Commitment Failures & Uncertainty - Week 15

Welcome India!  Thank you for checking in on the Big Wedo!  Glad to have you on board.  One Big Wedo had over 130 pageviews this week alone!  Guess the word is getting around.  This week I had a case of writer's block.  Usually, I am inspired the week before I begin to write the next week's post.  This week nothing was simmering in my spirit.  Week 16's post was however, so next week is all planned out already in my head.  Yes, I have lots of ideas for future posts, I listed many of those on week 9, but I don't write them until I feel inspired to do so.  They have to write themselves in a sense, I don't like to force or work too hard on them. 

In an effort to determine what I should address this week, I confided in Richard.  His suggestion pulled concepts from several different blog ideas I had already in mind.  So, I'm running with it in my own special way.  Ladies and and gentlemen, I present to you week 15's blog:  Commitment Failures & Uncertainty!

COMMITMENT FAILURES & UNCERTAINTY!

I believe, one big reason I have had so much opportunity in the world of folklorico dancing is because there is a shortage of male dancers overall.  I'll admit, it is bizarre for a wedo to dance Mexican folk dance, especially when it's not part of his specific culture.  Granted, The United States Of America is a sort of  'melting pot' of people and cultures.  Interestingly, Mexico is considered the other great American melting pot.  Now there's something we share in common.  But let's be real, there are differences still and characteristics that make us distinct from one another.  No, I'm not having a cultural identity crisis, as I've stated before.  And I'm not someone who is preying on a culture in hopes of fame or to capitalize upon it.  I'm not in this to exploit anything.  The doors have opened for me because I have stayed consistently committed and have proven myself thus far in the journey.

So what's going on in the folklorico world?  Why is there a shortage of dedicated dancers?  There are many, many, many folklorico groups out there - school groups, community center groups, church groups, family groups, social groups, performing groups, academy groups, dance companies, on and on it goes.  Every time you turn your head practically, it seems like another group has popped up on the scene.  Yet, in many instances, these groups are struggling both financially and/or with participation from consistent dedicated dancers.  Sadly, many of these groups are short lived and vanish just as quickly as they appeared.   Typically, from what I've seen, there is an abundance of women dancers and only a couple of men in most groups.  Why is that? 

There are a number of big name mainstream folklorico groups out there.  They have survived the test of time.  "Survival of the fittest" is what some may argue.  They have an established reputation and are popular, respected and revered which has given them power and influence.  Serious dancers seek them out.  Some groups have  waiting lists of people that want to join.  Some groups require auditions.  This makes me wonder, what is it about these groups that causes serious dancers to seek them out so diligently?  What's missing in the other groups?  Is it the name? Perhaps.  But I think there is something deeper going on here. 

CURRENT SOCIETY:

In the USA, mainstream folklorico dancing is looked at as a form of entertainment these days.  Perhaps in some internal cultural settings and/or cultural art presentations, it is more about tradition and heritage.  But for current society in general, I think it gets lumped into the category of entertainment even though aspects of the culture are built into it.  So for the most part, folklorico dancers are in the entertainment business.  So many of the groups out there are utilized for entertainment purposes at parties and celebrations.  But what about those individuals that do not want to be in the entertainment business?  Well, there are groups out there for them too.  The key to everyone's folklorico success and enjoyment is finding the right group for themselves.  There is a perfect fit for everyone who wants to dance.

From my observation, most accomplished and skilled folk dancers are indeed entertainers with a huge desire to perform on the stage.  They are highly driven people.  Although some are devoted solely to the art of folk dancing and keeping it alive, many are motivated by money.  In the USA, there is an obsession with "getting paid."  Some dancers feel that they have paid their dues and have reached a level where they are entitled to financial compensation.  Especially those who have endured.  They want to be compensated for their longevity in the business.  Very much the American way.  Therefore many of the larger performing groups and companies cater to these individuals.  "Show me the money!" 

On the flip side, there are those groups that are more for extra curricular activity and participation.  They tend to attract those who dabble, dilettantes, in folklorico dance.  These are often beginners or people who are dancing as a hobby or for exercise.  These can be great places to establish the basics.  However, they can be places that also develop bad habits as well.   Even some of the large name groups are very basic in their teaching.  They are impressive because they fill the stage to capacity with dancers, yet the footwork is basic and the entire dance is the same steps repeatedly and overall they lack variety and complexity.  

A common theme I see in today's society is parenting skills have changed.  Many people do not encourage their children and help them in their success.  Where is the tough love?  Many of the exceptionally great dancers are the products of parents supporting their children through drive.  Many were products of tough love and although they may not have appreciated it at the time, they realize afterwards, in their time of achieving skillful mastery of the dance, that it was their parent's tough love that caused them to succeed.  These days it's all about feelings and participation.  Everyone's a winner.  No discipline needed.  Personally, I feel it has led to a lazy and blase attitude in America's children and youth.  Whatever is ok.  "It is what it is."  No, it is what you make it or allow it to be!  Parents have a responsibility to instill in their children a sense of motivation, drive and accomplishment.  Otherwise their children risk never becoming much in life and growing up never reaching their full potential.  Obviously there is a right way of going about it, I am not encouraging child abuse or harm to children.  Please don't read that into it.   

One aspect of show business is the obsession with youthfulness.  Folklorico is no different.  Many groups and companies seek the youth of America.  Why?  They are vibrant, alive and full of energy and they visually portray an image that the culture seeks to advertise.  That image being vibrant, alive, full of energy and youthful.  Many paying employers want that image of the culture portrayed in their businesses as well.  So this leads to the idea or mentality that folklorico is for the young only.  I believe this is why so many give it up early on in life.  I hear people say all the time to me, "Yeah I danced folklorico when I was a kid."  I always ask them, "Well why not now?"  There response, "I'm too old."  The reality is they are only in their 30's!

Current society has also created many additional expenditures to dance groups.  Many studios require insurance now due to the sue happy society.  Everyone has to watch their back these days.  The costs add up and it's no wonder that many folklorico groups remain small and practice in backyards or garages to avoid the overhead of running a group.  In addition, there is an added challenge for obtaining financial donations.  Everyone is looking for a tax deduction.  Who can blame them?  People are taxed to death and every little write off helps.  The trend I see is that people will not donate money unless they get to take it off their taxes.  Therefore, groups are burdened with establishing themselves as non-profit businesses. 

DRIFTERS:

One common type of dancer in the folklorico world I have seen is what I call "drifters."  These are people that have established themselves as good technical dancers.  They tend to jump from one group to another group, then to another group, then yet another group in a drifting kind of pattern.  Or they may overly commit themselves and join several different groups all at once.  They are good dancers so they are in demand and are often asked to fill in or help out.  There is nothing wrong with that if the dancer possesses the professional qualities that keep them on top of their game.  However, many good dancers get caught up in a whirlwind of excitement and potential leading to mediocrity.  They never truly master any one group's material and may be considered as unstable and unreliable.  Oftentimes, drifters go wherever there is money to be made and/or dues are waived.  Good dancers get recycled in a sense, used over and over in many different groups.  It is strange to see the same people in multiple groups, dancing under a different group name each time they perform.   

Just as there are potential disadvantages, there are some advantages to drifting.  For those who enjoy dancing a lot, well they get to dance a lot.  Individuals may learn many new techniques and styles and become flexible and grow as a dancer.  These dancers help build alliances between groups and empower a folklorico community atmosphere.  However, they can be a frustration to directors because if they do not retain the material at the time a group needs them to perform it, they may end up as no good use.  This kind of person may be labelled as more self seeking than loyal.  However, in fairness to this type of individual, I will say that one group may not be able to fulfill all of their personal forklorico career goals depending on what their goals are. 

I too have done some drifting.  Early on in my dance experience I participated in a couple groups.  My loyalty has always been to Herencia Mexicana.  However, in the early days I wanted to learn as much as I could and so in the effort to become a better dancer for Herencia, I participated in other groups and workshops.  Then, I realized that although it was helpful in many ways, it also was somewhat harmful and I had to make a choice and set a boundary as to what I was going to allow myself to get involved in.  I had learned one version of Jarabe Tapitio in one group and another in Herencia and the two different versions caused me to get jumbled up at times.  Perhaps it's my ADD.  But I see the same thing happening with other dancers as well. 

So I made a choice.  Now I only dance regions or songs that Herencia does not teach or perform when I dance with other groups.  This way there is no confusion.  Please don't misunderstand me, for those who can handle it, by all means dance your heart out.  But for others, its not a good thing necessarily.  Workshops are good alternative if your looking to build technique and gain exposure to various styles and regions.  These are often short term commitments to help you grow and may be a better option than joining several dance troupes.

DRAMA IN THE RANKS!

As I have mentioned before, I am in college studying theology and Biblical studies.  One thing I learned in Church History is all about splits.  No, not the splits of the legs sort.  I am talking about churches that split over schisms and rifts.  The folklorico world is not different.  It has its share of drama!  Just as there are many denominations in the church, there are many schools of thought in the folklorico world.  In a future post we will explore modern folklorico dancing and some of the different schools of thought out there.  On a side note, membership and demand often are used a qualifiers to legitimize a particular group and their worth to the art.  Therefore, this allows them to have more control over the rules and influence.  It's funny to me how some groups and directors are acknowledged and credited over others.  Why are so many styles discredited?  I think that some of these groups are so well established that they have firmly secured their place and when they're vocal, people listen.

Back to the splits.  How many successful and great folklorico groups have been ruined and compromised by member leaving?  I think there are many.  Why?  Ego may have something to do with it.  Sometimes it's a disagreement between members and an offended party leaves.  Boredom is another reason.  Control is another.  Some dancers decide they want to start their own group.  The reasons are many.  What results from all of this is multiple groups stemming from one original core group.  Which is good for the survival and spread of folklorico dancing.  But the downside to it is that there are multiple groups, often fighting for survival, that are all doing the same material.  There is lack of variety.  I know of several such instances in the LA area.  So many groups all doing the same thing locally.  Had everyone stuck with it in the original group, there would be one strong group still.  It makes sense to me when there are different chapters of a group like one chapter in Mexico and another chapter in Los Angeles.  The distance between them make sense, otherwise you get a lot of copies.  When I studied music my teacher use to always say, "Don't be a copy.  Be an original!"

THE IN-BETWEENERS AND WISHY WASHERS:

Another category of people who dance are those I call the "in-betweeners".  These people are often too advanced for community groups, but not ready for the pros.  They have a lot of potential if they commit.

"Wishy Washers" are people who have all kinds of good intentions, but never follow through.  There's a famous quote that states, "The road to hell is paved with good intentions." These folks fail to fully commit.  They will emphatically talk about how dancing is there passion and true love, but at the end of they day it's all talk.  All words, no action.  They come to the occasional practice whenever it fits into their social schedule.  They never consider building their schedule around the dancing.  Every little thing tends to end up more of a priority than the dance group.  Many only want to perform.  They are quick to show up to a performance but look foolish on the stage when they really don't know the material.  Ultimately they end up wasting a lot of the group's time and efforts.   

MEN:

What's up with the men?  Where are all the men at?  The world of folklorico needs more men to dance.  Just like the Army we are "looking for a few good men!"  I get the impression that although many men appreciate the dancing, they just don't feel it's for them.  Let someone else do it.  More so than women, men are quick to offer their services for shows, but don't want to practice.  They have better things to do with their time apparently.  Men are all about machismo.  I get the feeling that some men feel that dancing compromises their manhood and may make them appear weak.  The attitude of "dancing is for women."  Yet, go to any club out there and you see men dancing with their women all over.  Is it the costumes?  What's the deal?  One man told me he felt this was because of the "art" factor.  Folklorico is an art form now instead of just another form of social dancing.  This discourages men from participating.  Men do not want to be "artsy".

DIRECTOR'S DILEMMA:

Winston Churchill said, "If you're going through hell, keep going."  I encourage directors to keep going and don't allow people's failed good intentions stop you!  The abundance of inconsistencies and turnover in a group can be a nightmare for directors when it comes to planning shows and so on.  It makes it difficult to manage a group.  Truth is, both directors and dancers are both responsible for a group's survival.  In some struggling groups I have seen directors out of desperation become overly accommodating to individuals in hopes of keeping them on board.  Likewise, I have seen directors make significant changes over one or two individuals in hopes of potential membership.  Director's can be too tolerant of irresponsible behavior.

Of course, all groups have a natural attrition rate.  People have major life changes that cause them to leave the group.  High school dancing students graduate and go off to college.  People get married.  There's a whole list of good reasons why people quit.  But many people drop out because they don't possess a genuine desire to dance.  They just don't want to prioritize their lives, dedicate themselves, sustain responsibility and manage their time and so on.  Folklorico dancers need to be held accountable if there is going to be a team atmosphere in a group.  When half-hearted people join a group, it brings the whole group down and discourages people, often resulting in a plummeting snowball effect in members leaving and/or dropping out. 

I believe that the major reason that so many talented and skilled individuals seek out mainstream hard core groups is because they are tired of people that are not fully into it.  Famous groups tend to be very strict on their policies and rules which attracts serious people.  Sometimes the more skilled and dedicated the person is they can develop a bit of an attitude, even come across as arrogant.  It doesn't make it right, but it does make it understandable why.

I believe dedication is the key to success.  It is the most important factor.  Dedication is more important than technique and experience.  A person has to make the choice to be dedicated.  If a person is dedicated they will inevitable develop the skill and technique.  Therefore, I would recommend to directors to build your groups around your most dedicated dancers.  Cater to them.  They are your greatest asset.  Your most dedicated dancers will become your best dancers and represent your group well, which will attract others to join. 

CLOSING:

So your probably asking at this point, "Mike, where is this all going?"  First, let me just say that I am not trying to cast a shadow on folklorico dance groups or people.  I don't want to present a negative image; However, I feel that it is my responsibility in blogging to be honest and true to my experience and observations, regardless if they are good, bad or ugly.  I'm simply stating the facts and keeping it real.  All this is, is a wedo's take and analysis on the folklorico industry.  Perhaps my obsession with perfection is influencing me here too strongly.  Or perhaps people just need more commitment. 

Regardless of my opinion here, folklorico will continue on, just as it has for the past several hundreds of years.  I agree that folklorico groups should be fun and enjoyable for everyone.  And there valid reasons for people to miss practices and/or performances, even quit and/or leave. Bottom line is the level of your commitment to it will determine the level of your success and progress.  It also determines which group is right for you!  And for the sake of argument and fairness to everyone's viewpoint I will ask the question, When does folklorico dancing stop being folk dancing and become a perfected art form instead?  I would love to hear your thoughts on that!

    

That all being said, the market is changing out there.  People's expectations in the current society impact dance groups.  Groups are defining themselves more and more and distinguishing between being a program versus a dance company.  Many groups are establishing themselves as non-profit organizations.  With all this activity going on with people and dedication, Herencia Mexicana has had to rethink and reevaluate itself.  There have been multiple challenges to the group including significant fluctuation in membership.  Providing costumes and low dues just aren't cutting it anymore and haven't attracted the right people for a performing group.  So, change is needed.  What does that all entail?  What does that mean for the future?  Time will tell!  There is more to come and you'll have to stay tuned to find out!

To Be Continued..............

Wow!  I guess I got over my block!  I sure said a lot.   

OTHER NEWS:

This week I was asked if I realized that guero had two dots over the "u" in proper spelling and puncuation.  Yes, I do.  I just don't know how to get my computer to do it!  In college, I studied a lot of various languages in diction and phonetics classes.  In German, we called those two dots an umlaut.  I like to call them a "wedo umlaut", now if I could only get my keyboard to cooperate!  Other terms for this diacritic marking are diaeresis or trema.   And since were talking about punctuation and language, I read an interesting statistic on mexicomatters.net this week that ties into last weeks post on language.  According to this resource, "65% of Mexico's population is indigenous and a significant percentage do not speak Spanish."  Wow, the wedo isn't the only one after all!

This week I saw The Mission Play at the San Gabriel Mission Playhouse.  There was one scene that stood out to me that I thought was a nice display of various folk dances from different cultures.  In the second act, there was a wedding reception.  At the reception, there was flamenco dancing from Spain, tribal dancing from American Indians and Chinese folk dancing.  It was neat to see all three in a production together like that.

Lastly, this week I was in Los Angeles and passed by the mariachi gazebo.  All I could think about was movie, movie, movie!  That's all for now, 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.

  

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.

Competition Movie Time! - Week 13

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

THE COMPETITION!

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

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

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

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

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

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

The Judges

Judging Criteria included:

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

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

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

THE DAY OF THE EVENT:

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

My niece Sarah (with Richard & the Big Wedo)

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

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

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

PERSONAL THOUGHTS:

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

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

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

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

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

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

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

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

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

THE MOVIE!

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

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

or

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

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

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

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

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

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

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

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

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

Contact Information for "The Big Wedo":

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

Contact Information for Ballet Folklorico de Herencia Mexicana:

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


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