Four weeks ago, the 70-plus members of Ballet Folklorico de Mexico were faced with a quandary they never encountered in more than 50 years of touring America -- the possibility of cancelling a performance.\nSlated to perform for 1,500 United Nations ambassadors and their staffs Sept. 11, the 45 dancers instead ceased warming up, stretching and rehearsing, rendered immobile by news of terrorist attacks on the United States. \nThe 25 musicians, swathed in traditional Mexican garb, stopped tuning, plucking and strumming. The crew paused in the midst of unloading 10 tons worth of costumes and set pieces at a theatre on the corner of 75th Street and Broadway in New York City. \nNo one knew what to do. The company was scheduled to perform three days later in Sacramento -- more than three thousand miles to the west. With no flights leaving the city, the cast and crew desperately sought a way to get west.\nSomehow, through some stroke of luck, they found a bus service willing to transport the entire company and its effects without stopping -- "just fast food and bathroom breaks," producer Adam Friedson said. They arrived in California after two and a half days of nonstop travel -- and never skipped a beat onstage before a crowd of 2,500 children.\n"It was thrilling," Friedson said. "The company knew what happened and was ready to go on and bring a celebration of life to the American people at a time of great difficulty."\nIn more than 50 years, Ballet Folklorico has never canceled a performance, and tonight they'll round out their American tour with a capstone performance at the IU Auditorium.\nFounded in 1952 by late Mexican choreographer Amalia Hernandez, the group began as an eight-member ensemble exclusively trained under classical ballet and modern dance techniques. Hernandez broke new ground, Friedson said, when she coupled her strong technical expertise with traditional Mexican folk dance.\nHernandez's vision of preserving and reviving traditional forms of dance enabled her to create a regime in which rigorous classical training was complemented by a more fluid approach to modern dance techniques.\nHer systematic approach to researching indigenous cultures in Mexico's municipalities facilitated a broad representation of pre-hispanic and Mayan groups in the country. \n"It's a very different style of footwork, of movement, of physical training," Friedson said. "Folk dance reflects traditions all over Mexico; those traditions reflect 32 different states. Those different cultural ingredients are the cultural stew of what modern dance in Mexico is."\nThe result is a "magic carpet ride" Friedson said has absolutely captivated him. Though a seasoned producer, he wasn't sure how exactly to bring Ballet Folklorico stateside when asked to join the production staff 14 years ago. The group had already toured extensively in the States, so name recognition wouldn't be a problem, but finances were a problem. Though not for long -- subsidization surfaced through American Honda, and the U.S. touring company of Ballet Folklorico was born.\nFriedson said he expects audiences to be particularly moved by the show's opening number, an exploration and celebration of Mayan culture. Swathed in elaborate head-dresses, female dancers take the stage to the beat of conch shell blasts. Those dancers are gradually replaced with choreography depicting French and Spanish colonial influences, resulting in a sort of "European-style polka footwork," which, Friedson said, is strongly reminiscent of traditional European culture.\n In fact, Friedson said, the entire show is an amalgamation of intercontinental influences -- from Afro-Carribean to Spanish to German, reflecting what Hernandez termed "the drops of blood from all cultures" making Mexico what it is today.\nEach piece has a distinct beginning, middle and end, contributing to the narrative sense of action and drawing a larger, more diverse audience.\n"It's not just dance -- it's a grand spectacle," Friedson said. "It's a celebration of life, a beautiful combination of Mexican music and huge painted backdrops and wonderful composers."\nThe group has most recently garnered the support of Columba Bush, wife of Florida governor Jeb Bush and backer of the company's Educational Series, which brings master classes and dance training to children throughout the country.
Ballet Folklorico de Mexico performs at the IU Auditorium at 8 p.m. today. Tickets are $17-$26, $9-$16 for IUB students.To order tickets by phone, call 333-9955 or visit http://www.ticketmaster.com.
