Recently, at the Asociación Nacional de Grupos Folklóricos conference in Arizona, I had a thought-provoking conversation with a friend about the challenges of teaching dance. As we discussed our families and our shared passion, the topic of my son taking folklórico classes arose. Her response surprised me: she expressed reluctance to enroll her own son, questioning, “what do you do with heteronormativity?” This question, though initially unexpected, sparked a fascinating dialogue that I believe is crucial for all involved in Folklorico Dance.
Understanding Heteronormativity
To understand my friend’s concern, we need to define heteronormativity. Drawing from Berlant and Warner’s influential essay, Sex in Public (1998), heteronormativity is the implicit assumption that male/female couples are the standard and the norm in society. This assumption isn’t just a personal belief; it’s deeply embedded in our institutions, laws, customs, and, as we will explore, even our dance traditions (552-558). Indeed, many folklorico dances, particularly the bailes sociales or social dances of Mexico, often portray heterosexual relationships as the default, if not the only, representation.
Gender Roles Expressed Through Dance
Many traditional folklorico dances, especially social dances, inherently rely on male and female partnerships. The movement vocabulary itself often reinforces distinct gender roles. Men’s steps are frequently characterized by wider stances, expansive chest movements, and forward torso bends, suggestive of a posture ready to embrace a partner. The energetic gritos and whistles that punctuate their dancing further amplify a sense of assertive masculinity. Women, while matching the energy and complexity of the steps, often execute movements with legs closer together, focusing on intricate skirt work that complements the male partner’s lead. In some dances, women are even directed to maintain a lowered gaze and shy demeanor, embodying a traditional image of demure femininity pursued by a romantic male figure. Through these embodied performances, we, often unintentionally, reinforce heteronormative expectations within the vibrant art form of Mexican baile folklórico. Alternative representations are seldom offered within the traditional performance context.
The Campobello Sisters: Early Challenges to Norms
However, history provides examples of individuals who challenged these norms. Nellie and Gloria Campobello, sisters born in 1900 and 1911 respectively (Tapía 3, 7, 9), were pioneering figures who subtly disrupted heteronormative expectations in dance. In 1930, both sisters were employed as dance teachers within the National Music and Dance Section of the Department of Fine Arts of the Secretaría de Educación Pública (SEP) (Tortajada Quiroz 276).
Frances Toor, in A Treasury of Mexican Folkways (1947), recounts how the Campobello sisters premiered their unique interpretation of the iconic Jarabe Tapatío as part of their work with the SEP in 1930. In this groundbreaking performance, Nellie assumed the role of the Charro, traditionally a male character, while Gloria danced as the China Poblana, the female counterpart (Tortajada Quiroz 277). They performed the dance as a female duet, raising questions about their interpretation. Did Nellie embody the traditionally masculine Charro persona in pursuit of her sister Gloria? And how was this female-female rendition of such a quintessential Mexican dance received by audiences and critics at the time?
A newspaper article from the 1930s, penned by Carlos del Rio, offers insight into the reception of the sisters’ performance. Del Rio wrote of Nellie and Gloria Campobello, “discovered the true jarabe and they danced it without fear, passionately. The lack of a male dancer did not stop them. What helped Nellie was her experience with the outdoors, her taste of adventure, her silhouette as an admirable man who pursues, wins, and dominates the woman in a final joy” (38). [i]
Del Rio’s enthusiastic review suggests a positive reception to this unconventional pairing. He celebrated the sisters’ ability to perform the Jarabe Tapatío powerfully without a male dancer, noting how Nellie embodied the traditionally masculine characteristics of the Charro, pursuing, dominating, and ultimately winning over her female partner in the dance. [ii]
Several factors might have contributed to the acceptance of the Campobello sisters’ innovative performance. The fact that they were sisters performing together could have provided a context that mitigated potential social discomfort with a same-sex pairing on stage. Additionally, it’s possible that the sisters’ intention was not explicitly to challenge heteronormativity, yet their performance undoubtedly opened up space for alternative interpretations and readings by their audience.
You can witness a visual record of Nellie and Gloria Campobello dancing the Jarabe Tapatío together at the 5:33 mark in this YouTube video:
[Link to YouTube Video (hypothetical – replace with actual link if available)]
Challenging Heteronormativity in Contemporary Folklorico
In the 21st century, how is heteronormativity being addressed and challenged within folklórico? Several groups in both the United States and Mexico are actively working to expand the boundaries of traditional representation. One such example is Ensamble Folklórico Colibri, led by Arturo Magaña. Their mission is to provide “an artistic outlet for the LGBT community to express their heritage” (A. Magaña, pers. comm.). This group intentionally challenges gender norms by allowing dancers to choose their roles, resulting in performances featuring female-female, male-male, and male-female partnerships.
Ensamble Folklorico Colibri
Arturo Magaña’s choreography further disrupts heteronormative expectations. In his rendition of El Alcaraban from Chiapas, for instance, he reimagines the courtship dance as a love duet between two men, instead of the traditional male-female pairing. He extends this approach to other dances, such as a Nayarit cuadro depicting a lesbian wedding, explicitly centering LGBTQ+ narratives within folklórico. Magaña shares that his work is largely embraced in California, yet surprisingly, he notes that “99% of the negative reactions come from folkloristas” (A. Magaña, pers. comm.).
Reflections and Moving Forward
This observation prompts a critical question: why might folkloristas themselves be among those most resistant to challenging heteronormativity within the dance form? What traditional aspects are we clinging to? As folkloristas, it is crucial to acknowledge and critically examine the ways in which we might be perpetuating heteronormativity through our teaching and performances. We must actively point out these instances to our students, encourage questioning, and, most importantly, foster open conversations and discussions. This critical engagement is essential for the continued growth and evolution of folklórico.
So, returning to my friend’s initial question, “what do you do with heteronormativity?” The answer lies in awareness, dialogue, and a willingness to evolve. By acknowledging the presence of heteronormativity in traditional folklórico, and by celebrating and exploring diverse representations, we can ensure that this vibrant dance form remains relevant and inclusive for all.
Works Cited
Berlant, Lauren and Michael Warner. 1998. “Sex in Public.” Critical Inquiry 24 (2): 547-566.
Del Rio, Carlos. “Nelly y Gloria Campobello-Creadora de Danzas.” Revistas de Revistas: El Semanario Nacional.October 12. 1930.
Magaña, Arturo. 2019. Interview by author: December 13.
Tapía, Minverva. “Nellie Campobello: A Mexican Political Dance Pioneer.” MFA thesis. University of California at Irvine, 2006.
Toor, Frances. 1947. A Treasury of Mexican Folkways. New York: Crown Publishing.
Tortajada Quiroz, Margarita. 2001. Frutos de Mujer:Las Mujeres en la Danza Escenica. Mexico: Instituto Nacional de Bellas Artes y Literatura.
[i] This is my translation.
[ii] Later in life, Nellie Campobello served as Director of Mexico’s National School of Dance for forty-five years and directed the Mexico City Ballet. Gloria Campobello is remembered as having been Mexico’s first prima ballerina and taught at Mexico’s National School of dance (Tapia 24, 1, 11-13). The Campobello sisters would become celebrated as prominent dancers, educators, choreographers, researchers, and writers.
Photos courtesy of Gabriela Mendoza-Garcia. Video footage taken from You Tube.
Copyright, 12/12/2019, Mendoza-Garcia
Gabriela Mendoza-García Ph.D.: Artist and Scholar specializing in Mexican Folklórico dance, and founder of the Gabriela Mendoza-García Ballet Folklórico.
