Mazatlán is said to be the world’s third biggest Carnaval, spanning over a week of festivities. Each year we attend at least one of the four coronations. It’s so worth it! The pomp and circumstance, the dancing, the music. The performances involved in a coronation are comprised of hundreds of talented local young people and professionals, from visual artists, sculptors, costumers, stage designers, choreographers, musicians and dancers.
Each coronation of course involves the crowning of royalty, and it also pays homage to the sovereigns celebrating their 25-year (this year Alma Loaiza) and 50-year (Lupita Elorriaga) anniversaries. Plus, of course, there are fireworks. Click on any photo to enlarge it or view a slideshow.
This year’s Queen of the Floral Games is Uma I. She was crowned by the winner of the Poetry Ward, Sandra Lorenzano. In 20 years of coronations I have never seen a queen struggle as Uma did to ascend the steps to her throne. Her gorgeous gown, designed by Sodelva García and embroidered with laurel leaves, must have weighed a ton!
The coronation itself is preceded by entertainment by local dancers and musicians, and followed by a concert. Friday night’s concert theme was “Rock You,” headlined by Gloria Gaynor. At 79 years old she still belts out a tune, thanks, of course, to her back-up singers. She was impressive! The crowd sang along and danced at their seats. Héctor Ortiz and Quintero Britania were the warm-up acts. The audience ate it up, dancing and waving their lit cell phones.
You will need to purchase tickets to the coronations. There are seats on the field of the stadium, and cheaper seats in the stands. People tend to dress nicely, and a coat is recommended if it’s chilly or damp. Binoculars may also be worth taking.
Unbelievably, the Angela Peralta theater was nowhere near COVID-capacity Friday night for Delfos Contemporary Dance’s Vientos de Cambio (Winds of Change), which kicked off the 2022 Spring Season for Cultura Mazatlán. If you weren’t there, you lost out on an incredible performance! Each of the four pieces presented from the Delfos repertoire were stellar, sharing with us the emotionality, power, and drama we are privileged to expect from them.
The third dance, with only the women on stage, was what stuck with me. It hit my heart and soul hard. Each woman’s mouth was taped shut with what looked like electrical tape. They all wore ponytails and hauled and pulled one another around by the hair in disgustingly realistic ways. The performance was way too close to home. Any woman of my age has lived through the experiences portrayed in the dance. The piece culminated with the women removing their tops; their body movements and lighting were reminiscent of the best fine art nudes. At its conclusion, the audience was heard to openly gasp for air; it obviously moved most everyone the way it did me. To me the piece illustrated the pull of our patriarchal systems: how we are all victims when power is not shared; how cruel women can be to each other—something we’ve sadly absorbed from an inequitable, unjust system; and the crucial importance of sorority, equity and social justice. Click on any photo to enlarge it or view a slideshow.
I also loved the piece with the origami boats. The light on the white paper made them absolutely glow on the stage; I’m not sure if my photography was able to capture the wonder of the moment that the audience experienced, with dozens of origami pieces lining the stage.
Choreographers of the night’s works were Xitlali Piña and the company’s co-founder and director, Victor Manuel Ruíz. The dancers included Surasi Lavalle, Johnny Millán, Xitlali Piña, Luisa Escobosa, Diego Alcalá and Rodrigo Agraz, plus two special guests, Vanya Saavedra and Katia Rivera.
When I think of Delfos I think emotionality, power, and darkness; their lighting has a theme that, while dramatic, is very challenging to photographers. Friday night’s scenography was an event in itself, as usual; the graphic and powerful lighting, minimalist set and creative costuming were contributing stars of the show.
During the performance and as I write this article, I want to shout out how much I MISS THE PROGRAMS that for years were handed out at every performance in our theaters!!! I know they ostensibly were stopped because of COVID, but then couldn’t we perhaps be told the content by the announcer pre-performance, or read it online? I for one was eager to understand the title of and intention behind each piece, and I love knowing for sure who choreographed and performed what. EDIT: Having published this, Johnny Millán kindly sent me the program that I had been unable to locate; it had been posted on Facebook. Here it is:
The public here in Mazatlán has a lot to look forward to coming November, when Delfos will celebrate their 30th anniversary with a series of performances including Minimal, which debuted last year. The company will also perform at the Palace of Fine Arts in Mexico City with a new piece.
Oh, what a night! Saturday evening, November 13 in the Angela Peralta Theater our beloved and incredibly talented professional ballet company celebrated its tenth anniversary with a gala performance. The entrance to the theater was decked out in draped red velvet, there was a gorgeous candelabra stage left, the theater was packed but with social distancing and mandatory masking, and the energy and execution of the evening were terrific!
One of only four professional ballet companies in Mexico (the National Ballet in Mexico City, Monterrey and the more recently founded Youth Ballet of Jalisco), we have been blessedly spoiled by their presence in our city these past ten years. Young professional dancers from here have gone on to dance in Mexico’s National Ballet, in Monterrey, and in renowned professional companies in the USA and Europe. In the finale of the show on Saturday, students from our Municipal School of Classical Ballet joined the pros on stage, in a nod to Mazatlán’s future generations of professional dancers.
The company’s very first production seems to me like yesterday; the comedic ballet La Fille Mal Gardeé or TheWayward Daughter was performed on November 18 and 19, 2011 with costumes from Bellas Artes in Mexico City and scenography by Raúl Font. That was during a golden age of the Municipal Institute of Culture, Tourism and Art, when artists banded together under Raúl Rico González’ leadership with a goal of positioning Mazatlán as home to the highest quality cultural arts in northwest Mexico. After performing The Wayward Daughter here, the company took it to Culiacán and La Paz.
During the tenth anniversary gala on Saturday night the company’s 14 professional dancers presented eleven movements including nine pas de deux from classical, neoclassical and contemporary choreographies. The scenography was gorgeous, with classical pillars made of curtaining and a constructed bridge that, combined with changing projections on the big screen, leant themselves well to the various settings of the choreographies. Costuming was lovely with a broad variety of styles to appropriately accompany each dance.
The pieces performed were Romeo and Juliet, Le Corsaire, Thaïs, The Parting, The Flames of Paris, Adagio, Penumbra, Andante, Spiegel im Spiegel, A Mí and Venetian Carnival. Two of the pieces were accompanied by live music: violin, piano and cello. Artistic Direction was by company co-founder, Guillermo Carrillo. Sadly, Oscar Treto Hevia injured his leg tendons in rehearsals and was unable to perform; he was to be the principal male dancer in Romeo and Juliet pas de deux. Click on any photo to enlarge it or view a slideshow.
This is a young company, with one dancer performing professionally for the very first time, yet all danced with incredible aplomb, strength, grace and beauty given the early stages of their careers. The audience could feel the youthful joy and vigor of the dancers. Venetian Carnaval was the most substantial piece of the evening, with the full company on stage and costuming made for the narrative of the ballet. This is a challenging choreography that had both principal dancers, Sandra Fernández Hernández and Carlo Bravo, leaping repeatedly.
Cultura Mazatlán Director José Angel Tostado Quevedo congratulated the company for their hard work and exceptional contribution to our port. Standing with him was Zoila Fernández, company co-founder and current Artistic Director of Cultura Mazatlán. Also on stage for the rounds of applause and “bravos” were Ballet Director Guillermo Carrillo, and current and past company and ballet school members and staff.
The current repertoire of the Mazatlán Ballet includes:
La Fille Mal Gardeé or TheWayward Daughter
Swan Lake (2nd act)
Romeo and Juliet pas de deux
I am proud to say I have enjoyed each and every one of these with them, some of them several times. The company has become an integral star of our local arts scene, participating in arts and cultural festivals, operas, the Mazatlán Carnivals and Day of the Dead festivities.
Maestra Zoila Fernández, Artistic Director of Cultura Mazatlán and founder of the Mazatlán Ballet, told me for this article, “The company now dances in classic and neoclassical styles. My greatest satisfaction these ten years, after so much hard work, is seeing that today the Mazatlán Ballet Company is a focal point in the port, that we enjoy a public that always fills the seats of the theater, and that more than anything, we serve future generations as a source of work and a mirror. It is truly a luxury in Mazatlán to have such a serious and dedicated cultural work.”
The Mazatlán Ballet company has deep roots and connections in the National Ballet of Cuba. Its two founders, Maestra Zoila Fernández and Maestro Guillermo Carrillo, both worked and studied there. Maestra Zoila has worked with the Municipal Ballet School for 23 years, and Maestro Guillermo arrived here in 2010 with the goal of starting the new company. During its first season, 2011-12, Maestra Ramona de Saá Bello, grand dame and maître of ballet in Cuba, cancelled contracts she had in Brazil and Italy to reside here and advise. Two and a half years earlier, her daughter, Margarita Naranjo, a beloved teacher in Mazatlán’s Municipal Ballet School, had died as a victim of domestic violence.
Upon the occasion of the company’s founding, Maestra Zoila was interviewed by none other than Héctor Guardado, our much-esteemed local cultural and arts journalist with the Noroeste. She told him at the time, “This was a dream that we have been forging with much work, over two and a half years. Maestra Margarita Naranjo and I visualized it for many years, together with Maestra Ramona de Saá, one of the most important ballet maitres in Cuba. This year everything came together thanks to the enthusiasm of Raúl Rico and private interests in Mazatlán. There are many people backing this project.”
The Maestra also invites everyone to the gala on November 20, a fundraiser to put a much-needed elevator in the Angela Peralta Theater, to make the theater inclusive and attractive to everyone. I have tickets available, if you would like some, or you can stop by Cultura offices or the theater box office.
This past Saturday evening, November 6, Delfos Contemporary Dance Company put on an outstanding show at 7:30 pm in the Angela Peralta Theater. The performance, directed by Víctor Manuel Ruíz Becerra, was dedicated to co-founder Claudia Lavista’s recently departed father, and what a tribute it was! Entitled “Painting that Moves,” the dances reflected the lives and work of Salvador Dalí, Leonardo Da Vinci, Frida Kahlo, Toulouse Lautrec, Edvard Munch, Jackson Pollock, William Turner, Vincent Van Gogh, Remedios Varo, and Diego Velázquez. Click on any photo to enlarge it or view a slideshow.
Heavy on the Spanish, particularly Catalán painters, what fascinated me was that this performance was not so obvious. The choreography and scenography did not directly replicate the painters’ work, but most definitely evoked the spirit of the painters’ lives and work. The transitions between pieces were also masterful, weaving together elements of each seamlessly.
Throughout the evening audience members wondered why the stage was wrapped in white paper, much like a gift to the audience. That became clear during the last choreography, when the colorful paint splatters of Jackson Pollack fell from hanging cans all over the performers, to culminate in an exhuberant communal climax.
Nine dancers played multiple roles with quick costume and energy changes: Johnny Millán, Surasí Lavalle, Karla Núñez, Xitlali Piña, Daniel Marín, Diego Alcalá, Jonathan Alavés, Luisa Escobosa, and Rodrigo Agraz, as part of the 2021 Mazatlán Cultural Festival.
This was the first event in the theater I have attended in quite some time, due to the pandemic/endemic. I want to let you all know that I felt very comfortable during the evening. Cultura issued many reminders for those attending to keep on their masks, there was an empty seat between groups, and people were staggered between rows. The main level was fairly full, given the seating restrictions, and I would guess the first balcony was perhaps one-third full based on current capacity. Now that we are vaccinated, it would seem to me to be worth it to get out and about, safely, again.
You will have another terrific chance next Saturday November 13th when our local ballet company celebrates its tenth anniversary! Can you believe it’s already been ten years? What a gift to Mazatlán these two companies are, the ballet and the contemporary dance. Be sure to get your tickets as no doubt the theater will fill.
If you believe our beloved Angela Peralta Theater should be fully accessible to those with mobility impairments, I have a very special treat for you!
On Saturday night, November 20th, a group of people passionate about accessibility will gather together to raise funds to help install a freestanding glass elevator in the Angela Peralta Theater in order to make the galleries fully accessible. We will enjoy symphonic music and a four or five-course dinner prepared by our beloved Chef Gilberto del Toro of Gaia fame. If the tasting is any indication, you do not want to miss this! Wine will also flow freely.
The evening will begin at 6:30 pm with a “blue carpet” in honor of those who are differently abled. The performance will begin at 7:30 in the theater, followed by dinner and an art auction at 8:30 pm. Vaccination certificates and proper use of a face mask will be required.
Tickets are 3000 pesos per person; Chef Gilberto is donating his time and expertise. Wines and artwork to be auctioned are also donated. Proceeds from the event will go towards purchasing a freestanding glass elevator to be installed near the bar of the theater, to allow access to the upstairs galleries without affecting the structure of the protected building. Artists who wish to donate pieces to support the cause are welcome to contact me, as are those wishing to make a donation towards the elevator.
For me this is a dream come true. You may remember a few years ago when I had a photo exhibition on the second floor of the opera house. It was the best-attended art event in the history of Mazatlán, CULTURA told me. However, friends on crutches or in a wheelchair were not able to join me at the inauguration, nor was anyone with mobility issues able to view the six-week exhibition. It was so unfair! An elevator will help us rectify that and make the opera house of which we are all so proud accessible.
Please contact me via WhatsApp to get you your tickets or more information: +52-669-122-8962. To make a donation to the cause send your money to the Bancomer account on the flyer above, with your name so Cultura can thank you, or send a note via PayPal to firstname.lastname@example.org and I’ll make sure it goes to the elevator account. Thanks!