By CB Adams
Dance St. Louis, one of the oldest dance presenters in the United States, has been a cornerstone of the St. Louis cultural scene since its founding in 1966. The organization has brought an impressive variety of dance companies to the region, making it accessible to a diverse audience and fostering engagement across various communities. Through its programming, Dance St. Louis nurtures local dancers, offers transformative educational outreach, and ensures that the art of dance is a vibrant part of St. Louis’ cultural fabric.
Thanks to Dance St. Louis, a one-night-only, capacity audience had the opportunity to join the more than 45 million people worldwide who have experienced the Ballet Folklórico de México. Few (if any) ensembles capture Mexico’s vibrancy and cultural depth like Ballet Folklórico de México.
The St. Louis performance was a passionate, flashy blending of history, regional folk traditions and theatrical storytelling. The program featured nine pieces: “Los Mayas,” “Sone Antiguos de Michoacán,” “Tarima de Tixtla,” “La Revolución,” “Charreada,” “Fiesta en Tlacotalpan,” “La Vida es Juego,” “La Danza del Venado,” and “Fiesta en Jalisco,” each transporting audiences to different regions and eras, celebrating Mexico’s diversity.
In terms of the experience, especially for those not deeply familiar with the history, music, movement and exquisite costuming of Mexico’s heritage, the dance pieces individually and collectively highlight the importance of preserving and sharing these traditions through dance. Under Amalia Hernández’s leadership, the company brings Mexico’s traditions to life through dance.
In this respect, it is a form of cultural exchange rather than an innovative dance experience. The dances shared a defined dance vocabulary and displayed creativity of employing that vocabulary and augmenting its message with costumes, songs and music and sets.
One of the evening’s most evocative pieces, “Los Mayas,” transported the audience to ancient Mesoamerica. The dance embodied the civilization’s spirituality and cosmic vision through hypnotic movements, elaborate feathered headdresses and haunting music.
Expressive port de bras added an ethereal quality, while grounded pliés and chassés reflected the ritualistic elements of Mayan ceremonies. Beyond its aesthetic beauty, “Los Mayas” honors Mexico’s indigenous heritage.
“Sones Antiguos de Michoacán” offered a glimpse into Purépecha traditions, featuring intricate zapateado rhythms that resonated like an ancestral heartbeat. The dancers, adorned in traditional embroidered garments with detailed geometric patterns and bright sashes, moved in perfect harmony, their feet creating a percussive dialogue with the musicians.
Gentle pas de bourrées balanced the sharper footwork, evoking a sense of reverence and grace. The authenticity of “Sones Antiguos de Michoacán” highlighted the Purépecha people’s resilience and artistic legacy, illustrating Mexico’s layered cultural history.
“La Danza del Venado” carried deep emotional weight as it depicted the sacred deer hunt ritual of the Yaqui people. The lead dancer, wearing an elaborate deer headdress adorned with real antlers, executed sautés and jetés that captured the deer’s grace and vulnerability, while quick petits battements mimicked its nervous energy.
The musicians’ rhythmic drumming and flute melodies heightened the tension, preserving an indigenous tradition that remains vital in Mexico’s cultural tapestry.
“Tarima de Tixtla” delivered a percussive spectacle with dancers stamping intricate beats onto wooden platforms, fusing indigenous and Spanish influences. Their bright floral skirts and embroidered blouses contrasted beautifully with the men’s crisp white shirts and sashes, emphasizing the dance’s rhythmic energy. “
La Revolución” reenacted Mexico’s revolutionary era with powerful performances in adelita dresses and military uniforms, swirling in bold, determined movements.
“Charreada” honored Mexico’s equestrian traditions, with grands jetés and sweeping chassés mimicking horse movements. The dancers’ intricately embroidered charro suits and wide-brimmed sombreros added authenticity to the spectacle.
Fiesta en Tlacotalpan radiated coastal vibrancy, blending Afro-Mexican and Spanish influences in a whirlwind of color, with dancers donning lightweight, flowing dresses adorned with lace and ribbons.
“La Vida es Juego” captured childhood’s joy with playful bourrées and quick pas de bourrées, as performers in bright, whimsical costumes depicted scenes of innocent delight.
Closing the performance, “Fiesta en Jalisco” celebrated Mexico’s ranchero culture with swirling skirts in synchronized fouettés, dazzling charro costumes embroidered with silver accents and mariachi melodies. The dancers’ energetic zapateado—percussive heel stomping—was a hallmark of Jalisco’s traditions. Pas de basque movements added a dynamic circular motion, amplifying the festive spirit. Beyond its spectacle, “Fiesta en Jalisco” honors the charros and mariachi music’s role in national identity.
A crucial element of the evening’s success was the outstanding onstage band, which brought each region’s music to life with an array of traditional instruments. The ensemble featured violins, trumpets, guitars, harps and marimbas, providing a rich, authentic soundscape.
Standout performances included the soulful strains of “El Son de la Negra” during Fiesta en Jalisco and the melancholic beauty of “La Llorona” during Son Antiguos de Michoacán. The musicians’ precision and passion matched the dancers’ energy, enhancing the immersive experience.
Dance St. Louis presented Ballet Folklórico de México at the Touhill Performing Arts Center February 28.
CB Adams is an award-winning fiction writer and photographer based in the Greater St. Louis area. A former music/arts editor and feature writer for the St. Louis Globe-Democrat, his non-fiction has been published in local, regional and national publications. His literary short stories have been published in more than a dozen literary journals and his fine art photography has been exhibited in more than 40 galley shows nationwide. Adams is the recipient of the Missouri Arts Council’s highest writing awards: the Writers’ Biennial and Missouri Writing!. The Riverfront Times named him, “St. Louis’ Most Under-Appreciated Writer” in 1996.
