Mezclada Blends Beats, Vitality and Heart in Mind, Body & Soul

Houston’s strength has long been its diversity, of people, cultures and ideas. It feels only natural, then, that the city would give rise to a dance company like Mezclada, whose very name means “mixed.” Under the direction of Artistic Director Joel Aguilera, Mezclada thrives on fusion, weaving together contemporary dance, breaking and Latin rhythms into performances that are as dynamic as the city itself.

Last weekend, Mezclada presented its second full-length production Mind, Body & Soul at MATCH. If you missed it, you missed out on a lively evening that recharged all three of those interconnected dimensions of being. Aguilera’s exploration was inspired by his work preparing Houstonian Jeffrey Louis (aka B-Boy Jeffro) for the 2024 Olympic Games’ inaugural breaking competition. At the Games, dancers were evaluated through the Trivium Judging System, which scores artistic (mind), physical (body), and interpretive (soul) qualities, using specific criteria like creativity and personality, technique and athleticism, musicality and performance. 

These categories became the framework for Mezclada’s production, which unfolded in three sections — Mind, Body, and Soul — each showcasing the eclectic company and Aguilera’s range of influences. The opener, Alma Vacía, set to Afro Latin Jazz rhythms, introduced the cast with expansive energy. Far from melancholy or “empty,” as its title suggests, the work revealed Aguilera’s thoughtful ear for music and his ability to bridge contemporary dance with the breaking vocabulary that anchors his movement background. Throughout the evening, Latin rhythms provided connective tissue between genres, grounding the choreography in cultural pulse, technical craft and personal history.

Threaded and Take Four each toyed with circles of light. The latter featured four dancers from Inertia Dance Company, part of the Westside High School fine arts program. Their committed performances brought youthful energy to the stage and reflected the talent and promise nurtured in Houston’s next generation of artists. While separate from Mezclada’s core cast, their presence spoke to the company’s commitment to cultivating connections between professional and emerging dancers. The act culminated with Interlace, a high point that joined Aguilera with principal dancers Hector Cisneros and Mrince Williams. Under a single downlight, the trio wove in and out of its circle with agility and playfulness, acknowledging the illumination almost as a partner. The choreography blended contemporary transitions with breaking’s acrobatic freezes — breathtaking moments of suspended stillness that drew audible gasps from the audience. I caught myself wondering if anything after intermission would top it.

Happily, Act II offered fresh highlights. Not a Tango lived up to its name by avoiding the familiar partner dance for a genre-blurring exploration of style that highlighted Mezclada’s versatility. Dancer AnnMarie Walling stood out as she transitioned from the sweeping flow of contemporary movement and partnering to the shuffling floorwork and power moves of breaking with impressive ease.

Short films by CS Visuals punctuated each section, reframing the dancers through the lens. Mind played with perspective, zooming in on torsos, limbs, and faces and moving between bodies as if the camera were an additional company member. Body widened the frame to showcase strength and athleticism, while Soul captured the ensemble’s personalities with party-like energy. The crisp editing and dynamic pacing of each film had all the elements and polish of a Gap campaign: stylish, kinetic, and smart.

Lighting designer Edgar Guajardo added further texture, especially in She Moves, where bold color and silhouette sculpted a sultry atmosphere. He then flipped the tone with Um a Zero, a whimsical piece that opened the Soul section with humorous contrast. Here, the company leaned into theatricality, highlighting the comic timing of Celeste Francis, Sonia Engman, Kenny Louis, Cisneros and Aguilera. Latin Rhythm brought the full ensemble to the stage — including Assistant Director Lizzy Aguilera and principal dancers Julia Cipriani, Elyssa Vega, Cyler Ledbetter and Sydni Lee — to close the night in a finale brimming with spirit.

The Soul section also featured a breaking battle between members of Rad Crew Productions and emceed by Aguilera himself. On Friday night, Mezclada members Mrince Williams, Kenny Louis, and Hector Cisneros joined guest artists Chris Bautista, Moe Franklin, and Olympian Jeffrey Louis to demonstrate the interplay of mind, body, and soul in real time. The exciting display of showmanship embodied the ingenuity and versatility of breaking more effectively than much of the Olympic coverage itself. For the audience, it was education and spectacle rolled into one.

There is great warmth in the work shaped by Aguilera, who, along with his wife and assistant director Lizzy, is navigating the dual roles of artist and new parent. Mezclada’s spirited company understands the assignment: to mix cultures, styles, and perspectives into something both original and relatable. With Mind, Body & Soul, they not only affirmed their mission but also reflected the very diversity that defines Houston itself. Mezclada is a company to watch as it continues to grow and share its voice here at home and beyond.

Editorial Clarification:

The short films featured in Mind, Body & Soul were filmed and edited by CS Visuals, but the overall concept, direction, and choreographic choices were by Joel Aguilera, who also collaborated closely in the editing process. Additionally, while Edgar Guajardo plotted the lighting, the design itself was created by Aguilera.