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Biography
   

Sra. Amalia Hernández.

The Ballet Folklórico of México is the success of a dancer with ethereal grace and the strategic capacity of a general.

The creation of the Ballet Folklórico among the México’s artistic institutions was not a result of a magic act. Although it seemed like it, because of the irradiation and astonishment that it caused along the country and abroad. It was, truly, years of work and passion against obstacles and incomprehensibility standing with firmness, willing and imagination — a lot of imagination is needed some times to approach reality! where others place dejection of mind.

When Amalia was eight years old, she approached her father, Mr. Lamberto Hernandez, to tell him something probably common to a lot of young girls: " Dad I want to learn to dance". The acceptance from the father was not that easy in the social group where the family was involved where the roll of the woman is restricted to be at home. But, after all, The young Amalia was authorized to learn to dance, in her house and with an instructor.

Better said, with two; because when Mr. Lamberto decided something, he made it the big way. Acknowledged military and politician, Mr. Lamberto decided that his daughter’s instructors must have a meritorious category just as the one that his family had and according to his position, he employed professor Sybine, first dancer at Pavlova´s dance company and Madame Dambré, from Paris’s Opera. Sometimes, the vigorous temper of the girl could not easily accommodate to the limitations that the ballet imposes; she studied then with the Spaniard dancer "La Argentinita". After that, with Waldeen, distinguished north American modern dance, dancer and choreographer.

 

It was a school in the different elements of the patterns of dance, the styles and genres, always with the passion and the will to know, interpret and recreate them. Amalia Hernandez was growing and she was growing artistically too. In spite of this, Amalia noticed that the ballet and the modern dance, with music and foreign dances most of it, did not filled, either expressed her emotions.

She was moved, instead, with the songs and dances that she listened and watched at her father’s land, during her journeys and even in the city. Her cross-breed feeling, her contemporary mexicanism, vibrated with the half - breed’s resonance, already defined and on the surface of the colorful México. And soon she started to understand that in the corners, mountains and valleys of her country, in those little towns that awake in the largely planned festivity, the feeling’s explosion; there was the not jet properly exploited treasure.

Amalia started to work at the Fine Arts National Institute, as a teacher and choreographer of modern dance. In 1952 she decided to leave the Institute and form her own company, to present, in total freedom, programs of Mexican folkloric dances.

 

At the beginning it was a small group, as all the big things start. She entered to the artistic battle in an environment of a lot of confusion and polemic; but armed, as some writer expressed once, " with the ethereal grace of a young dancer and the strategic capacity of a general".

A weekly television program was offered to the new company for which Amalia had to create, set a choreography and dance new ballets every week. But she had at least an opportunity to give away the richness of knowledge that she had accumulated about the music and folkloric dances of her country. Later, the small and spectacular company, brought the attention of the Tourism Department and it’s director asked Amalia to take the company, with official representation, to other countries of the continent. These cultural visits had a great success and after a triumphal presentation at the Chicago’s Pan-American Games, in 1959, the president Lopez Mateos offered the company all the support that was necessary to create for México "one of the best ballets of the world".

 

For Amalia Hernandez this was a great victory in her fight to obtain the national recognition for her ballet, an even greater victory when her company was chosen as an official representative of the Mexican government at the Paris’s Festival of the Nations, in 1961. The designation was a success; in the middle of the enthusiastic acclamations given by the French critics the Ballet and it’s smart director received their First Award.

But the great honor was just a step for a woman that already starting could not stop creating choreographies and dancing. Actually she just stopped dancing with the company seven years ago, when she was convinced that her time was more profitable for the company that was becoming more important at each moment, and she dedicated herself exclusively to the choreography and organization.

And since 1960 Amalia Hernandez had created the choreography for 30 different ballets, composed by 56 different dances. We can measure the greatness of this effort thinking that months of study are needed sometimes to compose a ballet.

A huge amount of childhood dreams are forgotten through the years, but there are a lot of people who, like Amalia Hernandez, can decide that their dreams are bigger and better when they were for real. But the dreams were not made by themselves: they were realized by the talent, the dedication, the art and the organizing capacity that have not stopped feeling the sensible fibers of a town that expresses their feelings to take them, with the subtle armor of the choreography, to the great show.

 


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