Richard Solorzano - Week 52

Happy New Year Everybody!  We've arrived at 2014!  It's hard to believe that just a year ago, I was writing my first post and now this week I am publishing my 52nd! I had no idea what I was getting myself into and I still don't know what I'm doing at times!  All I know is that we made it!  Who would have thought?  A special welcome to Argentina and Cyprus this week. Thanks for joining me!

There's an old saying that goes something like "Save the best for last".  In fact, Vanessa Williams even recorded a hit song by that title. In my opinion, I have done just that!  Welcome to week 52 of the One Big Wedo blog, the official last post of my one year commitment to weekly blog postings. But do not fear, I will be back!  I have a Viva Navidad - Part 2 to write and post, as well as a Flaming Folklorico - Part 2.  I have a few other ideas to write about too.

http://youtu.be/5EdmHSTwmWY

Save The Best For Last Video Link

This week's topic is Richard Solorzano.  You have read about him throughout the course of the blog and now I want to share more of his folklorico story. He's a vital part of One Big Wedo because without him there wouldn't be this dancing and blogging Wedo. I've heard people say that I am his "#1 Fan!". And perhaps that's true. Read and decide for yourself.  On week 42, I wrote a blog called "Who is Herencia Mexicana? A History!" I recommend you read it because it gives some history on the group and Richard.  It's a good foundation for this week's post.  Richard is the only member of Herencia Mexicana that has actively been there the entire time throughout the years.  He hasn't missed a beat!  The Herencia story is really his story, but there is so much more to his personal folklorico journey to discover.  Let's take a look!
 

Richard Solorzano was born April 18, 1979 to the proud parents of Richard and Cristina Solorzano, residents of Redlands, California.  In 1988, at the age of nine, they put little Richard, his sister Tina, and brother David in folklorico at St. Mary's Ballet Folklorico of Redlands '74.  Now allow me to inject here, that many folks have taken the credit for teaching Richard folklorico over the years.  It never ceases to amaze me all the people that have told me personally, that they are the ones responsible for his folklorico training and success.  And perhaps many of them have influenced him and his dancing technique/style over the years, but this week I'm going to write it from Richard's own point of view.  Richard credits Jenna Cortez Aguirre of St. Mary's Ballet Folklorico of Redlands '74 with teaching him the foundational fundamentals of folklorico. She taught him the basic steps and foot work and got him started on the right path.  She was his first folklorico teacher.
 

 

 

Richard had a passion for folklorico from the very beginning.  He shared with me the story how the children practiced first on rehearsal days. Then after their practice, the adults and advanced students would practice.  All the other children would run off and play during the adult class.  Richard however, would stay in the back of the class or in the hallway and practice the adult/advanced material.  He loved folklorico and wanted to learn as much as he could.  He had found something that he really enjoyed and took to it.
 

 

 

 

Another story Richard shared with me was his parents had him take trumpet lessons from successful mariachi musician Juan Jimenez.  Trumpet was not Richard's passion, dancing was.  Even his teacher noticed and told his parents that if Richard were to practice and play the trumpet like he danced, he would be an amazing trumpet player.  Again it was confirmed that Richard was destined to be a folklorico dancer.  Richard is largely responsible for his own personal dancing development and success over the years as he spent hours of his own time developing his technique, learning, and practicing.  He invested the time, energy and effort.  He was largely self taught, more on that in a bit.
 

 

 

In 1990, at the age of 10, Richard's parents founded the group Nuestra Herencia Mexicana.  They sought out Mr. Jose Ruiz de la Torre to instruct the group.  Mr. Ruiz de la Torre agreed to teach the group after seeing the potential in the group and in little Richard.  Mr. Ruiz de la Torre told Richard's parents that Richard had "it" and "he would go far".  Richard considers Mr. Jose Ruiz de la Torre to be his primary folklorico teacher.
 

Richard has been dancing and performing for 25 years now.  Although he has never had any "formal" dance training from an academy, college or university, nor has he been a part of any classically trained ballet school or dance company, Richard has studied folklorico consistently through the years through various groups and workshops, as well as on his own.  I asked him for a list of the groups he has been part of and performed with over the years and this is the list he provided:

• St. Mary's Ballet Folklorico of Redlands '74

• Ballet Folklorico de Nuestra Herencia Mexicana (a.k.a. Ballet Folklorico de Herencia Mexicana or Herencia Mexicana)

• Club Bellas Artes de Pomona

• Ballet Folklorico Sol de Mexico

• Ballet Folklorico Nuestra Tradiciones

• Ballet Folklorico de Iglesias de Mission

• Images of Mexico (Imagenes de Mexico)

• Orgullo De Mexico

• Ballet Folklorico de Carol Amijo

• Ballet Folklorico Mi Tierra

I think it's safe to say and make the claim that all these groups with their instruction and guidance, influenced and contributed to the folklorico dancing development of Richard R. Solorzano.  In addition to the studio classroom, Richard studied independently, using videos as a guide.  Richard spent a great deal of time studying, analyzing and learning the repertoire of Amalia Hernandez and other greats.  He taught himself.  This also aided in developing the unique dances he created for Herencia Mexicana.  Not wanting to copy other dance groups, he used other groups dances as a foundation to create something new.
 

 

I asked Richard to share with me some of the highlights and accomplishments of his performing career. Here is a short list of some of the performances and accomplishments he recalls from the past 25 years:

• Performing at the Santa Barbara Mariachi Festival with Mariachi Sol De Mexico, Las Reynas de Los Angeles and singer Graciela Beltran.

• Performing at the Riverside Mariachi Festival with Mariachi Sol De Mexico 

• Showcase performance at the Las Vegas International Dance Competition

• Showcase performance at Danzantes Unidos with BF Sol de Mexico

• Traveling and performing in Salt Lake City  Utah, Denver Colorado, Arizona & Mexicali Mexico.

• A private event in Beverly Hills, California

• The year of the L.A. riots, Richard was featured on the news for a Cinco de Mayo performance.

• Dancing at Pancho Villa's Mexican Restaurant in Fontana, California every Friday, Saturday, Sunday and holiday for over 4 years (Herencia Mexicana was the resident dance company at the time) and being featured in television commercials for the restaurant that still run to this day (See the video below).

http://youtu.be/bpitNytRHEg

Pancho Villa Restaurant Commercial

• Interviewed on a local television station that broadcasts in San Bernardino, California.

• Performing for "22 Seconds of Fame" television show, Telemundo and Estrella TV.

http://youtu.be/vZx4TRCt32U

22 Seconds of Fame (with Images of Mexico)

• Performing at Olvera Street & Plaza Mexico in the Los Angeles area

• Performing at numerous restaurants in the greater Los Angeles area on various occasions including: Casa Sanchez, La Fonda, Fiesta Mexicana, Guadalajara Grill and Pancho Villas.  All with live mariachi.

• Disney Guest Performances at both Disneyland and California Adventure through Disney Magic Music Days, Community Arts Showcase and Viva Navidad Guest Performance programs.

• In 2012, being selected to serve on the panel of judges for the Anaheim Marketplace Annual Folklorico Competition.

Of course it's hard to calculate the total number of performances Richard has done during his 25 years of dancing.  He has performed all over the place and he never kept a detailed record of each performance.  All I know is that he frequently says, "I performed there" or "I danced for them".  I recall that he made a list once of all the different dances he learned and performed over the years. The list had several hundred dances on it, including multiple variations of the same dance.  He's probably danced the Jarabe Tapatio several thousands of times over his 25 years of dancing.  That's really something in my opinion.  Just goes to show, if you commit to something an stick to it, you can create a rich history.
 

 

As I mention in the early weeks of the blog, the first time I ever saw Richard perform he caught my attention.  There was something different about him.  He had that "it" factor.  He is unique, original and fresh.  There's just something about him.  He has a level of engagement and connectedness with his partner that goes beyond what I have typically seen.  He's a pleasure to watch dance. There is also an element of showmanship that exceeds the norm. Very entertaining! Some may say I am partial, but I have seen him dance side by side with the "pros" and not only does he hold his own, but there is a rare quality about him that draws attention to him.  It must be that "it" factor.  There's no other way to describe or explain it.

 

Over the past couple years I have had the opportunity and privilege to dance and work along side Richard.  I have really gotten to know him well.  I have witnessed firsthand his level of commitment to folklorico and the sacrifices he has made to teach, direct, coordinate and perform.  It is an exhausting work and labor of love.  He has paid the price.  I've heard him say that "he did not have a normal childhood" as he was dancing all the time.  He also paid the price by going the extra distance in a somewhat competitive folklorico world.  With an abundance of folklorico dancers and groups in the Los Angeles area, it is easy for you to be replaced.  During his time at Pancho Villas he was injured in an automobile accident.  There was no time to find a replacement and not wanting to lose the venue, Richard performed with a broken collar bone.  He paid the price.  He recalls it took three people to help in get into the charro costume.  The mariachi were shocked at the bruising on his body. Nonetheless, the show must go on, and it did.  He recovered and Herencia kept the venue.  Some may think that's ridiculous and extreme, but as I've stated before, there's always someone willing to pay the price.

 

Being a dancer with longevity has its challenges.  Richard has had his share of battles with weight and with all the affects of aging.  Even so, his feet are still tapping away.  After 25 years you would think that one would burn out, and at times he has, but he has always found a way to keep going and stir up the excitement to continue on.  I know that there was a time when he was ready to give it up and move on in life, but he knew how much I enjoyed the dancing, so he stuck with it for my sake. He knew my commitment to Herencia.  Together, we have managed to keep it going.
 

 

In closing, I want to say that I believe Richard Solorzano is the "real deal".  He has lived the folklorico life and I applaud him.  What an honor it has been for me to come along side him. Thank you Richard for being you.  Richard has had the added benefit, honor and privilege of reading each Big Wedo post before it has been published.  Now there's an advantage worth dancing about! He's so lucky! LOL!

 

 

There you have it folks, 52 weeks of One Big Wedo!  How did I do?  Hope you enjoyed them. In closing, I want to give a quick shout out to my friends at Miicamisa Folk-Urban Wear. Thanks for your encouragement and support! Check them out online and on Facebook. Until next time ya'll - Wedo out!  And remember, do not fear, "I'll be back!"

 

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.

 

 

Viva Mariachi - Week 50

Hello & Welcome Back!  Before we get started, I want to wish everyone "Happy Holidays!"  I also want to apologize for the erratic blogging and posting these past few weeks.  With the holidays upon us and all the year end performances, the blog has suffered.  But do not fear, I am still writing and posting, so please bear with me as we get through this busy season!

A special shout out to Afghanistan this week, thank you for joining in on my blog-dancing journey.  This week's topic is Mariachi.  I haven't really gone into the details of mariachi throughout the course of the blog yet.  I've mentioned briefly performing with them, the charro attire, and that it originated in Jalisco.  That's pretty much the extent of it thus far.  Truth is, you can't get too far into the world of folklorico without coming into contact with mariachi!  It's a wonder how this topic hasn't been addressed until now!  We are already at week 50, so lets not delay any further!
 

The term "mariachi" is diverse and can be used to refer to:  the type of a music style, a group of musicians that play mariachi music or music set and/or arranged for mariachi musicians to perform, or just one musician. So, how is the term defined?  Wikipedia explains:

"Mariachi is a form of folk music from Mexico.  Mariachi began as a regional style called "Son Jaliscience" in the center west of Mexico originally played only with string instruments and musicians dressed in the white pants and shirts of peasant farmers.  From the 19th and 20th century, migrations from rural areas into cities such as Guadalajara and Mexico City, along with the Mexican government's cultural promotion gradually re-labeled it as Son style, with its alternate name of "mariachi" becoming used for the "urban" form.  Modifications of the music include influences from other music such as polkas and waltzes, the addition of trumpets and the use of the charro outfits by mariachi musicians.  The musical style began to take on national prominence in the first half of the 20th century, with its promotion at presidential inaugurations and on the radio in the 1920s."
 

The size of Mariachi groups depends upon the availability of musicians.  Similar to the world of folklorico dancers, many mariachi musicians go from group to group to group.  Meaning, they'll perform with this group under this name today and then perform with a different group under a different name tomorrow.  Although some musicians stick to performing with the same group all the time.  Typically groups consist of as many as eight violins, two trumpets and at least one guitar; however, it is common to see up to three guitars.  Mexican folk harp is another instrument that you may see in the ensemble.  As far as the guitars are concerned there is the vihuela, a high pitched round-backed guitar which provides the rhythm, and the guitarron, which provides bass and rhythm. All the instruments are Mexican variations of European instruments.  Vocals are often provided by various musicians in the ensemble, taking turns singing lead.
 

As far as the term "mariachi" itself, Wikipedia states this about its origins:

"The word Mariachi was thought to have been derived from the French word mariage ('marriage'), dating from the French Intervention in Mexico in the 1860s, related to the music's appearance at weddings.  This was a common explanation on record jackets and travel brochures.  This theory was disproved with the appearance of documents that showed that the word existed before this invasion.

The origin of the word is still in dispute but most of the prominent theories attribute it to indigenous roots.  One states that it comes from the name of the wood from which the dance platform is made. Another states that mariachi comes from the indigenous name of a tree called pilla or cirimo; yet another states that it came from an image locally called Maria H (pronounced Mari-Ache)."
 

Mariachi Vargas de Tecalitian is recognized as the oldest and most famous of all the mariachi ensembles. It was founded by Gaspar Vargas in the late 1890s.  The ensemble tours throughout the world.  I have personally seen them twice, once at the San Manuel Casino in San Bernardino and the other time at Mariachi USA at the Hollywood Bowl in Los Angeles.  Herencia uses many of their musical arrangements to dance to.  

There are many, many groups out there.  Some of the other famous groups are Mariachi Sol de Mexico, Mariachi Los Camperos and Mariachi Divas, just to name a few.  Many groups have received Grammy recognition.  Recently I had the privilege of dancing the Jarabe Tapatio at a private event with Mariachi Los Camperos.  I have also had the pleasure of meeting and performing with several other mariachi over the past couple years.  It's always a highlight at any performance to dance with live mariachi. A personal observation I've made from performing with live mariachi is that they often speed up the tempo of the music during live performances.  I think they enjoy seeing the dancers sweat!
 

In addition to Mariachi groups, there are several individuals that have gained fame and stardom as mariachi musicians and singers.  It would be impossible to list them all.  In the United States, most people have heard of Vicente Fernandez, he is perhaps the most popular and recognized entertainer here.  A couple other names often mentioned are Jose Alfredo Jimenez - a great composer, and Javier Solis.  I recommend all my readers to spend some time to familiarize themselves with the music and people and groups associated with it.

Mariachi music is performed all over at all kinds of events.  Musicians are often expected to take and play requests, requiring the musicians to know hundreds of songs in their repertoire.  You can see them perform at festivals, fairs, religious celebrations, Catholic Mass, weddings, parties, Quinceaneras, and for private serenades - only to name a few places.  As I've mentioned in several of my blogs already, folklorico is part of the California culture.  Since folklorico and mariachi go hand in hand, the same can be said for mariachi music - it's part of the Californian culture.
 

Here in the Los Angeles area, several restaurants have drawn clientele by providing Mariachi entertainment for guests while they enjoy delicious Mexican cuisine. Sometimes they even have folklorico dancers accompany them for the shows.  Some of the local favorites include Casa Sanchez, La Fonda, Guadalajara Grill, Fiesta Mexicana, Pancho Villa's and La Paz.  The Sunday Mariachi champagne brunch is another favorite event Southern California's enjoy. And on weekend nights, it's always fun to go with a group of friends and watch the shows while enjoying drinks from the bar. Salute!  I have personally danced at Fiesta Mexicana Restaurant with the Mariachi there!  It was an unforgettable experience.  Richard and Herencia Mexicana was the resident dancers for Pancho Villa Mexican Restaurant for over four years.  You can still see them in the television commercials for the restaurant today.  Head over to the Pancho Villa's Mexican Grill & Entertainment website and view them!
 

In Los Angeles you will also find the Mariachi Plaza (Boyle Heights, specifically) that has gained much popularity for the mariachi that gather there and are for hire.  I have spoke of this landmark on several occasions during the course of my blog and look forward to performing there one day.  And yes, I'll blog about it and post pictures when that happens!  I believe it will very soon!

Another local event of great fame is the Mariachi USA concerts that happen at the Hollywood Bowl and are televised.  Visit Mariachi USA on their website or on Facebook to get all the information and updates for future events.  I attended the show this year for my first time.  Hopefully one day I'll go and see Richard perform there!  In addition to the concert at the Bowl, there are other events that take place in Las Vegas and a new one for 2014 in Cochella Valley!  You can also check out Mariachi USA Radio and enjoy the music 24/7!

What we see today of mariachi and the music is a modern development.  Wikipedia state this:

"The common perception of the music and look of mariachi developed in the 20th century, as the music was transformed from the regional folk music to an urban phenomenon that came to represent Mexico.  The music was first introduced in Mexico City in 1905."
 

So how did Jalisco become known as the birthplace? From my reading the origins of mariachi come from a variety of areas within Mexico.  Jalisco was very popular for the son style called son Jaliscience.  The song "La Negra" is among the most famous.  Son music featured string instruments and was divided into various regional varieties. Wikipedia states this as to origin:

"The distinction of mariachi from the older son Jaliscience occurred slowly sometime during the 19th century. The music originated in the center-west of Mexico.  Most claims for its origin lie in the state of Jalisco but neighboring states of Colima, Nayarit, and Michoacan have also claimed it.  However, by the late 19th century, the music was firmly centered in Jalisco.  Most legends put the origin of the modern mariachi in the town of Cocula, Jalisco."
 

As I wrap this week up, I want to touch on one last topic.  That topic being dance of course! Wikipedia says this:

"Mariachi's beginning as a son meant that it was originally a form of dance music and dancing is still important to mariachi.  The most common dance technique found with mariachi is zapateado, a kind of footwork from Spain with pounding movements into a raised platform that often provides the percussion rhythm of mariachi and son music.  The dance performed varies by region.  Another dance style associated with both son and mariachi is jarabe, including the Jarabe Tapatio or Mexican Hat Dance."
 

Although mariachi music is Mexican folk music, I see a growing trend of mariachi groups removing the dance element from live shows.  It has been expressed that dancers upstage the mariachi and people focus on the dancers more than the musicians.  How sad.  The two are one, but more and more I see mariachi and folklorico being separated, although the dancers still perform to mariachi music. Dancing always adds to a show in my opinion.  I think that we need to set aside any barriers and have more shows with both being represented.   That's my opinion anyway.

That's it folks!  Viva Mariachi!  Come back next week for Viva Navidad!  Until then, 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.