Mexican folk dance

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embroider detail around the neck, they also use a belt and an embroidered apron. In Michoacán they have many dresses depending on the event, they have dresses that are for everyday wear and dresses for special ceremonies or occasions. There are many parts that go along with the dress from the hair to all the accessories that they wear. The everyday dress for women in Michoacán is made up of five items of clothing. These items consist of an underskirt, skirt, an apron, shawl, and lastly a blouse which is also known as a guanengo. All of these item are made of different fabrics and color which makes each item stand out. Like the dresses from Jalisco, the dresses in Michoacán also have bright colors with little use of black. For special day like Palm Sunday for example, they add more accessories. These accessories consist of sashes, beaded necklaces, hats woven of palm leaves, masks, fresh fruit, mirrors and tinsel. They also different accessories for special ceremonies that are done in their communities which makes them stand out due to the variety in their dresses.

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antlers covered in streamers and paper flowers, along with skirts that reach the knees. Machomula refers to a wooden horse's head which is central to the dance performed in the Costa Chica of Guerrero. The night before a festival, this head is carried on beams all night while the men sing and sometimes perform parodies. On the day of the festival, they form a procession with the guardian of the horse's head in front on a wooden horse. Pescados (Fish) is performed mostly in Guerrero by participants acting as fishermen with nets and with those that play the part of fish who are identified by small wooden fish that hang from their shoulders. There is one other character which is a lizard, who is covered with a wooden frame that opens and closes its mouth. It also carries some barbed wire which it used to try to hit the fishermen. It is similar to the Tortuga (turtle) dance. Tecuanes comes from

716:. The Yaqui Indians harness a deer in the dance to pay tribute to the deer's enduring spirit after it has been hunted, illustrated by the deer's struggle against the hunters. This dance is most associated with these peoples’ Lent and Easter celebrations, when indigenous beliefs mixed with the Catholicism introduced in the 17th and 18th centuries. The dance is part of ceremonies aimed at the renewal of the world in spring. Originally the dance was performed the night before hunting to ensure success, but today it is a means to communicate with other worlds. The deer dancer wears a shawl wrapped as a skirt with a belt traditionally made of deer hooves. He carries a gourd in each hand and ties rattles to his ankles. A real or imitation deer head is fastened to his head. Red ribbons wind around the horns to represent flowers. 332: 200:

are conserved and promoted rather than depreciated or eliminated. 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. Since the 1990s, these efforts have become more political in nature and have resulted in more interest in preserving pre Hispanic cultural forms. ( The government also works to preserve and promote a number of dance forms, with folk dance mandatory in public schools. In September 2011, 457 people set a Guinness record for the largest folk dance performance at the International Mariachi and Charreria Conference in

842: 31: 409: 147:. In some cases, these dances were modified or given entirely new choreography in Mexico. Most of the traditional dances performed today took on their forms during the colonial period but they were not firmly part of Mexican identity until after the Mexican War of Independence when it received its first surge in popularity. For example, the jarabe dance of Jalisco, became a political tool to evoke feelings of patriotism and “liberty.” In fact, this dance became intricately linked to the independence movement, causing it to be called the Jarabe Mexicano. Its popularity led to interest in other Mexican traditional dances, especially those danced to 64: 796:, Dance of the Flyers, is a dance/ceremony/ritual still performed in Mexico today, best known in the Totonicapán area of northern Veracruz and northern Puebla states. It is believed to have originated with the Nahua, Huastec and Otomi peoples in central Mexico, and then spread throughout most of Mesoamerica. The ritual consists of dance and the climbing of a 30-meter pole from which four of the five participants then launch themselves tied with ropes to descend to the ground. The fifth remains on top of the pole, dancing and playing a flute and drum. The ceremony was named an 92: 478: 523: 918: 417: 630: 939: 425: 233: 588: 438:, which was founded by dancer Amalia Hernández in 1952. The troupe consists of forty dancers, a mariachi band and sixteen other musicians. Counting support staff such as costume and set designers, the organization involves over 600 people. The group began with eight dancers with sporadic performances until they were invited to perform on television for a program called Función de Gala. Since 1959, it has performed regularly at the 701: 344: 324: 782: 1036: 241: 765:. Cochino (pig) is named after a pig's head which is decorated and carried as part of the event. The head is decorated with flowers and rolls of colored paper, paper birds, rag dolls, and candies. The mouth holds a roll with the name of the person who well receive the head. The head is carried on a large, decorated platter by women who dance and smack their lips to indicate how delicious the animal is. 661: 51:, is a term used to collectively describe traditional Mexican folk dances. Ballet folklórico is not just one type of dance; it encompasses each region's traditional dance that has been influenced by their local folklore and has been entwined with ballet characteristics to be made into a theatrical production. Each dance represents a different region in Mexico illustrated through their different 914:

characteristics which are found only in this region and nowhere else in Mexico and include violence and even sexual overtures. 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. Other important Afro-Mexican dances include the Tiger Dance and the Tejorones.

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all over Mexico offering classes including the Departamento de Bellas Arts (Fine Arts Department) of Mexico City. Interest in folk dance declined in the 1950s and 1960s, but the Mexican government continued to subsidize it for its aesthetic and social value. This included the support of folk dance or ballet folklórico companies, the most famous of which is the

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men, dressed in traditional indigenous clothing and carrying canes. The dancers wear wood-soled shoes to accentuate the noise made while stomping. Although a regional dance, it has been performed abroad in the United States and Europe. Other dances from the state of Michoacán include Las Iguiris, Mariposas, Danza de los Tumbis, Paloteros and Pescado Blanco.

84:. 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. However, they were unable to eradicate the more popular forms, especially in the rural and more inaccessible regions of 510:. These are located north, east, south, and west of Mexico City, a remnant of the importance of the cardinal directions to indigenous people. Dancers dress in indigenous style garb that can include loincloths, feathered headdresses body paint and more. They are accompanied by indigenous drums, flutes and small lutes made from 360:. After the Conquest, dancers added other animals—such as horses, bulls, and roosters. Masks are used in various ways in Mexican dance. They can be used to “transform” the dancer into a character, either metaphorically or religiously, it can be used to hide the dancer's identity for festivals such as 369:

props that carry various meanings with the dances themselves function as a form of social cohesion. In Veracruz, best known “African” dances include Los Negritos, along with various huapangos and sons. In the Costa Chica, the best known of these dances include Los Diablos, Las Tortugas and Toro de Petate.

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area. The dance as known today was created by Gervasio López in the mid 20th century, who had a passion for traditional folk music and dance of this region. While the dance is “new” it is based on ancient rhythms and steps and accompanied by traditional instruments. The dancers basically imitate old

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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. The next wave of popularity came after the Mexican Revolution, which also created new songs in folk styles such

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The headdress also often has a brain made with human or horse hair and fringe in the front that partially covers the faces of the dancers. The dancers wear sandals with wood soles to make more noise when they stomp. The dancers carry rattles on one hand and bows in the other, reminiscent of hunting.

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dance is also known as Apaches, Indios and Chichimecas. It is a ritual dance that likely developed after 1522 as a means of preserving some elements of pre Hispanic culture. Members of these dance troupes are part of formal societies and unlike some other groups admit women. These troupes perform at

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It wasn't until her death in 2000 at the age of 84, that the troupe gained a new director her grandson Salvador López. The repertoire maintains the traditional dances although somewhat updated with the choreography of López. Dances include the Jarabe tapatío, the Deer Dance and the Aztecs/Concheros.

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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 costume is feminine in appearance using rustic wigs made of maguey fibers braided with ribbons of many colors. This dance is common among the

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which means jaguars or tigers. This dance is the only which features this animal. In this dance, the animal chases children and is in turned pursued by men, who wear masks, boots or chaps and very large sombreros. They carry whips which they use to hit the tiger who wears padding. The dance is very

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who visited Mexico in 1919. She made the dance part of her permanent repertoire. The dance's current form emerged nationally during the Mexican Revolution although various “jarabe” dances existed before this time, such as the Jarabe Jalisco, the Jarabe Atole and Jarabe Moreliana. The charros outfit

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Pascolas dancers wear white shirts and pants and a red handkerchief called a paliacate either around the neck or partially covering the face. A ribbon tied around the head with streamers or ribbons hanging from the back of the head to the waist. The calves of the dancers are covered in shells that

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dance is derived from Carnival celebrations in what are now the south of Mexico City, Morelos and the State of Mexico. 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

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Most Mexican traditional dance shows indigenous and/or European heritage, but there are some that show the country's African past, especially in Veracruz and the Costa Chica region in Guerrero and Oaxaca. Like indigenous dances, African based ones often involved the use of masks, costumes and other

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Instruments used to accompany the dancers have changed to include those from Europe, but pre Hispanic ones, especially drums and flutes, are still used. However, as many dances are still tied to religious events, knowing how to play the traditional songs and dance the traditional dances still gives

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Most of the ancient dances have been modified in various ways, although most of these are superficial with the basic movements remaining intact from the pre Hispanic period. The aspect to change most has been costuming. The materials used to produce dance costumes, adapting to new materials and the

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Today, traditional Mexican folk dance is a defining element of Mexico's popular culture nationally and internationally. Preservation and promotion of dances nationally have depended on whether they are seen as part of Mexico's national identity. It is one of the few areas where indigenous practices

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Another place that has unique dresses for dancing is Michoacán, Mexico. Their dresses are very different from Jalisco. The dresses in Michoacán are very simple but elegant. They have a long skirt with very little detail of ribbons. The upper part of the dress is made up of a simple blouse that has

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which means “disguised.” Chinelos dancers wear masks imitating the fair skin and beards of the Spanish along with elaborate dress and gloves. They are the best known Carnival dancers in Mexico with Morelos have the most groups. The Chinelo dancers are now a symbol of the state of Morelos, with the

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receive regional and federal support. Those without that type of popularity are performed mostly in local and regional religious events. While much support is geared to preserving dance forms, art forms outside of Mexico still have influence. Traditional dance is taught alongside more modern dance

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era. This was reinforced by the muralists and other artists of the 1920s and 1930s whose political aims were to forge a Mexican identity, rejecting foreign influences and politics. In the 1930s, the popularity of the dance prompted education and more formal training in it, with educational centers

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but it is popular in various parts of the country, especially in the north. It consists of dancers in distinctive dress that includes brightly colored skirts, long tunics and feathered headdresses. The tunics were originally made with deerskin but today they are made with rayon but maintain the

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The Ocho Vicios (Eight Vices) involves a number of dancers who represent the eight vices as well as an angel, a devil, a doctor and a priest. It involves a number of movements and spoken text. It is similar to a dance called the Siete Pecados (Seven Sins). Danza de los Tres Poderes (Dance of the

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Mexican folk dance is an uneven synthesis of different cultural traditions. Its historical roots is the synthesis of indigenous, European and African cultural influences but it continues to evolves with influences from modern pop culture. It is not one particular style but rather a collection of

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Los Chivos is another dance performed in Guerrero. 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

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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. While varying widely, many folk dances in Mexico share some common elements. Animals that appear in these dances are generally those that were

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is considered Mexico's “national dance” and is the best known outside the country, often called the “Mexican Hat Dance” in English. The dance was performed for the first time formally in 1860 at the Coliseo Theater in Mexico City. During the 1860s it was fashionable in high society. The dance

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Segadores contains a number of characters, which includes the “captain” who pays his workers with money from the Mexican Revolution called “bilimbiques,” workers who become lazy and a woman who tends a store but in reality is a man. This dance is performed in some small communities in the

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Many notable dances are found in the state of Guerrero. The three most common dances of the coast of Oaxaca and Guerrero are the Devil Dance, the Turtle Dance and the Toro de Petate (Straw Bull Dance), all of which are tied to the area's Afro-Mexican communities. The first three contains

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rattles as he dance. They carry small metal pieces in their hands which they bang rhythmically along to music played on harps and violins. 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.

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Amalia Hernández was a pioneer in ballet folklórico, she experimented with traditional Mexican dances that were originally created for religious purposes. Hernandez infused Mexican folk legends with ballet influences such as pointed toes, exaggerated movements, and highly choreographed

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Mexican folk dance has had an important impact on the culture of the United States, especially in Mexican American communities. This has not only included the preservation of dances that existed before the Mexican–American War in the US Southwest, but other dances, such as the

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to allow for pranks and/or it can be used for social commentary, for example a farmer wearing a mask and military-style clothing to protest corrupt police. The use of mirrors on costumes are to represent the life force of the sun as its light is reflected as the dancers move.

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is from Mexico's cowboy tradition and the China Poblana outfit is based on the dress of an Asian woman who became famous in the city of Puebla in the colonial period. Today, this dress, especially the skirt, is heavily decorated with patriotic themes. The Jarabe is danced to

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Negritos is danced in the Totonacapan region in Veracruz and Puebla. The Danza de los Quetzales is performed in Puebla. The Huehues dance is performed by the Totonaca and is similar to the Quetzales dance. The headdress is smaller and less ostentatious.

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loss of old ones. The use of hides and feathers is the oldest of costuming traditions, but today costumes can be made of synthetic fabrics and other modern elements. One common substitution is the use of mirrors on costumes to replace polished stones.

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dancers wear white costumes, sometimes with leather chaps, and ride decoratively dressed donkeys. The dance proceeds as a procession and usually ends at a feast, which is central to the festival, with each arriero bringing a dish to share.

584:. The Danza de los Arcos is done by men who carry large arches decorated with paper flowers and dance in rows. Their costumes are white with colorful sashes across the chest. It is mostly performed in Hidalgo, State of Mexico and Puebla. 1027:

of rank. All the dancers wear masks. The dance represents the battles between the two groups ending either with the killing of Moctezuma or with the baptism of the indigenous. This is a widely performed dance especially in Michoacán and

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Mexico's modern folk dance tradition is a blending of elements from its Indigenous, African, and European heritage. Before the arrival of the Spanish, indigenous dance developed with strong ties to the religious practices. For the

119:(a mock battle between Moors and Christians brought to the central states), Los Archos, Las Escadas, Los Machetes, El Paloteo, Las Cintas and Los Doce Pares. Other European dances include La Zambra, La Zarabanda, La Contradanza, 575:

Acatlaxquis is an Otomi dance with pre Hispanic origins but uses a pan-style flute for accompaniment. The dancers form and arch with sugar cane stalks forming a kind of cupola. This dance is most often performed in the

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Generally, folk dance is popular and well supported by various government efforts, but not all to the same extent. Those considered representative of the country and popular outside their home region, such as the

1442: 985:. This dance is part of a larger ceremony that can last up to two days and consist in mock battles and negotiations as well as dance. The voices of the participants generally sing and speak with a high-pitch or 463:

which honors the women of the Mexican Revolution. The group has performed over 15,000 times in sixty counties and 300 cities in Europe, Asia and Latin America. It has an average of 250 performances per year.

993:. It is a dance of Spanish origin similar to Moros y cristianos except that the Saint is the main character. Sometimes the character rides on a real horse or the costume can contain a frame of a horse. 548:

tradition increasing with more towns having dance troupes and it is possible to see troupes dancing at times other than Carnival. It is even possible to hire Chinelos dancers for special occasions.

88:. Instead, evangelizers worked to adapt dances to Christianity, giving them new meanings. For this reason, most of these dances have suffered at least some modification since the pre Hispanic era. 1059:

Paixtles is one of the few pre Hispanic dances to remain free from European influence, mostly performed in Jalisco and Nayarit. Participants cover themselves with the moss that hangs from

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Paixtles is one of the few pre Hispanic dances to remain free from European influence, mostly performed in Jalisco and Nayarit. Participants cover themselves with the moss that hangs from

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The Danza de los Quetzales is performed in Puebla. The Huehues dance is performed by the Totonaca and is similar to the Quetzales dance. The headdress is smaller and less ostentatious.

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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

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Hernandez has become a cultural ambassador for Mexico through her work with the dance troupe, choreographing more than forty different ballets covering sixty regions of Mexico

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Moros y cristianos (Moors and Christians) is not indigenous in origin. It was introduced by monks in the 16th century and widely practiced in central Mexico, especially

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symbolizes the courtship of a woman by a man, who at first is refused but accepted in the end. The two protagonists are usually a man in a charro suit and a woman in a “

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Three Powers) is a moral tale similar to Siete pecados and Ocho vicios, which was introduced by the evangelizers to the indigenous. The main protagonists are the

828:. The costumes reflect the environment of Veracruz illustrated by the performers wearing lacy skirts and blouse to represent the state's humid tropical weather. 922: 981:

marked by a crescent moon and the Christians with a cross. The other elements of the dress vary widely with some versions having the Christians dressed as

2403: 1894: 55:, footwork, having differing stomps or heel toe points, and choreography that imitates animals from their region such as horses, iguanas, and vultures. 1198: 1124: 761:. They are led by a “patron) who carries a guitar and a whip, and plays the flute; while the drummers provide rhythm. The dance has been named an 1128: 309: 1637: 1392: 81: 1019:

and usually wear modern clothing. Those who represent the indigenous wear feathers and carry bows and arrows frequently with those dressed as

824:(jawbone of donkey for percussion). As well as having the choreography be influenced by Veracruz animals in the region imitating the moves of 808:

region has influenced their folkloric dance by instilling the musical instruments that originated from the region into the performances like

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and areas in the northwest of the country, indigenous elements have been strongly maintained. Those considered native or indigenous include

115:, were dances to reenact the Conquest are traced. In addition, a number of European dances, music and instruments were introduced including 316:. Dances that survive relatively intact are in areas that were remote from colonial authorities. However, their “purity” is under debate. 1879:

Adan Garcia (November 20, 1999). "Fallece el compositor de 'Danza de los viejitos'" [Compose of the Danza de los Viejitos dies].

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Adan Garcia (November 20, 1999). "Fallece el compositor de 'Danza de los viejitos'" [Compose of the Danza de los Viejitos dies].

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Bishop, Joyce (Fall 2009). ""Those Who Gather In": An Indigenous Ritual Dance in the Context of Contemporary Mexican Transnationalism".

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The rituals of kindness: The influence of the Danza Azteca tradition of central Mexico on Chicano-Mexcoehuani identity and sacred space

175:. The years after the Revolution also sparked interest in Mexico's indigenous heritage shifting away from the European emphasis of the 1461: 1306: 762: 103:

descendants. One of the first adaptations was allowing the indigenous to continue dances with religious aspects but in homage to the

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traditional arrow pattern decoration. The headdresses are made with colored chicken feathers that are often the three colors of the

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Dance as depicted in "Mexico, California and Arizona; being a new and revised edition of Old Mexico and her lost provinces" (1900).

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dancers and musicians social stature, as they are keepers of tradition and expected to pass it along to the next generation.

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Travierso, Maria (November 17, 2007). "Danza celebra riqueza de México" [Dance celebrates the richeness of Mexico].

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various regional and ethnic traditions. Dance traditions vary widely over Mexico's expanse. In some areas, such as the

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Danza del Venado (Deer Dance) is performed in Sonora and Sinaloa and in the very far south of Arizona by the

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religiously significant to pre-Hispanic indigenous people. These animals include deer, serpents, eagles, and

841: 612:, the god of old age and of the New Fire. A better known similar dance is called the Dance of the Viejitos. 2696: 2459: 797: 1814: 1812: 2724: 2393: 1769: 482: 30: 2701: 2674: 2564: 2383: 1809: 507: 2764: 2243: 1794: 408: 1641: 1396: 2825: 2313: 742: 63: 2629: 2424: 2408: 2356: 1985: 1015:. Various versions with include other characters. Those who represent the Spanish soldiers carry 977:. The dancers form two groups to represents the two religious, each wearing masks and capes with 439: 108: 1063:

trees and carry staves which have the head of a deer at one end. They accompany themselves with

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trees and carry staves which have the head of a deer at one end. They accompany themselves with

80:, there were two levels of dance, those for the elite, and those for the common people, such as 2679: 2163: 793: 581: 305: 265: 1614:[Dances of Mexico] (in Spanish). Instituto Cultural "Raíces Mexicanas". Archived from 1239:[Dances of Mexico] (in Spanish). Instituto Cultural "Raíces Mexicanas". Archived from 942:

Frames used for the Turtle and Straw Bull dances in the Museo de las Culturas Afromestizas in

2303: 2228: 1486: 1048: 996: 990: 1640:[Traditional dances] (in Spanish). Mexico: Artes e historia magazine. Archived from 1395:[Traditional dances] (in Spanish). Mexico: Artes e historia magazine. Archived from 2734: 2594: 2589: 2554: 2326: 2188: 1314: 1067:

that they carry. Dancers wear masks to cover the face and ribbons that hang from the head.

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that they carry. Dancers wear masks to cover the face and ribbons that hang from the head.

821: 1895:"Traditional Mexican costume. Typical pieces of clothing in Mexico - Nationalclothing.org" 8: 2769: 2686: 2514: 2449: 2439: 1958: 1924:":: Revista Voices of Mexico · Centro de Investigaciones Sobre América del Norte ::" 514:

shells (showing European influence). The symbolism and most of the steps are indigenous.

201: 477: 185: 2691: 2654: 2649: 2639: 2624: 2609: 2559: 2539: 2454: 2444: 2331: 2238: 1836: 1546:"Alistan los chinelos traje para carnaval" [Enlist the Chinelos for Carnival]. 1192: 1118: 1004: 965: 394:

in various schools and cultural centers across the country with some crossover effect.

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Dance evolved drastically from 1520 to 1750, mostly among the indigenous, African, and

52: 644:. Performed by members of the Ballet Folklórico Aztlán at the Shenkman Arts Centre in 301: 91: 2706: 2659: 2584: 2569: 2504: 2479: 2474: 2091: 1859: 1840: 1734: 1518: 1369: 1178: 1150: 1106: 1060: 887: 556: 269: 144: 1923: 1052: 862: 2799: 2784: 2729: 2619: 2604: 2464: 2429: 2388: 2368: 2341: 2321: 2288: 2258: 2116: 2086: 1990: 1828: 870:” outfit. It was popularized internationally in the 20th century by Russian dancer 527: 387: 272:, the pre Hispanic elements have almost completely disappeared. In others, such as 43: 176: 2744: 2669: 2614: 2529: 2509: 2499: 2494: 2484: 2346: 2211: 2121: 2031: 2000: 1336:"Mexico sets Guinness record for largest folk dance performance: MEXICO BALLET". 1175:

Dancing Cultures Globalization, Tourism and Identity in the Anthropology of Dance

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music and is performed at Mexican national holidays such as Las Fiestas Patrias,

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in Mexico City. In 1970 was named the official folk dance company of Mexico.

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Kimberly Matas (April 2, 2010). "Yaqui ceremonies celebrate world renewal".

905:, Sonajeros, danced in the south of Jalisco, and the Dance of the Cúrpites. 2789: 2634: 2574: 2524: 2336: 2278: 2233: 2173: 2168: 2106: 2078: 2066: 2051: 2046: 1078:, Sonajeros, danced in the south of Jalisco, and the Dance of the Cúrpites 1051:(Dance of the Little Old Men) is performed in Michoacán, especially in the 1012: 871: 172: 132: 1681: 1040: 974: 577: 2549: 2268: 2223: 2146: 2111: 2061: 1071: 1008: 935:

similar to Tlacololeros in its movements. Both are performed in Guerrero.

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annual festival mostly in honor of patron saints—especially in the

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their dress through the dance. The word “chinelos” is derived from the

164: 120: 1797:(in Spanish). Mexico City: Mexico Desconocido magazine. 23 August 2010 938: 424: 2298: 2178: 2126: 1772:(in Spanish). Chicago, IL: Mexican Folkloric Dance Company of Chicago 1100: 672: 608:

Huehuenches or Huehues is a dance whose name is derived from the god

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is a dance with men dressed as charros and used a small wooden bull.

602: 511: 499: 490: 348: 232: 221: 205: 85: 587: 2248: 2151: 1016: 986: 876: 805: 700: 535: 361: 289: 277: 213: 128: 124: 112: 1003:. There are dancers who represent the main protagonists including 688:

Another common adornment is a small mirror, usually over the arm.

343: 323: 1075: 1029: 931: 902: 749:. The dancers wear carved wooden masks, with a headdress made of 649: 641: 595: 540: 244: 209: 100: 1708:"Parachicos in the traditional January feast of Chiapa de Corzo" 849: 781: 2201: 1064: 1035: 982: 891: 825: 801: 758: 754: 653: 645: 357: 281: 256: 252: 248: 240: 140: 136: 660: 2283: 2216: 1974: 1172: 978: 750: 709: 77: 1271:(Thesis). The Claremont Graduate University. Docket 3364048. 1173:

Neveu Kringelbach and Skinner, Hélène, and Jonathan (2012).

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voice. Santiagos is named after the patron saint of Spain,

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Woman doing typical dance of the state of Veracruz, Mexico.

959: 773: 204:, accompanied by over 300 mariachi musicians from Mexico, 154: 1858:. Austin, TX: University of Texas Press. pp. 40–50. 1368:. Austin, TX: University of Texas Press. pp. 40–50. 1307:"Dance! Global Transformations of Latin American Culture" 1149:. Santa Barbara, California: ABC-CLIO. pp. 279–283. 804:

in order to help the ritual survive in the modern world.

191: 1943: 1550:(in Spanish). Mexico City. January 30, 2008. p. 20. 1462:"Ballet Folkorico Explores Mexico's Colorful Traditions" 999:, sometimes called Los Marqueses tells the story of the 1070:

Other important dances include La Judea, danced by the

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Other important dances include La Judea, danced by the

757:, embroidered shawl and multicolored ribbons, carrying 95:

Representation of indigenous dance of the 19th century.

923:

Celebration of Mexican political anniversaries in 2010

820:(a guitar-like instrument), pandero (tambourine), and 420:

Typical Mexican dance. Representation in Culture Week.

67:

Aztec nobles dancing as depicted in the post-Conquest

1856:

Afro-Mexico : Dancing between Myth and Reality

1366:

Afro-Mexico : Dancing between Myth and Reality

111:. One of the first areas to begin innovation was 2817: 1102:Dear Mayme, I love you! : Professional copy 1266: 1665: 1177:. New York: Berghahn Books. pp. 161–174. 397: 1959: 1722: 1512: 1427:(in Spanish). Fort Lauderdale, FL. p. 2. 1387: 1385: 815: 809: 741:is the “Great Feast” in January each year in 434:Mexico's best known folk dance troupe is the 224:, dance have migrated north since the 1970s. 1630: 1418: 1416: 1414: 1197:: CS1 maint: multiple names: authors list ( 1123:: CS1 maint: multiple names: authors list ( 719: 619: 559:, the Devil and a personification of death. 1883:(in Spanish). Saltillo, Mexico. p. 10. 1878: 1605: 1603: 1601: 1599: 1597: 1595: 1568:(in Spanish). Saltillo, Mexico. p. 10. 1563: 1559: 1557: 1541: 1539: 1440: 1359: 1357: 1355: 1353: 1351: 1349: 1347: 831: 467: 1966: 1952: 1847: 1789: 1787: 1754:"'Flying Men' are now Cultural Heritage". 1593: 1591: 1589: 1587: 1585: 1583: 1581: 1579: 1577: 1575: 1515:"Chinelo Dancers And The Original Hip Hop" 1508: 1506: 1504: 1382: 1127:) CS1 maint: numeric names: authors list ( 1099:composer., Snyder, Ted, 1881-1965 (1910). 1728: 1661: 1659: 1479: 1422: 1411: 1300: 1298: 1262: 1260: 1258: 1230: 1228: 1098: 34:Jarabe dance performed in Puerto Vallarta 1853: 1554: 1536: 1363: 1344: 1313:. Cambridge, MA: Harvard. Archived from 1311:Re Vista Harvard Review of Latin America 1296: 1294: 1292: 1290: 1288: 1286: 1284: 1282: 1280: 1278: 1226: 1224: 1222: 1220: 1218: 1216: 1214: 1212: 1210: 1208: 1034: 958: 937: 916: 848: 840: 780: 772: 763:Intangible Cultural Heritage of Humanity 728: 699: 659: 628: 586: 521: 476: 423: 415: 407: 342: 330: 322: 239: 231: 190: 153: 90: 62: 29: 1872: 1784: 1762: 1700: 1572: 1501: 14: 2818: 1918: 1916: 1914: 1818: 1747: 1656: 1436: 1434: 1329: 1255: 1144: 347:Conchero dance blowing conch shell in 1947: 1441:Terry-Azios, Diana (September 1999). 1304: 1275: 1205: 1140: 1138: 671:is mostly performed in the states of 1459: 1168: 1166: 1001:Spanish conquest of the Aztec Empire 1911: 1887: 1431: 1039:Danza de los Viejitos performed in 24: 1135: 883:, and El Dieciséis de Septiembre. 853:Jarabe Tapatío in the traditional 25: 2842: 1756:McClatchy - Tribune Business News 1668:McClatchy - Tribune Business News 1609: 1513:Rhonda Tranks (January 1, 2006). 1234: 1163: 787:Monterrey Institute of Technology 636:of a representative dance of the 459:It also has “new” dances such as 1729:Wilkerson, S. Jeffrey K (1987). 785:Veracruz Dance performed at the 412:Ballet Folkorico de Mexico 1970. 2760:Dance in mythology and religion 1674: 1460:Chin, Gwin (20 November 1983). 1453: 1731:El Tajin: A Guide for Visitors 1147:Dictionary of Chicano Folklore 1092: 517: 13: 1: 1795:"El Jarabe Tapatío (Jalisco)" 1758:. Washington, DC. 2009-10-01. 1085: 580:municipality, along with the 1821:Journal of American Folklore 1682:"Ballet Folklorico Nacional" 1340:. Madrid. September 3, 2011. 1305:Cantú, Rebecca (Fall 2007). 954: 798:Intangible Cultural Heritage 624: 472: 227: 7: 908: 768: 436:Ballet Folklórico de México 404:Ballet Folklórico de México 398:Ballet Folklórico de México 182:Ballet Folklórico de México 10: 2847: 2831:Latin American folk dances 963:Scene from performance of 836: 724: 401: 58: 2715: 2402: 2312: 2187: 2077: 2009: 1981: 1973: 1928:www.revistascisan.unam.mx 1517:. Mexconnect newsletter. 921:Ballet folklórico at the 720:Dances in Southern Mexico 695: 620:Dances in Northern Mexico 570: 49:Mexican ballet folk dance 1854:González, Anita (2010). 1364:González, Anita (2010). 1267:Mario E Aguilar (2009). 1145:Castro, Rafaela (2000). 832:Dances in Western Mexico 743:Chiapa de Corzo, Chiapas 684:: green, white and red. 483:Ixcateopan de Cuauhtémoc 468:Dances in Central Mexico 1686:Escamilla Entertainment 440:Palacio de Bellas Artes 247:Carnival of the Ballet 216:and the United States. 1638:"Danzas tradicionales" 1393:"Danzas tradicionales" 1044: 970: 969:(Moors and Christians) 947: 926: 858: 846: 816: 810: 794:Danza de los Voladores 790: 778: 734: 705: 665: 664:Matachines performance 657: 592: 531: 486: 431: 421: 413: 352: 336: 328: 266:Isthmus of Tehuantepec 260: 237: 196: 159: 96: 72: 35: 1049:Danza de los Viejitos 1038: 962: 941: 920: 852: 844: 789:, Mexico City Campus. 784: 776: 732: 703: 663: 632: 590: 525: 480: 427: 419: 411: 346: 334: 326: 243: 235: 194: 163:as the still popular 157: 94: 66: 33: 2725:Dance and disability 1899:nationalclothing.org 1443:"Color and Heritage" 1074:during Holy Week in 951:Nahuas in Guerrero. 901:during Holy Week in 814:(jarocho ensemble), 481:Concheros dancer in 222:Aztecas or Concheros 41:, commonly known as 39:Folk dance of Mexico 18:Folk dance of Mexico 2770:Dance on television 1770:"El Jarabe Tapatío" 1833:10.1353/jaf.0.0103 1733:. pp. 75–76. 1612:"Danzas de México" 1317:on August 11, 2011 1237:"Danzas de México" 1045: 971: 966:Moros y Cristianos 948: 927: 859: 847: 791: 779: 735: 706: 666: 658: 593: 532: 496:Villa de Guadalupe 487: 432: 422: 414: 353: 337: 329: 276:(in the states of 261: 238: 197: 160: 117:Moros y cristianos 109:Catholic personage 97: 73: 36: 2813: 2812: 2765:Dance occupations 2702:Wallis and Futuna 1644:on March 23, 2014 1399:on March 23, 2014 1184:978-0-85745-575-8 1105:. Ted Snyder Co. 1061:Montezuma Cypress 888:Montezuma Cypress 737:The dance of the 557:Archangel Michael 270:Yucatan Peninsula 16:(Redirected from 2838: 2800:History of dance 2785:Dance technology 2730:Dance and health 2680:African-American 1968: 1961: 1954: 1945: 1944: 1938: 1937: 1935: 1934: 1920: 1909: 1908: 1906: 1905: 1891: 1885: 1884: 1876: 1870: 1869: 1851: 1845: 1844: 1827:(486): 391–413. 1816: 1807: 1806: 1804: 1802: 1791: 1782: 1781: 1779: 1777: 1766: 1760: 1759: 1751: 1745: 1744: 1726: 1720: 1719: 1717: 1715: 1704: 1698: 1697: 1695: 1693: 1678: 1672: 1671: 1663: 1654: 1653: 1651: 1649: 1634: 1628: 1627: 1625: 1623: 1618:on June 21, 2012 1607: 1570: 1569: 1561: 1552: 1551: 1543: 1534: 1533: 1531: 1529: 1510: 1499: 1498: 1496: 1494: 1483: 1477: 1476: 1474: 1472: 1457: 1451: 1450: 1438: 1429: 1428: 1420: 1409: 1408: 1406: 1404: 1389: 1380: 1379: 1361: 1342: 1341: 1338:EFE News Service 1333: 1327: 1326: 1324: 1322: 1302: 1273: 1272: 1264: 1253: 1252: 1250: 1248: 1243:on June 21, 2012 1232: 1203: 1202: 1196: 1188: 1170: 1161: 1160: 1142: 1133: 1132: 1122: 1114: 1096: 819: 813: 811:cunjunto jaracho 777:Fandango jarocho 591:Arrieros dancers 528:Colonia Doctores 186:Amalia Hernández 44:baile folklorico 21: 2846: 2845: 2841: 2840: 2839: 2837: 2836: 2835: 2826:Dance in Mexico 2816: 2815: 2814: 2809: 2745:Dance etiquette 2711: 2470:Burma (Myanmar) 2410: 2406: 2398: 2347:Lead and follow 2308: 2244:Country–western 2183: 2164:Novelty and fad 2122:Hoochie coochie 2073: 2032:closed position 2005: 2001:List of dancers 1977: 1972: 1942: 1941: 1932: 1930: 1922: 1921: 1912: 1903: 1901: 1893: 1892: 1888: 1877: 1873: 1866: 1852: 1848: 1817: 1810: 1800: 1798: 1793: 1792: 1785: 1775: 1773: 1768: 1767: 1763: 1753: 1752: 1748: 1741: 1727: 1723: 1713: 1711: 1706: 1705: 1701: 1691: 1689: 1680: 1679: 1675: 1664: 1657: 1647: 1645: 1636: 1635: 1631: 1621: 1619: 1608: 1573: 1562: 1555: 1545: 1544: 1537: 1527: 1525: 1511: 1502: 1492: 1490: 1485: 1484: 1480: 1470: 1468: 1458: 1454: 1439: 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