Morgan De La Cruz and Professor Pat Debenham, Dance Department

Introduction

Born in the rural heart of the Dominican Republic, Dominican folk dance has evolved along a trajectory taking it from its backcountry origins to become integrated as a fundamental part of Dominican culture. In fact, dances such as the merengue and the bachata are not only staples of social gatherings, but they have increased in sophistication and complexity to achieve representation on the public stage. These two dances have even outgrown the physical boundaries of the island and have arrived in the United States, carried in the veins of every Dominican who immigrates (De La Cruz). The Dominican dance, most notably the merengue and bachata, are alive as social dances within the American Latino community. Yet, Dominican folk dance has not followed the same trajectory towards the professional arena in the United States as achieved in its native country. In fact, I have been unable to find a dance company in the United States that includes any Dominican dance forms as part of the regular repertoire. The American dance community lacks the Dominican dance forms that produce such vibrant dance concerts in the Dominican Republic.

While Dominican folk dance also has an innate vibrancy and complexity of movement ideal for public performance, no social dance can be staged without undergoing transformation. The realms of social and professional dance serve very different purposes, and the movement vocabulary appropriate to social dance must become more visually appealing, whether by an increase in complexity, expression, or formation, in order to exist as a professional art form. In the Dominican Republic, exactly these modifications have prepared Dominican dance for a public venue. For example, the merengue has evolved from traditional male-female partnering to include intricate formations of several single dancers, and a more gyrating hip movement has replaced the basic side-to-side hip sway. And yet, even with these modifications, Dominican folk styles are not represented in the American professional dance community. Due to this lack of professional performances of the Dominican folk dance in the United States, I set out to bring the colorful, energetic Dominican culture to American audiences through a professional Dominican folk dance performance like the ones that take place in the Dominican Republic.

Procedures

The original plans for this project revolved around El Ballet Folklórico Nacional, a professional dance company dedicated to furthering Dominican cultural awareness through professional folk dance presentations. I had arranged to interact with the company through a week-long internship which included, conducting interviews with the directors and company members alike, videotaping rehearsals, exploring the culture first-hand through dancing alongside company members, and attending the company’s Spring concert. However, when I arrived in the Dominican Republic in March, 2006, I was unable to conduct my research as planned. Due to several miscommunications and changes in the company’s schedule, I was only allowed to observe and videotape one rehearsal and conduct interviews with the director and some company members. Despite the change in plans, the directors and company members were very helpful in explaining the origin, meaning, and interpretation of each dance as well the unique elements of each.

Because I was not able to conduct my research as planned, I also took the opportunity while in Santiago to interview several Dominicans about their feelings concerning Dominican folk dance as well as observe/videotape Dominican folk dance in its social element. I have also continued to conduct research in order to supplement my experience with El Ballet Folklórico Nacional since arriving back from the Dominican Republic.

Presentation

Regardless of the change in plans during my time in the Dominican Republic, I plan to successfully complete my creative project. The presentation of Dominican folk dance that I originally scheduled for spring, 2006 has been postponed because I was unable to gather as much information as I had hoped to. Instead, my presentation will be included as the Dominican Republic’s contribution in Fiesta, a presentation of traditional Latin dances held every March for Brigham Young University’s Heritage Week.

In preparing for Fiesta, I have chosen to focus on dances that are not regularly associated with the Dominican Republic for the five-minute presentation. I have chosen these dances as the material for the Fiesta presentation because they lend themselves to stage public presentations because of their unique body movements, patterns, and rhythms.

While I have already begun to choreograph some initial ideas, I will not be able to completely choreograph the whole presentation because Fiesta is based on volunteer participation. I will not know the skill level of those signed up to participate in the Dominican Republic’s portion or even how many dancers have signed up until the first rehearsal held in January.

Despite all the set backs and changes in my original plans, I consider this experience to have enriched my understanding of Dominican dance as well as how folk dances can transition into a more stage-ready form. I am looking forward to seeing all of the information I have gathered put into movement meant for an audience during Fiesta, 2007.