Ballet Folklórico de México is a Mexican folkloric ensemble in Mexico City . For six decades, it has presented dances in costumes reflecting the traditional culture of Mexico . The ensemble has appeared under the name Ballet Folklórico de México de Amalia Hernández.
17-671: From the group's founding by Amalia Hernández in 1952, the group grew from eight performers to a fifty-piece ensemble by the decade's end. In 1959, the group officially represented Mexico at the Pan American Games in Chicago , United States . In 1963 Guillermo Keys-Arenas was the Assistant to the Director of Ballet Folklórico de México, while in 1969 he was its Artistic Coordinator. The music and dances reflect various regions of Mexico. Many of
34-538: A diverse outlook of Mexico. For example, her most famous dances (Melodies of Michoacan, Deer Dance, Jalisco, Fandangos) all spotlight certain areas of Mexico, along with their cultural traditions. On September 19, 2017, a Google Doodle was released to honor Hernández’s 100th birthday. Ballet Folkl%C3%B3rico de M%C3%A9xico Ballet Folklórico de México is a Mexican folkloric ensemble in Mexico City . For six decades, it has presented dances in costumes reflecting
51-473: A short while. Ultimately, the call of dance was too strong, for she began to work at the Fine Arts National Institute as a teacher and choreographer of modern dance. She was unsatisfied and unfulfilled with her dancing, however, unable to connect with modern and European dance: “her cross-breed feeling, her contemporary mexicanism, vibrated with the half-breed’s resonance, already defined and on
68-519: A studio in their home. Her father was quoted as saying, “... there is no other alternative but to accept the career Amalia was born to have”. At the age of 17, she entered the National School of Dance directed by Nellie Campobello , which marked the beginning of Amalia’s serious involvement in dance. After some conflicts with the director of the school, however, Hernández dropped out and consequently married, effectively putting her career on hold for
85-592: The Pan American Games in Chicago , Illinois, in 1959. Hernández created over 60 choreographies in her lifetime. Since 1960, Hernández's Ballet Folklórico de México has performed without interruption Sunday mornings and Wednesday evenings at the Palace of Fine Arts in Mexico City . Additionally, she founded the Folkloric Ballet School in Mexico City. Her brother, architect Agustín Hernández Navarro , designed
102-808: The United States and has appeared in over 80 other countries. In 1963, the ensemble issued a 'Living Stereo' LP record , Ballet Folklórico de México, on RCA Records of Mexico. Songs on LP record include: Flor De Piña, El Sapo, and El Patito. Ballet Folklórico Mexicano Ollimpaxqui, Ballet Folklórico Puro México (based in Toronto, Ontario , Canada ) and Grupo Folklórico Cotzal de Acuña in Ciudad Acuña also present performances of traditional Mexican dances. Some alumni from Ballet Folklórico México are members of these ensembles. Amalia Hern%C3%A1ndez Amalia Hernández Navarro (September 19, 1917 – November 4, 2000)
119-461: The beginning, and for their debut, Hernández presented the now-famous Melodies of Michoacan. In 1954, the chance to perform on television presented itself in the form of the Funcion de Gala program. This is when the momentum began to truly pick up, the group performing a new dance every weekly broadcast. Success was garnered, and Hernández not only became director; the group expanded to twenty members by
136-411: The building in 1968. Born in Mexico City on September 19, 1917, Amalia Hernández grew up in a wealthy home as her father was a prominent businessman with military and political involvement. She has been known to credit her mother for her interest in the arts, explaining a childhood full of art, singing, and music lessons. Her parents encouraged her interest in dance, her father going so far as to build
153-508: The end of the 67 episode run. With that small amount of success came recognition, and Hernández’s company gained the attention of the department of tourism. The government endorsed her group, aiding her in touring North America in representation of Mexico, the results absolutely positive. By 1959, the group had grown to sixty members and was commissioned to participate in the Pan American Games in Chicago on behalf of Mexico. Being catapulted onto
170-466: The ensemble's works reflect the traditions of indigenous Mesoamerican culture. The number of performers in individual dance ranges from two to over thirty-five. Under Amalia Hernández, the group pioneered Mexican folk dance . It is practiced by many people in America as well as Mexico. The ensemble performs three times weekly at the Palace of Fine Arts in Mexico City. Additionally, it has toured widely in
187-487: The national stage, Hernández and the company only worked harder, creating 40 different dances in the 1960s alone. Following from there, her prominence as a cultural icon was only cemented further, as she went to choreograph about 70 dances, with performances around the world. In fact, the company has “performed more than 15,000 times for a total audience number of more than 22 million people”, one of those performances being for John F. Kennedy during his presidency. Hernández
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#1733094023971204-586: The presentation of a realistic Mexican identity (i.e. not only Western-influenced). Hernández’s love of indigeneity has also cemented the indigenous image of Mexico around the world, a direct result of the company’s world-wide presence. This has helped recognize the unique Mexican culture, as well as promote a sense of national pride in regards to folklorico dancing . Additionally, she did not shy away from regional differences, her dances focusing on specific geographical areas and cultural areas in Mexico in order to provide
221-429: The surface of the colorful México.” She turned to traditional, cultural dances of Mexico, and thus began her involvement with baile folklorico. Hernández died on November 5, 2000, in Mexico City, aged 83. Hernández founded the dance company Ballet Folklórico de México in 1952, choosing to branch out with her experience and follow her own specific creative path. The group was small, consisting of only eight members in
238-410: The traditional culture of Mexico . The ensemble has appeared under the name Ballet Folklórico de México de Amalia Hernández. From the group's founding by Amalia Hernández in 1952, the group grew from eight performers to a fifty-piece ensemble by the decade's end. In 1959, the group officially represented Mexico at the Pan American Games in Chicago , United States . In 1963 Guillermo Keys-Arenas
255-554: Was a Mexican ballet choreographer and founder of the Ballet Folklórico de México . Hernández was born to the military officer and politician Lamberto Hernández and his wife Amalia Navarro. She was a pioneer in developing Baile Folklorico , and in 1952, Hernández founded the Mexican Folkloric Ballet with only 8 dancers. By 1959, the ensemble had grown to 60 performers. It was commissioned to represent Mexico at
272-405: Was always vocal about her love for her native Mexico, but she was careful to place significance upon Mesoamerican cultures , highlighting them when possible through her dancing. Her goal was to convey the diversity of Mexico, while also exploring pre-Columbian culture and traditions. She became a symbol for Mexicanidad , her pursuit of indigenous inclusionary dance an indication of her dedication to
289-415: Was the Assistant to the Director of Ballet Folklórico de México, while in 1969 he was its Artistic Coordinator. The music and dances reflect various regions of Mexico. Many of the ensemble's works reflect the traditions of indigenous Mesoamerican culture. The number of performers in individual dance ranges from two to over thirty-five. Under Amalia Hernández, the group pioneered Mexican folk dance . It
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