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.

What Is Folk Dancing? - Week 10

Hello Canada!  Welcome to the journey!  On Saturday this week I performed dances from the state of Tamaulipas for the first time!  Check me out in my new costume.  The two songs I danced were  La Calandria, performed by Linda Ronstadt, and La Chimenea.  The performance went well and considering all the challenges faced, I rated myself an A-/B+.  It was one of my better performances.  

I hope everyone enjoyed reading last week's post.  As we enter the Easter season, I face more delectable chocolate temptations.  What's the latest assault on my waistline?  The Cadbury Creame Egg.  You either love them or hate them.  They are an Easter holiday tradition.  I've been eating them since childhood and I love them.  I vaguely recall the television commercials which aired back in the day.  Chocolate propaganda geared at brainwashing children to eat those wonderfully delicious eggs.  They worked on me!  I've never stopped eating them. 

In a moment of vocabulary enlightenment during last week's blog, "Three Challenges", I used the word plethora!  What an awesome word, plethora.  As I was thinking about the word this week, I decided I needed to check and make sure I used it correctly.  In the course of my web search, one of the page results for plethora was this YouTube video of a scene from The Three Amigos.  It's called "What Is A Plethora?"  I thought, "well how fitting!"  So I am providing a link here for your viewing entertainment.
   

http://youtu.be/-mTUmczVdik

This week I want to explore the topic of folk dancing and define what it is and some it's roots.  There are several interesting and informative resources on the web that go into great depth on the subject of folk dancing.  By no means is this post an exhaustive resource.  I encourage everyone to research and explore the topic for themselves.  Here is some of what I enjoyed learning.

FOLK DANCING: 

Folk Dancing is defined as a popular dance, considered as part of the tradition or custom of a particular people.  According to Wikipedia, the term folk dance describes dances that share some or all of the following attributes:

• Dances performed at social functions by people with little or no professional training, often to traditionally based music.
• Dances not generally designed for public performance or the stage, though may be later arranged and set for stage.
• Execution dominated by an inherited tradition rather than innovation (though folk traditions change over time)
• New dancers often learn informally by observing others and/or receiving help from others.

More controversially, some people define folk dancing as dancing for which there is no governing body or dancing for which there are no competitive or professional performances. 

Wikipedia goes on to state:

The term "folk dance" is sometimes applied to dances of historical importance in European culture and history; typically originated before the 20th century.  For other cultures the terms "ethnic dance" or "traditional dance" are sometimes used, although the latter terms may encompass ceremonial dances. 

There are a number of modern dances, such as hip hop dance, that evolve spontaneously, but the term "folk dance" is generally not applied to them, and the terms "street dance" or "vernacular dance" are used instead.  The term "folk dance" is reserved for dances which are to a significant degree bound by tradition and originated in the times when the distinction existed between the dances of  "common folk" and the dances of the "high society". 

There is a good example of this in the movie Titanic.  Titanic sailed in 1912.  Jack is invited to dinner with the first class and high society after supposedly saving Rose from falling off the ship, although she was considering suicide.  Do you remember?  After dinner, Jack challenges Rose to meet him at the grand staircase.  Rose accepts the challenge and they spend a night of what some considered, reckless fun.  There is one scene where they go into the belly of the ship where the common folk are playing instruments, dancing and living it up.  Jack and Rose indulge in beer and there is a kind of dance off between the two.  Jack displays his folk dancing best and Rose displays here ballet talents by rising onto the tip of her toes.  Here we see the difference between the two, dances of common people and dances of the trained and studied high society.

Wikipedia concludes with:

A number of modern ballroom dances originated from folk ones.

The terms "ethnic" and "traditional" are used when it is required to emphasize the cultural roots of the dance.  In this sense, nearly all folk dances, such as polka, cross ethnic boundaries and even cross the boundary between "folk" and "ballroom dance", ethnic differences are often considerable enough to mention, e.g., Czech polka vs. German polka.

Not all ethnic dances are folk dances; for example, ritual dances or dances of ritual origin are not considered to be folk dances.  Ritual dances are usually called "Religious dances" because of their purpose.

There you have it, Wikipedia's take on what is folk dancing with my injection of Titanic.  Folk dancing is the dance of the common people.  It has been passed down through tradition, from generation to generation.  It has survived through oral tradition and lore.  Lore is cultural material and tradition transmitted orally from one generation to another.  Although there are many printed documents and structured resources on folk dancing today, there still remains an element of oral tradition as the maestro or teacher passes on to their students what they have learned.  Folk dancing has evolved through time into the what we see today.  In a future posting, I will explore the development of modern folk dancing.  Much of what audiences experience today are glorified reenactments, visually stunning extravagant productions in comparison to the original core foundations of folk dance.

MEXICAN FOLK DANCING:

Developed over five centuries, the Mexican folk dance is seeped in the history and culture of Mexico
According to Wikipedia, folk dance of Mexico covers a wide range of dance forms that evolved from the Spanish conquest of the Aztec Empire (February 1519 - August 13, 1521) to about 1750.  [These dances have continued to evolve in the 19th and 20th centuries.  Now, in the 21st century, these dances continue to be enjoyed and developed by dance groups and instructors around the globe.]  These dance forms derived from the country's indigenous, European and , to some extent, African heritages.  While dance had been an important part of the country's pre Hispanic history, most of these [original] dances were either eliminated by evangelization or modified with only few dance forms surviving mostly intact.

There are many resources that go into great depth regarding the development of folk dancing in Mexico.  One that I enjoyed reading was on Buzzle.com:  Facts about the Mexican Folk Dancing.  One dance, The Jarabe Tapitio, stands out among the many.  Here is what Buzzle states about The Jarabe Tapitio:

The Jarabe Tapatio:  Often considered to be synonymous to Mexican dancing itself, the Jarabe Tapatio or 'the Mexican hat dance' is one of the most beloved dance forms in Mexico.  This traditional dance form is considered as the national dance of Mexico.  Having originated in the state of Jalisco, the Jarabe Tapatio is a courting dance, where the man tries to romantically sway a woman into courtship.  While the women wear the traditional china poblana, which includes a fringed blouse, a skirts and a shawl, the men are dressed in an ornate charro or cowboy suit.  The dance gained immense popularity when the famous ballerina, Anna Pavlova, incorporated it in her repertoire.

Starting in the early 16th century when the Spanish arrived in Mexico, outside dances such as the waltz, ballet, polka and schottische, greatly influenced the indigenous dance forms.  Subsequent conquests allowed the German, French, Spanish and Italian dances, to mingle with the original folk dance.  This resulted in the emergence of three dance forms of Mexican folk dance:  danza, mestizo and bailes regionales.  Danza is an indigenous ritual dance, performed in religious or community settings.  Mestizo showcases western influences on the indigenous dance, in either steps or the theme.  Bailes regionales or the region dances, are a manifestation of the dance form by each community, usually presented in community and theatrical performances.  So Mexican folk dancing covers a wide rage of dances, used in a variety of settings, for a variety of purposes.

In addition to traditional dances and dance forms, traditional dance steps and footwork, traditional skirt work, and traditional costuming, there is the music itself.  Folklorico is danced to Mariachi music and other forms of indigenous music.  Many of the songs either tell folk tales, embrace loyalty to Mexico or capture elements of Mexican life.  The music is a reflection of the culture, diversity, lifestyle and everyday experience of the Mexican people.  I have noticed that many of the songs are about birds:  pigeons, roosters and so on.  Lore is a body of traditions and knowledge on a subject, held by a particular group, typically passed from person to person by word of mouth.  Mexican dance, music, holidays and faith are full of lore. 

La Bruja:  The Witch

Let's look at one folklore tale in the music.  I think the song La Bruja, danced from the state of Vera Cruz, is a good example.  There are several recordings of the song with some slight variations in the details of the tale.  Here are the lyrics and English translation of the version from the soundtrack of Frida. 

Ay que bonito es volar

A las dos de la mañana

A las dos de la mañana

Y ay que bonito es volar, ay mama

Volar y dejarse caer

En los brazos de tu hermana

En los brazos de tu hermana

Y hasta quisiera llorar

Me agarra la bruja,

Me lleva al cuartel,

Me vuelve maceta,

Me da de comer

Me agarra la bruja,

Me lleva al cerrito,

Me sienta en sus piernas,

Me da de besitos.

¿Ay dígame ay dígame ay dígame usted

Cuantas creaturitas se ha chupado usted?

Ninguna, ninguna, ninguna no ve

Que ando en pretensions de chuparme a usted

Y ahora sí maldita bruja

Ya te chupastes a mi hijo

Ya te chupastes a mi hijo

Y ahora sí maldita bruja

Y ahora le vas a chupar

Y a tu marido el ombligo

Y a tu marido el ombligo

Y ahora le vas a chupar

Me agarra la bruja,

Me lleva a su casa,

Me vuelve maceta,

Y una calabasa

Me agarra la bruja,

Me lleve al cerrito,

Me sienta en sus piernas,

Me da de besitos.

¿Ay dígame ay dígame ay dígame usted

Cuantas criaturitas se ha chupado usted?

Ninguna, ninguna, ninguna no ve,

Que ando en pretensiones de chuparme a usted

Oh, how lovely it is to fly

At two o'clock in the morning

At two o'clock in the morning

Oh, how lovely it is to fly, oh mother

To fly and let yourself fall

Into your sister's arms

Into your sister's arms

I almost feel like weeping

The witch grabs me,

Takes me to her quarters,

She turns me into a flowerpot,

She feeds me

The witch grabs me,

She takes me to the mountains,

She sits me on her lap,

She smothers me with kisses.

Oh tell me, oh tell me, oh tell me please!

How many children have you sucked dry of life?

I've sucked none, none, none. Can't you see?

It is you who I'm trying to suck the life out of!

And now you'll see wicked witch

You've already sucked away my son

You've already sucked away my son

And now you'll see wicked witch

And now you're about to suck out

your husband's life through his navel

your husbands life through his navel

And now you're about to suck out

The witch grabs me,

Takes me to her quarters,

She turns me into a flowerpot,

And a pumpkin.

The witch grabs me,

She takes me to the mountains,

She sits me on her lap,

She smothers me with kisses.

Oh tell me, oh tell me, oh tell me please!

How many children have you sucked dry of life?

I've sucked none, none, none. Can't you see?

It is you who I'm trying to suck the life out of!



Photos of Folk Dances from Around the World:

Here are some photos from various folk dances from around the world that I found on the web. A resource you can also view photos of folk dancing is Multicultural California's Facebook page.  They also have videos of folk dancing on YouTube.

When it comes to photos and pictures of Mexican folklorico dancing, I prefer those that depict the folk dancing in the original time period it originated.  I like the rawness of them.  They often depict the Jarabe Tapatio dance.  There is one particular mural in a restaurant on Olvera Street that is truly amazing.  The artist did a great job showing the folk dancing couple in a traditional Mexican village, in traditional clothing, in an environment that is authentic and true to the dance.  Here are some other images that I like.

In closing, I want to state that in my opinion much of what we see today as folk dancing is a reproduction and recreation.  Folk dancing has become more of a specialty and a novelty reserved for special occasions or other events that reenact history or periods of time.  Renaissance Festivals and the like are a popular trend.  To some extent it has become a commodity that some have capitalized upon.  In modern society, most just want to be spectators and observe, not participants.  It's not something we see as part of everyday life.  It's not part of the current society's culture.  People who are interested in dancing it, seek out the instruction.  They become students of dance.

Imagine if everyone who went to a Mexican restaurant that provided Mariachi entertainment, got up and danced the Jarabe Tapatio whenever it was played.  Imagine if it were that common, something that everyone did.  To me, that would be a practical and realistic expression of folk dancing that could be part of the current society.  Perhaps in some areas of the world, things like that still happen. 

Recently, I saw a program on television that was dedicated to folklorico dancing and mariachi music.  Everyone in the audience was either a dancer or musician.  All performed on stage in their group at one point during the show.  At the end of the show, everyone on stage and in the audience, played or danced La Negra.  It was something very moving to see.  The camera panned across the auditorium and everywhere you could see, everyone was participating.  In that moment in time, it seemed folk dancing and music were somewhat restored to an earlier purpose.

Whenever I mess up during a performance, I have the tendency to beat myself up.  Usually no one even realizes I messed up, its just my obsession with perfection.  In times like that, I need to keep in mind what it is that I am doing.  Folk dancing.  Although it is entertaining to watch, it wasn't intended to be entertainment originally other than the for the individuals own entertainment and enjoyment in celebrating life, expressing themselves through traditional dances and dance styles.  I need to lay aside the burden of stressing over providing entertainment and focus on getting back to its roots.  Enjoy it for what it is and the rest will take care of itself.  That's a healthy perspective!  Until next week...

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.

The Miracles of Dancing - Week 6

Welcome Poland!  Thank you for joining the journey!  To date, I have had readership from Croatia, Germany, Malaysia, Poland, South Korea, The United Kingdom and The USA!  A world tour is shaping up nicely.   Hint, hint!  I can hardly believe it.  Where are my readers from Australia, Canada, China, India, Mexico and Russia?  I hope to reach the entire globe.  Every Nation!  There's still time - 46 weeks left.

I want to take a moment to thank Multicultural California for the generous comments about my blog on Facebook.  I appreciate your perspective and encouragement.  Well stated.  I advise everyone reading to visit the Multicultural California page on Facebook and check out the posting on their timeline.  Multicultural California supports the arts by video documenting and photographing various dancing forms from around the globe.  The photos and videos can be found on You Tube and Facebook.  Check them out!  Also, this week's wedo word spelling comes from your comments:  Wero!  A fine addition to the ever growing list! 

In a rush to publish my blog last Sunday before everyone got involved with the Super Bowl, my proof reading lapsed and there were a few grammar and spelling errors.  Oops, apparently the wedo doesn't know English well either!  My apologies.  I corrected them on Monday and updated the blog.  I tried to let them slide and was going to make it a game of sorts for my readers to try to find as many errors as possible, but it kept eating at me.  So I fixed 'em.  However, I'm sure there are still many, many errors in my writing and hope you are reading my blog for the entertainment and informational value and not for it's superb literary writing.  I need an editor!  I am guilty of being a perfectionist.  "Michael, you are so hard on yourself," my friends always say.  Guilty!  I drive myself nuts! 

For all the Super Bowl fans who saw my Super Bowl winner prediction on Facebook, that the 49ers were going to win, I'm sorry.  I'm not a psychic!  I will just stick with the folklorico dancing and refrain from making anymore predictions.  I've had people tell me that they weren't going to follow my blog anymore due to the false prediction!  Wow, get a life!  Here I went to all that trouble to cause a power outage at the big game, just so you could take a few minutes and read my new post!  So unappreciated!  No more favors for you!  You have no idea how difficult it was to pull that off!

In other news, I accomplished something this week that I never intended or set out to do in life!  I am officially accused of being a "cyber stalker!"  This one blew me away.  Twitter suspended my account because apparently too many of their users blocked me or labelled my tweets as spam.  This flagged my account.  I was shocked because I only have five followers on Twitter.  I'm new to Twitter and the only reason I got an account was to develop an audience for the blog.  To my surprise, Twitter feels I am harassing their members.  OMG!  Really? 

Perhaps I am missing the whole Twitter concept here.  People write posts and include hash marks for key words should anyone search for the topic they are writing about.  So I searched for "folklorico" and several tweets came up by users with that interest.  I selected to "follow" these people, that share the common interest of folklorico, in hopes they might take an interest in me and follow me too.  That makes me a stalker?  Am I mistaken here?  Isn't the whole premise of Twitter to "follow" people?  The term "follow" is stalker-ish in itself.  I am befuddled.  How embarrassing for following people and getting kicked off a site that dedicated to following people. 

I had to agree to a bunch of terms and conditions and they un-suspended my account with a warning that I needed to discontinue my bad behavior or I will be permanently banned from the site.  The folklorico dancing wedo is a danger to Internet society!  I promptly un-followed everyone that I was following.  Bottom line here is, you can still follow me on Twitter, but I won't be following anyone.  Hopefully those that would have an interest in this blog will find me.  Your help in sharing my posts and spreading the word is more important than ever! 

Lastly, it was brought to my attention this week that I talk about Richard a lot in this blog, which is to be about me and my experience.  Truth is without Richard there would be no folklorico wedo or a blog for that matter.  Richard taught me everything I know about folklorico.  He has been by my side throughout the entire journey.  Therefore, I will be talking about him.  He is part of every chapter of my story, but I would only be a paragraph or two in his.  He is the real deal.  He has lived a folklorico dancing life.  A future project that I would like to do is write his biography and the history of Herencia Mexicana.  He has a truly amazing story to share.

The Miracles of Dancing

As you already know, I grew up in Michigan.  The good old Midwest.  My father was a minister.  He was a pastor of the United Methodist Church for a time.  The church owned a campground and we lived in the parsonage there on the property.  My parents also ran and maintained the grounds.  My father had a big tractor that he used to do many of the assorted tasks that needed to be performed.  In the fall of 1978, August to be exact, my father hitched up a semi truck flat bed trailer on the back of the tractor.  It was time to prepare for the winter snowfall.  There were many picnic tables on the grounds.  The tables had metal legs on them that would rust from the water and snow.  To avoid the rust, every fall the tables were collected and stored under a pavilion.  It was table harvest time.

It was a week before my fourth birthday.  A friend of my father's came to help with loading up the tables onto the flat bed trailer to be taken and stored.  I decided to tag along for the days work.  In the front of the large industrial farm tractor was a hug scoop which was used for dirt removal, digging and/or plowing snow.  That day I was riding along in the scoop of the tractor while the adult men did their work.  I was dragging my feet and we moved along.  Sure enough, I fell out of the scoop and under the tractor I went.  Unfortunately, my father did not see this happen as he was looking back at the trailer.  All I remember was the bone crushing pressure as the front tires went across my body.  It knock the wind out of me and I couldn't even cry out for help.  The terrain was bumpy and it was common to jerk around while driving.  My father thought nothing of the little bump and continued onward.  Then came the large rear wheel of the tractor and underneath I went.  This time the tractor had some difficulty making it over and I remember it kind of stopping on top of me briefly before spitting me out behind.  Then, horror set in as my father realized what had happened.


I remember my father jumping off the tractor in panic and fear and rushed over to my limp body.  He picked me up and ran to the parsonage calling for my mother.  My mother came running out of the house and my father passed me off to her and they jumped into the Suburban truck to rush me to the hospital.  Indeed, there was comfort in mother's arms.  As we went to the hospital I told my mom, "Look!"  My arm had a gash on it where the flesh had been ripped away and was bleeding.  I remember mom putting a paper towel on it.  We arrived at the hospital where the emergency staff were waiting and ready.  They took me in and laid me on a cold metal table.  They removed my clothes and gave me a catheter.  What exactly happened after that I do not recall.  All I can say is, "Ouch!"  It was a horribly traumatic event.

For the next several months I was in the hospital.  I had broken my pelvis and sustained multiple injuries.  I was the only child in the area of the children's wing where I was recovering.  One day a lady from the church came and visited me.  She must have sensed I was bored out of my mind because she went home and made several stuff animal toys for me.  One was a big hippo and another was a yellow bird.  I also had a Rocky & Bullwinkle coloring book.  I made a full recovery and the hospital called me "The Miracle Boy."  Throughout the rest of my childhood my mother continued to call me her "Little Miracle Boy."  On the day I left the hospital, one of the nursing staff asked me if I would like to leave my coloring book so other children that came would have something to do.  I told them, "NO!"  What a brat!  After all that, I hadn't lost my spunk!


The photos above are not of the actual tractor, but they will give you an idea of what I'm talking about and the size.  In 1983, my family moved away from the camp leaving the tractor behind.  I took only the memory of it and the events affiliated with it, with me.  I was in the 3rd grade.  If you have ever seen the movie, Faith Like Potatoes, there is a scene where a child falls off a tractor and gets run over and is killed. It's based on a true story.  Later in life, I watched this movie with my parents.  When it came to this scene, you could read their faces which reflected the pain and fear they experienced earlier in life.  Life had moved on but the memories remain.

I believe in miracles.  Do you?  Let me count the miracles from just this single incident.

1.)  I got ran over by a farm tractor and lived to tell about it. 
2.)  The front tires and the rear tire both ran over my mid section.  The rear tire should have crushed my head.
3.)  I made a full recovery and could walk.
4.)  Not only could I walk, but 33 years later I started to dance folklorico.
5.)  God worked a miracle in my life and blessed me with gifts.  Those gifts are life and folklorico.  God always gives the best gifts!

What miracles do you count?

I have a melancholy personality.  Ya Think!  In the summer of 2011 when this whole journey began, I was in sad shape - emotionally, socially and physically.  I had gone through a stressful and rough two years for many reasons.  I became very down and depressed.  Dancing folklorico has been a form of therapy for me and has helped me pull my life back together.  Not only is it a miracle that I can dance at all, but God used folklorico to work a miracle in me as well.  It wasn't anything that I anticipated in life.  I'm actually quite surprised.  But I am grateful.

Be sure to check back Sunday for new big wedo posting.  Next week I'm sharing the first dance performance and you won't want to miss that!

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.