DANCE REVIEW : MEXICAN FOLK DANCE COMES ALIVE

TIJUANA â€”  The fleet-footed dancers of the Ballet Folklorico Quetzalcoatl have transformed the stage of the Tijuana Cultural Center into a kaleidoscope of color, shape and motion. This seasoned troupe is showcasing folk dances from seven regions of Mexico to audiences from both sides of the border every Friday and Sunday at 3 p.m. through Sept. 14.

Under the direction of founder Agustin Bareno Arce, the troupe has been presenting the indigenous dances of Mexico for two decades. And its authentic offerings--all choreographed to heighten theatricality--are danced with quicksilver speed and admirable precision by a 12-member corps.

The program begins with a dizzying display of Mexican square dance performed against the backdrop of a blazing red desert sky. A barrage of clicking heel work and lightning-quick changes of direction are hallmarks of this suite of dances from the state of Baja California Sur. And the Quetzalcoatl dancers (their name is a tribute to the great god of the Aztecs) infuse these works with a rich professional polish often lacking in such groups.

A pre-Columbian dance based on Mexican mythology is the clever crowd-pleaser from the state of Michoacan. It features masked dancers, their backs bent to suggest decrepit old men, in a three-legged cane dance. Dressed in colorful serapes, the doddering men team up in pairs for a duel (using their canes as swords) before staggering off stage in a labored procession.

Smiling faces, stomping feet and swirling skirts that create fascinating patterns characterize many of the lively couples’ dances on the program. And the joyous abandon of the Quetzalcoatl dancers seems quite genuine as they sweep through the swift, circular designs of these familiar folk dances.

As tradition dictates, the women of the troupe demonstrate their excellent balance in a graceful dance performed with lighted candles perched atop their heads. Next it’s the men’s turn to show off with glasses of water--and they are no less impressive.

One of the highlights of the program is the vigorous foot-stomping display that harks back to the smoldering flamenco dances of Spain. The dancers tap out the rapid-fire rhythms of the music in a volley of heal and toe beats that reverberate through the house like machine gun bullets.

The hybrid dances of Veracruz reflect the fusion of the rumba and the Spanish fandangos. The company’s version of “La Bamba�--which calls for the nimble dancers to tie a bow with their feet--is a fascinating sample of this sunny style.

The curtain-raiser for the second portion of the program features wildly rotating arms, clasped waists, and broad traveling motions--the trademarks of dance from Durango.

No program of Mexican folk dance would be complete without the famous Mexican hat dance, and this troupe saves its version for the finale. With the familiar trappings--men in black suits and huge sombreros, women in voluminous ribbon-striped skirts that fan out into billowing shapes with every move--the dance creates a colorful pinwheel effect that melts into a striking tableau for the finish.

Unfortunately, there is no live music to accompany this talented troupe, and the taped scores are badly over-amplified. But there is no shortage of energy and enthusiasm on stage when the Ballet Folklorico Quetzalcoatl performs.