Ballet Folklorico Dance Step

 

Ballet Folklorico is famous for intricate footwork. There are various styles and levels of difficulty. Learning Ballet Folklorico always begins with learning simplified dance steps. As a dance student learns to manipulate their feet and make rhythmic sounds, they become more capable of mastering difficult dance steps. However, this is a long process and must be approached with much patience. One of the first dance steps I learned was an easy combination of simple feet movements. The step went to the dance called “Los Machetes”.

Materials

The three most important materials required for practicing Ballet Folklorico are dance shoes and dance attire. The typical dance shoes the girls wear are character shoes that have nail heads on the heel and under the toes (similar to tap shoes) to make loud sounds in order to hear the footwork. Boys usually wear boots that have a similar heel and toe structure. These shoes are very expensive. Fortunately, for this exercise, any shoe with a hard heel will work. Dance attire includes comfortable, stretchy exercise clothing. Girls additionally wear a double-circular, ankle-length practice skirt. Serious dancer students usually wear some form of a leotard top and sleek, knit sweat pants. However, for this exercise, the most important thing is to wear something comfortable that allows easy movement. Girls will need to wear a practice skirt.

Five Steps Involved in the the Dance Step:

1. Starting Position

2. Heel-Toe-Step

3. Turn

4. Remata Step

5. Repeat

Step 1: Starting Position

In this dance step, there are two correct starting positions, one for girls and one for boys. The girls will need to grab the left edge of the skirt with the left hand and the right edge of the skirt with the right hand. Both hands should be placed on their hips. Boys should fist their right hand and have their left hand hold their right wrist behind their backs. Their elbows should be bent enough so that their hands are resting on the center of their back. During the whole step the boys will keep in this position. Be sure to not slouch especially during the performance because it looks unprofessional and sloppy.

Step 2: Heel-Toe-Step

Next, place your right foot out at a diagonal. Flex your foot so that your heel is touching the ground while your toes are off the ground, pointing upwards. From there, cross the right foot over your left foot, and this time you point your toes to the ground and lift your heel so that it points upwards. These two movements equal one sequence. Complete two

sequences. One thing to watch out for is to keep your balance. Crossing your feet can result in tangled feet.

Step 3: Turn

So far, boys and girls have done the same movements. In this next step that will change. After you have accomplished two sequences of the heel-toe-step, both genders will turn a full circle. Because the dance step was started with the right foot, you are going to turn to the right. The difference is that while the girls spin, they will hold their skirts up by

removing their hands from their hips and stretching their arms to the sides. Make sure you only do one full turn.

Step 4: Remate Step

Most Ballet Folklorico dance steps end with a “remate” step, which is an ending step. The “remate” step is like a period at the end of a sentence. The “remate” step is basically three stomps done in a marching fashion. This is probably the simplest part of the whole dance step. Once you have successfully spun a full circle, you are going to stomp three stomps, at a medium pace. Since you started with the right foot from the beginning, you are going to stomp first with the right foot, then the left, then the right again. The dance step is now complete.

Step 5: Repeat

After the “remate” all you do is repeat steps 2 – 4 four times. Each time you repeat the steps you switch feet. That means that instead of starting with the right foot you are going to start each step with the left foot. For example, place your left foot at a diagonal on your heel, cross your left foot over your right foot, spin to the left, and finally start the

“remate” with the left foot.

Well Done!

Congratulations, you have mastered a Ballet Folklorico dance step! This particular dance step may seem simple, but remember that you have to start with simple steps in order to be prepared for more challenging footwork. As you progress in dancing, you become well coordinated. Coordination is a key quality in other sports and physical activities. In addition, because dancing requires much practice, it teaches you discipline and tolerance, and as you become more advanced, you gain self confidence. These traits are useful for a myriad of future situations. Most importantly, Ballet Folklorico puts a smile on your face.

Passionate Argentina

The Land of the Gauchos



My sister Adriana in Argentine dance costume
 

Argentina is in the southern tip of South America, bordered by Uruguay, Brazil, Paraguay, and Chile. It is the eighth largest country in the world and encompasses a diversity of culture. Argentina’s culture is greatly influenced by its prominent immigrant population. From these assorted traditions emerged many unique and widely celebrated folkloric and popular Argentine dance forms.

Tango

The tango developed in the 1880’s in the destitute city neighborhoods of Buenos Aires, the capital of Argentina, and became the characteristic expression of the lower classes, many of who were recent immigrants from Europe. Tango is a dance of passion, elegance, grace, speed and intricate steps. Starting in the local cafes, it finally made its way inside the middle and upper class Argentinean homes. The embrace is central to this dance form as partners dance very close to each other. An entire range of human emotions is expressed in tango.

During fast development in 1880-1930, the very rich often traveled to Europe at least once a year. It was they who introduced Argentine tango to the Parisian nobility. Tango became the craze of the time right away – from Paris, the dance and music rapidly migrated to other big capitals.

Tango evolved as it moved both through the societal levels within Argentina and as it mixed with other world dance cultures. The historic Argentine tango was influenced by the tango Habanera which evolved from the milonga and the tango flamenco. The milonga was danced and played by rural populations in Argentina and combined indigenous rhythms with the music of early Spanish colonists. Aspects of the Argentine tango are also attributed to a dance called Candombe, which was danced by Africans and their descendents living in Buenos Aires. The male Candombe dancers danced with their knees flexed in order to demonstrate their dance skills.

The tango is now considered an integral component of Argentine culture, both in its social and theatrical forms. Internationally, it is equally popular amongst Hispanic and crossover audiences.

Malambo

The dances from the town of Santiago del Estero come mainly from Europe and the culture of the gaucho, or South American "cowboy". The term "gaucho" refers to the men of indigenous roots mixed with African and/ or European ancestry, who took up the work of tending cattle. Fiercely independent, they lived in a very difficult world of work and solitude. Gauchos still exist and work on ranches and in rural areas.

The style of dance that gauchos typically enjoyed was called malambos. Incorporating zapateo, the art of percussive footwork, rooted in Spanish Flamenco, malambos were traditionally performed by men. This dance form was often used as a form of competition between two or more men. The music features guitar and the bombo, or the drum.

The boleadoras were originally a weapon used by the indigenous people and adopted by the gauchos, to entrap fleeing animals. It is said that in the early 1950's, Santiago Ayala began incorporating footwork (zapateo) with weapons, establishing the malambos with, eventually, the famous boleadoras. The dancer uses two wooden balls as boleadoras, making rhythms against the floor, and whirling them in a rotational motion. Increasing the complexity of movements increased the rhythmic possibilities, becoming an exciting dance both physically and musically.

Home of The Leprechauns

One of Its Real Treasures

http://goo.gl/g3ksdz

The first thing that comes to my mind when I think of Ireland is a dancing leprechaun searching for treasure at the edge of a rainbow. One of Ireland’s true treasures is its dancing. Throughout Ireland’s history, dance was and continues to be an integral aspect of its culture. In 1569, Sir Henry Sydney wrote to Queen Elizabeth about the Irish people: “They are very beautiful, magnificently dressed and first class dancers” They have dances for every emotion known to man. The Irish danced for worship purposes, times of celebration, and events of utter sadness. Up until the 18^th century, a majority of Irish dances were communal, or done by large groups of people. In the 1900s, the dance masters developed, for the first ever, solo steps.

 

Dance Masters

In Ireland during the 18^th and 19^th centuries, Dance Masters, who were traveling teachers and performers, presented new dance styles from distant places like France. It was honorable for a town to host any of these “professional” dancers. Dance Masters formalized Irish dancing by creating new types of dance styles, such as step dancing.

Step Dancing

Step dancing is the most well known form of Irish dancing. The characteristic that stands out the most is the stillness of the upper body while the feet execute fast, intricate foot percussion.

Types of Step Dancing

1. Reel- whirling, spinning dance
2. Jig- most famous type of step dancing
3. Slip Jig- has a lighter step with hopping and sliding motions, usually danced by two couples
4. Hornpipe- solo dance usually done by one male

 

Riverdance

In the 20th century, Irish dancing made its way to the big theater. Riverdance is a theatrical show that performs traditional Irish step dancing; is so popular that it has lived for nearly 20 years. Michael Flatley, the founder of the show, exposed Irish folk dancing to the world.

Samoan Sensation

http://goo.gl/Yt4arO

In Samoa, They Say "Talofa"....

Me in a samoan dress
 

Samoa is group of islands in the South Pacific Ocean, about half way between Hawaii and New Zealand. Its dance is possibly the one area of Samoan culture which has not been greatly influenced by contact with western civilization. While Samoan music has adopted guitars and other musical instruments, dance, which relies solely upon the performers’ body, still requires the dancer to retain grace and move their arms and hands in the traditional fashion. Unlike several of the other Pacific Islands, Samoan dancers do not perform in grass skirts, nor is the hula a dance native to them. Instead, performers will normally wear a lavalava, and the men will wear necklaces or anklets made from leaves. The costumes are typically decorated with feathers or freshly cut flowers. There are different types of dances which are performed by individuals or groups and either sitting or standing. All in all, Samoan music and dance displays the vitality and liveliness of the people, and has been characterized as a means of maintaining Samoan identity in contact with other civilizations.

 

  Sasa

The word sasa literally means 'to strike'. Originally, the dance was village activities that soon evolved into one of Samoa's most interesting and well-known dances. It became a form of entertainment for the Samoan Royal Family and other royal dignitaries that visited the islands. The Sasa requires synchronization and a lot of energy. Generally, the Sasa is performed by a large group of people, it is normally performed sitting down, but there are parts of the dance which require the group to stand up. The movements depict everyday life, including a form of voyaging, where the group moves into the form of a large canoe, having the arms on the outside mimic the movement of paddles in the water.

 

 

 

Slap Dance

The Fa'ataupati is a dance indigenous to the Samoans. In English it is simply the "Samoan Slap Dance". It was developed in Samoa in the 19th century, and is the one Samoan dance performed only by males. During the 19th century, there was an invasion of mosquitoes in Samoa. This dance mimics a person slapping the mosquitoes off their body when bitten. Unlike all other Samoan dances, this is the only dance that does not include any instruments, as the slapping, clapping, and stomping create the music for this dance. It is performed at almost every Samoan occasion: weddings, church functions, birthdays, Independence Day, and so forth. Though the slapping can seem painful, it has never stopped the Samoan males from having fun.

 Fire Dance

  A common dance performed at a Luau or Polynesian show is the fire knife, a traditional Samoan cultural dance that is used in ceremonial dances. Originally, it consisted of a machete with both ends wrapped in towels, and a portion of the blade exposed in the middle. Tribal performers, or Siva Afi, of fire knife dancing dance while twirling the knife and doing other acrobatic stunts. The towels are set on fire during the dance, thus, explaining the name. This dance was done both pre-battle, to intimidate the enemy and to psyche up the warrior, and also post-battle as a victory dance. In the mid 20th century, the ancient traditions of the fire knife dance were commercialized and westernized. Eventually, the exposed portion was part of the wooden handle. Now, most of the moves performed in shows are more modern and flashy than traditional battle preparations. In addition, the speed of the dance increased. The danger of dancing with a sharpened blade has caused the knife to completely disappear from commercial performances.

 

Music and Dance are Part of My Identity



Music and dance has always been an inherit part of a culture, reflecting the passion and sentiment of a nation. Music and dance is associated with religion, suffering, joy, and often depicts traditions and events in a country’s history. The older the country, the longer the tale, the more likelihood that culture will be impacted by difficult eras of history. For example, the natives of the Americas have had an ancient religion that including ceremonial and spiritual dances to various gods. They had dances that portrayed important events of life such as weddings, harvest, and war. When the Europeans conquered and enslaved the natives, their occupancy brought their culture which mingled with the native culture. Some tribes and cultures were more affected than others, but it is most evident that as the cultures mixed, new dances and music emerged. Even though not every person in a nation is a dancer or musician, when the majority sees or hears their folklore culture, somehow they hear the voice of their ancestors. They feel gratitude and pride because it is part of their identity. This is what sparks my interest in international music and dance. Not only does it give me pride in my ethnicity, but it also makes me appreciate the diversity of each unique culture.

My family performs Mexican folkloric dances. My grandmother is from Veracruz, Mexico, which is where she learned the dances of her ancestors. As she raised her children, including my mother, she taught each and every one of them Mexican folk dancing. My mother followed in these glorious footsteps and taught my siblings and me these dances. I love learning about Mexico’s music and dance. It is fascinating to see how some indigenous dances and music have been untouched by the Europeans while others were greatly affected by the European influence. For example, the dances from the state of Oaxaca are completely original. The people of have made great effort to maintain their originality – in music, costume and dance. On the other hand, Mexico has fantastic polkas. Most of them are influenced by various European countries, particularly the French. Mariachi music is probably the most globally recognized Mexican music. It is also a product of a mixture of cultures.

My mother started a dance group called Ballet Folklorico Sarita

 

Whenever I hear Mariachi music, I am overwhelmed with emotions. All at once I feel proud of my heritage, grateful to my ancestors, and ebullient. This music not only makes me think of my ancestors and my pride in my heritage, but it also makes me think of my family. Something my family and I have always done together is dance and enjoy the liveliness of music. For example, just a couple years ago it was my grandparents’ 50^th anniversary. My grandpa wanted all of his posterity to come together and put on a dance show. That summer, my cousins, siblings and I practiced dances for hours. The night of our performance was a night to remember. This memory came from music and dance. In fact, many of my family memories come from festivals and dance performances. I have a genuine passion for music and dance; it is part of who I am.