Ballet Folklorico and the Charleston both originated in the 20th century, yet Ballet Folklorico originated in Latin America, Mexico in 1952, whereas the Charleston originated in Charleston, South Carolina in 1923. The origins of Ballet Folklorico stem from ancient people and their evolution of culture and traditions. The culture and dance traditions of these indigenous groups have remained alive through Folkloric dancing. Over the years, many people who have lived in the U.S. for generations have performed their Folkloric dances in the same geographical regions. This component influenced Folklorico to the United States. Unlike Ballet Folklorico, the Charleston steps are known to have originated with African Americans living on a small island near Charleston. The Charleston was based on the “Juba,” which was a dance brought to Charleston by enslaved African Americans. Although both dance styles moved from their specific region to another, the Charleston was already present in the U.S and traveled North during WWI due to African Americans heading North. At the end of WWI, the Charleston became a piece of the Roaring 20s, during the time period where a more pronounced social and political change was present. In the Roaring 20s not only was the idea of the “New Woman” present, but there was also the right of vote for women due to the ratification of the 19th Amendment in 1920. In the 1920s, Americans had the luxurious advantage to new technology, entertainment, households and automobiles. The only limitation was the ban of intoxicating liquors due to the 18th Amendment.
Ballet Folklorico and the Charleston emphasized on freedom of expression and identity in society. Although both emphasized similarly, Ballet Folklorico mainly emphasized the connection with Mexican tradition and culture due to the major wars and revolutions that occurred in Mexico, whereas the Charleston mainly emphasized rebellious acts which refuted societal images and stereotypes of genders, especially females. Ballet Folklorico plays an identity, culture, and traditional function in society. It emphasizes on the roots of Mexican society and history. Unlike the emphasis of Ballet Folklorico, the Charleston emphasized on the informality of the dance style, freedom of the body, and hip movements which made the Charleston a scandalous dance style. The Flappers — who were women in the 1920s with short-bobbed hair promoting scandalous behavior who continuously listened to jazz music — openly and illegally drank liquor, smoked, drove cars and wore short skirts and dresses. As an effect, the Charleston and the Flappers influenced women to abandon their feminine, societal image. In contrast, Ballet Folklorico affected its meaning and value as a national dance. The 1910 Revolution was ultimately the most significant impetus behind the evolution of Ballet Folklórico, as the resulting nationalist movements embraced indigenous art forms and re-identified Ballet Folklórico as a national expression. The Charleston completely changed the image of women in the 1920’s due to the freedom of expression and willingness to rebel.
To this day, Ballet Folklorico emphasizes mainly on its historical roots corresponding to its dance and specific region. Compared to its historical, social popularity, Ballet Folklorico is now highly integrated in festivals, carnivals, traditional birthdays, social meetings and organizations. Similarly to Ballet Folklorico, the Charleston continues to emphasize on its roots given. Not only that, but both dance styles have grown socially. The Charleston is now known in multiple regions due to its advancement across the globe. Yet, the Charleston differentiates because although it’s more recognized, the Charleston isn’t danced as frequently as before.
Cultural and Political Context
In Ballet Folklorico culture, the Spanish and Indians intermarried and the resulting mestizo amalgamated their cultural heritages as well as the blood and ancestry of both races. When the Germans settled in the Northern side of Mexico, Texas country-Western music was influenced. When the Spanish colonized the Western area, Mariachi music was influenced. In the Southern part of Mexico, Asian influenced Folklorico as well as African roots due to African slaves. Similarly, the Charleston had African roots yet, unlike Ballet Folklorico, the Charleston only had influences from African Americans. African American steps, along with its history, were incorporated in the Charleston; the Charleston became a blend of African and European traditional roots and art. It is valid to say that both styles were influenced by cultures that were not their own. During the emergence of Ballet Folklorico, the jarabe dance, from Jalisco, became a political weapon, summoning emotions of patriotism and serving a “Symbol of Liberty.” The Mexican government made a coordinated attempt to promote Ballet Folklorico and preserve it for its aesthetic and social value. Although both had involvement with the government, the Charleston had a negative relation whereas Ballet Folklorico had a positive relation. The Charleston influenced illegal acts, therefore formed a negative relation with the government and laws. Although illegal acts were performed, the Charleston remained showcased in Broadway. The success of such shows, created optimism during the Harlem Renaissance. This was during worsening socio economic conflicts in Harlem itself and political setbacks in what was a very conservative and racist era; the time period where black leaders revolutionized and hoped for others to understand them as leaders. Thus, the retaliation during the Harlem Renaissance also contributed to the negative impact with the government.
Up to the present time, the Charleston and Ballet Folklorico are results of different cultures intermarrying. Both became a concept of dissimilar cultural influences. According to the political significance of Ballet Folklorico, it has reduced due to the government not emphasizing its value as it was done previously. Ballet Folklorico isn’t seen as a “Symbol of Liberty,” but is now seen as a dance for pleasure. The Charleston also changed its political relations. As it was seen before, smoking and drinking were illegal acts, but now females are able to express themselves more freely, especially in regards of outfits.
Dance Styles and Elements
The pieces of Ballet Folklorico are long processes, with the utilization of an expansive scale of space due to being intricately choreographed. The process varies depending on the region and theme expressed. For example, Amalia Hernandez’s piece of “Danza del Venado” shows a series of plies and low, grounded level movements due to the theme of the Yaqui Native American tribe being skilled and cautious to hunt. A distinct piece is Amalia Hernandez’s piece of “Jalisco”. The piece demonstrates the use of the maximum space in order to execute swinging movements adequately, especially in regards to the arm movement female dancers perform to freely flow their skirts. Middle level movements, in other words, a standing, upright body positions, and the formation of symmetric movements, on the right and left side of the body, are balanced and demonstrated. Ballet Folklorico’s unique technique is the accentuation of beats made by the dancer’s heel-dance shoes, which correlates with the time. Percussive, aggressive movements, as well as isolations, are seen through the sharp footwork where energy is released in a controlled, restricted manner.
Similarly, the Charleston uses an expansive scale of space due to the dancers performing defined, controlled, swinging movements, which are seen through the motions of the dancers’ arms and legs. Yet, unlike Ballet Folklorico only performing middle level movements, the Charleston also uses high level, suspended movements such as releve, jumps, and partner lifts which create the impression of defying gravity. For example, Bee Jackson’s solo performance demonstrates the traits of symmetric steps, such as the movement being evenly performed on both sides of the body, and contains a bound and free flow where the movement is grounded yet smooth. The Charleston pieces are represented by their specific technique of licentious movements performed by the female dancers, whereas Ballet Folklorico expresses a region and theme. The Charleston’s costumes of short skirts contribute to its scandalous representation, whereas Ballet Folklorico’s traditional costumes identify its theme. Both dance styles, rather than being highly exposed in stage productions, are mostly danced in open places.
Recent Development
Ballet Folklorico originally branched off from indigenous groups, which caused Ballet Folklorico to spurn off into various styles, such as danza, mestizo, and bailes regionales, due to their traditions and cultures. Today, Ballet Folklorico still remains traditional because of the deep connection with the Mexican culture and history. Instead of Ballet Folklorico being a political statement, it is now an artistic voice that demonstrates the amalgamation and reflection of the regional and ethnic diversity of Mexico. In contrast, the Charleston, which was popular due to being scandalous and creating chaos, has become less chaotic. Most acts that were considered illegal or ‘out of the image’ based on gender, especially in regards to females, are no longer illegal. Although the Charleston was popular during the Roaring 20s, its popularity has decreased in today’s time and age and is now seldomly seen or danced to.
Summary of Findings
The central differences between the two dance styles are attributed to their dissimlar, complex origins due to integrating different cultures. Throughout the development of both dance styles, cultural context demonstrated the amalgamation of different cultures to form a dance style; social function took relations with the government and the people in that era; and political events demonstrated the significance in relation to the nation and government.