
Sejak tahun 1960, Hernández menciptakan lebih dari 60 koreografi dan baletnya yang terkenal telah tampil tanpa terputus pada hari Minggu pagi dan Rabu malam di Istana Seni Rupa di Mexico City. Selain itu, ia mendirikan Folkloric Ballet School di Mexico City , saudara laki-lakinya, arsitek Agustín Hernández , merancang bangunan tersebut pada tahun 1968. Amalia selalu vokal tentang cintanya kepada wanita asalnya Meksiko, tapi dia berhati-hati untuk memberi arti penting pada budaya Mesoamerika, menyoroti mereka bila mungkin melalui tariannya. Tujuannya adalah untuk menyampaikan keragaman Meksiko, sementara juga mengeksplorasi budaya dan tradisi pra-Columbus. Dia menjadi simbol bagi Mexicanidad, pencarian tarian inklusi pribumi merupakan indikasi dedikasinya terhadap penyajian identitas Meksiko yang realistis (yaitu tidak hanya dipengaruhi oleh Barat).- parque nacional de khao yai
Cinta Aminah Hernandez tentang indigeneity juga telah memperkuat citra asli Meksiko di seluruh dunia, akibat langsung kehadiran perusahaan di seluruh dunia. Ini telah membantu mengenali budaya Meksiko yang unik, sekaligus mempromosikan rasa kebanggaan nasional dalam hal tarian folklorico. Selain itu, Amelia tidak menghindar dari perbedaan daerah, tariannya berfokus pada area geografis dan area budaya tertentu di Meksiko untuk memberikan pandangan yang beragam tentang Meksiko. Misalnya, tariannya yang paling terkenal (Melodies of Michoacan, Deer Dance, Jalisco, Fandangos) semua menyoroti daerah-daerah tertentu di Meksiko, bersamaan dengan tradisi budaya mereka. - Fiestas Patrias de Chile 2017
Since 1960, Hernández created over 60 choreographies and her famous ballet has performed uninterruptedly Sunday mornings and Wednesday evenings at the Palace of Fine Arts in Mexico City. Additionally, she founded the Folkloric Ballet School in Mexico City, Her brother, architect Agustín Hernández Navarro, designed the building in 1968. Amalia Hernandez founded the dance company in 1952, choosing to branch out with her experience and follow her own specific creative path. The group was small, consisting of only eight members in the beginning, and for their debut, Amalia presented the now-famous Melodies of Michoacan. In 1954, the chance to perform on television presented itself in the form of the Funcion de Gala program.
This is when the momentum began to truly pick up, the group performing a new dance every weekly broadcast. Success was garnered, and Amalia not only became director; the group expanded to twenty members by the end of the 67 episode run. With that small amount of success came recognition, and Amalia’s company gained the attention of the department of tourism. The government endorsed her group, aiding her in touring North America in representation of Mexico, the results absolutely positive. By 1959, the group had grown to sixty members and was commissioned to participate in the Panamerican Games in Chicago on behalf of Mexico.
Being catapulted onto the national stage, Amelia and the company only worked harder, creating 40 different dances in the 1960s alone. Following from there, Amelia’s prominence as a cultural icon was only cemented further, as she went to choreograph about 70 dances, with performances around the world. In fact, the company has “performed more than 15,000 times for a total audience number of more than 22 million people”, one of those performances being for John F. Kennedy during his presidency.