Alegre Ballet Folklórico


Pacifico



Programa en Espanol


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Act 1



Popurri Mexicano



Popurri Mexicano



Choreography by Pedro Perez II



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Michoacan



Tierra Caliente



Choreography by Pedro Perez II



The translation of “Xochipitzahuatl” from the native language of Nahuatl means, “small flower”. This is because the indigenous believed the music was beautiful enough to fill one’s heart and make it as delicate as a flower. The dance is traditional among the Nahua of the Huasteca, as well as the Otomi in other regions. The dance is another example of the merging of indigenous and colonial customs. The song is sung entirely in Nahuatl and became a way to honor the Virgen de Guadalupe. The colors of the ribbons represent the various communities coming together to celebrate. As the dancers enter, the ribbon is held to make the shape of the crescent moon that is seen at the feet of La Virgencita, later being crossed to create the stars on her veil. Finally, the ribbons create the shape of a rose to represent the dozens of roses that fell from Juan Diego’s tilma.



Lacustre



Choreography by Pedro Perez II



The translation of “Xochipitzahuatl” from the native language of Nahuatl means, “small flower”. This is because the indigenous believed the music was beautiful enough to fill one’s heart and make it as delicate as a flower. The dance is traditional among the Nahua of the Huasteca, as well as the Otomi in other regions. The dance is another example of the merging of indigenous and colonial customs. The song is sung entirely in Nahuatl and became a way to honor the Virgen de Guadalupe. The colors of the ribbons represent the various communities coming together to celebrate. As the dancers enter, the ribbon is held to make the shape of the crescent moon that is seen at the feet of La Virgencita, later being crossed to create the stars on her veil. Finally, the ribbons create the shape of a rose to represent the dozens of roses that fell from Juan Diego’s tilma.



Danza de los Viejitos



Choreography by Pedro Perez II



The translation of “Xochipitzahuatl” from the native language of Nahuatl means, “small flower”. This is because the indigenous believed the music was beautiful enough to fill one’s heart and make it as delicate as a flower. The dance is traditional among the Nahua of the Huasteca, as well as the Otomi in other regions. The dance is another example of the merging of indigenous and colonial customs. The song is sung entirely in Nahuatl and became a way to honor the Virgen de Guadalupe. The colors of the ribbons represent the various communities coming together to celebrate. As the dancers enter, the ribbon is held to make the shape of the crescent moon that is seen at the feet of La Virgencita, later being crossed to create the stars on her veil. Finally, the ribbons create the shape of a rose to represent the dozens of roses that fell from Juan Diego’s tilma.



Sinaloa



Choreography by Pedro Perez II



Deriving from the Nahuatl word "huapantli” meaning, "wooden table" the huapango is a dance traditional to several states across the Huasteca, Hidalgo being no exception. These dances are notable for their complex footwork that is emphasized when done on tarimas. The rhythms of the music and footwork are festive with influences from both indigenous and Spanish origins.



Nayarit



Mestizo



Choreography by Reeses Torres



The Huasteca is a region that extends through six northeastern states of México, including Tamaulipa. The Zafra is a festival where the people dress in their finest suede attire, adorned with white flowers. The huapango huasteco is unique to this region, with the falsetto singing, rhythmic music, and intricate footwork.



Costa



Choreography by Pedro Perez II



The Aguascalientes dress incorporates elements from the attire of both peasants and women of the haciendas at the beginning of the 1900s. In the historic center of Aguascalientes is the beautiful garden, Jardin de San Marcos, which served as inspiration when the dress was first designed. The garment also pays homage to the annual festival, La Feria Nacional de San Marcos. What began as a grape harvest festival for wine production, became a grand event with music, charreadas (rodeo events), and cockfights. Variations of the dress have appeared over the years with adornments to represent various aspects of La Feria.



Act 2



Oaxaca



Istmo de Tehuantepec



Restaged by Pedro Perez II



The state of Guanajuato is found in the central part of México. The songs and “jarabes”, couple dances, that are typical of the area date back to the late 1800s. During this time known as the Second French Intervention, most of the music and dances were social satires of the upper class.



Tortuga de Arenal



Restaged by Pedro Perez II



The state of Guanajuato is found in the central part of México. The songs and “jarabes”, couple dances, that are typical of the area date back to the late 1800s. During this time known as the Second French Intervention, most of the music and dances were social satires of the upper class.



Pinotepa Nacional



Restaged by Pedro Perez II



The state of Guanajuato is found in the central part of México. The songs and “jarabes”, couple dances, that are typical of the area date back to the late 1800s. During this time known as the Second French Intervention, most of the music and dances were social satires of the upper class.



La Flor de Pina



Restaged by Reeses Torres



The state of Guanajuato is found in the central part of México. The songs and “jarabes”, couple dances, that are typical of the area date back to the late 1800s. During this time known as the Second French Intervention, most of the music and dances were social satires of the upper class.



Guerrero



Los Caminos del Sur



Choreography by Pedro Perez II



Situated in the central region of the state, Tixtla asserts a unique style that reflects the impact of both the indigenous inhabitants and the thriving trade and commerce that once characterized the surrounding region. The people of the area embraced the variety of music and dance traditions, bringing about Sones de Tarima as Tixtla’s distinctive regional dance form. These dances typically consist of a flirtatious couple on a tarima turning, stepping, and moving to upbeat rhythmic music. The sones radiate cheerfulness and provide a jubilant narrative to the animated dances. Often, they are filled with clever innuendos that add to the lively atmosphere of the fandangos these dances are traditionally performed at.



Costa Chica



Choreography by Pedro Perez II



Situated in the central region of the state, Tixtla asserts a unique style that reflects the impact of both the indigenous inhabitants and the thriving trade and commerce that once characterized the surrounding region. The people of the area embraced the variety of music and dance traditions, bringing about Sones de Tarima as Tixtla’s distinctive regional dance form. These dances typically consist of a flirtatious couple on a tarima turning, stepping, and moving to upbeat rhythmic music. The sones radiate cheerfulness and provide a jubilant narrative to the animated dances. Often, they are filled with clever innuendos that add to the lively atmosphere of the fandangos these dances are traditionally performed at.



Baja California Sur



Choreography by Pedro Perez II
After Roman Ramirez & Freddie Cantu



The influence of the jungles found in Chiapas can also be seen in the dance of “El Alcaravan”, where dancers portray the playful courtship of the small native bird to this region during mating season. The dance is traditionally done with only one couple as the focus, but this rendition helps capture the energy of the dozens of birds that can be seen during the spectacle.



Baja California Norte



Calabaceado



Choreography by Reeses Torres



After the conquest, the Spanish and other Europeans began blending with the indigenous creating a new ethnicity known as the Mestizos. The Mestizos created new customs, music and dance. Sones and jarabes, such as the Jarabe Nayarita, became common and popular in Nayarit. This particular dance showcases the grace and beauty of the Mestizo woman and the strength and the agility of the Mestizo man.



Jalisco



Choregraphy by Pedro Perez II



Along the coast of the Gulf of México, the state of Veracruz is where the Spanish first stepped foot in what is now México. With colonization, the Spanish brought slaves as well as created a port connecting México to even more countries from around the world, thus bringing new cultural influences. The music and dances from this area have a blend of African rhythms mixed with footwork that is very similar to those seen in flamenco dance. At the fandangos in the Sotavento, the men sport their guayaberas and the women wear long lavish dresses that are heavily laced and accessorize with rebozos, aprons, and fans, all originating from their Spanish colonizers.



Coming August 9, 2025



Coming November 15, 2025





Dancers



Juniors



Abigail Nunez

Arely Romero

Aryanna Rockmore

Camila Casteneda

Camilla Lopez

Castiel Hernandez

Christian Woelfle

Dayana Lopez

Emily Torres

Eugenio Guerrero

Gabriela Alonzo

Isabella Garza

Joselyn Gutierrez

Juan Carlos Gallardo

Kayla Flores

Melanie Chavez

Sara Mata

Sofia Steele

Sophia Delgado

Victoria Garza

Vivianna Fonseca

Yadira Robledo



Monday Adults



Adrianna Cabrales

Adrienne Concha Salinas

Aida Dominguez

Cecilia Ferrel

Cindy Ibanez

Dina Ramirez

Felicia Rockmore

Griselda Garza

Ilse Trevino

Chabelita Guel

Jessica Cano

Luna Silva

Luz Maria Garcia

Lydia Obregon

Maria Isabel Pulgarin

Melissa Lara

Monica Monreal

Nora Hernandez

Paula Dohanian

Ruby Camarillo

Xochitl Fuentes

Yazmine Monreeal

Yesenia Lerma

Yajaira Rodriguez



Adults



Adriana Fonseca

Aileen Vilches

Alejandra Lopez

Andres Aranda

Brooklyn Davila

Christian Woelfle

Daniel Negrete

Dominique Fleming

Edgardo Villalobos

Fany Rojas

Fiona Woelfle

Francisco Villareal

Ibeth Perez

Jazmine Gutierrez

Jennifer Macias

Jessica Garcia

Jesus Flores

Keisha Edwards

Maritza Gutierrez

Matthew Cano

Mayra Torres

Melissa Torres

Michael Felix

Nallely Ramirez

​Reeses Torres

Sarai Salazar

Sylvia Chia

Vanessa Steele



Special Guest Artist



Israel Colmenarez



Credits



Folkloric dance, like any cultural expression, is a dynamic art form that continually evolves. From the arrival of the Spaniards on the shores of Veracruz to the technological advancements of today, the people and places of México have been subject to various influences. Ballet Folklórico, as a representation of Mexican culture, also undergoes transformations. These changes can manifest in a variety of ways, whether through fusions of musical influences, adaptations to dances, or the blending of regional clothing. This dynamic and ever-changing nature is what keeps Folkloric dance vibrant, relevant, and a living expression of culture. It adapts to the times and continues to tell the captivating stories of México's heritage through the power of dance. Mosaico is a collection of choreographies that takes Mexico's culture and makes it into a dance representation. Whether it showing patriotism or influenced by iconic events or eras, these creative expressions as an extension of appreciation and love of Mexico.

Alegre Ballet Folklórico, a 501c3 Non-Profit dance troupe, was founded in September of 1993 by Pedro Perez II. The organization's roots trace back to a group of students from the Law Magnet High School (now the Judge Barefoot Sanders Law Magnet) who wished to continue their dance education and nominated Pedro to lead them. From these humble beginnings, the group has grown from a 3-person backyard pastime to an award-winning company with over 100 dancers.

Over the past thirty years, Alegre has performed in numerous venues across the United States, including the AT&T Stadium and Walt Disney World, as well as internationally in México and Oslo, Norway. The group has consistently strived to uphold the value of preserving Mexican heritage through in-depth classes that equip dancers with the knowledge to share with others. This commitment to education and cultural preservation is at the heart of Alegre Ballet Folklórico's mission and continues to guide their work today.

Our classes are under the expert guidance of Pedro Perez II, Jessica Garcia, and Reeses Torres, a dynamic team with a combined dance experience of over 30 years. Their commitment and dedication are key in preserving and nurturing the vibrant tradition of Ballet Folklórico, ensuring that it continues to thrive and enchant audiences for generations to come.



Production



Director / Founder.....................Pedro Perez Instructor.................................ReesesTorres Instructor................................Jessica Garcia

Assistant.................Dominique Avila Fleming Lighting..........................................MPH Staff

Hand Program......................Pedro Perez II



Board of Directors



President..............Ibeth Perez

Vice President......Sandra Zamora

Secretary..............Naomi Meza

Treasurer..............Albert Rojas

Member................Yolanda Alameda

Member................Omar Rhoa

Member................Stephanie Rojas

Member................Chabelita Guel



Special thanks to







Contact us



info@alegreballet.com | Phone: 214.755.3989 (Text preferred)


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