Diario las Américas., 1958-04-11
Know thv
Nei9hbori
By ANTONIO RUIZ

MEAlCO (COnllnueQJ - AS a
result of the changes in the In
dian dances, adapting them some
what to Moorish and Spanish
themes, the costumes of the dan
GER were altered, thereby destroy
ing the visual charm of most of
them. What that charm was can
be cen now in the work of many
of the younger Mexican artists who
have attempted to restore the
early dances to heir original
splendor and put them into a new
use in the theatre.
Some OF the features of the pre-
sent Indian dances clearly show
their origin, as, for example, the
dances named "Moros y Cristia-
nos (MoorS and Christians), LOS
Sonalejeros" .(The RattlerS), EEL
Gavilan' (The Hawk, "LoS Vieji-
tos" (The Little Old Mem, Hue
chenches', and 'TastoaneS'. Of
these, the last two are the most
elaborate and interesting. 1t is Of
interest to note that they are some
what similar to the Japanese dan
ces. HuehuencheS and TastoaneS
are the names for those who ap-
pear in the leading roles in the
performance. Tastoanes, which as
a dance is of greater Importance
than H~uehuenches, is an allegoric-
al play having its dramatic per-
sonage, the Apostle Saint James,
the Spanish Conquerors and the
primitive Lords of Mexico.
The dance in general, as inter
preted now, tells a d~isjointed story
which is, at times almost incohe-
rent because Of the spontaneous
additions made by successive inter-
prefers at various times in its long
history. 1t is danced with panto-
mimic gestures, styled in a vio-
lent and exalted manner, and key
ed to a uniform dancing rhythm
followed by a general movement
of the dancers in choral masses. In
the first episode, the S%paniards are
the victors, but in the second and
final, the Indians not only rally
and rout the Iberians, but under
the furious spell Of an memorable
Nemesis behead the Apostle him,
self.
The dance of "Los Viejitos' is
touching and melancholy. 1t is per-
formed by a chorus of men clad in
white, who have rosy compilations,
silvery wigs and whiskers. Shak-
ing with age and suffering an al
most forgotten song, they walk,
beating time with their STATS and
with the stumbling of their tired
feet. When seen on the white san
dy shore of Lake Patzcuaro under
canopies of poisoning trees, the
show is a poem in itself.
In vivid contrast with this dance,
which is so we'll attuned to the
serene spirit of the fishermen who
execute it, are the pugnacious dan
ces of the indomitable Yaqui tribe,
which is always on the warpath.
"The Pascola" and Gel Venado"
(The Deer), their most remarkable
dances, have to do with battle and
hunt. Both of them are accom-
plished by the primitive music OF
high-pitched flutes and the beat
ing of diminutive drums, and send
terror into the souls of their enc
mics.
In the hunting dance, one vt the
performers is wrapped in skins.
With his head covered by antlers,
he crouches or jumps, initiating
the deer. The other performers
dance around, suggesting the
various episodes of the hunt and
tracing its actions from the ambush
to the final kill. The beat OF me
drums leads the general movement
and a song as savage as a yell
marks the clash of the hunters,
while the actual steps of the dance
are accompanied by the sound of
rattles tied around the dancers
knees and ankles. This ance has a
really savage grandeur. Strong, pic
turesque and spectacular, it is one
of the best preserved dances Of ma
tive Mexicans.
Spanish Version Page 8
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