Folk and Traditional Arts
ACHF Cultural Heritage
We will increase the number of participants experiencing traditional Mexica/Azteca dance through observation and/or trying Danza at a public event. We will compile data using our Cultural Exchange Data Collection Form before and after each event, estimating the audience size, demographic makeup, and active participation. 2: Through an apprentice program, we will increase the number people learning Danza, and develop experienced dancers to be instructors. We will select apprentices that demonstrate promising skills and desire to teach traditional Mexica/Azteca dance and music. Through pre- and post-surveys and demonstrations, data will be collected and recorded by the master instructor.
We did increase the number of participants engaging in traditional Mexica/Azteca Dance through observing or trying it at a public event. When we first came to request assistance from the Minnesota State Arts Board, our engagement of public participants in Mexica/ Azteca Dance in Minnesota was approximately 1500 people per month or about 9000 for the current year. At the end of fiscal year 2011/2012, and as a result of the investment that the Minnesota State Arts Board made in our artistic work, we were able to increase our annual engagement of Minnesotan adults in the Art of Mexica/ Azteca Dance by 50%. This year (FY 2012/2013) we have seen an additional increase in the number of Minnesotan that have engaged in Mexica/ Azteca Dance. This outcome is tracked through ongoing maintenance of participation and attendance in a Cultural Exchange Form that is completed for each Mexica/ Azteca cultural exchange. 2: Our leader apprentice program was successful in developing experienced dancers into instructors of Danza practices. Through pre and post surveys as well as Dance demonstrations, those with promising skills as well as the desire to become an instructor of the traditional Mexica/ Azteca dance and music were chosen to be part of the apprenticeship program. These junior apprentices received intensive support to further develop their skills and practice. Six of these apprentices have reached a level where they are able to begin the experiential learning work of leading/ teaching/ instructing their own weekly Danza practice (class).
Other, local or private