Mexican Folkloric Dance: Bailamos?
By: Philip Conatser, Univ. of Texas at Brownsville & Zelma Mata, The University of Texas at Brownsville & Texas Southmost College

Instead of an article over a given topic, I decided to do something a little different by interviewing a dance professor of 30 plus years. The interview consist of a brief bio of Dr. Zelma Mata, a historical perspective of Mexican folkloric dancing, benefits, objectives, selection, terminology, two easy to learn dances, and of course some simple modifications for people with disabilities. I hope everyone enjoys this article, and is inspired to try Mexican folkloric dancing as much as I was after this interview.

A little about Dr. Mata

Dr. Zelma Mata is a former Vice President and Region II Texas Representative for the Asociación Nacional de Grupos Folklórico (ANGF). ANGF is a national organization dedicated to the preservation and the promotion of the Mexican cultural heritage through dance and music. Respectfully, she served on the ANGF executive board for four consecutive years. Dr. Mata has been a college professor for over 30 years, and is currently the Health and Human Performance department chair for The University of Texas at Brownsville. She is the founder of the Grupo Folklórico de The University of Texas at Brownsville student organization on campus. The grupo was founded in 1988, and since its inception has been very active in promoting the cultural heritage of the locale through Mexican folklórcio dance. The grupo averages 25 performances a year for the university, public schools, civic organizations, national organizations, and the general community. In addition to being involved with Mexican folklórico from the performance aspect, Dr. Mata has contributed greatly to developing opportunities in education. She developed the curriculum for the folklórico class taught at UTB, as well as offering folklórico workshops to the educators in the South Texas area.

Doctor Mata was awarded with the 2002 Advocate for Education of Young Children Award bestowed by the Brownsville Association for the Education of Young Children. In 2003, Dr. Mata was selected among 62 women from throughout the U.S., Puerto Rico, and Africa to attend the Summer Institute for Women in Higher Education held at Bryn Mawr College in Pennsylvania. She received The University of Texas System Chancellor’s Teaching Award in 1999, and The National Institute for Staff and Organizational Development in 2006. She was also recently named “Dance Teacher of the Year” by Texas AHPERD 2007. These awards symbolize her dedication to Mexican folklórico dance, and her dedication to providing students with meaningful cultural experiences. With all of her experience and accolades, she is very humble and regards herself as always a “student of the dance.”

Brief History of Folkloric Dance

Folk dances may be defined as the traditional dances of a given country which have evolved naturally and spontaneously in conjunction with the everyday activities and experiences of the people who developed them. Folk dances are related in origin to everything of importance in the daily lives of a specific people at given times in their history, stemming from customs, beliefs, emotions, and events related to religion, war, occupations, ceremonies of birth, courtship, marriage, death, daily activities of domestic life, superstitions, rituals, festivals, and innumerable themes common to all peoples everywhere. Thus, Mexican folklórico dance depicts the history, customs, beliefs, rituals, and events which embrace the people it represents. Mexico is divided into 32 states. Each state has its own dances that reflect the unique characteristics of the cultural heritage for the various regions of the state.

There are three categories of Mexican folkloric dance that correspond to the historical beginnings of the dance. A danza is a dance that is indigenous in nature, and may have religious connotations which are often performed in ritual and community settings. The mestizo dances reflect the European influences, be it in the dance steps, the instrumentation, the costuming or a combination of these elements. Bailes regionales are regional dances that are primarily social in origin and manifestation and are often presented in community and theatrical performances.

Why should someone start dancing?
Dancing is fun and a great way to learn about cultural heritage. Also dancing is a good form of exercise because it promotes fitness and lowers stress. Dancing is multicultural “universal”, in that everyone can experience and enjoy together. Advanced or beginner, old or young, disabled or nondisabled everyone can benefit from dancing.

Objectives
Instruction in Mexican folklórico dance offers the same benefits as in the teaching of any folk dance. Some of the specific student learning objectives in the teaching of Mexican folklórico dance include that the student will be able to:
– Acquire an appreciation and better understanding of the Mexican culture;
– Acquire basic dance skills in folklórico dance;
– Acquire knowledge of the terminology used in folklórico dance;
– Acquire knowledge of the origin and costuming of the folklórico dances learned in class.

Selection
In the selection of a Mexican folkloric dance it is important to investigate the historical origin and significance of the dance, know the geographical location of the region it represents, and be familiar with the costuming and accessories, the basic steps, and terminology that pertain to the specific dance. The musical selection must be authentic and traditional in order to accurately depict the instrumentation of the dance. The instruction of the dance must include all of these elements in order to teach the complete cultural heritage of the dance, and not simply teach a series of dance steps to a song. Shoes for folkloric dancing are specifically made to enrich the foot stomping or the zapateado depending on the dance.

Basic Terminology
It is important to use the correct terminology and language in the teaching of the basic dance steps, or the pasos, through the footwork referred to the as the zapateado. The challenge in Mexican folklórico dance is that not all terms for the various steps have been standardized, like in American square dance, which can result in confusion. It is important to note that the terms used depend on the teacher or the maestro. A quick reference for a selection of common terms and basic pasos may include:

Posición tusa - Standing with the knees slightly flexed to facilitate and execute the dance steps or pasos.

Golpe - Refers to the basic foot stomp on the floor.

Remate - Execution of a sequence of foot stomps.

Sequencia - Combination of steps for a given phrase of music.

Sencillos - Single foot stomp which can be alternated with each foot or repeated with the same foot. Example: stomp once with right foot, stomp once with left foot, etc… May be done in place or in different lines of direction. The speed may vary from slow to fast.

Dobles - Double foot stomp which can be alternated with each foot or repeated with the same foot. Example: stomp twice with right foot, stomp twice with left foot, etc… May be done in place or in different lines of direction. The speed may vary from slow to fast.

Metatarsal y talón - Landing or making contact with the ball of the foot followed with the heel.

Paso de tres lentos or balseados - Landing lightly flat footed then alternating landing with the toes or metatarsal with the opposite leg and repeat such as landing whole foot right, toe left alternating right toe. Similar to the basic triple step.

Paso de tres zapateado - Consists of doing three consecutive stomps alternating the foot that is doing the action. There is an accent on the first stomp only followed by a lighter stomp on the second and third beat.

Sequidos - Continuous steps that are done with scuffing with the heel followed by making contact with the whole foot such as scuff right foot on floor and stomp with right foot then alternate with the left foot.

These basic pasos and terms can easily be taught, and serve as a great start for becoming familiar with Mexican folkloric dance. Try these easy-to-learn dances.

Example 1
Name of dance: Los Viejitos (video) (video)
Mexican State Origin: Michoacán
Basic steps (pasos básicos): sencillos, paso de tres zapateados
Costume: Shirt and pants are made of manta material, a jorongo or a zarape to drape over the shirt, a straw sombrero (hat) decorated with colorful ribbons that hang over the rim, a paliacate (scarf) to wear under the sombrero, a moral or peasant bag across the shoulders, and huaraches (sandals). A mask, or máscara, is worn that resembles the facial features of an elderly man.
Prop: cane (bastón)
Style: Movements mimic an elderly man bending forward, supporting self with the walking cane (bastón), while dancing doing lively energetic footwork.

Part I
Count 1 - Step back with right foot, while crossing it behind the left leg
Count 2 - Step back with left foot, while crossing it behind the right leg
Counts 3-6 - Four quick stomps (sencillos) walking forward, starting with the right foot, left foot, right foot, left foot

Repeat Part I Sequence
Count 7 - Step back with right foot, while crossing it behind the left leg
Count 8 - Step back with left foot, while crossing it behind the right leg
Counts 9-12 - Four quick stomps (sencillos) walking forward, starting with the right foot, left foot, right foot, left foot

Part II
Count 1 - Point forward with the right foot, while leaning forward for a slight pause
Count 2 - Point forward with the left foot, while leaning forward for a slight pause
Counts 3-6 - Series of four sets of triple steps (paso de tres zapateados), or stomping flat-footed, or 3 stomps for each count

Repeat Combination I thru Combination II for a total of 4 times

Part III - Series of 16 sets of triple steps (paso de tres zapateados), or stomping flat-footed, or 3 stomps for each count

Repeat dance sequence Part I thru III. Finish dance by jumping on both feet, and land with one knee bent while holding on to the bastón.

Example 2
Name of dance: Las Chiapanecas (video) (video)
Mexican State Origin: Chiapas
Basic Steps (pasos básicos): triple steps (paso de tres lentos), 3 step turn
Costume: Chiapaneca dress which is a tiered dress that is decorated with colorful embroidery of flowers. The dancer wears a braid (trenza) on her head decorated with ribbon.
Style: Very graceful

Introduction: Hold for 8 counts

Part I
Counts 1-4 - Four triple steps (paso de tres lentos) in place, starting with the right foot while holding the dress at shoulder level
Counts 5-8 - Complete turn in place to the right with arms extended to the side holding dress at shoulder level
Repeat sequence for a total of 4 times

Part II
Counts 1-5 - Three step turn to right side by stepping with right foot, left foot, and right foot, and clap hands twice at shoulder level
Counts 6-10 - Repeat three step, turn to the left side, leading with the left leg

Part III
Counts 1-8 - Step on left leg,while swinging right leg to left side, repeat 8 times (Holding the dress at shoulder level, move the arms like a seesaw)
Counts 9-16 - Step on right leg while swinging left leg to right side, repeat 8 times (Holding the dress at shoulder level move the arms like a seesaw)

Repeat sequence. Repeat Part I thru III

Tips for people with disabilities. In general:
- allow more freedom of expression when dancing.
- a guided discovery, or movement education style of instruction is probably best.
- dance surface should be even, consistent traction, and boundaries clearly marked.
- dance movements might need slowing down.
- rhythm slowed down.
- allow for more steps between sequences.
- multiple attempts for desired pattered.
- visual clues for feet placement.
- use colored markers or cones on floor for direction.
- use colored marker for right and left hands and feet.
- picture for body position.
- extra verbal and physical clues.
- extra encouragement for proper technique.
- beating a drum, maraca, or cymbals to help establish the tempo.
- cut down the “tasks” from 7 to 8 steps to 3 or 4 steps.

Dancers that are visually impaired:
- should be guided around the dance floor to help obtain a mental picture of the area.
- area should be free of obstacles
- bright lighting and colored markers on the floor
- may benefit from always having physical contact with their partner
- partner wear bright colored clothes (reds, violets)
- partner wear bells on wrist
- partner callout directions (where to move, face)
- partner physically assist as needed
- physical shaping of desired arm movements might be more effective than verbal explanation

Dancers that are deaf:
- music should not be turned up high
- more base would enhance the physical sensation of the beet

Dancers that use wheelchairs:
- may benefit from hand, arm, shoulder, head, and upper body stretches
- switch leg moments with arm movements (rolls, waves, swings, slap thighs, clap hands, clap partner’s hands
- more space between dancers
- partners are allowed to push/pull the wheelchair when needed
- partners can assist in arm moments

resourses: Danza de los Viejitos, directory of many links to dance information.

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