

Teatro Degollado (Degollado Theater), located directly across from the Guadalajara Cathedral in Plaza de la Liberación, was born out of Mexico’s theatrical movement of the 1800’s, which brought with it an increased demand for a grand theater in Jalisco’s capitol city. The original 1855 proposal for the theater was that it be named after the classic dramatist Juan Ruiz de Alarcon.Governor José Santos Degollado Sánchez (1811-1861) signed the official construction decree on December 10th, 1855 and laid the first cornerstone in March of the following year.
Governor Pedro Amazon made the decision in November 1861 to change the name to “Teatro Degollado,” in honor of the ex-governor who had initially approved the project. A famed military leader, Degollado had been killed in battle the previous summer. In addition to the theater, a city in the highlands of Jalisco is named in his honor.
A lengthy war and a change of government resulted in numerous construction delays, but the theater’s first inauguration was finally held on September 13th, 1866. Opera soprano Angela Peralta performed “Lucia di Lammermoor” in a yet-to-be-completed theater. Numerous renovations and four more inaugurations would occur before the theater would be finally be deemed finished.
Today Degollado is considered to be one of the best preserved theaters in Latin American, and numerous renovations have been made throughout the years to improve upon the concert hall’s design by adding murals and sculptures, as well as giving the theater its current gold on red color scheme.
Words cannot properly express that moment when a great dance routine invokes an emotional response.
For those lucky enough to have children, this moment may occur while watching a much rehearsed yet comically disastrous middle school ballet recital. For others, it could happen at the climax of a Broadway show. For most of us, it happens while watching an episode of So You Think You Can Dance.
Hey, I’m not judging. I love SYTYCD, and I’ve spent many an hour slack-jawed and/or crying over one routine or another. But for the last two years, such emotions have been reserved for Mexico’s native folk dances, known as the Ballet Folklórico.
These traditional dances are performed in a variety of locations and we have had the opportunity to see numerous shows while dining at restaurants such as El Abajeño, riding the Tequila Express, and enjoying resort stays in Nuevo Vallarta and Manzanillo. One of our favorite venues is Teatro Degollado, where every summer the University of Guadalajara hosts a professional dance series spotlighting traditional dances from selected states. The chosen states vary by season, but Jalisco always closes the show to great fanfare.
Mexico’s most popular troupe, the Ballet Folklórico de Mexico, was founded in 1952 by Amalia Hernández and performs regularly at Palacio de Bellas Artes in Mexico City. The troupe was named the official folk dance company of Mexico in 1970. Following her death in 2000, Amalia’s grandson Salvador López took over as group director. Alas, our 2011 trip to Mexico City did not allow for a viewing of this legendary dance company, though we did manage a quick peak at their beautiful performance venue.
The beauty of these native dances cannot be captured in words or pictures, but I would like to share some of them with you all the same. What follows is not an all-inclusive list, but rather what I consider to be the highlights of Ballet Folklórico.
Danza de los Voladores (The Dance of the Flyers) can be observed on most weekends along the beachfront in Puerto Vallarta. The show is free, but as with most free services it is polite to tip. This ancient Mesoamerican ceremony consists of a dance followed by five participants climbing to the top of a 30 meter pole…from which four of the five launch themselves to the ground, tethered by ropes. The remaining dancer sits atop the pole playing a flute and/or drum. Legend tells that this ritual was an offering to the gods in exchange for the end of a severe drought. The ceremony is classified as an Intangible Cultural Heritage by UNESCO.
In Veracruz, lovers dance "La Bamba," in which they must successfully tie a red scarf or shawl known as a rebozo into a bow, using only their feet, to prove the strength of their undying devotion to one another.
Another dance from Veracruz, The Dance of the Witch (La Bruja), is a beautiful yet haunting piece in which the lights are dimmed and female dancers place candles upon their heads as they glide softly across the stage. Through this dance we see life through the eyes of a woman in love, dazed and paralyzed, unable to go about her daily business. Alternatively, I’ve heard it told as the story of a witch that swoops down and steals women’s souls. Which I guess is kinda the same as falling in love.
The Jarabe Tapatio is undeniably the most famous of all folklore dances in the United States, where it is known as the “Mexican Hat Dance.“ The dance tells the story of the courtship of a woman by a man, and was banned by 19th century colonial authorities due to its implied sexual nature and challenges to Spanish rule inherent in the dance. The male will typically wear a charro suit, while the woman dons a “China Poblana” outfit that pays homage to a dress worn by an Asian woman famous in Puebla’s colonial period.
Many shows end with Jalisco’s Dance of the Snake (Baile de la Culebra), a fun follow-the leader affair in which male dancers form a line and weave a winding path around the women, slapping imaginary snakes on the ground with their sombreros. One male dancer will always throw himself at the women, who have knelt on the floor and joined hands to form a net with their dresses, at the song’s conclusion.
I will stop there for the sake of brevity, yet even as I do so other favorites come to mind.
Each of the dances above have, at some time or another, prompted an emotional response from me.
Danza de los Voladores makes me cringe with anticipation. Danza de los Viejitos makes me giggle. So does La Bamba, when the dancers have difficulty with the knot. La Bruja simultaneously upsets and calms me for reasons I can’t explain. Baile de la Culebra always makes me smile and reach for the camera. And Jarabe Tapatio makes me proud to live in Guadalajara.
Well, that and hearing an enthusiastic Mariachi belt out the words to "Guadalajara," or hearing that Chivas won another game, or watching the leaves change colors and the flowers blossom in Bosque los Colomos.
And many people on the outside don't understand it, but that’s why the U.S. government requires that we hop around every 2-3 years. We get so involved in our lives abroad that it becomes necessary to take a step back and remember our roots.
And that’s okay. When I look back on my life, music has always played a defining role, and by extension, dance. That won't be any different when I leave Mexico.
But the bar will be set that much higher for having lived here.Julia Carolyn McWilliams was born in Pasadena, California on August 15, 1912. She was the first of three children. Her father was a Princeton University graduate and a prominent land manager. Her mother was a paper company heiress.
She joined the Office of Strategic Services (OSS) during World War II after discovering that her towering 6’2” frame disqualified her from enlisting in the Women’s Army Corps (WACs). She began her career as a research assistant in Washington, D.C., but in 1944 found herself posted in Kandy, Ceylon (modern day Sri Lanka) and responsible for logging and channeling classified communications for the OSS’s secret stations in Asia. It was during this time that she met and fell in love with Paul Cushing Child, a fellow OSS employee. They tied the knot on September 1, 1946.
Paul joined the United States Foreign Service and the couple found themselves moving to Paris in 1948 when Paul was assigned as an exhibits officer with the United States Information Agency. Having left a career of her own, Julia now found herself lacking direction. That didn’t last long, though. A love of food and a passion for cooking provided Julia with the drive that she needed to pursue a new dream. Today she is one of the most recognized chefs in America, not to mention a beloved author and television personality. Julia passed away on August 13, 2004.
The 2009 movie Julie & Julia (Columbia Pictures) details her long and often disappointing journey as she sought a publisher for her book, Mastering the Art of French Cooking (Knopf, 1961), and simultaneously draws parallels to the life of Julie Powell, an internet blogger shamelessly attempting to replicate all of Child’s recipes through the course of one calendar year.
I saw this movie with our then-roommate Kris at an advance screening offered at one of Orlando’s many theatres on July 21, 2009. I knew nothing about Julia Child, or Julie Powell, going into it. I only knew that Julia was a famous chef, the previews looked cute, and the price of admission couldn’t be beat. I only had two tickets, so I offered one to Kris. TJ didn’t mind. He was out of town. Specifically, he was in Washington, D.C., where he would be taking the Oral Assessment portion of the Foreign Service Officer Test (FSOT) the following day.
At the time I saw it merely as a “TJ has Paul’s job, and we all get to travel the world.” Now, looking back, I realize how much like Julia Child I felt, and still feel. She left her job and followed her husband to parts unknown. Whether it was a satisfying career that she left behind, I don’t know. Mine surely wasn’t. But it was job security. It was comfort in knowing that I could support myself. In the two and a half years that have passed since we left Orlando, I have thankfully maintained employment for all but about three months during the transition between D.C. and Guadalajara. October 19th will be my last day of work. Due to language training in D.C., I do not expect to work again until sometime after August 2014. Sure, I’ll be busy with my studies, but not contributing to my household income for such an extended period will surely leave me feeling...”less than.” And our bank account will certainly lack a little something as well.
With that in mind, I do have projects. I’ve been gathering recipes here in Mexico. I hope to one day put them into a book. I’ve also discussed doing the same in Jerusalem with a friend whose husband will be serving simultaneously with TJ.
Don’t worry; I’m not going to have a Julie Powell breakdown and try to make my riches off of far greater minds than mine without their approval or blessing. If this dream happens, I’ll be using recipes learned from and inspired by friends overseas, not writing a diary about how mimicking someone else’s hard work has changed my life.
I wouldn’t even say the idea was inspired by Julie & Julia, the people or the film. I just recognize the importance of food to culture and understand that the ability to replicate food is but one way that we can take that culture with us and share it with others. Also, Mexico has RUINED Tex Mex for us, and I need to ensure that we can have the real deal when desired. Hmm. Perhaps Julia inspired me a bit after all.
Focusing more on the short term, TJ and I want to adopt, and sooner rather than later. With this in mind, we understand the importance of increasing our earnings to better support our future family. Therefore, I have decided to (try to) do something I’ve not seriously considered until now.
Last night, I began studying for the FSOT.
It’s a big, scary test that leads to a much-coveted career path. Many try, few are selected. Kind of like authorship. It will be interesting to see which goal materializes first.
Three years ago, Julia Child told me that TJ would become a Foreign Service Officer.