo):  Led La Familia, representing the City of Los Angeles, to victory in the great folklorico battle of 2014.  Viva los gueros!"  An old Mexican man rests against the monument strumming his guitar.  A young boy walks up to take a look at the statue and the man says, "Have you ever heard the legend of the Great Wedo?"  The scene fades away with the old man sharing with the young boy the legend and that's the end of the movie.

Of course regardless of the plot, I would like to have a cameo appearance in the film.  I've even written the scene.  I would like to play the nemesis of the Big Wedo!  Every good plot has a nemesis!  Here's how I imagine it!  The Big Wedo practices day and night folklorico steps and routines, even at his work which is at a warehouse in the desert.  Sound familiar?  From the beach community, the Big Wedo's nemesis, Bigger Wedo, also practices folklorico day and night.  The Big Wedo dances with La Familia Ballet Folklorico and The Bigger Wedo dances with La Familia Original Ballet Folklorico.  The stage is set and the plot thickens!

The Big Wedo gets off his graveyard shift at the warehouse in the desert early in the morning and begins to head towards Los Angeles.  This is a great opportunity to capture film shots of The Big Wedo crossing the desert on foot doing folklorico dance steps as he travels.  Similarly, at Santa Monica Pier, The Bigger Wedo sets out towards Los Angeles as well practicing his folklorico steps as he travels.  Midday, the two wedos meet at the Mariachi Gazebo in downtown Los Angeles.  Let the showdown ensue! 

Like a scene from a classic western, the two wedos size each other up.  Cue tumbleweed blowing by and crow cawing from power line nearby.  The Big Wedo says, "You think you can dance wedo?"  The Bigger Wedo replies, "I know I can dance wedo!"  Then as they stare each other down and circle each other, The Big Wedo says, "Let's do this wedo.  Prove It!"  and he procedes to do a folklorico step.  The Bigger Wedo repeats the step in reply back.  So The Big Wedo does a more difficult sequence of steps.  Again, The Bigger Wedo replies back repeating the same sequence of steps.  Then out of no where RuPaul show up on the scene sporting her bedazzled folklorico best.  RuPaul says, "Fellas, fellas!  You got to dance for your life!"  Suddenly Mariachi Sol De Mexico, or other famous mariachi, begins to play La Negra and the wedos duke it out in dance!

As the wedos are having their folklorico dance off, Jennifer Lopez arrives in full Jalisco costume to dance with one wedo and then the other.  As this is going on Mariachi Plaza begins to fill with all kinds of Spanish, Latin, Hispanic, Mexican celebrities, icons and impersonators.  Vicente Fernandez arrives in full charro riding a horse.  Nacho Libre comes and sits down on a colorful serape.  Other cast members to include are Charo (not charro), Rosie Perez, Michael Pena, Jimmy Smits, Edward James Olmos, Pepe Serna and so on until the whole plaza is full of them.  Mingled among them, folklorico dancers and mariachi.  And of course, Richard Simmons has to be there too.  Why?  Because it just makes the whole scene more interesting.   Shoot!  Pee Wee Herman could ride through on his bike at this point.        

The scene reaches a climax and the two wedos collapse from exhaustion and as their bodies hit the pavement everyone shouts, "Ole!"  Then Richard Simmons comes a running and says, "Don't worry I can help them!"  The mariachis all shrug their shoulders and then start to play another famous jam.  This time all the celebrities and folklorico dancers in the whole plaza start to dance and put on a dance scene that would rival that of Moulin Rouge! 

There you have it!  That would be my big acting debut!  What do you think?  Be sure to visit my Facebook page: One Big Wedo (Guero) to vote for Vin or Kevin and to leave me your celebrity cast recommendations!  

That's all I've got for this week.  Hope you enjoyed it.  Send me some of your movie ideas.  Until next week - this wedo out!

Contact Information for "The Big Wedo":

Google E-mail: onebigwedo@gmail.com
Facebook: One Big Wedo (Guero)
Twitter: Michael Smith @onebigwedo
Blogger: www.onebigwedo.blogspot.com

Contact Information for Ballet Folklorico de Herencia Mexicana:

Richard Solorzano, Director: (909) 201-1957
Facebook: Herencia Mexicana
E-Mail: Bf_herencia_mexicana@yahoo.com


Note: Looking for your own adventure or journey? Herencia is a great place to find one! Folklorico lessons and performances are both available. Herencia Mexicana performs for private & public events of all kinds. Book your event today! Herencia Mexicana welcomes new students. No previous folklorico or dance experience required. All are welcome.

I Believe In Herencia - Week 11

Thank you everyone for reading and your continued support.  Many of you have shared my blog with your friends and family.  It shows!  More and more people are reading it.  This week the countries of France, Ghana and Ukraine checked in.  Welcome to the journey.  I'm still working on that world tour!  Any sponsors out there?  Send me an email and let's get this started!  Perhaps Pope Francis would like to host an event.  Folklorico On The Vatican sounds good to me!  Wouldn't that be something?  Please keep on sharing and spreading the word that there's a folklorico dancing guero with a blog!  With about 7 billion people in the world, there's a lot of work to be done.  I'm working toward 1000 page views this week!  Word of mouth works best, especially since I can't afford to pay for marketing or advertising.

I want to remind everyone that you can get weekly updates on new postings by either following me on Google, Twitter, Facebook or Blogger.  My Facebook page, One Big Wedo (Guero), has 14 likes now!  Please, if you haven't already "Liked"  my page, take a visit and do so.  It helps me interact with those who are reading.  Plus, I post pictures, updates and show performances on Facebook in addition to those on here.  All the up-to-date wedo news!  Thanks for visiting!

This week's post is about why I chose Ballet Folklorico de Herencia Mexicana for my dancing journey.  I have already shared about how I met Richard Solorzano and got started with Herencia Mexicana in my posting called, "In The Beginning."  Now I want to share with the world why I have stayed with Herencia Mexicana and my involvement with them in addition to being a student and performer. 

I Believe In Herencia

In the fall of 2011, before officially joining Herencia Mexicana in October, I was very excited and wanted to get involved.  I was assigned a few things to do for the group in additional to learning some basic steps.  One of the projects was a bulletin board to advertise the group at events.  Herencia was preparing for their big show at the LA County Fair and this was a way of occupying my time while I waited to begin classes and practices.  Plus they had a booth at an upcoming event in Azusa to promote the group in the community and this was something I could do.  Here is a picture of the board I made.  The board has weathered a bit, but it still does the trick and it has been used at several events to promote the group.

In 2012, Herencia expanded the group into the Inland Empire area in California, creating two separate chapters:  Duarte, California in Los Angeles County and San Bernardino, California in San Bernardino County (The Inland Empire).  The Inland Empire, locally known as the I.E., is the metropolitan area in Southern California located east of the Los Angeles metropolitan area.  Along with the launch of the Inland chapter came lots of work to get it up and ready.  So I helped Richard to get everything set up.  After the group started meeting for classes, in addition to being a student myself, I began to assist Richard with Facebook updates, practice reminders and advertisements on Craigslist.  He taught the classes and made the announcements and I did the paperwork and the clerical stuff. 

In the fall of 2012, both groups took the holidays off.  During the break, I worked with Richard to set the 2013 group calendar and helped organize a group practice schedule.  We developed a group recognition program to award the dancers for outstanding performance and for going above and beyond.  In the fall of this year, we will be having our 2013 group performance and recognition event to celebrate The Day Of The Dead and the achievements of the members in the group.  Something to look forward to and I will definitely post it on Facebook for everyone to see. 

In 2013, I have been helping in securing an official studio for the Inland chapter to practice at.  I help with the Duarte group as well now:  collecting dues, sending emails, taking attendance, updating Facebook, typing up documents and the like.  Recently, I helped arrange the Guerrero Workshop we had on Saturday.  This year we also started a music database to store all the versions of music that Herencia uses in their performances and practices. The repertoire of music is extensive and its nice having it all in one spot for easy access.  And let's not forget about acquiring all the costuming too, you can read more about that in the week 5 post, "What To Wear!"  I guess I've become one of the director's assistants.

To top it off, in 2013 I started to donate financially to the group.  The dues and show donations that are collected go towards the cost of the costumes for the dancers who perform.  All the money gets reinvested into the group.  The rest of the cost fell on Richard.  So I decided to pitch in.  I contribute the cost of the weekly studio costs for the Duarte group.  I have also been involved in discussions about fundraising to cover the costs of the group, ideas are in the works.  No, not gourmet bacon truffles or lettuce for $20 a head!

As I have previously stated before, a future project I would like to tackle is to write a book about Richard Solorzano and the history of Herencia Mexicana.  This book would document all his personal dancing legacy and serve as a record of the dance group as well.  Another undertaking I would like to be involved in is the preservation of the group for the years to come.  This would include video documenting all the dances Richard has labored to construct and choreograph over the 23 years.  Part of this would also be an interview and instructional on the Herencia Mexicana style, which sets the group apart from others.  These videos would be passed down to the group's future directors and instructors to keep the original founding vision and preserve the work of the founder. 

Another area I would like to see happen is scholarships for dancers.  I believe there are many, even a plethora of talented folklorico dancers out there in communities waiting for the opportunity to be discovered.  Some may not be able to afford to pay for the low monthly dues and it has kept them from exploring folklorico.  I want everyone to be able to experience and discover their abilities and this would be one more way to help people become all they can be. 

On a more personal note, I would like to see a big Herencia Mexicana production in 2014.  That would make an excellent goal for my 40th birthday!  Now would be the time to join and learn the dances to be part of the production.  Who want to join me?  Any takers out there?  And lastly, exclusively for the world tour, I would like to put together a wedo dance that would encompass all the different folklorico steps Ive learned.  What to see it?  Book the tour!
    

So what would make me want to volunteer, dance and support Herencia Mexicana?  Why exactly did I join Herencia Mexicana for my dancing journey?  There are many folklorico groups out there to choose from.  Large academy dance groups to small recreational community groups.  Yes, you can say there are a plethora!  To be honest, I didn't do much shopping around, Herencia was the right match for me.  Perhaps it's a right match for you too!  Welcome to the Herencia commercial!   Here are twelve reasons why I joined Herencia Mexicana and "Believe In" it:

1.)  The Instructor:  Richard Solorzano has been dancing for over 23 years.  He is one of the original founders of Herencia Mexicana and the last of the original dancers in the group.  He has an extensive repertoire of dances and has an outstanding ability to teach.  He brings the experience of dancing with many folklorico groups and has performed all over California for a variety of events.  He volunteers his time to the group and invests his own money into it because he believes in Herencia too.

2.)  The Instruction:  Folk dancing originally had no formal training and people learned by observing.  Some dance groups still teach this way.  You're expected just to pick it up.  At Herencia Mexicana, the steps are explained and broken down for the students.  For someone like me, that has no previous folklorico training, this made it possible for me to learn it right.  Plus the instructors are bilingual, both Spanish and English speaking.  Students are communicated to  in the language they are comfortable with, so they are able to get the training.  I have seen many dancers develop and advance quickly.  Even accomplished dancers can improve on their skills and grow.

3.)  Performing Opportunities:  Herencia Mexicana has plenty of performance opportunities for their students.  Students get to perform as long as they learn the material and can execute it well.  I like that Herencia has built a respected name for itself and that many people seek them out for their events.  I like that Herencia provides entertainment for common people at a very reasonable cost.  Big productions are nice and possible, but dancing for everyday people keeps folk dancing tradition alive.

4.)  Affordability:  The monthly dues for the group are very affordable for everyone.  This makes it possible for more people to join and be a part of the action.  Plus, with the group providing the costumes for the performing students, that huge financial burden is removed.
 
5.)  Community:  Herencia attracts all kinds of people with a range of experience!  There are beginners to seasoned dancers.  Herencia does not discriminate.  They are very inclusive.
   
6.)  The Costumes:  Although I personally purchased my own costumes, Herencia provides the costumes for their performing dancers.  They are professional quality.  Herencia provides the best for their performers.  Beautiful and elaborate custom made costumes and jewelry that really give that dancer a sense of pride, respect and appreciation.  You only have one chance to make that first impression.

7.)  Environment:  Herencia provides a professional environment for their students to learn.  Herencia was founded by a family and is family based.  Over the years whole families have joined, fathers and sons, mothers and daughters, cousins, brothers, sisters, brothers and sisters, sisters and brothers.  You get the idea.  Also, Herencia is a great place to make friends and interact with other dancers.  Herencia builds relationships through dance. 

8.)  The Herencia Style:   I love the unique style of the group.  Herencia has a rich flavor and fun style that sets them apart from other dance companies.  Many groups stick to the Amalia Hernandez style of folklorico dancing, which is fine.  Herencia combines the traditional with originality, resulting in beautiful and refreshing art.

9.)  Vision & Attitude:  The leadership have the right vision and attitude.  They are not self seeking.  They are dedicated to do their part in preserving the art of folklorico dance and pass it down to the future.  They believe in giving everyone a chance.  I believe they have a good approach.  They believe in what they are doing. 

10.)  Challenge:  Herencia Mexicana attracts experienced dancer by presenting entertaining and refreshing choreography and dances.  Dancers enjoy learning something different for a change and the challenge that comes with learning different versions of the various folklorico dances.  Herencia offers originality and character that audiences enjoy.  They have built a respected reputation that many seek.

11.)  Adventure:  There are many opportunities with Herencia.  You can get involved on many levels.  The potential is there.  You can create your own folklorico adventure.  Start your journey today!  It's fun.

12.)  Mission, Values & Purpose:  Herencia Mexicana is dedicated to keeping the art of Mexican folk dancing alive and embraces the values of tradition, culture, family and heritage.  These values are captured in the group's mission statement.  Herencia has a solid foundation to build a folklorico dancing future upon.

I could go on and on ranting and raving over the group.  There are numerous health benefits to dancing too, although the group itself is not an aerobic exercise class, it does get you in shape!  Okay that's enough!  I will stop.  My dancing journey was made possible because of Herencia Mexicana.  If you are in the Southern California area and want to dance, come on board.  Membership enrollment is open!

In closing, folklorico dancing incorporates dance styles from all over the world.  I covered that last week in my post, "What is Folk Dancing?"  I may not have had the opportunity to travel all over the world, to many countries, but I have gotten to see the world and experience it through folklorico dancing.  It's like taking one big dance trip!  I have a dream that one day there will be a plethora of wedos dancing folklorico and going on the trip with me!  Until next week, this wedo is out!

Contact Information for "The Big Wedo":

Google E-mail: onebigwedo@gmail.com
Facebook: One Big Wedo (Guero)
Twitter: Michael Smith @onebigwedo
Blogger: www.onebigwedo.blogspot.com

Contact Information for Ballet Folklorico de Herencia Mexicana:

Richard Solorzano, Director: (909) 201-1957
Facebook: Herencia Mexicana
E-Mail: Bf_herencia_mexicana@yahoo.com

Note: Looking for your own adventure or journey? Herencia is a great place to find one!  Folklorico lessons and performances are both available. Herencia Mexicana performs for private & public events of all kinds. Book your event today! Herencia Mexicana welcomes new students. No previous folklorico or dance experience required.  All are welcome.