Sacramento, CA (June 2, 2014) -On Sunday, June 22, 2014 Compañía Mazatlán Bellas Artes de Sacramento (CMBA) our professional performance company will premier our new production Costumbres Latinoamericanas. The 3:00 p.m. performance will be held at the Harris Center for the Arts (Three Stages at Folsom Lake College) located on 10 College Pkwy, Folsom, CA 95630.
Tickets available here
El domingo 22 de junio la Compañía Mazatlán Bellas Artes, nuestra compañía profesional presentará su nueva producción, Costumbres Latinoamericanas. El espectáculo de las 3:00 p.m será presentado en el Harris Center for the Arts (Three Stages at Folsom Lake College), localizado en 10 College Pkwy, Folsom, CA 95630.
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Costumbres Latinoamericanas is an expressional panorama of the Central and Southern Americas featuring rituals and traditions of its people expressed through dance and music. Under the watchful eye of Artistic Director Zenón Barrón, CMBA ventures into a dancing odyssey through the American Continent. Audiences will be part of the ancestral rituals of the Quechua, the vibrant footwork of the Argentine gaucho and the Venezuelan joropo, accompanied by the sonorous singing of the harp.
The program promises to captivate, entice and reward with colorful costumes, thoughtfully created choreography and music, "simple, yet poetically played,” according to Barrón. “The majority of the production will be accompanied by intrinsic stringed instrumental set to stimulate and bond with the visual production,” Barrón continued.
The journey will begin with the Tarahumara people from Chihuahua, Mexico. Known for their strong ability to run, the Tarahumaras prepare a week in advance for the Holy Week festivities. The dancers make use of their strength and ability to dance for 30 continuous hours during which they offer it to the Father Sun and the Mother Moon, hoping to bless their harvest and bring good health for their family.
The “Huapango” – one of the several regional styles of music and dance that continue to survive – will also be represented. In Tamaulipas, the indigenous people offer the dance to the gods to ensure a prosperous sugar cane harvest.
The program continues onward through Venezuela, Peru then Argentina, with its variations of “The Tango.” Besides the cosmopolitan imagery of the Tango, Argentina also takes pride in its traditional dance forms. Such styles include the Cueca, Chacarera and Malambo. Throughout time, these dances have become a romanticized construction of national identity projected by urban cultural institutions through the mass media.
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