Andrea Rodriguez
Josh Lamber
Sriya Kondury
Our project explores the cultural traditions that Mexican and Indian migrants take with them as they come to the United States. Many of these migrants may express themselves through practicing cultural festivities and learning traditional art forms from their homeland. We will be primarily focusing on the traditional dance forms seen in both of these groups. Mexican migrants often perform Ballet Folklórico, a dance form found throughout Mexico, with regional variations. Indian migrants engage in a range of dance styles, including modern Bollywood, Bhangra, Kathak, Bharatanatyam, and more. For both of these communities, dance serves as a tool for migrants to express themselves and their cultural identity in the United States. It can help migrants preserve their heritage and traditions as they enter and exist in a country far from their original home. Our research question we will explore is “How does dance and cultural traditions shape the identity and community-building efforts of Mexican and Indian migrants in the United States?”
Mexian Migraton
Mexican migration to the United States has evolved through several key phases. From 1900 to 1941, private contractors and government programs brought Mexican laborers for manual work. During 1942 to 1964, the Bracero Program facilitated temporary work visas, allowing many to migrate legally. After the program ended, undocumented migration increased between 1965 and 1985, with many workers relying on established networks to enter the U.S. From the late 1980s onward, border enforcement intensified, which led to permanent residency issues and the emergence of "Dreamers," children brought by undocumented parents. More recently, deportations rose during the Obama administration, and the Trump administration focused on border wall construction, heightening political tensions over immigration. Today, Mexican migrants continue to face challenges related to immigration reform, shifting policies, and social integration in an uncertain political landscape.
Indian Migration
Indian migration to the U.S. occurred in three major waves, each with distinct characteristics. The first wave, spanning from 1965 to 1980, primarily consisted of young men from Northern India, drawn by educational and employment opportunities after the Immigration and Nationality Act of 1965 relaxed restrictions. The second wave, from 1980 to 1990, brought families from Western India, many of whom came from lower-income backgrounds seeking better economic prospects and stability. The most recent wave, beginning in the 1990s and continuing to the present, has been largely driven by migrants from Southern India, particularly those with technical expertise in fields such as engineering and information technology, contributing significantly to the U.S. workforce in STEM industries. Today, Indian immigration continues to grow, though it faces challenges from shifting U.S. immigration policies, especially regarding work visas and green card backlogs, which creates uncertainty for many families.
Ballet Folklórico
Ballet Folklórico is a traditional Mexican dance that portrays Mexican culture. Ballet Folklórico has been a part of Mexican culture since 1952. The style of dance was founded by dancer and choreographer Amalia Hernandez. She combined cultural roots and traditional Mexican dances to choreograph unique musical performances of dance with costumes. Ballet Folklorico took three major principal styles: Danze, Mestizo, Bailes Regionales. Danza, being the original style, was performed by the indigenous people before the Spanish arrived. Mestizo, a Spanish word meaning “mixed-race people with indigenous and European ancestry.”, was developed shortly after with influences from Spanish, German, French and Italian dances. Lastly, Bailes Regionales corresponds to different regions of Mexico that developed their own ways of dance. Since 1952, the art of Ballet Folklórico has spread worldwide and is practiced by many around the world every day.
Indian Classical Dance
Indian classical dance has existed for thousands of years, originating around 200 BCE in India. Bharatanatyam was the first recognized style, and since then, over 12 distinct styles have emerged. Today, six main styles are widely practiced, each with its own unique characteristics: Odissi, Kuchipudi, Manipuri, Kathak, Kathakali, and Bharatanatyam.
Odissi, traditionally performed by women, comes from Eastern India and replicates postures found in temple sculptures. Kuchipudi, originating in Southeastern India, incorporates both dance and vocal performance, and was historically performed primarily by men. Manipuri, from Northeastern India, is performed by both men and women and portrays scenes from the life of the god Krishna. Kathak, often called “the dance of love,” involves intricate footwork with bells worn around the ankles and is performed by both men and women. Kathakali, a dance from Southwestern India, features men wearing elaborate painted masks and headdresses, drawing inspiration from stories in the Ramayana and Shaiva traditions. Bharatanatyam, originally a temple dance performed by women, expresses religious stories through a series of symbolic hand gestures.
In more recent times, Bollywood dance has emerged as a fusion of classical, folk, and modern dance styles, driven by the influence of Indian cinema. Bhangra, originating from Punjab, has also gained popularity both in India and abroad, evolving from a traditional harvest dance into a lively, energetic form that is often performed at celebrations and cultural events.
The practice of Indian classical dance is connected to migration because it is a part of their culture they have brought to the United States. Many first generation Indian American parents encourage their children to learn Indian classical dance in the United States as it is a way for them to learn and gain a grasp of their culture. Many of the songs are in various different Indian languages ranging from Hindi, Tamil, Telugu, Sanskrit and more. By taking these dance lessons, these second generation migrants are not only learning the dance itself but they start to understand the language the songs may be in, and the cultural significance the dance holds. This helps bridge some of the cultural gap some children of immigrants may feel regarding their physical separation from the culture.
Similarly, many Mexican migrants continue the tradition of Folklórico dance, a vibrant expression of regional culture and heritage. Mexican American parents often encourage their children to participate in Folklórico as a way to preserve their cultural heritage and foster a connection to their roots. Folklórico incorporates regional dances from across Mexico, each with unique costumes, movements, and music that reflect the history and traditions of specific areas. Through these performances, Mexican Americans not only learn the art of dance but also connect with traditional Mexican music and stories. These cultural practices help younger generations of Mexican Americans bridge the gap between their heritage and their lives in the U.S., ensuring that the traditions of their homeland remain vibrant across future generations.
Mitchell Castro a name to remember. He is the type of person that will make history, he has made many contributions within micro and macro levels. Has broad expertise with multiculturalism and continues his journey of wisdom through his academic earnings currently holding a bachelors of art in dance and pursuing his masters degree in this subject at our institution Arizona State University.
Once I learned about his work on paper I needed to know from him directly the attributions he has done. It is easier to see the bigger picture, but there is always a lot behind it. Mitchell had an outstanding involvement with folklorico dance growing up in Fresco, California, a place where he started a new pathway into mastering this dance and positioning into leadership roles for many organizations within the folklorico dance community. Nowadays based on his proposition, after months of work and struggle, he has finally achieved to be the first (as far as my knowledge goes) folklorico dance course instructor for college credit that Arizona State University has had.
He acknowledges the significance of such a role not only for the university, but the cultural and historical factors that take place once he performs and now as he teaches. As many immigrant descendants it is difficult to fully belong, but Mitchell Castro carries with him the preservation of various dance styles of folklorico thoroughly and passionately. Not only do I admire him profoundly, but I also thank him for making something I thought forgotten available at my new place of higher education.
Saanvi Kakde, a freshman at Arizona State University, is a dedicated Indian classical dancer with over a decade of experience. She began her journey with Bharatnatyam, a traditional South Indian dance form known for its precise movements and expressive storytelling. Recently, she has shifted her focus to Kathak, a North Indian classical dance style, which she continues to study at ASU.
For Saanvi, dance wasn’t always a personal choice. Encouraged by her parents to learn Indian classical dance as a way to connect with her heritage, she initially saw it as just another activity. Over time, though, she developed a deep love for the art form and the cultural connection it brought her as a second-generation migrant. Dance has become her way of embracing and celebrating her roots, helping her feel closer to her Indian identity in a new cultural setting.
Indian classical dance plays a vital role in the Indian diaspora community. It preserves traditions while creating opportunities for people to explore their heritage. Beyond that, it has often been a platform for activism, addressing social issues and promoting cultural awareness. Saanvi uses her passion for dance to share its beauty and importance with others, proving that traditional art forms can remain relevant and meaningful in today’s world.
Rinku Das, an assistant professor at Arizona State University and a professional dancer, teaches DCE 114, Dances of India I, a course she worked tirelessly to establish. Originally from Kolkata, India, Das is a first-generation migrant who has dedicated her life to Indian classical dance. Specializing in Kathak and skilled in Manipuri, she also has extensive knowledge of other Indian classical dance forms. Despite dance being a respected art in India, Das explains that it is often viewed as a hobby rather than a career for women. Her move to the United States was fueled by a desire to challenge these perceptions and to introduce Indian classical dance to a broader audience.
Creating an Indian classical dance course at a major university was no small feat, since such offerings are rare in Western academic settings. Das’s determination ensured that ASU now provides a space for students to engage with this rich art form.
For Das, Indian classical dance is not just a performance—it is a form of storytelling that can address social issues, particularly themes of women’s empowerment. Her choreography often celebrates resilience and equality, offering a platform for advocacy through art. By teaching both Indian and non-Indian students alike, she fosters cultural understanding and keeps the legacy of Indian classical dance alive in new and meaningful ways.
Criselda Diana DeLugan has been a great source of information and inspiration for me. I wanted to get in contact with her to have an interview because when I met her she was my maestra (teacher) of dance folklorico, a job that I learned was non lucrative, a volunteer position that she still holds as I write this. Her purpose goes beyond teaching dance techniques and choreographed steps, she will give us homework that goes from watching lectures, learning to write poetry, reading about history, and much more. Why does she do this? She believes in the passion that she holds which is learning and preserving her Mexican heritage, and with so helps us, a group of Mexican women (Mexican immigrants or of immigrant descent) to unify and do just the same.
She started folklorico dance in the 70s as a student then evolved into teaching. Her dance style and singing has a focus with Sones Jarochos from Veracruz in Mexico, state where her father (Fidencio Hinojosa) was from, who was also an amazing artist. Being a teenage mom, high school dropout, second generation migrant, and low income, life had all the odds against her, but she did not let it win, and continues conquering impostor syndrome despite having performed at events like the president Clinton's inauguration in Washington DC, earning her high school diploma, bachelor's degree in English with honors, and juris doctorate, all of this after being a grandmother of three grandchildren. She is the definition of empowerment and passion, a woman figure to look up to, and that I personally do so excitingly. Developed a safe place for women like me to be our fully selves and cannot be more grateful for it.
ASU Jhankaar was an incredible Indian cultural event hosted by the Indian Student Association (ISA) at ASU. The event showcased the richness and diversity of Indian dance, featuring everything from classical and traditional styles to modern Bollywood and Bhangra, with some performances blending the two beautifully. The energy on stage was absolutely infectious, and it was amazing to see how ISA is fostering a connection to Indian culture among students. ASU Jhankaar provided a space where both Indians and non-Indians could come together to appreciate the artistry and vibrancy of Indian dance. The performances were truly unforgettable and a reflection to how cultural traditions adapt and thrive, even far from home, symbolizing the journey of migration and the preservation of heritage.
Andrea, Josh, Sriya, and a friend at Jhankaar
The exhibit, titled "SACAL: A Universal Mexican," is a unique showcase at the Mexican Consulate Museum in Phoenix. It features sculptures of renowned figures like Frida Kahlo, Cuauhtémoc, the Mona Lisa, Albert Einstein, and Michelangelo, all reimagined through the lens of José Sacal’s distinct Mexican art style. Sacal's work blends global icons with Mexican cultural elements, offering a fascinating perspective on how art can bridge cultures and reinterpret history. This exhibit not only showcases Sacal’s artistic genius but also symbolizes the impact of migration and cultural exchange, emphasizing how art can exceed borders and bring cultures together in a meaningful way.
Sacal's interpretation of the renouned Da Vinci painting.
Sacal's interpretation of the famous sculpture by Michelangelo.
Made a playlist of sones jarochos in collaboration with Diana DeLugan. This music is used in folklorico dance specially for the jarocho style from the state Veracruz in Mexico. Sones jarochos goes back to the beginning of colonization in the Mexican United States back then New Spain. The mestizaje (combination of races and cultures) that was developed from indigenous, Europeans, and Africans created this new form of attire, dance forms, and music seen today as part of the history of Veracruz. Preserving the cultural factors of this state is the purpose of folklorico dance, and every state throughout Mexico offers a completely new dancing form, and sounds that connect it, this is just one of them all.
Sriya
Bollywood music is celebrated for its vibrant colors, catchy tunes, and iconic dance moves. Rooted in the Indian film industry, these songs are an integral part of Bollywood movies, blending storytelling with mesmerizing choreography. As a modern art form, Bollywood dance draws inspiration from Indian classical dance and various Western styles, creating a uniquely dynamic fusion. Sriya, an avid Bollywood fan, has created this playlist featuring some of her favorite dance tracks. The songs span from traditional beats to contemporary hits, showcasing the incredible diversity of Indian dance. Take a listen and let yourself be swept away by the rhythm and energy of Bollywood!
We reached out to our family and friends, inviting them to share photos that represent what migration means to them. Above, you can see how each individual interprets migration through their own lens. These photos collectively tell a diverse and meaningful story of migration from different viewpoints.
Why did you choose this picture? Sriya Kondury
The link below will take you to each person's story behind the inspiration of the picture they chose.
Vinyl Banner Artwork Collage Josh Lamber
Exposition of physical vinyl banner.
Here are some of the results we have gotten from asking our family and friends about their relationship with migration:
16 responses
"Someone who moved from a foreign country and plans to live in their new country long term."
"Moving from one place to another in hopes of a better life"
"Naturally born in the nation you’re currently in"
"Going to a different country and living there, making new friends and learning their culture."
"Migration is the movement of people to another land in hopes for better opportunity and to start afresh."
"Movement from one place to another"
"Changing countries for any reason"
"Migration is the act of moving yourself to a new place in search for better economic or social opportunity."
"Moving from your home born country to another country."
"Migration is to move from a place to another for varying of reasons."
"Migration for me means separation because you leave your family, your town, the house where you lived and on the other hand it is also an opportunity to live better, I think these are two things that I felt when that happened."
"For me, migration is like a reset when things don't work out, when you've tried many ways to get ahead
You move from one place to another and start again"
"Migration is the movement of people from one place to another to seek a better life, safety, or opportunities"
"Moving from place to place"
"Moving around"
"Migration is the process of moving to a new place due to a number of reasons including economic and political."
“6 Classical Dances of India.” Encyclopædia Britannica, Encyclopædia Britannica, Inc., www.britannica.com/list/6-classical-dances-of-india. Accessed 23 Oct. 2024.
“Cántame Un Son Jarocho.” MEXICANA, Secretaría de Cultura, Instituto Nacional de Antropología e Historia, 2019, mexicana.cultura.gob.mx/es/repositorio/x2b5egs060-4.
“Dancing in the Diaspora.” The Yale Globalist, 5 Aug. 2013, globalist.yale.edu/in-the-magazine/features/dancing-in-the-diaspora/.
Durand, Jorge, and Douglas Massey. “Evolution of the US-Mexico Migration System.”
The History of Folklórico Dances in Mexico. Amigo Energy, amigoenergy.com/blog/the-history-of-folklorico-dances-in-mexico/. Accessed 24 Oct. 2024.
Skop, Emily. “Creating Phoenix's Saffron Suburbs: Immigration and Settlement of Asian Indians in Phoenix, Arizona, 1965-2011.”
“What Is Folklórico?” Wonderopolis, wonderopolis.org/wonder/What-Is-Folkl%C3%B3rico. Accessed 23 Oct. 2024.