Wikipedia

Draft:Matlachines

  • Comment: Oh, and I just noticed Matachines is an existing (albeit poorly sourced) article we've already had for a while. So this draft article is redundant as well as made-up. WeirdNAnnoyed (talk) 12:49, 17 August 2025 (UTC)
  • Comment: The more glaring errors of the first submission have been corrected, but this draft is still full of AI nonsense. Ref. 27, for example, is a real book but with a different (though similar) title and two (not one) authors. The thick stacking of citations suggests the author doesn't know or care about the subject enough to check which are really relevant or needed (there is no need to have four citations for the uncontroversial statement "Spanish settlers were outnumbered and gradually merged with local Indigenous societies", for example). Read your damn sources. Do your own work. If I see this article submitted again without a massive cleanup I will consider it disruptive editing and act accordingly. If you feel you lack the English proficiency to edit the article without AI, then please ask for help at the talk page of a relevant Wikiproject. If this is a class project, congratulations, you've already wasted far more of your own time using an LLM than if you'd just read three or four books and written the article honestly from the beginning. WeirdNAnnoyed (talk) 12:46, 17 August 2025 (UTC)
  • Comment: The topic might be notable but the draft is almost certainly LLM-generated. Ref. 2 does not support the claims it's cited for, Ref. 3 does not support some of the claims it's cited for and has nothing at all to do with dance; the ISBN for Ref. 17 is to a book of a different title, and the article has formatting irregularities and list-type arrangement similar to LLM output. It is fine to use an LLM to help you create a first draft but please learn our formatting and style standards and edit the output before submitting to AfC. And check your references. Otherwise you are wasting editors' time. WeirdNAnnoyed (talk) 12:06, 13 August 2025 (UTC)


This page is about the Mexican indigenous ritual dance. For the Spanish dance troupe, see Matachines.

Matlachines (also spelled Matachines; singular matlachín) is a traditional Mexican indigenous ritual dance performed in northern and central Mexico, particularly among Chichimeca and Tlaxcalteca descended communities, and in the southwestern United States. It is also referred to simply as "la danza" (“the dance”), and the dancers as "danzantes" (“dancers”). The dance blends pre-Hispanic indigenous ritual with Catholic elements introduced during Spanish colonization, honoring saints such as the Virgin of Guadalupe.[1][2][3]

While early scholars such as Aby Warburg and J.D. Robb linked matlachines to 17th-century European moresca or morris dances, new research by performance historian Lindsey Drury has critiqued Warburg's perspective as Eurocentric, claiming he ignored the dance as a living Indigenous/Indo-Hispano tradition and set the stage for future misconceptions.[4][5][6] Recent scholarship by Max Harris, Norma Elia Cantú, Adrian Trevino, and Sabino Cruz Viveros suggests it derives from pre-Hispanic rituals, such as Aztec or Chichimeca-Tlaxcalteca ceremonies, with Christian elements added as a colonial guise to preserve indigenous practices.[1][2][7][8][9] Additionally, Pueblo and Zacateco oral stories maintain that the dance has distinctly Indigenous origins and meanings separate from European influences.[3][10]

Procession of the Matlachines in Cuencame, Durango, Mexico

Origins and Cultural Context

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Loma San Gabriel (Olmec connection)

Chalchihuites (Teotihuacan connection)

Chichimec period (c. 900-1521 CE)

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After the decline of major Mesoamerican Chalchihuites urban centers (c. 900–1000 CE), Zacatecas and Durango entered a period of Chichimeca reformation, during which former urban elites, Loma San Gabriel farmers, and nomadic groups, under cultural influence from the Aztatlan tradition, merged into new tribal identities such as the Zacatecos, Caxcanes, and Tepehuanes.[11][12][13][14] These groups maintained Nahuatl as a trade lingua franca, due to Toltec and later Aztec commercial networks (c. 900–1521 CE), practicing interregional communication and cultural exchange.[15][16]

Mixtec codice connection.

Aztec dance.

Spanish Conquest (1521-1600 CE)

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Upon Spanish contact, the locals resisted militarily leading to the Mixtón War (1540–1542 CE), which was followed by the Chichimeca War (1550–1600 CE).[17] The Chichimeca Confederation, comprising Zacatecos, Guachichiles, and other groups, used advanced horseback warfare, archery, and guerrilla tactics to cause heavy losses on Spanish forces.[18] After decades of unsuccessful military campaigns, Spain abandoned its policy of forced submission and instead negotiated peace through the policy of "peace by purchase" (1590), offering tools, food, and land in exchange for stability.[17] This outcome led to an Indigenous military victory, with the resulting negotiated peace permitting a level of autonomy of Chichimeca peoples. Spanish authorities then abandoned their "fire and blood" approach in any further conquests to the north, adopting this new policy by negotiating with Indigenous leaders and resettling Indigenous allies to the frontier, thereby shifting from military conquest to diplomatic integration in northern New Spain.[17]

Spanish Colonial period (1600-1810 CE)

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The colonial era saw Indigenous populations remain numerically and culturally dominant across much of northern New Spain.[11][19] Spanish authorities began relocating allied Indigenous groups, particularly Tlaxcaltecas, to serve as colonists and cultural intermediaries in these new territories.[17] Therefore, in many rural areas, Spanish settlers were outnumbered and gradually merged with local Indigenous societies.[19][20][21][22] These early colonial conditions allowed for a level of cultural continuity in Aridoamerica and Oasisamerica (indigenous groups of: Tamaulipas, Nuevo León, San Luis de Potosí, Aguascalientes, Hidalgo, Guanajuato, Querétaro, Zacatecas, Coahuila, Jalisco, Sinaloa, Durango, Sonora, and Baja California in Mexico; California, New Mexico, Texas and Arizona in the US), leading to syncretic adaptations of ritual practices, like the matlachines dance, by combining pre-Hispanic cosmology with the newly introduced Catholic religion.[1][23]

 
Ceremonial dances in Mexico-Tenochtitlan from the Durán Codex.

Development of the dance

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The matlachines dance originated among indigenous groups like the Chichimeca (e.g., Zacatecos, Guachichiles, Guamares, Guanaxabes), Coahuiltecans, and Tlaxcaltecas through pre-Hispanic dance traditions, such as the Aztec Baile Pequeño and Chichimeca-Tlaxcalteca ceremonies (including netotiliztli, matlatzincayotl, chichimecayotl, and tocontin/tocotin), which venerated deities such as Camaxtli (hunting/war god) and Matlalcueye (rain/fertility goddess), tied to agricultural survival in arid regions.[1][24][25][3] Original dances were performative as well, including mock battles.[23] Other proposed origins include pre-Hispanic ritual dances tied to spring ceremonies.[26]

Its circular choreography, percussion-based rhythms, and regalia align with pre-Hispanic Mesoamerican dances, contrasting with narrative, string-driven European forms.[1][7][8][9][6] Unlike the primarily theatrical nature of the moresca and morris dances,[6] the matlachines dance functions as a ritual based in Indigenous deity veneration through dance prayer.[1] Dances overall also functioned as a general, community-wide form of socializing, as seen in Indigenous tribes of central northern Mexico (e.g. Zacateco, Lagunero, Cocoyome, Coahuiletecans, Chisos, Tobosos, and Conchos) as they would perform ritual dance in times of celebration, sorrow, or before battles.[27]

Syncretism

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In the states of Durango, Zacatecas, Chihuahua, Coahuila, and Nuevo Leon, ritual dances were deeply ingrained in Indigenous culture, as sometimes hundreds of people would dance all-night or for multiple days, in combination with heavy alcohol and entheogen use, and occasionally human sacrifice and cannibalism. After missionization, these dances, known as mitotes, were seen as devilish but were allowed to continue as religious conversion took place, according to 17th and 18th century mission reports.[27] Missionaries report that by the 18th century, these mitotes would continue to be performed, albeit no longer "barbarous", with variegated parrot feather adornments, handheld arrows or fans, and melodic chants.[27]

Missionary priests therefore reframed indigenous ritual dances as Christian to facilitate evangelization, introducing figures like La Malinche (a convert) and Moctezuma (symbolizing conversion), while replacing weapons with guaje rattles, and one of the three traditions: flecha (arrow), pluma (feather), or palma (feather fans).[2][26][28][29][30][31] This syncretism allowed native practices to persist under a Moorish-Christian guise amid colonial suppression.[1][23] In contrast, dances that do originate purely from Moros and Cristianos dance traditions (mattaccino, moresca, or morris) also exist in Mexico, which is a distinct tradition called La Morisma.[32][33]

Tlaxcalteca colonizers, relocated to Chichimeca territories in 1591, spread these rituals by adapting them through integration with local groups.[1][2][9] Indigenous cofradía members assisted Spanish missionaries in spreading Catholicism, particularly through syncretic dance forms like these.[3] Today, the Matlachines dances remain central to devotional performances on May 3, the Feast of the Holy Cross, and on December 12, the feast of Our Lady of Guadalupe. The May 3 celebration coincides with the beginning of the rainy season and the agricultural season, a syncretic adaptation of pre-Columbian spring fertility rites. The December 12 observance is widely understood as a Christian reinterpretation of Indigenous devotions to the goddess Tonantzin (Cihuacóatl, Coatlicue, Matlalcueye).[26][34][35][36][37] It should be noted that Tlaxcaltecs settlers also made it as far as Peru, where a version of the matlachines dance is also performed. [38]

Oral tradition

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Oral traditions from rural Zacatecas communities attest to the continuation of local Chichimeca ceremonial dances predating colonial evangelization. In a 2021 interview recorded for the television program En busca de la leyenda on Canal 10 Fresnillo at the ex-Hacienda de Santa Rita de Tetillas, Río Grande, Zacatecas, María Dolores “Macuil Xóchitl” Rodríguez Alvarado identifies herself as Chichimeca-Azteca and discusses the spiritual history of the region. She reports that based on ancestral oral history passed down from her father, traditional dancer Joselino Rodríguez Castañón, the Tetillas community continues to perform a 350-year-old Chichimeca dance tradition, originally danced in animal skins on sacred hilltops. Their ceremonial regalia later incorporated Aztec-Mexican symbolism in their nagüillas and penachos (cupils). According to Rodríguez Alvarado, her community practices a circular dance as a prayer-offering to Mother Earth, performed annually on a hilltop on May 4th to ensure good harvests, which is not open to be observed by outsiders. New dancers receive a ceremonial arrow signifying endowment in virtue, representing a warrior’s tool, as well as consecutive earnings of feathers for their headbands forming their headdresses. She claims that the dances from Tetillas and Zacatecas preserve an authentic indigenous Chichimeca tradition, and that they are among the oldest ceremonial dances in Mexico. She mentions she is involved in the broader pan-mesoamerican religious revivals and practices inter-regional indigenous solidarity.[10]

Oral traditions about the matlachines dance among Pueblo Indian communities, assert a Native American origin and are centered on Montezuma. These traditions, documented in numerous variants of a common legend, describe Montezuma as a mythological Indian god who wore European clothes, foretold the arrival of white settlers, and advised cooperation while insisting the Pueblos to preserve their customs. He is often identified as the dance's founder, with legends recounting his participation in the dance and his instruction for indigenous people to continue performing it as cultural affirmation. In these stories, Montezuma is a promoter of indigenous ways who will return in a time of need, leading spirit warriors to victory over European dominance. Pueblos describe La Malinche not as Cortés’s translator, but as an Indian princess and companion of Montezuma, similar to danza de la conquista or danza de la pluma in Oaxaca. Hispanic New Mexicans' oral traditions coincide with the Pueblo versions, with hispanos such as Cleofas Jaramillo reporting her mother’s account that the dance was performed for Montezuma during his visits to pueblos. Hispano Rafael Chacon also describes it as an Aztec dance offered to the Spanish at the time of Cortés. In Spanish-speaking Hispano towns, these practices have largely faded, partly due to scholarly theories promoting a European origin. Although some Pueblo people who have heard of the European-origin hypothesis lose enthusiasm due to ties with colonial subjugation, most pueblo traditions have preserved the dance as an indigenous cultural tradition.[3]

Etymology

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The term "matlachines" likely derives from the Nahuatl matlatzín, from matlatl (net), and the suffix -tzin (diminutive suffix).[1] Other proposed origins are linked to Matlatzincas,[1][3] Nahuatl verbs like malacatonzines (to spin), or from the term matlatzíncatl derives from the Nahuatl words mātlatl (net), centli (corn cob), and -can (place), referring to those who use nets to husk maize.[1][39][3] According to this view, the same net was used to carry food, process grain, or sacrificial ritual offerings.[1] Spanish adaptations as matachín connect to European mattaccino (fool or buffoon), used for masked dancers, but Mexican scholars such as Sabino Cruz, suggest the Nahuatl origin better fits Mexican variants.[1][6][39] Additionally, scholars such as Danna A. Levin Rojo state that in Renaissance Europe, the term mattaccini was possibly a generic term for a wide variety of foreign dances, including those performed in New Spain by Mexican Indigenous people[40]

Dance and Symbolism

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Matlachines features circular choreography, accompanied by percussion instruments(e.g. drum, huehuetl, teponaztli), string instruments (e.g. violin, guitar, or harp), or occasionally an accordion.[1][3][26] The color red is considered sacred in the indigenous Mexican cosmology, as such is a typical color for matlachin attire.[26][41] Another element incorporated into the matlachines, is the use of masked dancing, which was at various times forbidden by Spanish colonial authorities from the 16th to 18th centuries.[2][42][43]

 
Dancer in the Codex Borbonicus.

Dancers wear ceremonial regalia such as feathered headdresses (Spanish: penacho, cupil; Nahuatl: copilli) or hats, guaje rattles (Spanish: sonajas, tecomate; Nahuatl: ayacaztli), carrizo reed vests and skirts (Spanish: chaleco y naguilla), mock bows and arrows (Spanish: arco y flecha), huaraches (traditional Mexican sandals) varying by region.[1][2][3][26][44][45][46][47]

Key figures in the matlachines dance include El Monarca, La Malinche, Abuelos, and El Toro. El Monarca, often represented by the Emperor Moctezuma, leads the dancers and may appear as a converted Christian, representing cultural continuity. La Malinche, an Indigenous princess, is syncretized with figures such as Matlalcueye, Tonantzin, or the Virgin Mary and plays a role in awakening the Monarca, depicting the survival of Indigenous culture. The Abuelos are clownish ancestral spirits, sometimes called “Loco” or “Viejo” (the crazy one, or the old one), who guide the dancers, and provide comic relief. El Toro represents a bull, depicts either Spanish aggression or pre-Hispanic religious forces, and is defeated in the performance.[1][2][3]

Religious and Social Significance

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While the pre-hispanic mitote held a socio-spiritual meaning and was performed at night with substance use, contemporary mestizo practices in the northern Mexico have diverged: religious dances are now held earlier in the day and are typically substance-free, while secular bailes (social dances) take place at night and often involve alcohol or other substances. The former retains more traditional styles, while the latter is more globalized and modernized. Among contemporary indigenous Tepehuano communities, mitote, matlachines, and secular bailes are all practiced.

Matlachines is a devotional act, a form of prayer often dedicated to a catholic patron saint.[1] When a dancer wears the naguilla, they assume a sacred role within the community, akin to tribal regalia from the North American powwow. For many, the costume also represents a personal commitment, as it is worn in fulfillment of a voto (vow) made to God or a saint, making the dance into an act of devotion and spiritual obligation.[26] The style of the matlachines dance, its choreography, music, regalia, and sacred function, is a continuous Indigenous practice. The Catholic elements (e.g., saint devotion, bouffon overlay, Moros y Cristianos connection) are a syncretic layer imposed to allow the survival of the tradition under colonial rule.[23] This tradition blends indigenous and mestizo culture, similar to how the modern Mexican Conchero dancers survived through syncretism.[1][3][7][8][48] According to notable Mexican anthropologist Guillermo Bonfil Batalla, the core cultural foundation of everyday Mexican life is Indigenous in origin, even if individuals no longer identify as “indígena.” He described the pre-Hispanic elements of Mexican culture as constituting México profundo (Deep Mexico), while European-derived elements form México imaginario (Imagined Mexico).[49][50]

Tlaquepaque city historian Bernardo Carlos Casas reports on Jalisco TV, that despite lacking Aztec heritage, their traditional religious dance Tatachines de San Pedro Tlaquepaque, was deliberately imported 100 years ago by Don Merquiades Hernandez as a form of cultural revival. Carlos Casas recognizes that in pre-Hispanic Jalisco, the queen of Tonalá Cihualpilli, was baptized as Juana Danza as upon Spanish arrival, the natives performed a ritual dance in the same manner as the Aztecs did in Mexico-Tenochtitlan. Carlos Casas also mentions how the local indigenous would dance and sing to their gods during religious festivals, in the same manner as they now dance to their Gods and saints during religious festivals. The group has embraced pre-Hispanic elements, such as turkey feathers, carrizo reeds, and a chimalli with the Aztec calendar at its center, among other symbolism.[51]

In places such as Bernalillo, New Mexico, community historian Joseph Moreno has emphasized connections between the dance and Spanish heritage while acknowledging Indigenous influences in the past, but more recently has equally recognized the possibility of a purely indigenous origin or at the very least a convergent evolution theory .[52] Scholars Peter J. García and Enrique R. Lamadrid note that the matlachines dance, along with Los Comanches dance and the Concheros dance, is an expression of Indigeneity, while contributing to the formation of the “new mestizo” identity in New Mexico within the Chicano renaissance.[48] In communities like Laredo, Texas, scholars such as Norma E. Cantú emphasize Indigenous heritage, while acknowledging Spanish influences.[47]

Regional Variations

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The matlachines dance became highly regionalized as the tradition was spread to other indigenous groups further north. Today, the dance varies across Mexico (e.g., Zacatecas, Durango, Coahuila, San Luis Potosí, Tlaxcala) and the U.S. (e.g., Bernalillo, Ohkay Owingeh, Laredo), among both mestizo (Mexican mestizos, Nuevo Mexicanos, Tejanos) and indigenous populations.[1][2][3][29][26][47] The dance is known by various names in Mexico, depending on the state: Tatachines (Jalisco), Arqueros (Jalisco), Danza del ojo de agua (Coahuila), Matachines (Zacatecas), Chichimecas (Salinas Hidalgo, San Luis Potosí), Arqueros (Nayarit), Matlachines (Aguascalientes).[1]

In central Mexico, various traditional religious dances are collectively referred to as las danzas chichimecas, or individually as danza chichimeca or danza de los chichimecas. Some Chichimecan dance groups wear Aztec-style attire, like the concheros, while others use outfits adorned with multiple rows of short reed segments forming a fringe (naguillas), like the traditional matlachines dancers in north central Mexico (Coahuila, Zacatecas, Nuevo León, Aguascalientes, and parts of Chihuahua). Dancers typically carry bows and arrows, due to association of these weapons with the Chichimec peoples in the 16th century.[3] This reflects a kind of geographical continuum between the northern matlachines and Aztec-revivalist concheros.

Contemporary indigenous groups that perform the dance include the Pueblo, Rarámuri, Yaqui, Tepehuano, Mayo, Cora, Ocoroni and Huichol people.[1][2][53][28]

See Also

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References

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  1. ^ a b c d e f g h i j k l m n o p q r s t u Cruz V., Sabino (2021). "Matachines o matlachines: una revisión del constructo". Revista Imágenes. UNAM Instituto de Investigaciones Estéticas. Retrieved 2025-08-09.
  2. ^ a b c d e f g h i Moreno, Joseph (2008). "Chapter 2: Origins of the Matachines Dance" (PDF). Town of Bernalillo, City of Coronado.
  3. ^ a b c d e f g h i j k l m Trevino, Adrian; Gilles, Barbara (1994). "A History of the Matachines Dance". New Mexico Historical Review. 69 (2). Retrieved 2025-08-09.
  4. ^ Drury, Lindsey (2023-09-01). "The transhistorical, transcultural life of sausages: From medieval morescas to New Mexican Matachines with Aby Warburg". postmedieval. 14 (2): 513–541. doi:10.1057/s41280-023-00275-1. ISSN 2040-5979.
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