Mexico has a rich and diverse heritage of folkloric dances, known as baile folklórico, which are deeply tied to the country’s history and regional identity. These dances are a fusion of indigenous traditions, Spanish influences, and, in some areas, African and Caribbean rhythms. Each region has its own unique style, music, and costumes that tell a story of its people and history.

A bit of history…

Dance has always been an important part of Mexican people. Indigenous dance developed with strong ties to religious, social and military practices. They were an important way of transmitting knowledge, history, and cultural values. For the Mexica (Aztecs), there were two levels of dance, those for the elite, and those for the common people, such as Netotilitzli or Mitotiliztli. Known as Danza Azteca, but of much older tradition, stemming from the Tolteca-Chichimeca culture. 

After the conquest of Mexico, the Spanish tried to eliminate indigenous dances because they considered them pagan. They were successful in suppressing many forms, particularly those performed by the priestly and ruling classes.

However, they failed to eradicate the more popular dances, especially in rural and remote regions of New Spain. Instead of outright banning them, Spanish missionaries and evangelizers adapted the dances to Christianity, giving them new meanings and purposes. Because of this, most of these dances have been modified in some way since the pre-Hispanic era.

The Tovar Codex, attributed to the 16th-century Mexican Jesuit Juan de Tovar, contains detailed information about the rites and ceremonies of the Aztecs (also known as Mexica). The codex is illustrated with 51 full-page paintings in watercolor. Strongly influenced by pre-contact pictographic manuscripts, the paintings are of exceptional artistic quality. 

This illustration, from the second section, shows a dance of nobles. Two drummers at the center wear the feathered epaulette seen in the portraits of Emperor Moctezuma I and Emperor Moctezuma II. To the right of the drummers are the high priest, wearing a tilma (cloak) with the image of the sun, and soldiers representing the jaguar and eagle military castes. Decorative elements include feathered ornaments. The dance shown was possibly for the festival of Toxcatl, which was held during the month dedicated to Tezcatlipoca, the god of the night sky and memory. The drummers play the teponaxtli (wooden drum), and the ueuetl (drum with a membrane). The nobles wear either the tilma or the simpler maxtlatl (loincloth).

La Danza de los Voladores

The “Danza de los Voladores,” or Dance of the Flyers, is a truly remarkable and ancient Mesoamerican ceremony. Though its exact origins are lost to time, it is strongly associated with the Totonac people, particularly in the region of Papantla, Veracruz, and is recognized by UNESCO as an Intangible Cultural Heritage of Humanity.

Origin and Symbolism

The ritual’s origin is believed to be rooted in a myth about a severe drought that brought famine to the people. To appease the gods and ask for rain, a ceremony was created. The Voladores, or “flyers,” embody this plea to the heavens.

The ceremony is deeply symbolic, with every element representing a part of the Totonac worldview:

The Pole: A central, 30-meter (or higher) pole, traditionally made from the tallest and straightest tree in the forest, represents the Tree of the Universe, a link between the earth and the heavens. The felling of the tree and its preparation are part of the sacred ritual.

The Dancers: Five participants take part in the ceremony. One person, known as the caporal, remains at the very top of the pole, dancing and playing a flute and a small drum to honor the sun and the four cardinal directions.

The Flyers: The other four dancers, dressed in colorful, bird-like costumes, represent the four directions and the four elements (earth, air, fire, and water). They attach themselves to ropes and launch themselves backward from a small platform at the top of the pole.

The Descent: As the pole spins, the four flyers descend to the ground, spinning with their arms outstretched, mimicking the flight of a bird. They circle the pole 13 times each, which, when multiplied by the four flyers, totals 52. This number is significant as it corresponds to the 52-year cycle of the Mesoamerican calendar. The spinning descent is a symbolic representation of the rain falling from the sky, bringing fertility and life back to the earth.

After 1520, dance in Mexico changed dramatically as indigenous, African, and mixed-race people blended their traditions. The Spanish allowed some religious dances to continue, but only if they honored Catholic figures like the Virgin Mary. This led to new dances, such as those in Tlaxcala that reenacted the Spanish Conquest.

Many European dances and musical styles were also introduced, including “Moros y cristianos,” as well as “boleros,” and “zapateados.” These were often adapted with new choreography to create unique Mexican versions. Most traditional Mexican dances performed today took their current form during the colonial period.

After the Mexican War of Independence, these dances became a powerful symbol of national identity. For example, the jarabe dance from Jalisco was renamed the Jarabe Mexicano and used to promote patriotism and liberty. Its popularity sparked a broader interest in other Mexican traditional dances, particularly those performed to son music.

Throughout the 19th and 20th centuries, waves of nationalism have helped preserve Mexico’s folk dance traditions despite foreign influences. A surge in popularity followed the Mexican Revolution, inspiring new folk songs like “La Adelita” and “La Cucaracha.” This era also saw a renewed interest in Mexico’s indigenous heritage, moving away from the European focus of the previous Porfirian era. This shift was supported by muralists and artists of the 1920s and 30s who aimed to forge a distinct Mexican identity.

By the 1930s, the growing popularity of folk dance led to more formal training, with educational institutions across the country offering classes. Although interest waned in the 1950s and 60s, the Mexican government continued to support it for its cultural value. This support included subsidizing ballet folklórico companies, the most famous of which is the Ballet Folklórico de México, founded by Amalia Hernández in 1952.

Today, traditional Mexican folk dance is a key part of the country’s national and international identity. Its survival and promotion depend on its recognition as an important part of Mexico’s heritage. This is one of the few areas where indigenous practices are not just tolerated, but actively celebrated and preserved.

Folkloric Mexican Dances Today

Now let’s take a dance journey through the different regions of Mexico and their beautiful dances! 

We have to begin with Mexico’s National Dance: 

El Jarabe Tapatío (Jalisco) Central Mexico

Often called the “Mexican Hat Dance,” this is arguably the most famous dance from Mexico. It’s a courtship dance where a man and a woman dance around a large sombrero on the floor. The dance is characterized by energetic footwork (zapateado) and vibrant, flowing costumes. The woman wears a China Poblana dress, and the man wears a traditional charro suit.

Danza de los Viejitos (Michoacán) Western Mexico

The “Dance of the Little Old Men” is a humorous and satirical dance from the state of Michoacán. It’s performed by men wearing masks of old, smiling men and carrying canes. They dance with a shuffling, hunched-over gait, but then suddenly burst into energetic and intricate footwork to “scare off” death and show they are still strong. The dance has pre-Hispanic origins and is a blend of ancient tradition and a comical critique of the Spanish ruling class.

Polka Norteña (Northern States): The polka was brought to northern Mexico by European immigrants, particularly Germans and Czechs, in the 19th century. Over time, it was adapted with a Mexican flair to become the lively Polka Norteña. The dance is fast-paced, with couples performing spins, turns, and quick footwork. It is a staple of the music genre known as norteño, and is popular in states like Chihuahua, Nuevo León, and Sonora.

I was wondering where the Polka was originally from and this is what I found: The polka dance originated in Bohemia (present-day Czech Republic) around the 1830s. It’s believed to have evolved from a peasant dance and was popularized by a young woman named Anna Slezáková and her music teacher, Josef Neruda, who transcribed the music and steps. The name “Polka” is thought to be derived from the Czech word “půlka,” meaning “half,” referring to the half-step movement. 

This is sample of Polka dance in Poland:

It is amazing how fast the Mexican dancers do it and have given it a Mexican flair!

Danza del Venado (Sonora and Sinaloa): The “Deer Dance” is an ancient, sacred dance of the Yaqui and Mayo indigenous peoples of northwestern Mexico. It depicts the life and death of a deer, which is a sacred animal to these communities. The main dancer wears a deer head on their head and mimics the movements of a deer, while other dancers portray hunters. The dance is a powerful and spiritual ritual that his been conserved since Pre-Columbian times and was not subject to the same level of modification and Christianization as many other indigenous dances in Mexico.

I picked this video of children portraying the dance at their elementary school in Sonora, Mexico:

La Bamba (Veracruz): This dance is a well-known example of son jarocho, a musical genre from Veracruz that is a mix of Spanish, indigenous, and African influences. “La Bamba” is often considered the “hymn of Veracruz.” Traditionally, “La Bamba” was performed at weddings, where the bride and groom would tie a ribbon together with their feet while dancing, symbolizing their unity. Guests were also encouraged to make up their own verses, leading to over 500 known variations. The word “bamba” is thought to be of African origin, referring to a wooden floor or dancing on one. The song is believed to have originated in the late 17th century, possibly during a slave uprising known as the Bambarria.

Yes! This dance is performed to “La Bamba” that many people have heard via Ritchie Valens’s hit from 1958, and then made famous again in 1987 by the movie with the same name through Los Lobos.

Danza de los Parachicos (Chiapas): The Parachicos are traditional dancers from Chiapa de Corzo, Chiapas, who take part in the town’s Grand Fiesta from January 15th to the 23rd. This annual festival honors local patron saints: the Black Christ of Esquipulas, Saint Anthony Abbot, and Saint Sebastian.

Like many Latin American festivals, this celebration is a vibrant blend of indigenous and Catholic traditions. The festivities include religious ceremonies, music, dancing, and local food. The festival culminates at a church that is home to a tree said to be older than the church itself. This tree is believed to represent the “tree of life” from ancient Maya and other pre-Hispanic cultures, suggesting the site was used for ceremonies long before the arrival of Catholicism.

Recognized for their cultural importance, the Parachicos were added to UNESCO’s Intangible Cultural Heritage Listsin 2010.

Did you notice the blue eyes and light skin? I wondered why and this is the legend:

The origin of the Parachicos is rooted in a legend about a Spanish woman named Doña María de Angulo. According to the story, she was a wealthy, beautiful woman who traveled to Chiapa de Corzo with her sick son, having sought a cure from doctors and healers everywhere without success. In Chiapa de Corzo, a healer finally cured her son.

Grateful for her son’s recovery, Doña María wanted to repay the townspeople for their kindness, but a severe famine had struck the region. She decided to distribute food and gifts to the community.

Meanwhile, the local people, dressed in masks and painted to resemble her son’s European features, danced around him. This was done so the boy wouldn’t be frightened by their different appearance. When Doña María saw the dancers, she offered them gifts, saying “para el chico,” which means “for the boy.” Over time, the phrase was shortened to Parachico, giving the dancers their name.

As the final dance of Mexico in this post I will showcase one that I had the chance to enjoy:

Danza de la Flor de Piña (Oaxaca): The “Pineapple Flower Dance” is from the Tuxtepec region of Oaxaca and is an all-female dance. The dancers, dressed in colorful traditional blouses and skirts, carry a pineapple on their shoulder. They perform a choreographed routine that celebrates the harvest and the region’s cultural traditions. The dancers often use their pineapple to create rhythmic sounds as they move.

They are so beautiful! And their handmade “Huipiles” are so unique and colorful!

I saw this incredible dance 25 years ago! It was like the whipping cream to an incredible trip through different regions of México. We didn’t even know about La Guelaguetza until we were traveling there and we made date arrangements so when we got to Oaxaca we would be able to see it. I will tell you all about La Guelaguetza in my next post. 

There are many more dances in Mexico, hopefully you got a good taste for some of its iconic ones! I am humbled by their strength in preserving their beautiful cultures… talk about being able to adapt and make the best of it all…

Thank you so much for coming along dear readers! Last treat: enjoy this video filled with the beautiful energy of their children… This is the Ballet Folklorico Infantil Alebrijes Zapateadores with el Mariachi infantil Peques NT: