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Copyright by Jessica L. Peña Torres 2020 Copyright by Jessica L. Peña Torres 2020 The Thesis Committee for Jessica L. Peña Torres Certifies that this is the approved version of the following Thesis: México (expropriated): Appropriation, Representation and Re- Choreography of Ballet Folklórico APPROVED BY SUPERVISING COMMITTEE: Rebecca Rossen, Supervisor Paul Bonin-Rodríguez Héctor Domínguez Ruvalcaba México (expropriated): Appropriation, Representation and Re- Choreography of Ballet Folklórico by Jessica L. Peña Torres Thesis Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Master of Arts The University of Texas at Austin May 2020 Dedication Esta tesis está dedicada a mis padres, Ricardo y Yamani Peña, por darme el mejor ejemplo y la certidumbre de que soy una campeona; a mis hermanos Ricardo y Karla, por siempre apoyarme y creer en mí. Y a mi futuro esposo, Alan Márquez Dueñas por sostenerme y dejarme volar alto. Los amo. Acknowledgements I am deeply grateful to my colleagues and faculty in the Performance as Public Practice Program of the Department of Theatre and Dance at the University of Texas at Austin. In addition, I would like to thank my thesis committee members: Dr. Paul Bonin- Rodriguez and Dr. Héctor Domínguez Ruvalcaba. I would especially like to thank my thesis advisor, Dr. Rebecca Rossen, for her unsurmountable support throughout the duration of the program –it has been a true honor to have had your advice in this overwhelmingly growing process. I am also grateful to the officers of the Latinx Theatre Initiative at UT Austin for granting me the space and trust to develop this work (Juan, Natasha, Sam, Ryan, Manuela and Savannah), and to the LTI advisors: Clarissa Smith-Hernández, Robert Ramírez, and Roxanne Schroeder-Arce for their unconditional guidance. In addition, I would like to thank Dr. Eric Wiley for inspiring me to conduct research and to combine the fields of theatre and dance in performance. I would also like to thank the ensemble members of México (expropriated) for their incredible work in this project: Marina DeYoe Pedraza, Erica Priscilla Saucedo, Venese Alcantar, David Cruz, Anna Joaquin, Jesus Valles, Aly Redland, and Sara García. También quisiera agradecer a mis padres Ricardo y Yamani Peña por todo su apoyo moral y a mis hermanos Karla y Ricardo Peña Torres por su cariño. A mis amigas Sara Castillo y Talía Lanz, AnaB Medina y a mi prometido y futuro esposo Alan Márquez Dueñas por nunca dudar que terminaría este gran proyecto con éxito. v Abstract México (expropriated): Appropriation, Representation and Re- Choreography of Ballet Folklórico Jessica L. Peña Torres, M.A. The University of Texas at Austin, 2020 Supervisor: Rebecca Rossen This thesis explores the ballet folklórico dance form as established by choreographer Amalia Hernández in the second half of the 20th century through her company, Ballet Folklórico de Mexico. Through archival and historical research, performance analysis, and Performance as Research, I examine the appropriation, exoticization, and representation of lo mexicano as rendered by Ballet Folklórico de México through an examination of three of their most representative cuadros: Fiesta en Jalisco, Fiesta en Veracruz, and “Danza del Venado.” I argue that in addition to helping forward the nationalistic project of the post- revolutionary period, Ballet Folklórico de México reinforced hegemonic notions of mexicanidad through the development of characters such as el charro, la china poblana, los jarochos, el negrito y la mulata, and el venado. Sixty years after the company’s foundation, Ballet Folklórico de México continues to paint the same romanticized, nationalistic, and static image of Mexico that Hernández staged in the 1950s. vi Table of Contents Introduction ......................................................................................................................... 1 Description and Significance ...................................................................................... 3 Literature Review ....................................................................................................... 5 Mexican Dance Studies .................................................................................. 5 Dance Studies ................................................................................................. 7 Mexican Studies ............................................................................................. 8 Performance Studies ....................................................................................... 9 Methodology ............................................................................................................. 12 Chapter Breakdown .................................................................................................. 14 Chapter 1: Ballet Folklórico de México and the Formation of “lo mexicano.” .............................................................................................. 14 Chapter 2: La China y el Charro: Gender Representation in Ballet Folklórico ................................................................................................ 15 Chapter 3: El son jarocho: Racism, Stereotypes, and Exoticism in Ballet Folklórico. ............................................................................................... 15 Chapter 4: Faulty Ethnography: Appropriation in Ballet Folklórico ........... 16 Chapter 5: México (expropriated). ............................................................... 16 Chapter 1: Ballet Folklórico de México and the Formation of lo mexicano ..................... 17 Mexico After the Revolution: Indigenismo and Mestizaje ....................................... 19 Amalia Hernández .................................................................................................... 26 The Origins of Ballet Folklórico de México ............................................................ 29 Criticism and Support for the BFM .......................................................................... 35 BFM’s Appeal to Domestic Audiences .................................................................... 43 Conclusion ................................................................................................................ 45 vii Chapter 2: La China y el Charro: Gender Representation in Ballet Folklórico ................ 47 The Origins of “Jarabe Tapatío” ............................................................................... 48 La China Poblana as the Idealized Mexican Woman .............................................. 50 The Charro as the Embodiment of the Macho Mexicano ........................................ 52 La Canción Ranchera, Mariachi, and the Ranchera Films ....................................... 54 Ballet Folklórico de México’s Fiesta en Jalisco ...................................................... 60 Conclusion ................................................................................................................ 65 Chapter 3: El son jarocho: Racism, Stereotypes, and Exoticism in Ballet Folklórico ...... 66 The History of Colonization in Veracruz ................................................................. 67 The South of Veracruz: Birthplace of the Son Jarocho ........................................... 70 El Carnaval de Veracruz ........................................................................................... 74 Fiesta en Veracruz: Hernández Version of the Sotavento ....................................... 75 Conclusion ................................................................................................................ 84 Chapter 4: Violence of Appropriation: “Danza del Venado” ............................................ 87 Essence and Authenticity ......................................................................................... 88 Hernández’s Ethnography Methods ......................................................................... 91 From the Pueblos’ Folk Dances to Ballet Folklórico ............................................... 96 Danza del Venado: Traditional v. Hernández’s Adaptation. .................................... 98 The Violence of Cultural Appropriation ................................................................ 103 Conclusion .............................................................................................................. 108 Chapter 5: Practice as Research–México (Expropriated) ................................................ 110 Authoethnography .................................................................................................. 114 First viñeta: Aztec dance ........................................................................................ 118 viii Second viñeta: Burlesque dance ............................................................................. 124 Burlesque: a Medium of Transformation and Female Agency .................. 125 Third Viñeta: Jalisco ............................................................................................... 131 Fourth viñeta: Norte. “La Danza del Venado” ....................................................... 136 Fifth viñeta: Veracruz ............................................................................................. 141 Conclusion .............................................................................................................. 144 Works Cited ....................................................................................................................
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