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Showing posts with label zapateado. Show all posts
Showing posts with label zapateado. Show all posts

Sunday, December 22, 2013

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.


 
 

Friday, August 30, 2013

More Folklorico Terms! Test Yourself! - Bonus Post 3

Howdy!  As I was looking up the correct spelling for the Spanish word "DESLICES" for this week's post, I came across this folklorico terminology resource by PELINKS4U and wanted to share it!  So here it is!  But first, deslices: a verb which means to slide, glide or slip. 


Basic Terminology
It is important to use the correct terminology and language in the teaching of the basic dance steps, or the pasos, through the footwork referred to the as the zapateado. The challenge in Mexican folklórico dance is that not all terms for the various steps have been standardized, like in American square dance, which can result in confusion. It is important to note that the terms used depend on the teacher or the maestro. A quick reference for a selection of common terms and basic pasos may include:

Posición tusa - Standing with the knees slightly flexed to facilitate and execute the dance steps or pasos.
Golpe - Refers to the basic foot stomp on the floor.
Remate - Execution of a sequence of foot stomps.
Sequencia - Combination of steps for a given phrase of music.
Sencillos - Single foot stomp which can be alternated with each foot or repeated with the same foot. Example: stomp once with right foot, stomp once with left foot, etc… May be done in place or in different lines of direction. The speed may vary from slow to fast.
Dobles - Double foot stomp which can be alternated with each foot or repeated with the same foot. Example: stomp twice with right foot, stomp twice with left foot, etc… May be done in place or in different lines of direction. The speed may vary from slow to fast.
Metatarsal y talón - Landing or making contact with the ball of the foot followed with the heel.
Paso de tres lentos or balseados - Landing lightly flat footed then alternating landing with the toes or metatarsal with the opposite leg and repeat such as landing whole foot right, toe left alternating right toe. Similar to the basic triple step.
Paso de tres zapateado - Consists of doing three consecutive stomps alternating the foot that is doing the action. There is an accent on the first stomp only followed by a lighter stomp on the second and third beat.
Sequidos - Continuous steps that are done with scuffing with the heel followed by making contact with the whole foot such as scuff right foot on floor and stomp with right foot then alternate with the left foot.
These basic pasos and terms can easily be taught, and serve as a great start for becoming familiar with Mexican folkloric dance.

Another resource I found this week was on quizlet.com.  Here are 24 Mexican Folklorico Dance Terms & Facts everyone should know!  The site is sort of like a flashcard set up.  Test your knowledge!

Folklore - a collective cultural knowledge of a group of people.

Dance - celebrates...life, mourns death, offers prayers, expresses a point of view, holidays, social events, life transitions.

Danza - Indigenous, Pre-Hispanic dances/rituals

Traditional Mexican Dance - is a collective social practice in dance.

Traditional Folk Culture - has to be passed down for 3 generations

Grupo Costumbrista - costumes/original, they seek to bring the dances of a community in a natural state to a stage.

Grupo Folklorico - present folklore with entertainment value, artistic value and seeks to balance the creative and traditional elements.

Ballet Folklorico - draws from the traditional forms only as inspiration for a creative interpretation.

Grupo Folkloroide - no cohesive artistic vision or foundation, they just mimic what other groups do.

4 elements of Folklorico Performance - artistic focus and intent, repertoire of dances, choreography,music and costumes.

Time Periods of Mexican History - 11 time periods

Pre-Classic or Formative - complex societies in development

Classic - complex innovation / Chichimecas

Post Classic - Chichimeca empire formed.  Defragmentation of complex civilizations.

La Conquista 1521 - Spanish declare war onto Mexico

War of Independence 1810 - Spanish born revolutionaries began the war of independence 1821 independent from Spain Mestizaje  

Mestizo - half Spanish, half indigenous

Criollo - someone or Spanish decent born in the Americas

Mulato - half black, half indigenous

Chichimecas - empire in north semi-nomadic

Chichimecas 4 ethnic groups - Pames, Guamares, Zacatecas, Guachichiles

Chichimecas - hunters/gathers, little clothing, paint their bodies

2 Wars - 1540-1542 Mixon Wars, 1550-1590 Chichinecas Wars

Dia de los Muertos - not a Christian holiday, celebrated before Spanish arrived.  Oaxaca - major celebration, Michoacán, Xantolo

Wow!  These terms really break it down!  I love it!  Be sure to check back for this week's post!

****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.

Sunday, April 7, 2013

Breaking The Language Barrier - Week 14



Thank You, Thank You, Thank You!  This week, One Big Wedo (Guero) the blog, exceeded 1065+ page views!  I am shocked!  That is awesome!  Here we are at week 14 and kicking off the second quarter of the journey.  Before we move forward, let's take a quick moment and review the journey thus far: 

Week 1:  Getting Started - The blogging journey begins!
Week 2:  In The Beginning - How the Big Wedo's dancing journey started!
Week 3:  The United States of Mexico - The motherland of folklorico!
Week 4:  History In The Making - The Big Wedo's lack of dance experience!
Week 5:  What To Wear? - Costumes anyone?
Week 6:  The Miracles of Dancing - Tragedy almost ends the wedo's journey before it begins!
Week 7:  Show Time! - Performances galore - Shake it Big Wedo!
Week 8:  A Personal Introduction - Who is this Big Wedo guy anyway?
Week 9:  Three Challenges - Stand up straight fatty!  Are you paying attention wedo?
Week 10:  What Is Folk Dancing? - A raw look at true folk dancing.
Week 11:  I Believe In Herencia - Ballet Folklorico de Herencia Mexicana - dance with the wedo!
Week 12:  The Tale Of Two Chinas - Wedo says, "Help save the chinas everybody!"
Week 13:  Competition Movie Time! - Folklorico competitions and the Big Wedo movie!


There you have it, the journey thus far!  Another way of looking at it could be summed up like this:

"Guero, Wedo, Whetto, Huero, Weddo, Wedoh y folklorico!"  Tada!  That was simple!  Please keep spreading the word around about the blog and lets see how many join the journey with us.


I received a lot of feedback this week on my movie idea.  Wouldn't that be something if it actually happened?  I'm thinking it could be an epic trilogy.  The first movie in the series could be called "Folk Wars".  This would be the original folklorico battle between The Wedos and La Familia.  In a shocking judging decision, The Wedos take the victory!   Part two could be called "La Familia Strikes Back".  This would be a second competition where La Familia returns to take on The Wedos to reclaim their title as folklorico champions.  But don't fear, there's a part three!  "The Return of the Wedi"!  In this final chapter The Wedos return to take on La Familia in a third folklorico battle, only to be both disqualified and in an unexpected turn of events the victory goes to the new Masai Tribe Ballet Folklorico from Kenya & Tanzania!  I love it, let's start production!


Several people chimed in on the casting for the One Big Wedo movie.  In the vote between Vin Diesel and Kevin Spacey, Vin won!  However, a number of you told me that you imagined Will Ferrell in the role of the Big Wedo.  That works for me.  Shave his head and let's role tape!  Other cast recommendations included Danny Trejo, Salma Hayek and Penelope Cruz.  Keep those ideas coming!



BREAKING THE LANGUAGE BARRIER - WEEK 14:


In a recent conversation someone asked me about the dancing.  Imagine that!  In the course of that discussion they made the comment, "Well that's good, you're learning the language."  In my response back I told them, "No, I still don't speak Spanish.  I just dance."  They replied, "That's what I meant, you're learning the language of dance!" 


There are several universal languages that break barriers.  Music, love and dance are three that come to my mind.  There are several others you could add to the list.  We communicate in many ways others than speaking.  Naturally, one would assume that if you're learning Mexican folk dancing that you would need to know Spanish.  Not so much!  Although it would be beneficial for someone to speak the language, it is not necessary.  I have learned from observing and listening to the sound of the steps as they are broken down.  Plus, it helps when teachers instruct in both Spanish and English.


When I first began in to learn the foundational steps of folklorico at the studio, Richard's assistant was teaching me.  She had me write down the Spanish terminology for the steps she was teaching me.  Some of the basic terms were:  remate, zapateado volado, cruzado, borracho, tornillos, huachapeado, zapateado, caretilla and tortilla.  Have fun trying to pronounce all of those!  Yes, I snuck tortilla in there.  I figure that I've eaten so many of them that I am carrying at least a couple of dozen around my waistline.  Doesn't that make them part of the dancing?  The tortilla jiggle!  How many of you are doing that dance with me?  Can I get a witness?  Now, for my own purposes I interpreted these terms into a type of morse code that I could understand.  For example, caretilla was translated as "flat, heel, flat, heel, flat, heel, flat..." and so on.  I really over simplified it because, as they say, "It's hard to teach an old dog new tricks."  This old dog is determined to learn these new tricks!

Of course, there are Spanish terms for all the different steps in folklorico dancing.  I'm not at the point in my dancing journey where I have the motivation and desire to learn all the technical terms.  Eventually I will get there.  Besides, everyone says I slaughter the language whenever I try to say anything Spanish anyway.  Not only am I trying to kill the "white gene" in my dancing, now I have to worry about my speaking too.  I'm a few weeks away from graduating Bible College, perhaps after that I'll sign up for a Spanish course.  I'll consider it.  Anyone up for the take of taming the wedo's tongue? 


As I started learning dances with choreography, I would sometimes write down the entire dance in my personal wedo-ised morse code.  Below are pictures of two of the dances I wrote out while I was learning them.  Some of my favorite words to use are:  flat, heel, toe, scuff, kick, tap, turn, stomp, left, right, accent, hop, shuffle, moonwalk, and drop it like it's hot.  Now that I have an iPhone with video capability, I prefer to video the dances I'm learning rather than write them out.  Also, I tend to do a lot of mental practicing in the car while driving.  I put on the song we're learning and I go over the steps and choreography in my head as I listen and drive.  Repetition is a good way of imprinting the dance in my brain; however, on occasion I've gotten so involved in my mental rehearsal that I missed my exit and drove half way back to Michigan practically before realizing where I was, or wasn't!  Another technique that works is speaking the code out loud while I'm dancing.  Sounds like another movie idea!  "The Folklorico Code"!





TIMING:

One aspect of the folklorico dance language is timing.  I have learned that Mexican timing is different than a wedo's timing.  Let me explain.  I find that Mexican, and other forms of Spanish, Latin, Hispanic, et cetra, music has a different feel and timing than other forms of music that are more common, perhaps, to white folks.  Therefore, the timing of the dance steps also has this feel to them.  It's unnatural to the wedo's internal clock.  I think you have to be surrounded by it from birth to get that sort of internal rhythm and feel naturally.  This wedo grew up in an environment free of Spanish music and influence, so this wedo is as stiff and uncoordinated as they get.  You have heard me mention before, I am working on "killing the white gene" of lack of coordination and lack of Spanish rhythm.  It has gotten better over time and with experience but that "gene" keeps trying to rear its ugly head from time to time and it has to be overcome and placed in submission.

I suppose I have a bit of an advantage learning these dances because I studied music in college.  However, the tricky syncopated and off beat rhythms can mess with you.  I've tried other forms of dancing like cumbia and salsa and I get all twisted up.  Better just stick with folklorico.  One thing that I've noticed in folklorico is the accent heel that is used almost all the time.  It's like a snap that help keep the tempo.  That's important because when your moving your feet a hundred miles a hour you can quickly get off beat.  Which brings up a good point, why does there have to be so many steps in so few beats?  Sometimes I feel like the it's a game to try to put as many different steps in a dance in as few beats as possible.  Here's 20 steps and movements you need to do in these next four beats that need to be executed crisply and gracefully with everyone in sync with each other!

Four toe taps, a turn to the left, four toe taps, turn to the right, hop, dip, skip three times, sway side to side, kiss the girl, turn twice, heel, hop, heel, hop, stomp, flat, toe, toe, do the splits, bake a cake, six jumping jacks, back flip, juggle, hop scotch, pose and smile!  Got all that?  Now you have 10 seconds to complete them.  On your mark.  Get Set. Go!  Now there's the "WOW" factor for you.  Aren't you impressed?  I counted 41 steps there, so I'll give you 20 seconds instead! Oh, and just one more thing to remember, "Never let them see you sweat!"


I use to watch a lot of those home design shows on television when I had my home decor store.  One show that I liked was a designer's challenge where they provided the designer with a very small space and then brought in a huge truckload of furniture and accessories and told the designer, "Ok, now make this all fit in that itty bitty space over there."  The designer's always met the challenge and came up with these unique and impressive spaces.  They used a technique called "intentional placement".  Everything has a place and everything is organized precisely to fit in its place.  That's how I feel about folklorico dancing. 

The best lesson in timing I learned early on was from a dancer named Jessica Ramos.  Jessica is an accomplished flamenco and folklorico dancer.  I performed Jarabe Tapitio with her for my first time ever.  We danced at Fiesta Mexicana restaurant with live mariachi.  Her timing was sensational and her experience dancing with live mariachi showed.  She danced as though she trusted them and she never stalled for a second.  I learned so much in those few minutes dancing with her.  Perfect timing.  Throwing caution to the wind, she danced with a sense of anticipation, not with aggression, resulting in a fluid movement in perfect unison with the music.  At one point we dance towards each other in a kicking motion.  As she charged towards me I recall thinking to myself, "OMG!  Here she comes!"
Something I've noticed about mariachi musicians is that they tend to play songs quicker when there are folklorico dancers performing.  Personally, I think they like to see the dancers pushed to their limits.  For skilled professional dancers it may not be a problem and it is exciting to see the rapid feet movement.  For me, I prefer consistency.  So when I practice to a particular version of a song at a particular tempo, I like to keep it there.  But all great dancers have to be flexible in both body and performing, so I will continue to kill the gene and step out of my comfort zone.  All I'm saying it's difficult for me to speed up when my internal clock is slowing down.

EXPRESS YOURSELF!

"Own it," that's some of the best advice I've gotten, "and remember, you are telling the story of the music through dance."  As I have discussed in some of my other posts already, many of the songs are based on folk tales and lore.  The dancing is a visual interpretation or representation of the tale.  These dances are layered.  The longer I dance them, the more details I pick up.  There are nuances and styling that take time to learn and implement.  I don't think you ever stop learning a dance, you just keep improving it and building upon what you've learned. 

Often when you begin to learn a dance, you learn the basic steps in lines and in place.  No, I'm not talking about country line dancing here, I'm talking about practice lines.  Then after the basics are established, you add choreography.  When you add movement to the steps, or travelling, they take on a different feel.  Yes, they are the same steps you were doing in place; however, with movement it sometimes feels like learning something completely new.  So I find that it is better to practice with movement so that the transition to choreography is not as huge of adjustment. 
There are many subtleties and detail I have yet to learn.  One thing I have observed is a particular shoulder action in the dances from the State of Jalisco.  I want to master that.  There is also foot placement.  I have noticed that more experienced skilled dancers place there feet certain ways on particular steps.  I want to learn that too and be consistent in doing it so that I can become a great dancer too.

Recently, I took a couple folklorico workshops that taught the region of Guerrero.  I will be blogging about the workshops in a future post.  But, since we are talking about communication and language, one thing I learned in the workshop is that the use of the bandanna is actually a tool of communication with your partner.  The male can instruct his partner with a flip of the wrist and tell her which way to travel.  No words, just body language.  Next time your at a show, look for the communication and how partners engage.  It adds a whole new level of appreciation. 


In closing, I think it is funny how two people can have a completely different idea or interpretation of the same word.  I've noticed that white folks and Mexicans have many different concepts of words and their meaning also.  So part of my journey has been growing in understanding that difference.  Richard has learned to speak "wedo" and I am learning, or at least attempting, to understand exactly what is meant.  Recently, I was executing a movement too rigidly.  Richard told me to be more "relaxed" with it because I looked like I was marching in a band.  Well, I took that as something other than his intent.  Then he changed his wording and said, "Make it 'softer'" and that got the result he was looking for.  It's all about communication.  Let's keep breaking those barriers and start building some bridges! 

That's all folks!  At least for this week.  If your not busy April 13th, come check out the show!  Until next week, 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

Duarte Studio Practices:
Herencia Mexicana practices on Saturdays from 3:00 to 5:00 pm. Please call before coming!

Note: Looking for your own adventure or journey? Herencia is a great place to find one! Herencia Mexicana practices in Duarte, California. 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.