How to dance mexican banda

how to dance mexican banda



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Replying to @tunderscorej #bandatutorial #howtodancebanda #mexicanmusic #sangoloteadito

18.4K Likes, 30 Comments. TikTok video from Sasha (@usolatortillacomocuchara): "Replying to @tunderscorej #bandatutorial #howtodancebanda #mexicanmusic #sangoloteadito". BANDA TUTORIAL | bend your knees and stick your hip out to one side and then the other | (move your feet to be able to stick your hips out to the sides)👉 | .... original sound.


original sound - ticher



Had to teach her how to dance #baile #dancing #mexican #banda #huapango #huapangos #norteñas #fyp #foryou #foryoupage

58. 9K Likes, 135 Comments. TikTok video from luis (@luis.r.hernandez): "Had to teach her how to dance #baile #dancing #mexican #banda #huapango #huapangos #norteñas #fyp #foryou #foryoupage". El Coco Rayado: La Picare.


El Coco Rayado: La Picare - Alameños de la Sierra



Teaching Lex how to dance to El Komander 😂 we need more practice and more space #ElKomander #Mexicanas #Banda #Corridos

TikTok video from Dulce (@itsdjajk): "Teaching Lex how to dance to El Komander 😂 we need more practice and more space #ElKomander #Mexicanas #Banda #Corridos". Soy De Rancho.


Soy De Rancho - El Komander


Miguel + Hailey

Cant wait to show how we will look during the wedding ❤️😂 #mexicantiktok #mexican #banda #duranguense

943. 8K Likes, 4K Comments. TikTok video from Miguel + Hailey (@gonzalee_couple): "Cant wait to show how we will look during the wedding ❤️😂 #mexicantiktok #mexican #banda #duranguense". Teaching my Korean GF how to dance to Mexican Music🇰🇷❤️🇲🇽 | My brother’s wedding is coming up | Las tías y tíos van a venir | .... Mi Vecinita.


Mi Vecinita - Memo y su Grupo Cazador


Desiree Rendon

Reply to @essmeralduh Algo leve 🫶 my face type of music to hear for bailes #zapateado #corridos #huapango #fyp #tutorials #bailes #mexicantiktok #mx #banda #norteños

4.2K Likes, 14 Comments. TikTok video from Desiree Rendon (@desireerendon): "Reply to @essmeralduh Algo leve 🫶 my face type of music to hear for bailes #zapateado #corridos #huapango #fyp #tutorials #bailes #mexicantiktok #mx #banda #norteños". ⬇️⬇️⬇️TRY THIS⬇️⬇️⬇️ | Start off with moving your hips side to side➡️⬅️ Think about swaying the hips, in a ♾ direction | Then your knees will follow direction of your hips ♾➡️⬅️♾ Have your knees slightly bent, this helps with the direction 🔄 | .... Zapateado Encabronado.


Zapateado Encabronado - Alacranes Musical



is she invited to the carne asada? 🤷🏽‍♀️ #mexican #banda #nortenas #nortenaspegaditas #roomate #dance #baile #DIYwithBlock

2.8K Likes, 16 Comments. TikTok video from sammdayss (@sammdayss): "is she invited to the carne asada? 🤷🏽‍♀️ #mexican #banda #nortenas #nortenaspegaditas #roomate #dance #baile #DIYwithBlock". day 1 of teaching my roomie how to dance 🤪. sonido original.

96. 2K views|

sonido original - Rolitas_chidas156


Desiree Rendon

Reply to @818.valeria una bailadaa ya me hace falta #fyp #bailes #jaripeo #pico #banda #tutorials #mexicantiktok

49.5K Likes, 293 Comments. TikTok video from Desiree Rendon (@desireerendon): "Reply to @818.valeria una bailadaa ya me hace falta #fyp #bailes #jaripeo #pico #banda #tutorials #mexicantiktok". Hips side to side | Knees side to side | Feet side to side | .... Qué Bonita.


Qué Bonita - Banda El Recodo De Cruz Lizárraga


Maite Martinez

We may all dance different but this is how I dance #fy #fyp #parati #trend #viral #danceclass #learnontiktok #howtodance #mexicantiktok #mexicanparties #banda #merengue #bachata #cumbia #quebradita

140 Likes, 8 Comments. TikTok video from Maite Martinez (@chaparrita_mosha7): "We may all dance different but this is how I dance #fy #fyp #parati #trend #viral #danceclass #learnontiktok #howtodance#mexicantiktok #mexicanparties #banda #merengue #bachata#cumbia#quebradita". BANDA | MERENGUE | BACHATA | .... original sound.


original sound - Sasha



Teaching Bruno how to dance banda 💃🏽 #babybruno #noseva #catsoftiktok #funny #latino #latinasbelike #mexican #banda @juana_garciiia

684 Likes, 10 Comments. TikTok video from Bruno (@babybruno_g): "Teaching Bruno how to dance banda 💃🏽 #babybruno #noseva #catsoftiktok #funny #latino #latinasbelike #mexican #banda @juana_garciiia". Making sure my son knows his Mexican roots 🇲🇽. sonido original.


sonido original - Nicho_Musicᵖʳᵒᵐᵒᵗⁱᵒⁿˢ



Teaching a white boy how to dance Banda😂 #mexican #foryoupage #foryou

TikTok video from chriss_armas (@chriss_armas): "Teaching a white boy how to dance Banda😂 #mexican #foryoupage #foryou". original sound.


original sound - chriss_armas

The Mexican Folk Dance Company of Chicago

Mexican Musical History & Tradition

by José Luis Ovalle

en Español⇒

El Mariachi — From town square gazebos to concert halls

The Mariachi originated in the Central Pacific region, specifically the state of Jalisco. The mariachi represents the newest and most innovative interpreter of "Sones and Jarabes". However, unlike most other Mexican musicians, these are urban ensembles generally catering to city dwellers looking for a good time, far removed from the rural nature of folk music. The origin of the ensemble has been at the core of heated controversies.

The most common theory is the romantic legend in which Mariachis played for French weddings; impossible to accept because the French did not use rural ensembles as entertainment for their social affairs. And even if such legend would be true, the success of the groups would have made it all the way to France. Recently the theory was completely discredited because it was proved by linguists and other experts, that the word already existed long before the French intervention.

A more acceptable theory states that in Jalisco, at the turn of the XIX century, the word mariachi was given to a tree trunk carried around by musicians for people to dance on. With time the trunk stopped being carried and the name remained to identify the musicians forever after. The harp, violins, and guitars which were the original instruments of the Spanish orchestras in theater and dance representations, became the basis of a mariachi band. Modern Mariachi groups include as many as six to eight violins, two trumpets, and a guitar, all instruments of European origin. The high pitched vihuela and the Bass guitar guitarron are Mexican instruments derived from the Spanish guitar, but manufactured locally. Trumpets were added around 1930 to augment the sonority level for live performances and with time replaced the harp.

Initially, mariachis played sones, and sones are dances, however, music played today by modern mariachis is seldom used for dancing, unless requested by specialized folk dance companies. Singing is a must for all mariachi musicians, therefore very powerful, clear alto, contralto and baritone voices can be found. The repertoire includes "vernacular" music, songs of love or pain, patriotism or pure enjoyment. Highly recognized mariachis such as the Mariachi Vargas de Tecalitlan and its slogan" "Mejor mariachi del mundo" (The best Mariachi in the world) include classical, semi-classical, instrumental and international music. The mariachi has become an elite ensemble found at all social and artistic affairs.

Wind Bands — A Military Legacy

The development of the first wind bands as we know them today goes back to the mid 1800's, when communities tried to imitate the military bands imported during the brief reign of Austrian Emperor Maximillian. Porfirio Diaz and Benito Juarez, both commissioned the creation of similar bands in their native Oaxaca. The popularity of these ensembles became evident in the XX century after the revolution of 1910; when local authorities everywhere formed wind bands with military musicians, to play every Sunday at the main square gazebo as public entertainment.

Bandas de viento appeared first in the states of Oaxaca and Morelos, followed almost immediately by all central states. Many of these ensembles today are found in mestizo communities with strong indigenous elements. With very slight differences, La banda de Tlayacapan in Morelos, The Chilena bands of Costa Chica in Oaxaca and Guerrero, the Zacatecas Big Drum Band, The Tehuantepec orchestras, as well as the Yucateca and the mother of all bands: the Sinaloa band, are all related and share the same history.

The instrumentation and the musical style are determined by the region. For instance: The Tamborazo Zacatecano differs in size, number and instrumentation form the banda Sinaloense. The immediately evident difference is the absence of the tuba in the Tamborazo, while in the banda the tuba is indispensable. The reason why today's Banda music is more closely associated with Sinaloa is because since the late 40's radio, TV, and the publication of recordings distributed Don Cruz Lizarraga's Banda Sinaloense del Recodo repertoire as exclusive of Sinaloa, when in reality it included a varied selection of reginal music from all over Mexico.

Modern Bandas include all sorts of XX century's rhythms, and a recent resurgence of regional music brought back the Son as a dance style.

El Conjunto Norteño — Modern Mexico

The Czechoslovakian polka, The Polish mazurka and redowa, the Scottish schottische, the Austrian Waltzen, and English square dancing were brought into Mexico towards the last decade of the Colonial period (1521-1810) as ballroom dancing. The fashion of importing European music remained en vogue through the French Intervention (1862-1867) and into the Porfirian regime (1876-1911) by the aristocracy of the time.

Previously, right before the Mexican American war of the 1840's, the Texan settlers of German descent brought the original taste of the European polka and the musical instruments to play it: the bass guitar, the accordion and the saxophone among others. The ensemble became widely accepted and giving it local characteristics; natives in Texas and northern Mexico adopted the style and the conjunto was born.

The costuming of the American Western frontier settlers became so pervasive that it is still en vogue almost unaltered over 100 years later, all over Mexico and Tejas. The musical repertoire or most conjuntos today still includes lots of dancing: polkas, sung waltzes (corridos), some chotis and redova (called slow polkas) and huapangos, which is a peculiar norteño styling of sones and jarabes. Also modern American and foreign tropical rhythms, such as cumbias, merengues, bachatas and ballenatos are found. Singing is of utmost importance and good voices can be heard; although the modern commercial trend of incorporating performers who cannot sing or play but look good is beginning to deteriorate the essence of the conjunto.

String Ensembles — The Mexican Soul

String ensembles play mestizo music that evolved from Spanish folklore almost exclusively. While the mariachi and the wind band have completely commercialized and adapted to modern times; string ensembles of Mexico still retain the basic flavors of the son and the jarabe. Like the mariachi, the development of all Mexican string ensembles came from imitating the groups that the locals saw descend from the Spanish galleons, or from the theater companies that toured Mexico during the colony.

In some rare cases such as the case of the Estudiantina; the concept just migrated unchanged from Spain to Mexico. Typical string ensembles have designated a specific instrument to carry the melody; for instance the harp in Veracruz and the violin in La Huasteca near the Gulf of Mexico, and Tierra Caliente in the Southern Pacific. These two last forms are so improvisational that master musicians from La Huasteca and Guerrero are revered performers around the world. Singing these two forms is also as jazzy and highly skilled as the accompaniment. However, perhaps the most commanding string ensemble is the Conjunto Jarocho, second only to the Mariachi in popularity and able to make anyone dance. The light, fast paced style is a favorite among all Mexicans.

© Copyright José Luis Ovalle, 2007 - 2017. All Rights Reserved. Derechos reservados.

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Dances of Mexico

The developed culture of the indigenous peoples of Mexico has contributed to the fact that in dances throughout the country one can find distinctive regional signs of ancient Indian traditions. African slavery played a much smaller role in the development of dance in Mexico than in the Caribbean.

One of the most difficult dance events in Mexico was associated with the respect of the country's patron saint, Our Lady of Guadalupe. This holiday is celebrated on December 12th. Every year, thousands of native Mexicans dance in her honor in front of the Basilica of Our Lady of Guadalupe in Mexico City. Particularly notable for such performers are the Chichimec dancers called concheros. Some of them play an instrument similar to a guitar, which is made from the shell of an armadillo, while dancing.

Thousands of religious dance groups throughout Mexico regularly perform dance performances during Catholic holidays and holidays. Their elaborate, time-consuming costumes are adorned with rhinestones, feathers, shells, ribbons and embroidery.

Mexican dance Jarabe Tapatio

The Jarabe Tapatio, Mexico's national dance (also called Jarabe Nacional), originated in the early 20th century as a form of self-expression and cultural identity among the mestizo population of Mexico. The musical ensemble that accompanies this dance is called the mariachi and, in fact, is also one of the well-known symbols of Mexico. (From 1930 years, a typical mariachi ensemble consisted of two trumpets, three or more violins, several instruments from the guitar family, and sometimes a harp).

This Mexican popular pastime reflects a romanticized past and rural lifestyle. The roots of both the Jarabe Tapatio and the mariachi can be traced back to the Jalisco people who live near Guadalajara. The image of a Jalisco woman in a long, flowery skirt has become a trademark of Mexican dance. Now around the world, Jarabe Tapatio has become known as the "Mexican Hat Dance".

Mexican dances Ballet Folklorico

To appreciate all the richness and diversity of the cultural traditions of Mexico, which were formed as a result of the fusion of the country's indigenous heritage and Spanish influences, it is worth at least once to see Mexican folk dances. The inhabitants of this country, thanks to the folklore ensemble "Ballet Folklorico", are used to having the opportunity to see the beauty of ancient dances even today. Also in the country, the traditions of folk dances are transmitted literally from generation to generation.

In 1952, the young dancer and choreographer Amalia Hernández founded the Ballet Folklórico de México in Mexico City, a folklore ballet company that was clearly influenced by the grandiose Ballets Russes. Ballet Folklórico de México productions featured elaborate costumes, sets, and lighting. Like American dancer Katherine Dunham, who created Caribbean dance in 1930, Hernandez created a hybrid form of dance performance that combined indigenous Mexican mestizo dances with modern dance techniques. The precedent for this style of dance was actually set by other national dance ensembles, such as the Russian Moiseev Troupe (created in 1937 Moiseev Igor Alexandrovich). A similar process was also taking place in the Philippines at that time, thanks to the Philippine Bayanihan company (established in 1957).

The transformation of traditional dance into a semi-modern style contributed to the preservation of Mexican traditions. The popularity of the mixed genre became apparent when, in 1962, the Ballet Folklórico won an international national folk dance competition. Amalia Hernandez's artistic principles began to be copied by hundreds of folklore troupes in Mexico, other parts of Latin America and the United States.

Mexicans have adopted social dances from various countries for centuries, reworking them to suit their style. Historically, skilled Mexican musicians have regularly incorporated new musical trends into their repertoire, whether it be Cuban Perez Prado's mambo or Carlos Santana's rock. However, they also invent a lot of new things. For example, "gang" is considered a strictly Mexican genre. The band's music is a synthesis of traditional dance rhythms (polka, cumbia, son and waltz) that have been creatively transformed using electronic recording technology. Dancing to these melodies has a hyperactive style.


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New Aztecs They were feared and killed because of their clothes.

Today they are proud of: Style: Values: continues a series of materials about the aesthetics of street gangs and organized crime groups. Last time we were talking about a gang of brothers Cray - the most stylish gangsters in London. This time, the material is dedicated to pachucos, a Mexican subculture in the United States, whose representatives were completely written down by society as gangsters.

Mexicans have always played a special role among other Hispanics living in the United States. And the point is not only that immigrants from Mexico have always been the most numerous among other Latinos, but also in the history of the diaspora itself. First, not all Mexicans in the United States were migrants - some of them turned out to be residents of the states after Mexico lost the Mexican-American War of 1846-1848. Then the United States included the territory of the modern states: Texas, New Mexico, Arizona, Nevada, Utah, Colorado, California and parts of Wyoming.

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Secondly, migrants from Mexico were the first to go to the US in search of a better life. Many Mexicans were hired to work on farms in the south of the country, especially in California. Part of the Mexicans managed to gain a foothold in the cities, which led to the formation of the first national ghettos in a number of cities. Naturally, in these poor areas inhabited by powerless migrants, street gangs appeared almost immediately. The first is sometimes called the Dog Town gang, which appeared in 1895 year.

But none of the early Mexican gangs survived to this day. Truly powerful factions developed in the 1920s during Prohibition. One of these organized crime groups was the 38th Street gang - a gang of 38th street. Like many other Mexican gangs in Los Angeles, it was located in East Los Angeles and in the southeast part of South Central. Due to the fact that Mexicans were perceived by white Americans as not quite full-fledged members of society, they had to settle mainly next to blacks or among them.

Because of this, African American and Hispanic cultures have developed in parallel since the beginning of the 20th century, constantly enriching each other. For example, in the 1920s, along with the rapid rise of jazz, young Mexicans began to copy the appearance of jazzmen. White Americans will not do this until a decade and a half or two decades later, when a hipster subculture emerges in New York. Hats, trousers with suspenders, wide zoot pants and jackets, as if taken from someone else's shoulder - this is what American-Mexican fashionistas looked like at the turn of the 1920s and 1930s.

White English-speaking Americans called them "zoot-suites", but the American-Mexicans themselves preferred another name - "pachucos". There are many versions about the origin of this term. Some argue that it was invented by people from the city of Pachuca, in the Mexican state of Hidalgo, others that the point is in the word pocho, which was used in slang for immigrants. Pachucos not only dressed in zoot suits and listened to jazz, but also spoke their own kalo slang (with the accent on the last syllable) - a mixture of Spanish and English, seasoned with Indian words and neologisms.

Depressive tension

The economic growth of the Roaring Twenties attracted more and more Mexicans to the United States, but with the onset of the Great Depression in 1929, the situation changed dramatically. The states did not have enough jobs for their own citizens, besides, the clerks who lost their jobs were ready to take on low-paid work, which until then had been done exclusively by migrants.

This in turn led to increased tension between whites and Hispanics. In order to somehow defuse the situation, and at the same time enlist the support of voters, the authorities began at 1930s deportation of Mexicans. According to various estimates, from 500 thousand to two million people were expelled from the country, while about 50 percent of them were American citizens of Mexican origin, which makes the deportations illegal.

White Americans were especially annoyed by pachucos with their cheerful lifestyle, regular going to dances and associations with the criminal world. The fact is that Mexican bandits also dressed the same way. They were not allowed into serious business, so crime in the Mexican ghettos remained mostly at the street level and did not go beyond the boundaries of their area.

Most of the Mexican gangsters were quite young people who tried to look fashionable and stylish, so the jazz style was popular among them. Because of this, in the eyes of white Americans, all Hispanics dressed in pachucos were gangsters, or at least people with a not entirely clean reputation, but for the time being, this did not lead to serious consequences.

The next catalyst for growing tensions between whites and pachucos was World War II. American-Mexicans were not too willing to be taken into the armed forces, and stateless migrant workers were completely ordered to go there, which drew an additional line between whites and Hispanics. The situation reached its maximum tension after the Japanese attack on Pearl Harbor on December 7, 1941 years and the ensuing US entry into the war.

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The industry of the states was quickly reoriented to the war, the production of goods, as they would say in the USSR, for public consumption was either completely stopped or limited. The country introduced a number of restrictions on consumption, including materials for clothing, in particular wool. At the same time, the Pachucos continued to wear oversized zoot suits with their excess material, which irritated the patriotic public.

In the summer of 1942, the intensity reached its peak. Volunteers and conscripts rushed to Los Angeles to join the US Navy. Many of them came from the Midwest, where there were no Mexicans, and the public was religious and conservative. Speaking a different language, belonging to a different faith, unusually dressed and continuing to enjoy the life of the Pachucos, the sailors seemed unpatriotic and, in general, not real Americans.

Almost all 19For 42 years there were clashes between sailors and pachucos in California, and on August 2, in the city of Commerce, Los Angeles County, a young Mexican, Jose Gaillardo Diaz, was murdered. The wounded Diaz was found near Sleepy Lagoon, where he had probably been hanging out the previous night. The young man was taken to the hospital, where he died without regaining consciousness from multiple head injuries.

Exactly how the injuries were received was not clear, but the police suggested that the blows were delivered with large wooden sticks, which were often used by pachucos gangsters in their street battles. In total, about 600 young Hispanics were arrested in the case, 21 of whom were brought to trial. 12 received real terms, the rest were released. The convicts were immediately branded as members of the 38th Street Gang.

Clothing riot

During the trial, the prosecution did not hesitate to openly racist and nationalist attacks against the Mexicans. So, the chief of the bureau of international relations of the county sheriff's office, E. Duran Aires, said that the Mexicans are a blood-hungry community, prone to murder and crime. He linked this to the long tradition of human sacrifice among the Aztecs. The defendants were forbidden to change their clothes so that the jury could see them wearing zoot suits "only bandits wear".

At the same time, hysterical moods were whipped up in the press. Zootsuiters were recorded as bandits without exception, accused of taking advantage of the plight of wartime and deploying a real criminal empire in California. Newspapers wrote about the wave of Mexican crime, banditry and violence that swept Los Angeles. The trigger of public tension was cocked, and in the summer of 1943 it exploded for real.

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On May 30, another skirmish broke out between sailors and pachucos walking along Main Street in search of adventure. On June 3, 12 sailors who came to the street in search of prostitutes were attacked. A day later, the street was cleared of "pachucos gangs" by a police detachment specially created to fight zooters. On the 5th, 200 sailors headed to East Los Angeles, determined to punish the pachucos for previous incidents: mass beatings of everyone who wore zoot suits began.

Subsequently, the aggression spread to other residents of the areas in which the zoo-suiters were seen. The Pachucos instantly responded with violence on their part. Quite quickly, the number of victims exceeded 150 people, and several thousand people were involved in the clashes. And if at first the pachucos gangsters answered the soldiers and sailors, then a few days later law-abiding pachucos also participated in the clashes.

A real shock for the media was the participation in the Pachucos clashes of girls - representatives of the subculture. They even talked about entire gangs consisting exclusively of girls, a kind of Amazons of the 20th century.

The fact that the War Production Board (WPB - War Production Board) issued instructions for clothing manufacturers, which included prohibitions on the production of certain types of clothing. And it was not limited to zoot suits. For example, long fluffy skirts and dresses, so beloved by pachucos girls, fell under the ban. Naturally, the demand for “forbidden” gave rise to supply: zoot suits and dresses popular with pachucos immediately began to be sewn in underground factories, which were often controlled by street gangs.

Pachucos in Law

Five days later, all sailors, soldiers, and marines were banned from leaving the barracks, and Los Angeles was declared a military-free zone. The federal authorities created a commission to investigate the causes of the uprising. Members of the commission accused the media of creating a link in the public mind between the zoot suit and gangsters. Opinion was also expressed about the financing of the uprising by the governments of the Axis countries: Germany, Italy and Japan. The 500 Hispanics arrested during the uprising were released, as were those convicted in the Sleepy Lagoon Murder case.

The image of the zoot suiter and pachuco was completely decriminalized, and actors dressed in zoot suits began to appear regularly on stage and screen. Zoot fashion quickly spread among white youth and became part of the hipster subculture. One of the brightest zoot suiters was the jazz musician Cab Calloway, and in Mexico, zoot suits and the whole pachuco style became symbols of national pride for a while. Many Mexicans continued to wear zoot suits after they fell out of fashion. So, one of the canonical pachucos was the actor Herman Valdes, nicknamed Tin Tan. His star rose at 1948 and did not enter until the late 1950s.

As for the Mexican gangsters, they remained true to the striped suits, suspenders, fedoras and slicked hair for a long time. In the 1960s, the pompadour hairstyle came into fashion among pachucos gangsters. However, the influence of pachuco on the fashion of the American-Mexicans is felt even now. So, in the cholo style that replaced pachuco, the oversized fashion was preserved, only instead of jackets, shirts, t-shirts and jeans were several sizes larger.

In 1983, the Latin Pachucos gang was formed in Chicago, which until the late 1990s fought for power on the streets with other Latin American groups in the city.

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