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“Awareness through Aztec dance is the big thing,” Luque said. “So when you have that opportunity, let’s learn more about our culture.”. As Aztec dance is re-introducing old traditions, many of the dancers are adopting their Mexica names imbedded in the ancient calendar according to the birth time and date. There was the vendor Mapache Ruiz and a flute-maker, Adam “Mazatl” Mendoza. However, it apparently takes some time before young dancers grow into the new-found aspects of Mexica custom.

Alvarado, director of the School for Arts and Culture at Mexican Heritage Plaza in San bloch ballet shoes ad Jose, danced for more than 10 years before she attained her Mexica name in a special naming ceremony, Her name, Mozahuani, can be translated into English as “she who merits her accomplishments.” But in Nahuatl, the language of the Aztecs, it means something less individualist and more group oriented, as if the name is a call to serve her people, “What it really means is that I shouldn’t complain about the work I have to do,” she said with a knowing smile, And then she moved through the entrance and into the ring, where she melted into a throng of moving, circling dancers..

I admit I was surprised. I remembered Michael Smuin’s “Carmina Burana,” performed suggestively to the Carl Orff score, and expected that the program would repeat the pattern of recent years, where new work that steered clear of the tawdry would get rounded out by a sentimental Smuin dance or one stuffed with a kind of corny sleaze. Instead, the company of 16 danced the afternoon away with wit, passion and real, rather than simulated, sexiness. Performing three works with strong structural similarities yet compelling differences and tackling them with confident artistry, the troupe had no problem turning its backs on adolescent antics.

Finally, Smuin Ballet seems to have grown up, Even “Carmina Burana” revealed artistic logic in being last in the lineup —— it combined the serial structure of “Dear Miss Cline,” Amy Seiwert’s sassy episodic work that opened the program, with some of the existential heft of the 1975 dance “Return bloch ballet shoes ad to a Strange Land,” choreographed by Jiri Kylian and first performed by the Smuin Ballet last fall, “Burana,” 19 of Orff’s 24 songs in the cycle, is Smuin’s response to richly rhythmic vocal music largely sung in Latin and dating from the Middle Ages that is parodic, celebratory, profane, bawdy and yearning, It offers a vision of the world, warts and all, and the dancers, in Sandra Woodall’s elegant two-toned costumes, let the movement speak for itself, especially Christian Squires, who tore up the stage up in his Russian-inflected solo “Tanz” without an ounce of flirtation..

“Dear Miss Cline,” danced to the country songs of Patsy Cline, is a loving cartoon from the ’50s that veers from starched to sultry and reinforces that Seiwert is an inventive, musical choreographic talent. But on second viewing, the work seems to celebrate an almost shrill, if wry, domination by the women over the men, whose primary job is to haul the pretty partners around on pedestals of comic admiration. While the dancing unfolds in 10 songs, and offers plenty of admirable sweetness and fun, what’s missing is a hint of the toll such pert surfaces took on those Eisenhower gals.

“Return to a Strange Land” is unambiguous about where it stands and the toll that death, loss and transfiguration take, It was exactly right to place it at the center of the program, as the artistic fulcrum, Set to the melancholic Sonata No, 1 by Leos Janacek, it is Kylian’s lament for his mentor, John Cranko, who died suddenly in 1973, This is a work of expected Kylian depth and seamless craft that unfolds like beautifully crafted poetry, Terez Dean is the central female in Part 1, echoing the central role women had in the other two works, But the men engage her like angels whose support has primary moral and spiritual importance, not like department-store armature, Later, we see Jo-Ann Sundermeier beautifully fold and unfold with Joshua Reynolds bloch ballet shoes ad and Jonathan Dummar, the three entwining in demanding, natural and human patterns that carve layers of meaning into space..

Thanks to San Francisco Performance’s long-standing relationship with the company, local audiences got to see Petronio’s transfixing “Like Lazarus Did” at the Lam Research Theater at Yerba Buena Center for the Arts Friday night. The hour-long performance repeats Saturday. On its own terms, “Lazarus” is a gorgeous, atavistic dance less interested in its own fracturing than in transformation. The cast’s 10 supple dancers vary from tiny to tall, willowy to beefy, yet they share an authority that allows them to attack movement like members of a Greek chorus, each one of them part of a larger story of fate.

This quality is amplified through Petronio’s collaboration with the San Francisco Girls Chorus, composer Son Lux and designer Janine Antoni, Together they imbue “Lazarus” with the quality of a modern rite of sorrow and transcendence, hinging on American slavery and spilling outward from there, As the work begins, 34 young singers of the Girls Chorus enter the stage in front of the slightly raised curtain, stopping left of Petronio’s prone, suited and barefoot body to sing “I want to do what Lazarus did….” This is one of Lux’s compositions for relatively unknown slave songs from the 1800s that exist as text in bloch ballet shoes ad a book..