Comitán de las Flores, Chiapas: "El Niño de Dios"
Estado de México: “Adoración de Concheros”
Huasteca Tamaulipeca: “Fandango Guadalupano”
Jarácuaro, Michoacán: “Las Pascuas”
Nuevo León: “Posada Norteña”
Tlaquepaque, Jalisco: “Posada Tapatía”
Veracruz: “Fandango Afromestizo”
Chiapas: "Tierra Encantada"
Jalisco: “Fiesta Tapatía”
Michoacán: “Jarácuaro en Primavera”
Nuevo León: “La Música Más Padre del Norte”
Tamaulipas: “Huapango y Son Huasteco”
Costumbrista: “Ecos Revolucionarios/Apunte Histórico 1910-1920”
Costumbrista: “Porfiriato/Merienda en Chapultepec”
Guanajuato: “Balonas Serranas”
Guerrero: “Mártires Campesinos de Costa Grande”
Jalisco: “Campiña Brava – Los Toros”
Tamaulipas: “Campesinos – La 187”
AZTLAN ACADEMY - HALF A CENTURY OF DANCE ARTISTRY
The Aztlán Academy has not had a great renowned choreographer to create new works for our annual concerts season’s continuum; we have Maestro Javier Hugo Salazar. We have learned that our Dance Troupe is a unique exercise about self and collective cultivation. This perpetuates his work and nurtures young and old audience’s cultural knowledge. We have learned to develop dancers and folk arts artists with his teaching methodology and techniques.
The Aztlán Academy works consistently with his aesthetics, which provide the framework for everything we artistically do to represent Mexican provincial ethnic fandangos for the stage. It is with his dynamic movement style, his philosophy of scenographic representation and his art work ethics that we have moved forward for half a century.
Signature elements that make Mestizo dance pieces stand out are the performers’ frontal movement and elucidation. He prefers circular patterns over linear parallel alignments, always advocating simplicity. He technically shapes zapateado steps to musical tempo and edits the dancers’ percussion rhythms until getting to the core of the floor movements he wants bodies to respond to; his insight for intricate posturing, the simple involvement of eye contact respective of the masculine and feminine impression of emotional intimacy.
Maestro sculpts dance steps from technical to intricate working small adjustments, contouring form and mold to the final shaping of the projection of how it relates to bailadores who regionally enjoy it South of the border.
He favors presenting concerts with four suites mixing music, vocals, movement and color separated by an intermission. Two segments connected with regional traditional songs and poetry in-between and repeats it for the second part of the program. This rendition takes the audience on a journey. A piece is the opening with cultural social values strengthening its artistic beauty. Such is followed with some more advance meaning of historical context in the subsequent pieces. The audience experiences a visual feast of interwoven diversity and commonness: The theatrical magic of people’s intrinsic selves with a renewed cultural appreciation.
POR LA EDUCACION DE NUESTRA GENTE