Executive & Artistic Director
Thor Steingraber
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Ballet Folklórico de México de Amalia Hernández
Fri Mar 14 | 8pm
Sat Mar 15 | 1pm
Run Time: about 1 hour and 30 minutes (no intermission)
Warning: This production uses gunshot sound effects and confetti cannons.
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Founders
Amalia Hernández, Norma López Hernández
General Director
Salvador López López
Artistic Director
Viviana Basanta Hernández
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About Ballet Folklórico de México de Amalia Hernández
Amalia Hernández | Salvador López López | Amalia Viviana Basanta Hernández
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Program
“Los Mayas”
This ballet has been wrought out of several legends taken from the sacred books of the Mayans: the Popol Vuh and the Chilam Balam. The main character is Xtabay, the beautiful goddess of hunting, who also seduces and hunts men. In another legend, one of the Three Princely Brothers disappears mysteriously and thereby incites his other two brothers to wreak vengeance on the world. In the legend of Nicte, a mortal woman tries to compel a departed lover to return.
“Sones Antiguos de Michoacán”
This is the first folkloric ballet created by Amalia Hernández. The brief mosaic begins with the Michoacan version of jarabes, which have their reminiscences of jota and zarabanda.
“Tarima de Tixtla”
Based on the original dances of the state of Guerrero, Tarima de Tixtla is one of the most colorful and cheerful choreographies in the Ballet Folklórico de México’s repertoire. The echo of the tapping shoes shakes the wooden stand, representing with joy the warmth of the people of Guerrero. The swirl of the skirts and the tapping of the dancers’ feet show an incessant dialogue through dance.
“La Revolución”
This ballet is dedicated to the soldaderas, also called Adelitas, women who had a decisive role in the Mexican Revolution. In contrast, the aristocrats are seen in a celebration, when a group of rebels crash the party, prepared to fight and march toward their destiny: the Mexican Revolution.
“Charreada”
One of the most deeply rooted traditions in Mexico is the charrería, which arises from the equestrian and livestock activities around the country. Declared an Intangible Cultural Heritage by UNESCO, charrería is considered an art and discipline where men and women demonstrate their courage with great feats that took place in the old farms of Mexico.
“Fiesta en Tlacotalpan”
Spanish culture has a strong influence on jarocho dance and music, which is why there is percussive footwork in every choreography, a distinctive flamenco move. This fusion can be appreciated during the celebration of the Virgen de la Candelaria, where the streets are filled with mojigangas, fandango dancers, jaraneros, and beautiful women who wear the typical Veracruz costume.
“La Vida es Juego”
This dance is based on Mexican toys and games. The game is controlled by a charismatic devil that handles all characters as if they were marionettes, and with their cords, he manipulates them to determine their destiny. Reality and fantasy interact when the devil uses both “Cupid” and “Death” to perform a tangled love story between a bride, her groom, and her lover.
“La Danza del Venado”
The Deer Dance is an emblematic representation of the state of Sonora. The dance is a ritual performed before hunting expeditions and reproduces the movements of the prey with amazing fidelity.
“Fiesta en Jalisco”
The state of Jalisco is the land of the Charros, the Chinas, and the Mariachi, powerful symbols of Mexican identity. Mexican culture is shown in the brilliant folklore of Jalisco, its music, its vigorous and refined dances, and its dazzling and multicolored costumes.
Program Note
The Soraya has proudly hosted many folkórico companies on its stage, both local and international. We are proud of our long-standing engagement with Mexican traditions and cultures, and from the overwhelming response, it is clear the CSUN and Valley communities stand with us.
The Soraya has also hosted artists from more than 40 other nations and regions of the world. We do so under the banner of Music Knows No Borders, our commitment to building understanding between people from all corners of the globe.
Gratefully,
Thor Steingraber
Executive and Artistic Director,
Younes and Soraya Nazarian Center for the Performing Arts
Terence Blanchard
Champion and Fire Shut Up in My Bones
Highlights from two operas by composer and jazz trumpeter Terence Blanchard
Featuring Blanchard, the E-Collective and Turtle Island Quartet
Visuals by Andrew F. Scott
Vocalists Justin Austin and Adrienne Danrich
A Soraya Commission in collaboration with LA Opera Off Grand
Terence Blanchard made history in 2021 as the first Black composer to premiere an original opera at the Metropolitan Opera. Fire Shut Up in My Bones took the world by storm, and then he did it again in 2023 with another groundbreaking hit, Champion. A collaboration with Los Angeles Opera, The Soraya commissioned a world premiere of selections from both operas performed by Blanchard himself. The American trumpeter and film composer leads his own E-Collective and Turtle Island Quartet with baritone Justin Austin and soprano Adrienne Danrich on April 6.
Ballet Folklórico de México de Amalia Hernández
For over seven decades, Amalia Hernández’s Ballet Folklórico de México has positioned itself as one of the most emblematic folkloric dance ensembles in Mexico and around the world.
Founded in 1952 by dancer and choreographer Amalia Hernández, the Ballet Folklórico de México revolutionized the concept of traditional dance and transformed the history of Mexican dance, laying the groundwork and setting the tone for thousands of dance troupes in Mexico and abroad with the characteristic seal of its creator. Hernández carried out in-depth research in the different states of the Mexican Republic, studying not only the traditional dances, but also the music, customs and typical costumes, and then imbuing them with new meaning, re-creating them, staging them and spreading knowledge of them through the theater. Through avant-garde thinking, she designed a show and created a cultural management model characterized by efficiency and professionalism on stage. Hernández’s work was not limited to choreography, as she was also a great businesswoman and cultural promoter who, through her brilliant proposals, managed to rediscover and revalue the richness of Mexican dance.
Hernández’s hard work resulted in a group with a sense of discipline, perseverance and extraordinary teamwork that became the first professional folkloric dance company. Transcendental to the history of dance in Mexico, it also created a cultural management model never seen before in the country.
Amalia Hernández’s Ballet Folklórico de México has managed to garner attention for Mexican culture and creators, acquiring enormous value through creative excellence that is comparable to other great artistic creations around the world.
Today, Hernández’s repertoire has become a classic, but one that is renewed, transformed and enriched with the passage of time. With more than 45 million spectators and countless recognitions, her artistic legacy remains strong among audiences, Mexican and from around the world, thanks to more than 120 original choreographies with great technical rigor, elaborate traditional costumes, and wonderful dancers.
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Amalia Hernández
Amalia Hernández was a dancer, choreographer, and founder of the Ballet Folklórico de México. From a young age, she began a long journey through Mexican culture that would lead her to rescue the traditional dances around Mexico. She managed to project to the world the beauty of Mexico through movement, from pre-Columbian cultures and Spanish influences to the revolutionary times. With her first performances in 1952, she obtained public recognition as a cultural representative of Mexico. Her success established the Ballet Folklórico in the Palacio de Bellas Artes in Mexico City, its permanent venue since Oct. 11, 1959. Currently, the company is directed by Hernández’s grandson, Salvador López López, and her youngest daughter, Viviana Basanta Hernández.
Salvador López López
Salvador López López is a businessman, promoter, charro, and sportsman.
López joined Amalia Hernández’s Ballet Folklórico de México in 1982, organizing tours in Europe and South America, as well as in the United States, Japan, Canada, and the Dominican Republic, among others. These tours have amounted to more than 6,000 performances for nearly 12 million spectators.
Due to his outstanding contribution, in 1986, Amalia Hernández appointed López as the legal representative and administrative director of the Ballet, which includes operating the institution, as well as establishing strategies and projects to ensure its future.
While under López’s management, the Ballet Folklórico has received numerous awards including the National Arts Award from the Mexican government, the Tiffany Award in New York, the Gold Medal of Fine Arts, the Lo Nuestro Excellence Award from the México Unidos Foundation, the Las Lunas Award from the Auditorio Nacional, among others.
López participated as a performer for the first time with the Ballet Folklórico during the Paris tour at Le Palais des Congrès in 1987. From that point on, he became the main floreador when the Ballet was on tour and during performances at the Palacio de Bellas Artes. López still performs on stage on special occasions.
In 1972, López joined the National Association of Charros as a member, having obtained two youth charro championships. He was a part of the National Youth Team starting in 1974 and the Senior Team starting in 1976. López was also a member of eight different boards of directors at the association. His sports career includes participating in charro competitions for 10 years. López was president of the National Association of Charros from 2004 to 2006. He was selected in the National Athletics Championship of 1979.
Since 1991, López trains for triathlons and has participated in two Ironman competitions in Germany and Canada. He has also been national Sub-Champion in the triathlons of 1995, 1999, and 2001; he was awarded third place on a national scale in 1998 and 2000.
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Amalia Viviana Basanta Hernández
Born in Mexico City to teacher Amalia Hernández and Argentine writer Joaquín Basanta, Amalia Viviana Basanta Hernández began her dance studies at the age of 5, both in traditional Mexican dance at the Ballet Folklórico de México, and in classical dance under Nellie Happee. At the age of 13, Basanta joined the National Ballet of Mexico, under Guillermina Bravo, where she studied contemporary dance. Later she studied both modern and contemporary jazz technique abroad, with teachers such as Alwin Nikolais, Murray Louis, Hanya Holm, Alvin Ailey, and Katherine Dunham.
In 1977, Basanta returned to be part of the Ballet Folklórico de México, as a dancer, and traced the ballets out of repertoire, strengthening the future of the company created by her mother.
In 1979, Basanta was named principal dancer of the Ballet Folklórico de México. Later, she became artistic coordinator of the company, a position she has held for more than 15 years, along with acting as director of the Ballet México en Movimiento for 10 years.
Since then, Basanta has carried out some of the research that was essential for the creation of Hernández’s ballets such as Mexican Christmas, Sones y Gustos de Guerrero, and Tlaxlala, among others.
Basanta’s artistic and professional career as a dancer has continued to grow for more than 25 years, with more than 4,000 performances at one of the most prestigious arts venues in Mexico, the Palacio de Bellas Artes, along with international tours and guest appearances. Basanta was invited as a soloist dancer by l’Ensemble National de Folklore, Les Sortileges in Montreal, Canada.
Basanta has received numerous accolades including the César Chávez award from Michigan State University, and the Artistry of Mexico Recognition presented by the United States Congress. She also received the Ulama Award and the Sor Juana medal, awarded by the Mexican government.
In 2002, Basanta founded the Amalia Hernández Dance Academy, ACADEZ in Mexico, which has been a resounding success. Another of her unique projects is the Mexico in Motion Contemporary Dance Company, which she founded in 2005.
Basanta’s choreographic work has gone beyond the borders of Mexico through the creation and presentation of various performances such as De Cara Al Mar with the Grandeza Mexicana Folk Ballet Company; Fandango y Danzón with the Resurrección Company in Los Angeles; and Leyenda de la Mulata de Córdoba (contemporary dance) with the Cleo Parker Robinson Company in Denver.
Basanta continues to inspire, develop, and teach at the Ballet Folklórico de México, through her artistic direction as well as through the creation and staging of countless choreographies: Mexican Christmas; Easter; Old Man’s Conga; Danzón No. 2 by Arturo Márquez, presented at the National Auditorium in Mexico City; Canasteras del Barrio de la Trinidad; Dance of the Feather by Amalia Hernández; and Pinotepa. She also contributes to and teaches at the Ballet Folklórico’s school, which serves as a training center for folk dancers.
Tour Credits
Founders
Amalia Hernández Navarro
Norma López Hernández
Directors
Salvador López López | General Director
Viviana Basanta Hernàndez | Artistic Director
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Dancers
Alejandra García Alejandre
Alondra Realivazquez Hinostroza
Anahi Landa León
Andrea Jaime Villanueva
Angelica Morales Fierro
Arcelia Danae Lopez Lara
Ariana Vianey Cavett
Esmeralda Hernández Fierros
Fátima Arellano Pizano
Julieta Gutiérrez Chimal
Karina Ivette Leyva Peralta
Laura Victoria Rea Paulino
Miriam Andrea Flores Osnaya
Rosa Aurora Dávila Briones
Silvia Acuña Enriquez
Sofía Larrañaga Castillo
Aaron Zalahui Hernández Martínez
Abraham Bravo Ruiz
Carlos Eduardo Alamea Espinosa
Daniel Adolfo Rodríguez
Daniel Amaya Motte
Edson Jair González Gonzaga
Job Emilio Hidalgo Ochoa
Jorge Torres Chávez
José Isaac García Martín
Juan Pablo Torres Hernandez
Luis Eduardo Carreola Núñez
Marco Antonio Aguirre Macias
Reynaldo Flores Anaya
R. Alejandro Barranco Omaña
Santos Andres Saldivar Hernández
Tonatiuh Ricardo Hernández Martínez
Yair Alejandro Escamilla Gómez
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Musicians
Adib Wuilliams Toledano Rescalvo
Alfredo Sosa Campos
Arturo Téllez Rosas
Catarino Torres Contreras
Héctor Medina Ramos
Humberto Medina Ramos
Javier Camacho Contreras
José Medina Ramos
Marco Antonio Tolentino Solano
Oscar Uriel Canul Tec
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Production
José Villanueva González | Artistic Coordinator
Carlos Antúnez Tiburcio | Artistic Coordinator
Víctor Caudillo Alvarado | Artistic Coordinator
Salvador López Maldonado | Composition & Music Production
Viviana Álvarez Basanta | Public Relations
Laura Becerril Ortiz | Operations Manager
María Fernanda R. Almela | Communications Coordinator
Rene Dolores Tolentino | Social Media
Ricardo Sánchez Flores | Graphic Designer
Alejandro Zayas | Website
Andrés Vázquez del Arenal | Administration
Alejandro Roa Sepúlveda | Administration
Aldo Misael López Cedillo | Technical Coordinator
Julio Cárdenas | Audio
Pablo Flores Martínez | Audio
Leonardo F. Cano Valadéz | Audio
Fernando Jiménez Páramo | Audio
José Barrios Gómez | Wardrobe
Pedro Cedillo Jiménez | Wardrobe
Roberto Arellano | Lighting Director
Susana Becerril Ortíz | Ticket Office
René Jaramillo Fabriz | Ticket Office
Diana E. Gamboa Álvarez | Ticket Office
Yamato — The Drummers of Japan
人の力 Hito no chikara | The Power of Human Strength
Making its fifth appearance at The Soraya on March 22, Yamato returns with Hito no chikara, The Power of Human Strength. Packed with high energy and the traditional sounds of Japan, every Yamato performance — they’ve done more than 4,000 so far — engulfs audiences of all ages in the sound of Taiko.
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About Us
The Younes and Soraya Nazarian Center for the Performing Arts is an award-winning, 1,700-seat theater that opened in 2011 and was designed by HGA Architects and Engineers. In 2017, a transformative gift by Younes and Soraya Nazarian dubbed the venue The Soraya (formerly the Valley Performing Arts Center). A vibrant performance program has served to establish The Soraya as the intellectual and cultural heart of the San Fernando Valley and its 1.8 million residents, and further establish The Soraya as one of the top arts companies in Southern California.
The Soraya’s 2024-25 Season boldly advances the immersive sound of big orchestras; the free flow of jazz; an array of dance; and a cultural bounty drawn from the well of world traditions. The Soraya continues its vigorous commitment to innovating, excelling, and amplifying access by offering a wide variety of performances that reflect LA’s many distinctive communities and featuring new and original work from the Los Angeles region as well as artists from around the world.
Located on the vibrant campus of the California State University, Northridge, The Soraya and the Mike Curb College of Arts, Media, and Communication share an integral link that enhances student opportunities in the arts and performing arts. This partnership fosters academic opportunity and artistic excellence, elevating the talents of CSUN’s students.
A $5 million contribution from record producer and former California Lieutenant Governor Mike Curb was pivotal in ensuring The Soraya was completed and opened in 2011. For his founding support and in acknowledgment of the integral relationship between the Mike Curb College and The Soraya, Curb is recognized as one of The Soraya’s Cornerstone Benefactors. The relationship between The Soraya and the Mike Curb College continues to grow, with robust offerings for students through master classes, student tickets, concerts of student ensembles, and students appearing alongside renowned artists, such as Wynton Marsalis, Aida Cuevas, and Martha Graham Dance Company.