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Program notes The Mayas This is the story of a prince who left his loved one when he was bewitched by the Hunting Goddess. Based on the sacred books of the Mayas, Popol Vuh and Chilam Balam, this ballet combines three outstanding elements: the Myth of the Xtabay, Hunting Goddess, who likes to hunt and seduce men and carry them to the sacred forest; the legend of the three prince brothers, one of which mysteriously vanishes, which brings about the brothers’ vengeance to the other world and the religious beliefs of the Mayas. It begins with the ceremonial dances of the Princess and her court, and the Prince with the Princess. The goddess interrupts dramatically and casts her spell. In the following scene, the Maidens of Nic Te, virgins who guard the Sacred Well, give council to the bereaved Princess and offers her the help of a sorceress who possesses magical powers to turn the water of the well into a love-potion. But, when the Princess offers the filter to the Prince, Xtabay creates a whirlpool that makes him refuse the drink. Alone, at the edge of the forest, the Prince contemplates the goddess who dances the Dance of Seduction. Possessed, he goes into the forest where the Ceibas surround him. The priestesses of Xtabay slowly make him lose his mind. Tixtla Plataform Modern Mexico began with the revolution in 1910. For the first time in the country’s history Mexico joined the men in their political struggle. The ballet is dedicated to the Soldaderas, the women who supported their men and even bore arms with them in Mexico’s fight for liberty. Contrasted with the footsore men and women is a group of young aristocrats dancing European polkas’ and flirting unconcerned with the peoples’ fight for freedom a group of revolutionaries breaks up the party brandishing their weapons. Now it is the peasants who dance in the aristocratic drawing room. Juana Gallo, and Adelitas are dedicated to these two heroines. Then, the final song of the Revolution. Tlacotalpan Festivity January 31 marks the celebration of the Candelaria Virgin. In the town of Tlacotalpan, stages are built in the main square where musicians and dancers of fandangoes are presented. The Mojigangas are huge figures representing characters alive and legends of the village. In the midst of it, Caribean music, is played with Congas (drums), as in a mardi-gras celebration parade. Fisher Dance The woodpeckerd bird The clown The Indian María The weeper The Cu Bird The fans The girl from Veracruz Veracruz Musicians The Coco song The angel The brown skinned girl The Bamba The moor The devil The Mange The little black boy 44 | Mondavi Center Presents Program issue 3: nov 2012 Matachines The Matachines dance is danced in the North side of Mexico City, during the religious celebrations. It comes from the costume of the pre-Hispanic people to dance to their gods. The Spaniards brought with the conquest the dances of the middle age that existed in Spain, and since the 16th Century, has been danced for Christian Gods. This is the way the dance of The Matachines was created, and it remains intact today. The Danzon and the Jarana The Danzon is one of the traditional urban dances. The environment of the Danzon in Mexico precedes the assimilation of the Habanera and the Danza rhythms. The Danzon is added to the qualitative accumulation of the blood and culture of different countries of Europe, Africa and the Antilles. The Danzon is the sum of the blood and culture of the towns, this is the reason of its immortality. It came to Mexico from the state of Yucatan, and extended to the Gulf of Mexico’s coast. Its popularity is supported by the appearance of the first Mexican danzones such as the Great Nereidas´ Danzon. The Mexican people’s approval of the rhythm is a consumed and persistent fact since the time that the Salon Mexico welcomes it in the Federal District, as well as other dance Halls. Jarana It was inevitable that the implantation of the many different musical and dance traditions classified generally as “Spanish” among the differing traditions of the distinct people who occupied pre-conquest Mexico should produce an endless range of different styles in present day Mexican music and dance. One of the most interesting of these mixtures occurs in Yucatan. There the exotic exuberance of the Caribbean influence, so visible in Veracruz, that it has been largely ignored. Instead, the great dignity of ancient Mayan traditions has amalgamated with the music of 17th and 18th Century Spanish dances such as the Jota, Zapateado and above all the Sarabande. The dances of Yucatan have preserved the courtly elegance of early Spanish dance and acquired certain exotic, though always restrained, overtones. The sternness and aristocratic severity of Mayan artistic tradition has led Spanish Music in a direction contrary to that taken by similar music in Veracruz or the Huasteca. Deer Dance The Yaqui people, excellent hunters have stayed away from the Spanish influence and constitute the only aboriginal tribe of the country which conserves its original autonomy. Free from any racial mingling and modern cultures the Yaquis continue hunting with bows and arrows, cultivating the land according to their ancestor’s methods and celebrating their ritual dances with their same hermetic fervor. The Deer Dance forms a part of the rite at the time that is organized as the preparation of the hunt and it produces, with an astonishing fidelity, the movements of the persuade prey. Because of its oldness, and for its present mastery of execution, it constitutes one of the best examples of imitative magic.

Jalisco The state of Jalisco is the land of Charros, Chinas and Mariachis. Since the last century is has become a symbol of Mexican nationality. The Charros of Jalisco are known for their high spirits and joyous grasping of life. Jalisco’s folklore captures the soul of Mexico in its sensual music, refined dances and dazzling costumes. This ballet closes every performance of the Ballet Folklorico’s Touring Company. It opens with a Mariachi parade playing lively sones at the start of a fiesta. In the background is the traditional gazebo found in all the small towns of Mexico. During the fiesta merry songs and dances, such as The Snake, El Tranchete, La Negra and El Jarabe Tapatío and the famous Mexican Hat Dance, are performed. At the end of the performance the dancers salute the audience, throwing colorful paper streamers to them. The ballet folklórico de méxico was founded in 1952 by Amalia Hernandez. The Ballet was initiated by performing a weekly program on television, sponsored by the Mexican government. Since 1959, it is being permanently presented at the Palace of Fine Arts, foremost stage for Art Mexico City. The institution has two main artistic companies called The First Company and the Resident Company: both alternate tours and performances in Mexico and abroad. They have already performed more than five thousand presentations. The music, dance and costume of Mexican folklore united to the talent of their artists have achieved national and international success. Amalia hernández (dancer and choreographer) embarked at a very early age on a never ending quest to rescue the dancing traditions of Mexico. The vital search became a basic need to reflect not only in Mexico but the rest of the world, the beauty of the Universe in motion which started with the pre-Colombian civilizations and grew with the Hispanic influences of the Viceroyal era up to the popular strength of the Revolutionary years. In 1954, Hernández started a series of presentations that credited her as the Cultural Representative of Mexico to the world at large. The present time fades before your eyes and thus commences our journey through the past. The Lords of Heaven and Earth come back to life, the Jaguars, the Gods born of human flesh, thirty different cultures that blossomed in centuries once, leaving behind a trail of color in which Hernández was inspired to create the Ballet Folklorico of Mexico. In International success achieved during the first tours and maintained through the 50 years of incessant artistic endeavors, is always manifested in the excellence of the productions and serves as a portrait of Mexico’s folklore in every city that the Company visits around the world. This is how, starting from the 1960s, Amalia Hernández and the Ballet Folklórico of Mexico have developed 40 ballets, composed of 76 folk dancers. The music, technical perfection, sophisticated wardrobe and original choreography, create this singular character of the Ballet. Amalia Hernández and the Ballet Folklórico of Mexico have been distinguished with more than 400 awards in recognition to their artistic merits. hYatt PlaCe Is A ProUd sPonsor of the roBert and MarGrit Mondavi Center for the PerforMinG arts, uC davis hYatt PlaCe uC davis 173 old davis road extension davis, Ca 95616, usa Phone: +1 530 756 9500 fax: +1 530 297 6900 www.hYattPlaCeuCdavis.CoM Complimentary Mondavi Dessert Special MondaviArts.org | 45

Jalisco<br />

The state of Jalisco is the land of Charros, Chinas and Mariachis. Since<br />

the last century is has become a symbol of Mexican nationality. The<br />

Charros of Jalisco are known for their high spirits and joyous grasping<br />

of life. Jalisco’s folklore captures the soul of Mexico in its sensual<br />

music, refined dances and dazzling costumes. This ballet closes every<br />

performance of the Ballet Folklorico’s Touring Company. It opens with<br />

a Mariachi parade playing lively sones at the start of a fiesta. In the<br />

background is the traditional gazebo found in all the small towns of<br />

Mexico. During the fiesta merry songs and dances, such as The Snake,<br />

El Tranchete, La Negra and El Jarabe Tapatío and the famous Mexican<br />

Hat Dance, are performed. At the end of the performance the dancers<br />

salute the audience, throwing colorful paper streamers to them.<br />

The ballet folklórico de méxico was founded in 1952 by<br />

Amalia Hernandez. The Ballet was initiated by performing a weekly<br />

program on television, sponsored by the Mexican government. Since<br />

1959, it is being permanently presented at the Palace of Fine Arts,<br />

foremost stage for Art Mexico City. The institution has two main artistic<br />

companies called The First Company and the Resident Company:<br />

both alternate tours and performances in Mexico and abroad. They<br />

have already performed more than five thousand presentations. The<br />

music, dance and costume of Mexican folklore united to the talent of<br />

their artists have achieved national and international success.<br />

Amalia hernández (dancer and choreographer) embarked at a<br />

very early age on a never ending quest to rescue the dancing traditions<br />

of Mexico. The vital search became a basic need to reflect not only in<br />

Mexico but the rest of the world, the beauty of the Universe in motion<br />

which started with the pre-Colombian civilizations and grew with the<br />

Hispanic influences of the Viceroyal era up to the popular strength of<br />

the Revolutionary years.<br />

In 1954, Hernández started a series of presentations that credited her<br />

as the Cultural Representative of Mexico to the world at large. The<br />

present time fades before your eyes and thus commences our journey<br />

through the past. The Lords of Heaven and Earth come back to life,<br />

the Jaguars, the Gods born of human flesh, thirty different cultures<br />

that blossomed in centuries once, leaving behind a trail of color<br />

in which Hernández was inspired to create the Ballet Folklorico of<br />

Mexico.<br />

In International success achieved during the first tours and maintained<br />

through the 50 years of incessant artistic endeavors, is always manifested<br />

in the excellence of the productions and serves as a portrait<br />

of Mexico’s folklore in every city that the Company visits around the<br />

world.<br />

This is how, starting from the 1960s, Amalia Hernández and the Ballet<br />

Folklórico of Mexico have developed 40 ballets, composed of 76 folk<br />

dancers. The music, technical perfection, sophisticated wardrobe and<br />

original choreography, create this singular character of the Ballet.<br />

Amalia Hernández and the Ballet Folklórico of Mexico have been<br />

distinguished with more than 400 awards in recognition to their<br />

artistic merits.<br />

hYatt PlaCe<br />

Is A ProUd sPonsor<br />

of the roBert and MarGrit<br />

<strong>Mondavi</strong> <strong>Center</strong> for the PerforMinG<br />

arts, uC davis<br />

hYatt PlaCe uC davis<br />

173 old davis road extension<br />

davis, Ca 95616, usa<br />

Phone: +1 530 756 9500 fax: +1 530 297 6900<br />

www.hYattPlaCeuCdavis.CoM<br />

Complimentary<br />

<strong>Mondavi</strong> Dessert<br />

Special<br />

<strong>Mondavi</strong>Arts.org | 45

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