Mexican folk dance

After the Conquest, the Spanish initially worked to eradicate indigenous dances, considering them “too pagan” and succeeded with a number of forms, especially those associated with the priest and ruling classes.

One of the first adaptations was allowing the indigenous to continue dances with religious aspects but in homage to the Virgin Mary or other Catholic personage.

[6] Despite modern and foreign influences in Mexico's culture in the 19th and 20th centuries, waves of nationalism have kept much of the country's folk dance tradition alive to the present day.

One reason for this is “indigenismo” the ongoing struggles of a number of indigenous communities to resist outside influences into their cultures and Mexican government efforts to assimilate them to create a homogenous national identity.

[8] Traditional dance generally involves the history and/or the cosmology of the people who perform it, and is a part of the social cohesion of that group.

[6] Amalia Hernández was a pioneer in ballet folklórico, she experimented with traditional Mexican dances that were originally created for religious purposes.

[11] Hernandez infused Mexican folk legends with ballet influences such as pointed toes, exaggerated movements, and highly choreographed routines.

[12] Hernandez was able to shift the dances from their original religious purposes, not meant to be watched, into the theatrical production that ballet folklórico is known for today.

These troupes perform at annual festival mostly in honor of patron saints—especially in the Villa de Guadalupe, Amecameca, Chalma and Los Remedios.

These are located north, east, south, and west of Mexico City, a remnant of the importance of the cardinal directions to indigenous people.

They are accompanied by indigenous drums, flutes and small lutes made from armadillo shells (showing European influence).

Since Carnival celebrations allow the wearing of masks for anonymity and behaviors not normally tolerated, a tradition arose for the indigenous to make fun of the Spanish elite and their dress through the dance.

Danza de los Tres Poderes (Dance of the Three Powers) is a moral tale similar to Siete pecados and Ocho vicios, which was introduced by the evangelizers to the indigenous.

[17] The Danza de los Arcos is done by men who carry large arches decorated with paper flowers and dance in rows.

[17] Pascolas dancers wear white shirts and pants and a red handkerchief called a paliacate either around the neck or partially covering the face.

[17] Other dances in the north include Caballitos, Chicaleros and Danza de Palma in Nuevo León, Tsacan Son in San Luis Potosí and Los Pardos in Zacatecas.

[17][18] Danza del Venado (Deer Dance) is performed in Sonora and Sinaloa and in the very far south of Arizona by the Yaquis and Mayos .

The dancers wear carved wooden masks, with a headdress made of ixtle, a serape, embroidered shawl and multicolored ribbons, carrying maracas.

The costumes reflect the environment of Veracruz illustrated by the performers wearing lacy skirts and blouse to represent the state's humid tropical weather.

Participants cover themselves with the moss that hangs from Montezuma Cypress trees and carry staves which have the head of a deer at one end.

The main characters, devils, turtles and bulls represented by those in masks, are mythical creatures which dance in the streets alongside humans who either challenge or subdue them.

It is dancers perform movements related to that of goats (chivos) accompanies by wood boxes used as drums and an instruments made from a donkey's jaw, which is rubbed on the side with a wooden stick.

The dancers wear red wooden masks with deer antlers covered in streamers and paper flowers, along with skirts that reach the knees.

In this dance, the animal chases children and is in turned pursued by men, who wear masks, boots or chaps and very large sombreros.

[17]Los Mudos (The Mute) takes its name from the fact that participants are forbidden to speak during the ceremony and in some cases throughout the festival.

The dancers form two groups to represents the two religious, each wearing masks and capes with Moors marked by a crescent moon and the Christians with a cross.

Those who represent the indigenous wear feathers and carry bows and arrows frequently with those dressed as Eagle and Jaguar warriors of rank.

[28] Other dances from the state of Michoacán include Las Iguiris, Mariposas, Danza de los Tumbis, Paloteros and Pescado Blanco.

Participants cover themselves with the moss that hangs from Montezuma Cypress trees and carry staves which have the head of a deer at one end.

These accessories consist of sashes, beaded necklaces, hats woven of palm leaves, masks, fresh fruit, mirrors and tinsel.