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The Music Center's Study Guide to the Performing Arts

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The Music Center's Study Guide to the Performing Arts DANCEMUSIC TRADITIONAL ARTISTIC PERCEPTION (AP) ® CLASSICAL CREATIVE EXPRESSION (CE) Artsource CONTEMPORARY HISTORICAL & CULTURAL CONTEXT (H/C) The Music Center’s Study Guide to the Performing Arts EXPERIMENTAL AESTHETIC VALUING (AV) MULTI-MEDIA CONNECT, RELATE & APPLY (CRA) ENDURING FREEDOM & THE POWER THE HUMAN TRANSFORMATION VALUES OPPRESSION OF NATURE FAMILY Title of Work: About the Artwork: Los Mitos (from Los Concheros) For more than three decades, the Ballet Folklórico de Danza de la Reata & Jarabe del Amor Ranchero (from the México has been hailed as one of the premiere folk Mexican state of Zacatecas) dance companies in the world. In addition to presenting Creator: authentic folk dances from different ethnic groups Company: Ballet Folklórico de México within Mexico, Amalia Hernández creates exciting new Artistic Director and Founder: Amalia Hernández b.1917 dances based on ancient traditions as well as modern d. 2000 customs. Between the time of the Olmec Indians and Background Information: the birth of Modern Mexico, more than thirty distinct Amalia Hernández was fortunate to be born into a wealthy cultures have flourished, each influencing Mexican family in Mexico, for it allowed her to pursue her artistic culture before being supplanted by another. Los Mitos vision. At the age of eight she decided to make dance her features the pageantry and ritual of indigenous cultures life's work. This presented a problem, for her culture before the arrival of the Spaniards and Danza de la considered dance an inappropriate profession for a young Reata and Jarabe de Amor Ranchero reflect the woman of her social stature. However, her parents influence of the Spanish and European cultures on the supported her interest and designed a private course of indigenous groups, creating a distinctive Mexican style study for Amalia and her two sisters. Her father built a called ‘Mestizo.’ dance studio near the family home and brought in the best teachers available. They included Mme. Sybine, a principal Creative Process of the Artist or Culture: dancer in Anna Pavlova’s ballet company, and Mme. Amalia Hernández says, “Folklore all over the world is Dambre of the Paris Opera Ballet. Amalia also studied with alive and influenced by its changing surroundings.” La Argentinita, the brilliant flamenco artist. Studying these In researching a piece, she goes to the source of the dance forms gave her a strong classical foundation and folklore, then shapes the work to communicate her discipline, but her soul responded more to the folk music perception. Some of the music is and dance of her own country. Growing up on a ranch, she inspired by ancient texts, while had many opportunities to observe the dances done by the some is based on popular songs of workers and their families. These impressions ignited within lovers and revolutionaries. her an artistic vision encompassing this folklore. Determined to develop as a dancer and impassioned by these folk forms, Amalia began to study with Luis Felipe Los Angeles Obregón, Mexico’s first folklorist, as well as with American U.S.A. “I try to go to the most modern dancers, Anna Sokolow and José Limon. In 1952 profound roots of folklore MEXICO and tradition, but my CUBA she left her position as a dance teacher at the National Mexico City Institute of Fine Arts in Mexico City to form the Ballet intention is to create a show-a show with Mexican Folklórico de México with a repertoire that captures the sources and Mexican blood.” heart and spirit of the Mexican people and their traditions. Amalia Hernández Discussion Questions: note that the male dancers are wearing boots and the After the video has been viewed: women are wearing full skirts. The Spanish brought • After watching the dance, Los Mitos, what words horses and the Catholic religion and taught the indigenous describe your impressions and feelings? people a new way of life. The Mestizo is the unique • How is this dance different from the Danza de la blend of European and native cultures and races which Reata and Jarabe de Amor Ranchero? What do the represent the predominant Mexican people of today. movements and the music of each tell you about the Audio-Visual Materials: people? How are they similar? Different? • Artsource® video excerpts: Los Mitos, Danza de la • In the dance of the Zacatecas, what does the lasso Reata and Jarabe de Amor Ranchero courtesy of Ballet tell you about the type of work done by the people? Folklórico de México de Amalia Hernández and What is the lasso used for in their work? In the dance? Columbia Artist Music, LLC. © 1989. • What other work tools can you think of that could • Artsource® audio recording: Baile de los Viejitos, Las be used as a prop in a dance (machetes, brooms, etc.) Iguiris, Xochipitzohuatl. Recorded by: Saul Sanchez, • Many of the Mestizo dances are choreographed to Isaac de la Rocha and Lorenzo Martínez. show romantic love between men and women. How did the choreographer use space to get this feeling? Sample Experiences: LEVEL I Background on Los Mitos: • Mexicans have a day in which Los Mitos (the myths) is part of a suite of dances they go to the graveyards of their called Los Concheros. It is based on the ancient rituals friends and relatives to celebrate of some of the indigenous cultures, such as the them by feasting and partying. Learn Toltecs and the Aztecs. These rituals connect each about “el Día de los Muertos.” Make skeleton puppets dancer to life and the universe. The name, Los and create a parade. Concheros, is derived from the blowing of large * • Explore how to portray old age in a humorous way conch shell trumpets. Although the Concheros still through dance. Learn an adaptation of dance patterns enact their rituals today, they now reflect the Spanish from the dance, Los Viejitos, from the Mexican state of influence and have become a fusion of Christian and Michoacan. (Music is on the Artsource® audio recording) pre-Hispanic traditions. LEVEL II Background on Danza de la Reata and Jarabe de * • Learn Las Iguiris, a Mexican Folk dance performed at Amor Ranchero: traditional weddings in Michoacan. (Music is on Located almost exactly in the center of Mexico is Artsource® audio recording.) Zacatecas - a state of Mexico rich not only in gold LEVEL III and silver but also in historical importance and • Create a ceremonial dance based on an Aztec or European influences. During the 19th Century the Mayan myth. Refer to “Additional References.” troops of French-appointed Emperor Maximilian of • Learn Xochipitzahuatl an ancient dance fused with Hapsburg added a distinctly French and Austrian modern ideas. Partners work with scarves or kerchiefs. flavor to this region. During the Mexican LEVELS I-III - MULTIDISCIPLINARY LESSON Revolution, Francisco (“Pancho”) Villa defeated the * • Study the life of Mexican painter and muralist, Diego federal government in a decisive fight in Zacatecas. Rivera and find examples of his paintings and murals These two dances, Danza de la Reata and Jarabe de that depict the daily life settings, work and social Amor Ranchero reflect the distinctively Mestizo life of conditions of the common people. Learn the ‘scribble’ the caballero and ranchero, as well as the Mexican technique to create traditional scenes of dancers and attitude toward romantic love. It is important to musicians in costume. 2 * Indicates sample lessons DANCE BAILE DE LOS VIEJITOS (Dance of The Old Men) THE HUMAN FAMILY LEVEL I Sample Lesson INTRODUCTION: In the state of Michoacan in Mexico there is a dance called Baile de los Viejitos, a traditional dance of the Tarascan people. This humorous dance, passed on through many generations, represents old men bent over with age. They lean on crooked canes and then surprise us with their energetic jumps, leaps and intricate footwork. It is a parody (a comic imitation) of aging, done with warmth and fun. But, its roots lie in religious ceremonial rituals. It is believed that the old men’s spirits and death are scared away by these vigorous little old men in costume. It is also thought that the Tarascans mimicked the Spaniards, whom they considered old because they had light colored hair and beards. The men, or women dancers portraying men, wear ribboned hats of palm on their heads, serapes around their shoulders, canes and masks of carved wood or papier mâché. Under their serapes, they wear muslin shirts and pants with colorful embroidery. The handles of the wooden canes are carved in the images of animals to represent their affinity with the natural world. It is amazing that they are able to create intricate sound patterns with their huaraches (sandals), which one would normally associate with boots with nails. OBJECTIVES: (Student Outcomes) Students will be able to: • Discuss the historical and cultural background of Los Viejitos. (Historical and Cultural Context) • Create different postures and movements of elderly people. (Creative Expression) • Learn and perform an adaptation of the dance, Los Viejitos. (Historical and Cultural Context) • Describe, discuss, analyze and connect information and experiences based on this lesson. Refer to Assessment at the end of this lesson. (Aesthetic Valuing) MATERIALS: • Artsource® audio recording of Los Viejitos. • Chairs. PROGRESSION: (This lesson can take several sessions. You may choose to teach either Part I, which is creative, or Part II, which is traditional, or both parts.) PART I (Historical and Cultural background and creative exploration) • Present some background on Mexican folk dance and specifically introduce the concept of the dance Los Viejitos from the state of Michoacan. 3 • Talk about the differences between a very old person and a young person. For example, how does each stand and move? What is the difference in energy levels? Have the class talk about some of the postures they might take if they were old and their spines were bent and their muscles and joints were stiff.
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