Ballet Folklorico De Stanford
In the early 1970’s, Ballet Folklorico de Stanford was established to present and promote the Mexican culture to the Stanford University. By 1972, the Dance Department of the school started to offer an exhibition class where it provided a formal setting for Ballet Folklorico to be taught. Before such time, the dance was kept alive on the campus through the efforts of individual students who taught themselves and one another. The group’s initial performance was held at the altar of Memorial Church.
Since then, the group has performed Ballet Folklorico throughout the state and had the privilege of performing for former Secretary of State, Schultz, and President Salinas de Gortari of Mexico during the Stanford University's centennial celebration.
Throughout it's history, the group has also worked with many renowned instructors including: Susan Cashion, co-founder of Los Lupeños de San Jose and ANGF; Marco Romero, student of Emilio Pulido and Rafael Zamarripa; Ramon Morones from the University of Guadalajara; Manolo Vasquez-Robaina and Margarita Vilele-Creagh from Danza Nacional de Cuba; Ana Iris Bosch, of Amalia Hernandez's Ballet Folklorico de Mexico; Elena Robles, founder of Folklorico Nacional de Mexico and currently the Director of Cultural Affairs for the Mexican consulate in San Jose.
In the schoolyear of 1992- 1993, the group re- embarked on its journey as a student run organization, with the group members taking on all the tasks from advertising and booking performances to organizing its annual show, Concierto de la Primavera. Over a decade later, the group is still student run and managed.
Ballet Folkloric de Stanford has a repertoire of various states and regions in Mexico. They are the following: Baja California Norte, Chiapas, Guerrero, Jalisco, Michoacan, Nayarit, Sinaloa, Tamaulipas Huasteca, Vercruz and Yucatan.
In addition to their own presentations, Ballet Folklorico de Stanford performs at several events throughout the school year. They have collaborated with El Centro Chicano, Catholic Community and other on- campus organizations. The following are special occasions they have actively participated: Dia De Los Muertos, Virgen De Guadalupe Mass, la Gran Posada, Parent and Alumni Banquet and El Concierto De La Primavera.
Their veterans include Elizabeth Aguilar, Christian Garnett, Letty Rodriguez, Yesenia Castro, Kimberly Gonzales, Tania Roman, Monica Cendejas, Marisa Juarez, Elena Tostado, Eutimia Cruz, Alex Loera, Luis Vargas, Simon Escbedo, Candice Moreno, Valeria Vega, Lea Galaz, Veronica Ramirez, Carolina Vilchis, Krysti Garcia, Daisy Rios, Stefanie Garcia and Liz Rivera. Their graduates are the following Arturo Caballero, Diana Hernandez, Alvaro Soria, Tania Davila, Marissa Juarez and Tatiana Puerta.
Ballet
A Collection Of Ballet Costumes
Brief History Of The American Ballet Theater
Ballet
... designed costumes. The men wore very elaborate, stiff brocaded coats, knee breeches, wigs and swords belted to their waists. The women, in the otherhand, were tightly laced in long-sleeved bodices and pannier skirts. These cumbersome, heavy outfits allowed for little body movement and the steps execute ...
... period marks the rise of more ballet companies in Italy. According to numerous resources that talk about ballet history, the first dancers of ballet were mostly men who wear masks and perform women s roles. It was later 16th century that the first female ballerina came out to perform professionally in ...
... ballet barre work stems from the agreement made by the top ballet teachers then when they agreed that barre work is one of the most important, exciting part of the ballet class. Many have said that this handrail allows the students of ballet to learn proper placement while warming up the body for the ...
... complicated and hard. The production s original choreography by German ballet master, Julius Reisinger, was uninspiring and unoriginal. Much is unknown about the original production of Swan Lake no notes, techniques or instruction concerning the ballet was written down. It wasn t until after Tchaikovsky ...
... and exerted a huge influence on the art form. George Balanchine, a Georgian migr and prot g of Diaghilev, formed the New York City Ballet in 1948. Meanwhile, the Soviet government sponsored new ballet companies throughout the union. After a period of experimentation in the 1920s, ballet in Russia reverted ...