Impacting Dance Instructors with Continuing Education at The University of Colima

A moment with Maestro. EBFE instructors Hannah Nettleton, Alondra Ornelas and Rafael Flores with board member Jessica Walker and founder Susana Quintanilla pose with Maestro Rafael Zamarripa.

In January, three of EBFE's dance instructors were invited for extended learning to the Universidad de Colima's dance program. The university was previously attended by EBFE alumni, whom received both deep cultural knowledge of Mexican folklore and fundamental dance instruction. Mornings began with yoga taught by EBFE board member, Jessica Walker. In afternoon rehearsals at the univeristy, the instructors gained essential techniques in instruction, including those influenced by Martha Graham, and formation in ballet as it pertains to folkloric dance. Each dancer witnessed rehearsals which included the uniqued choreography of Las Alazanas, El Gavilan and El Huizache. Instructor Hannah Nettleton had this to say about her time in studio at the university.

"Throughout the week, I had the privilege of studying dance with the professional company at the University of Colima. Maestro Zamarripa founded this program in the 1980s. I took classes with Christian Azael and other esteemed instructors, and was able to explore various techniques and styles. In the modern dance class, we focused on the Martha Graham technique, accompanied by live percussionists, which added a dynamic energy to the sessions. Additionally, I participated in rehearsals of traditional dances from Veracruz, gaining hands-on experience with the intricate movements and rhythms of this region.

Additionally, I had the opportunity to observe several rehearsals that showcased the depth and diversity of Mexican dance. Watching rehearsals of Aztec dances was fascinating, as the performers incorporated powerful, rhythmic movements set to live drumming. These dances highlighted the historical and spiritual significance of movement in Mexican culture.I also observed rehearsals of a variety of Veracruz dances and Jalisco dances, which were lively and accompanied by mariachi music. I previously learned several of these dances in Michigan, so it was interesting to observe the similarities and differences between the different versions. One standout moment was watching the rehearsal of El corrido de Rosita Alvírez, a powerful narrative performance accompanied by the live mariachi and chorus. This piece featured the story of a girl who was killed by her lover for going out and dancing in her town. The combination of music, dance, and storytelling created an immersive experience"

On Saturday, the instructors were taken to the home of the university's dance program found and internationally known artist, Rafael Zamarripa for a chance meeting and tour of his home studio. Here is what instructor Alondra Ornelas had to say about the encounter and the experience in Colima.

"Maestra Sue asked him if he had any advice for us dancers. He looked at me and said, '¿Hacen las cosas bien?'

I replied, 'Intentamos, Maestro.'

You could tell by his immediate facial expression that my response was lackluster. To be honest, I struggle to remember the exact wording he used in his response. I do, however, remember the way I felt as I was receiving the wisdom. It felt like tough love. He mentioned how trying is not enough. Mediocrity is not enough. You must do all things with passion and it must come from within. It was a wake up call. For the past months I had been in my comfort zone. This trip yanked me right out. I was showing up to rehearsals and to the class I co-teach, but I realized I did not have any concrete goals I was working towards. Because of this, I was not pushing myself to grow. I was placed in a room with dancers much more skilled and disciplined than me. When you are placed in a setting with people at a higher-level, you are forced to stretch yourself to at least keep up with their pace. I learned that I want to hone in on my craft and I am willing to put in the work and the discipline."

Instructor Rafael Flores had this to say about his time with Maestro and with the university dance company.

"When asked if we danced well, our member responded “We try to” and this led to the Maestro saying that “Trying is not enough” and “We should be doing everything with passion. Trying is for the mediocre”. Although he was speaking to only one member, I believe that the whole group felt the weight of his words. At first, I was shocked and didn’t know what to say but after letting the message sink in, I felt that he was right. Just trying to do something is not enough. Full dedication is a must to represent the art form and culture in folklórico. When I first started dancing this was at the forefront of my mind and every day for two years, I worked to improve myself. I was able to dance at a professional level after training for two years, but now I have stagnated. After hearing Maestro's words however, I realize that I do not want to be just mediocre. I want to be a great dancer.

"For the majority of my time dancing that was what I mainly focused on; staying on rhythm at all times and always working to memorize the dance. I am able to keep time and know most all of our dance company’s numbers, but there was always something missing. At the time I couldn’t tell what it was, but I knew I felt awkward while dancing. The missing part was my framing and how I held myself while dancing: keeping my core engaged, shoulders back, chest up, and to smile at all times. I was aware of these pieces but never truly worked on them unless pointed out to me. Now I understand their importance after seeing the dance company in Colima rehearse. The confidence they had while dancing is something I want to imitate but the question was “How?”. The answer was in ballet, to always keep my core engaged along with everything else. Although very different styles of dance, ballet has the core component to help me strengthen my presence on stage through how I position/hold my body. I have the answer so am I able to implement it all the time? No. I learned to perform folklórico dances, but never to keep my body in check. At times I would be told to hold my body more confidently, but the comment would not stick because getting the dance numbers performance ready was more important. As of now keeping my body in check is a conscious thing but with time and training it will soon be another thing that I have to think less about. This will be the first year we truly focus on ballet in the dance company and although it feels like starting over, I am excited to begin a new journey through dance to improve myself professionally."

Experiences as these are essential in providing affirmation and artistic capacity for eBFE with today's youth. Each of these instructors received life-changing cultural exposure and contact with educators on this continuing education excursion. Opportunities such as these is why your contribution makes a difference for today's youth in building identity as well as talent. Make your contribution today.