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Javier Dzul has of the most impressive and exotic resumes in modern dance. He grew up in the jungles of southern Mexico performing Mayan ritual dance until the age of 16. Then he became a principal dancer with Ballet Nacional de Mexico and Ballet Folklorico de Mexico before he went to Ballet Nacional de Cuba. From there he got a scholarship to study with Martha Graham and danced with the company and also worked with Pearl Lang and Alvin Ailey. Along the way he learned and performed aerial work. That, along with the Mayan history and the influences of modern dance legends is traced on his remarkable body. His choreography exudes a sinewy, sinuous muscularity befitting Mayan royalty. The Last Mayan King channels the ferocity and grandeur of Mayan culture and Dzul’s own trajectory. Despite the ravages of the conquistadores, Maya culture never vanished and remains thrillingly alive onstage in Dzul’s work.

Javier Dzul has of the most impressive and exotic resumes in modern dance. He grew up in the jungles of southern Mexico performing Mayan ritual dance until the age of 16. Then he became a principal dancer with Ballet Nacional de Mexico and Ballet Folklorico de Mexico before he went to Ballet Nacional de Cuba. From there he got a scholarship to study with Martha Graham and danced with the company and also worked with Pearl Lang and Alvin Ailey. Along the way he learned and performed aerial work. That, along with the Mayan history and the influences of modern dance legends is traced on his remarkable body. His choreography exudes a sinewy, sinuous muscularity befitting Mayan royalty. The Last Mayan King channels the ferocity and grandeur of Mayan culture and Dzul’s own trajectory. Despite the ravages of the conquistadores, Maya culture never vanished and remains thrillingly alive onstage in Dzul’s work.