The dances and typical dances of Guanajuato , as a cultural manifestation, have been little studied. It is believed that the process of industrialization of this Mexican state has caused that the preservation of its intangible cultural heritage has been neglected.
In fact, for several years now voices have been raised warning about the danger that some of these dances will disappear. An example of this is the Dance of the Wax in Salamanca or that of the Viejitos in Comonfort.
Dance of the bull
Thus, both public and private institutions have been making efforts to shed many of these musical traditions.
You may also be interested in traditions and customs of Guanajuato .
Brief description of some dances and typical dances of Guanajuato
Dance of the Torito
The dance of the bull is perhaps one of the most representative among all the dances and typical dances of Guanajuato.
Thus, many claim that this dance came to the León municipality in the mid-nineteenth century from the municipalities of Guanajuato Silao and Romita.
It is a representation in which several characters such as the horse, the mulita, the drunk and others try to knock down the main character, the bull. The music that accompanies it is played with drum and flute.
Dance of Concheros
Among the dances and typical dances of Guanajuato is the dance of concheros. The main instrument of the music that accompanies this dance, the mandolin, is made with armadillo shells.
That's where his name comes from. This dance originated in the northern center of the Mexican nation (Guanajuato and Querétaro). The original version of this pre-Hispanic indigenous manifestation disappeared more than a century ago.
At present, there is variety and breadth in the steps of this dance. As for clothing, it resembles the clothing of pre-Columbian tribes, including a colorful bird feather headdress.
Dance of the Paloteros
Another of the dances and typical dances of Guanajuato is the dance of the paloteros (other common denominations are stick or paloteo).
This is practiced especially in the municipalities of Yuriria and Uriangato, and also dates from the indigenous times .
Specifically, it is believed that it was part of the ritual of preparation of the Tarascans to defend their territory from the Chichimec incursions.
As for his name, it is due to the basic element of the participants of this dance: a stick made of cat's claw. This emits a characteristic sound when colliding with each other.
Dance of the Rattles
This dance is performed in several municipalities of the state such as Victoria de Cortazar, San Nicolás de los Agustinos, Acámbaro, among others.
However, there are differences in the music used in its execution. For example, towards the south it is interpreted with violin and tambos, while in Yuriria only the violin is used. Also, in the south it is danced with band music and without the typical hat.
This dance dates back to pre-colonial times. However, after the conquest took elements of Catholicism.
Dance of Chichimecas and French
The dance of Chichimecas and French belongs to the so-called dances of the conquest. In general, they represent the hard battles between the original peoples and the conquerors.
This dance has different versions in the municipalities where it is practiced. Some of these municipalities are Celaya, San Miguel de Allende and San Luis de la Paz.
References
- Martínez de la Rosa, A. (2003). The dance in Guanajuato. An unknown diversity. In Anthropology , pp. 118-127.
- Luis Miguel Rionda, L. M. (1990). The popular cultures of Guanajuato
before the modernizing change. In Relations, Vol. XI, N. 41, pp. 79-115. - Cultural Institute of León. (2014, June 18). The legend of the Dance of the Torito. Retrieved on November 6, 2017, from institutoculturaldeleon.org.mx.
- Horcasitas, F. (2004). Nahuatl theater. Mexico D.F.: UNAM.
- Arredondo, B. (2013, October 27). The Dance of Paloteros in the state of Guanajuato. Retrieved on November 6, 2017, from vamonosalbable.blogspot.com.
- Martínez de la Rosa, Al.; Wright Carr, D. C. and Jasso Martínez, I. J. (2016). Chichimeca warriors: the vindication of the wild Indian in the dances of Conquest. Relations. Studies of history and society, 37 (145), pp. 251-278.