#afro mexican culture

[iloveethnicities]

Humility and modesty are essential elements of Afro-Mexican culture, deeply woven into daily conduct, social norms, and traditions. The Afro-Mexican community, largely concentrated in the Costa Chica regions of Guerrero and Oaxaca, as well as parts of Veracruz, has a rich history shaped by African, Indigenous, and Spanish influences. This unique cultural mix has cultivated values that emphasize humility, respect for community, and a sense of interconnectedness with others and nature.

Humility in Afro-Mexican culture often revolves around the principle of “collectivism” over “individualism,” which means prioritizing the needs of the community or family over self-centered pursuits. In Afro-Mexican communities, this value is reflected in how people interact with one another, placing collective welfare above individual gain. This focus on the community manifests in social events, daily interactions, and the division of resources. Afro-Mexicans are known for sharing what little they may have, as generosity and care for one’s neighbor are considered part of being humble and grounded.

Additionally, Afro-Mexican humility is deeply rooted in the ancestral African customs passed down through generations, such as the practice of acknowledging one’s limitations and showing respect toward those who have more experience or wisdom, often elders. There’s a widespread understanding that one should approach life without pride or arrogance, instead valuing one’s contributions as part of a greater whole. This worldview influences not only individual conduct but also the approach to work, social hierarchy, and even personal achievements.

Modesty is another deeply embedded value within Afro-Mexican culture, affecting both personal presentation and interpersonal relationships. Afro-Mexicans often demonstrate modesty in various aspects of life, including dress, speech, and behavior. Traditional attire in Afro-Mexican communities is modest and functional, with clothing that reflects respect for one’s culture and avoids drawing unnecessary attention. While brightly colored garments are sometimes worn for special occasions, they are also connected to celebrations of cultural identity and are viewed as expressions of cultural pride rather than personal display.

Modesty is also evident in language and communication style. Afro-Mexicans are often cautious about boasting or claiming superior knowledge in social settings, instead fostering an environment of humility and openness. A cultural expectation exists that individuals should not elevate themselves above others, as this can be seen as disrespectful. Even in the case of personal achievements, Afro-Mexicans may avoid publicly emphasizing their successes to prevent appearing arrogant. For example, if someone excels in a skill or talent, they might acknowledge it with gratitude rather than boasting about their abilities, in line with the community’s preference for modest conduct.

Afro-Mexican festivals and celebrations, such as the annual Dance of the Devils (Danza de los Diablos), reveal the integration of humility and modesty into communal expressions of culture. This traditional dance, which honors African ancestors, shows how individual and collective roles blend in Afro-Mexican celebrations. Performers in the Dance of the Devils wear costumes and masks that obscure their personal identities, emphasizing the collective over the individual. This anonymity allows the participants to express their cultural heritage without seeking personal recognition, underscoring a shared legacy rather than an individual performance.

In this context, humility is not only a personal virtue but also a collective ethos. Participants show reverence to their ancestors, celebrating them with a sense of devotion and respect rather than using the event as a platform for personal gain. The humility in these ceremonies is further demonstrated through gratitude and respect toward both the ancestors and the community, with participants recognizing their place in a long continuum of cultural heritage and values.

Respecting and honoring elders is a central aspect of Afro-Mexican humility and modesty. Afro-Mexican culture places high importance on listening to elders and valuing their wisdom, as they are viewed as the keepers of cultural traditions, folklore, and family history. Younger generations are taught to show humility in the presence of elders by listening attentively, addressing them with respect, and considering their counsel as invaluable. This modesty in deferring to elders reflects a deep respect for experience, which is rooted in the African traditions carried through generations in Afro-Mexican communities.

In many Afro-Mexican households, it is common to observe rituals of respect when interacting with older family members, such as avoiding direct eye contact as a sign of humility and speaking in gentle tones. There is also a shared expectation that elders should receive preferential treatment in social settings, such as during meals or community events, where they are often served first. These behaviors demonstrate both humility and modesty, as younger individuals are encouraged to take a step back and allow their elders to have a prominent place in the family and community.

Religious beliefs in Afro-Mexican communities are also tied to humility and modesty, especially in regions where Catholicism, African spirituality, and Indigenous beliefs converge. Many Afro-Mexicans are devout Catholics, and their approach to faith often includes practices that emphasize humility, such as attending mass regularly, participating in communal prayers, and observing traditional saints’ days without the extravagance that might be seen in other settings. Religious observance is usually approached with reverence, modesty, and a focus on honoring God or spiritual beings rather than oneself.

Additionally, in some communities, African-inspired spiritual practices still hold significance, such as the belief in ancestral spirits. These practices emphasize humility by encouraging individuals to maintain a respectful and modest relationship with the spiritual world. Offerings to ancestors, for example, are made in a spirit of gratitude rather than for personal gain, and humility is seen as essential in connecting with these spirits. This reverence extends to how people approach nature, often seen as sacred or as an extension of the ancestral world, further instilling a sense of humility in daily actions.

While Afro-Mexican communities face challenges such as economic hardship, migration, and social marginalization, humility and modesty remain crucial to cultural preservation. Afro-Mexicans often view these values as protective measures, enabling the community to stay resilient and unified. Many Afro-Mexican organizations today advocate for cultural pride while emphasizing humility, as they believe that these values are central to community cohesion and identity.

Younger Afro-Mexicans who migrate to urban areas, where individualism may be more pronounced, often struggle with maintaining these values in environments that prioritize personal success and recognition. Nonetheless, Afro-Mexican communities actively work to pass down these traditions through family education, festivals, and community gatherings, reinforcing the importance of humility and modesty as intrinsic cultural values.

Humility and modesty are not just personal virtues in Afro-Mexican culture; they are foundational pillars that support social harmony, cultural preservation, and spiritual connection. These values manifest in a variety of ways, from daily conduct to community celebrations and intergenerational relationships, reinforcing a shared sense of responsibility and respect. Despite external challenges, Afro-Mexicans continue to uphold these values as core aspects of their identity, seeing them as essential to their cultural legacy and collective well-being.

[kemetic-dreams]

Loíza (Spanish pronunciation: [loˈisa]) is a town and municipality on the northeastern coast of Puerto Rico, north of Canóvanas; east of Carolina, Puerto Rico; and west of Río Grande, Puerto Rico. Loíza is spread over five barrios and Loíza Pueblo (the downtown area and the administrative center of the city). It is part of the San Juan-Caguas-Guaynabo Metropolitan Statistical Area. It is renowned for its rich Afro-Puerto Rican culture and heritage.

Some say its name comes from a female cacique, named Loaíza or Yuíza, who governed the region formerly called Haimanio, on the shores of the Río Grande de Loíza. It is said that this cacique might have married a mulatto conquistador called Pedro Mejías, but there is no evidence of this. Other sources point to a Spanish landlord named Iñigo López de Cervantes y Loayza, who owned a lot of the territory, and was renowned among governors and colonists of the time.

In 1692, Loíza was officially declared an urban area due to its population (100 houses and 1,146 residents), but it was in 1719 that the Spanish government declared it as an official town. It was founded by Gaspar de Arredondo.

Puerto Rico was ceded by Spain in the aftermath of the Spanish–American War under the terms of the Treaty of Paris of 1898 and became a territory of the United States. In 1899, the United States Department of War conducted a census of Puerto Rico finding that the population of Loíza was 12,522.

[mannyblacque]

Source: Aranivah | Links

[gravalicious]

Carmen Robles.

Source: B. Christine Arce - México's Nobodies: The Cultural Legacy of the Soldadera and Afro-Mexican Women (2016: 138)

[neechees]

Hi! You don't have to answer this if you don't want to, that's totally fine! But you talking about Orville Peck's appropriation of indigenous culture with his fashion choices made me realize that I had never considered that there might be some aspects of "cowboy clothes" that white ppl shouldn't wear and that was super wrong of me. Again, you totally don't have to answer this, but I was just wondering what ways a white person could wear "cowboy clothes" in a manner that wasn't disrespectful? Or perhaps, should we not wear them at all? I can't afford T yet, but when I can finally get it I was planning on getting a cowboy outfit to embrace my trans mascness, but if that would be wrong of me I can scrap that plan no problem!

Ehhh again this is actually SUPER HARD to answer because almost everything about cowboy fashion & the cowboy "aesthetics" are lifted directly from Native American fashion and culture, either because a lot of cowboys back in the day were Native American themselves (including Afro-Natives & Indigenous Mexican vaqueros) or they were White & just kinda. stole the look from the Native cowboys due to a number of factors.

If you google "cowboy jewelry" the first thing that comes up is silverwork & belts & turquoise jewelry, which is taken from Navajo metalwork. Fringed leather clothing? Again, many Native tribes did that (& in some tribes the fringes could mean something, its not just for looks), most popularily with vests, jackets, and pants. A lot if the leather jackets were a result of Native women just sewing their clothes the same but in a European styled cut. Compare this "cowboy" look below to a Lakota war shirt: both have hair embellishments dangling from the arms.

Studded belts? Inspired by Cheyenne mirror belts, which often also have metal studs in them & you'll still see Native pow wow dancers have this in their regalia. Floral vests? A lot of the inspiration comes from Plains floral beadwork. Geometric patterns and blankets? Came from Southwest or Mexican Native American blankets & designs, ask any Navajo weaver & they'll tell you the same. Feathers in cowboy hats? Who else is famous for wearing feathers on their heads--? Native Americans. The look is still popular with older Native men.

Hell, if you visit this site that sells Western/cowboy fashion, you'll see a SHITTON of appropriation going on, taking Native imagery & designs, including one taken from Native American ledger art, all on White models.

The appropriation of Native culture and fashion in the cowboy/western sphere is ongoing, and the influence that Native fashion & culture has in Western/cowboy fashion as it is is absolutely MASSIVE. I once said in another post that the cowboy/western aesthetic essentially belongs to Native Americans, Latines (especially Mexicans), and Black people. And the history of White cowboys has been one largely of colonialism, racism, and displacement of Indigenous peoples, and the masculinity associated with White cowboys especially is also steeped into racism & American patriotism (think John Wayne. There's a reason he's an American icon who played cowboys & killing Indians in films.). I think the only thing that isn't influenced from either appropriation or colonization is like, jeans. Even the style of cowboy boots themselves and potentially chaps were influenced from vaqueros.

So if you're White I'm not sure that'd exactly be a good route to take because trying to seperate Indigenous elements from this fashion/look (nevermind the problematic history of White cowboys) is almost impossible. Obviously I can't force you to do anything, but honestly if I were you, I'd try a different direction, because otherwise I think you'll find trying to do this will be very hard.

[kookies2000]

Because I feel like it.

Yellow sky? Bare footed characters? Mostly a mess? Over exaggerating some of the Hispanic features. I saw the first episode, and it was just poorly written in general. And what mother calls their son "cochinada." Roughly translates to dirty or trash.

What's good Latino/Hispanic representation?

Colombian 🇨🇴

In the Caribbean region of Colombia, they light up candles and lanterns on December 8, before sunrise. So the candle giving them magic was a wonderful detail. Generational trauma is a thing for us Latinos, and this film handled it in a healthy and matuer manner. And I love how they didn't shy away with how Spaniards attacked and colonized latin lands.

Mexicans 🇲🇽

Yes, us Mexicans love death. 🤣 But hey, I was always taught to respect death, La Muerte, and our ancestors. So, it makes sense that many Mexican films talk about death. But I also like that Maya and the Three have Aztec, Mayan, and Incan mythology. Natives to Mexico.

Dominican Puerto Rican 🇩🇴🇵🇷

Luz mom is Dominican, and Luz dad is Puerto Rican. I appreciate a good interracial couple and a mixed child. Luz name also translates to light, and some Latinos are known for doing witch craft. Or at least knowledgeable about witches and demons, and no, we aren't evil. We just know how to handle this stuff. Plus, the owl has many meanings in Latino culture. To some, I believe the owl is a messenger of death and is telling everyone that death/danger is near.

Afro Latino. Puerto Rican 🇵🇷

I am a massive sucker for interracial couples and mixed kids because of this. I was working at a hispanic store as a cashier. This woman walks past me and starts talking to the bagger. The bagger has blond hair, blue eyes, and white skin. The bagger looks at me worried because she doesn't speak English. So brown skin, black hair, me has to tell the bagger that the lady wanted ice in Spanish. I then talked to the lady in English. Her reaction? "YOU SPEAK ENGLISH!" Same for a dark skinned man. So many people skip me and talk to him in English. He's Dominican, and he only spoke Spanish. I appreciate films that show Latinos in different skin types and features. We're not all brown. So yeah, the mass diversity in this film is just beautiful. And I love how they wrote Miles relationship with his parents. Realistic conflict and healthy communication. Not falling into toxic stereotypes.

Spainard Puss 🇪🇸 Mexican Kitty & Perrito 🇲🇽

Spaniards are considered Hispanic but not Latinos like Mexicans. And again, interracial couples for the win. And I love the realism in their romance that heals through healthy therapy. Many people see Mexicans as toxic, so having Perrito as a therapist and the one helping everyone emotionally, it's nice. Not every Mexican is toxic. And I love how you can tell their Spanish and Mexican even though their animals. Puss Spanish accent, Spanish actor, him being a ginger like some Spaniards, flamingo dancing, and gazpacho. Kitty, Mexican accent, Mexican actress, black fur/hair like most Mexicans, quinceañera, and I love how they gave her a luchador mask. Something that originates from Mexico. Also, my brother and I joke how we as Mexiacns can't swim and Kitty nearky drowns in the 1st film. 🤣 Perrito, he's a chihuahua with a Mexican actor. Enough said. I also want to say death is Brazilian because of his actor.

I don't know much about Spanish culture, but someone said the wishing star has a connection to Spanish culture. Is that true? If so, COOL! Because death is connected to Mexican culture. So, Dreamworks finding a way to combine Spanish and Mexican culture in one film is 100% magical.

There are many more, like Beverly Hills Chihuahua 🇲🇽. 🤣 That film is better than Primos. Emperor's New Groove, Peru 🇵🇪, and Rio, Brazil 🇧🇷. Not Hispanic but Latino culture. But this post is getting long. Primos! A huge step down in Latino/Hispanic representation. Especially since we have so many good films and shows that have proper representation.

[punkeropercyjackson]

Ben 10 rewrite-fix-selfship thangs by me and my little sister @mayameanderings we did agesssss ago but am only posting now since my friend @franollie is re-entering the fandom!

My s/i's name is Solana Cristalina!!!He's half Petrosapien,half (afro-dominican) human,transmasc genderfluid and bigender,audhd,super bubbly,chaotic,physically incapable of not running his mouth,a pastel punk femme,a mom friend and has a mean streak that's mostly funny but sometimes angsty or played for coolness against villains!His design is meant to look like a half white black person because that's what i am but since he's made of crystals,his colors reflect the primary light of whatever scene he's in(Hobie Brown moment).His eyes glow in the dark and he's strange looking but not enough to not pass as human!

His dad,Diarius,raised him on Petropia for the first 5 years of his life but decided Earth was safer for him and so he started being raised by his mom,Mariana.He had his own special debut episode in Classic called 'Crystal up,Sunshine' and Mariana is a Bruja who mentored Lucky Girl!Gwen on her and her son and daughter's summer jewel collection travels after Solana had his adventure with Ben and Gwen and became basically like siblings with them even though he was only in a few episodes for that run.Him and Kevin met the same year but at their school where Solana was a Special ED kid and Kevin was in a club/support group for troubled kids.He sat in front of Kevin and he was like 'This shiny kid is gonna blind me' which led to them talking and Solana was like 'His edge is going to cut me' /irony.They befriended eachother nonetheless before Kevin dropped out as he's implied to be homeless in canon and Solana was upset since he was his only friend but they reunite in the show itself with the exact quote 'Holy shit,edgy kid!!!' and 'Holy smokes,shiny kid!!!' but it dosen't end well just yet since Kevin was an antagonist at the time

Kevin is black monoracial but mixed etchnicity-His mom is mexican and Devin's american.He was taught to seperate his blackness from his latinohood and he grew up disconnected to his blackness due to almost no other black people around and becoming best friends with Solana was the start of healing journey og embracing his afrolatino identity.He participates in both black latino and black american culture since he's half both!!He used to feel guilty about falling under stereotypes but now sticks it to racists by being way better than them and loves himself for who he is!He has fang grills by Omniverse and his redemption arc in Alien Force isn't relient on romance despite Kelana being a big part of it

The Tennysons are white latinos with Abuelo Max being an argentinian inmigrant based purely on vibes and Verdona was latina too(poc swag transcends solar systems.Next question‼️).Gwen is a lesbian and dating Kai,Julie,Ester and Charmcaster and the last one was her first love and there was so much unnecessary gay drama that could've easily been avoided if Gwen wasn't such a loser when it comes to romance and her and Ben's character development sticks instead of keeping them static characters for the sake of unfunny comedy.Ben and Rook's obviously a thing as a plot that's not really a plot twist since their dynamic is the same as in canon but intentionally romantic

Kai is recurring in Alien Force and respectfully written as navajo instead of only existing for Ben and having a fucking feather in her hair and is an official member of Team 10,as is Julie who's also not a Ben love interest but a girlgeek that has a sibling-like relathionship with him and has Ship pre-debut as she gets her own special like Solana that dives into her backstory.Ester's way more prominent too and yet another member and has quiet bpd due to childhood trauma but is helped with it by her friends and girlfriends

The last additions to complete Team 10 to make it fit it's namesake are Charmcaster,Albedo and Alan.Hope is still technically a villain but a dear friend to everyone on the gang who regularly spends time with them and helps on missions,Albedo got a fullon redemption arc and Alan was pretty much adopted/taken in by everyone since he dosen't have parents

They're also all trans and autistic

Solana and Ben are a 'i'm mean to you because i love you' typa beat,Solana and Gwen are soul sisters who bond over everything and on the same level to eachother as him and Kevin are and Kelana in Classic was Kevin actively trying to make Solana worse but Solana is such a nice person that it dosen't work,in Alien Force they get to be proper longterm friends with crushes undertones and in Omniverse they basically act like they're dating already but are still complete oblivious.They develop all throught the franchise and don't get together until the final series:Ben 10 Forever

Ben 10 Forever takes place in Ben's young adult years and is a darker,more complex story to reflect it.This includes Solana dying when he saved Diarus' life in a battle in episode 1 but being ressurected with Petrosapien resources and having trauma from it and Diarus has survivor's guilt.He was always afraid something would happen because he just dosen't trust most human's and blames himself moreso because he feels he should've been there full time,even though he wasn't neglectful and visited all the time with him and Mariana just being long distance

Kevin having mimic powers and Solana being crystalline=They're a reflection of eachother

Mr Smoothie is Team 10's hangout and Solana has a job at a thrift store and convinced Ben to be hired alongside him

[morangoowada]

Xilonen and her Brazil elements

Just starting off the post saying that I know she also has Mexican elements in her character, Genshin has a tendency of mixing a bunch of cultures up so it's entirely possible for her to be both Mexican AND Brazilian, I won't talk about those aspects because I'm clearly not Mexican-

Brazil Mexico union okay??? No fights, we love you Mexicans 🇲🇽🇧🇷

First we'll start with the fact that Xilonen is a jaguar! Jaguars are animals that are typically found on the American Continent, Xilonen has the same patterns of their fur, plus she is also shown laying on a tree on the trailer, which is a thing jaguars do. Jaguars are important figures to Brazil (plus they're called onça-pintada... calling them jaguar feels like a crime), they represent our biodiversity and how it's important to protect and conserve these species. The country decided to represent national species on the official money notes, and the jaguar is present in the 50 reais note.

From what we've seen from her so far, she is related to music, probably a DJ, and in fact some of her elements are related to the most stereotypical Brazil things ever, Samba, Carnival and Funk.

I'll begin this part talking about each of these thing in more detail. Samba is a Brazilian music genre and dance usually related with Carnival, it's origins come from Afro-Brazilian people communities in Bahia and then later on Rio de Janeiro. The Brazilian Carnival is the most popular holiday in Brazil, where people usually just come together to have fun and dance, it's very tied to Samba as most people there dance it during Carnival. Funk is a music genre in Brazil that came from black communities in Rio de Janeiro, mostly from favelas. All of these things are part of Brazil culture and also part of the stereotype people outside think of Brazil, usually people think we are only these things

As for Xilonen, her high heels are extremely similar to the heels the Samba dancers use, her makeup is glittery and she has glitter around various parts of her body, glitter is very used in Brazilian Carnival. Her outfit looks like a typical outfit a Brazilian funk dancer would wear (if you disagree about that just take a look at Brazilian Miku design) and her lots of rings and big necklaces are also used by funk singers.

This particular idle or hers looks like she's kinda dancing Samba with her roller-skates, but I'm not entirely sure about it

Last part, her signature dish is made using the brigadeiro recipe, which is a traditional Brazilian food! But her signature dish looks like just some regular chocolates unfortunately

As you might have noticed, most of these elements in Brazil culture are from Afro-Brazilian origin... So why the fuck is she white?? I know Brazil IS diverse and has white people but... this is kinda like making a white rapper character, wait hoyo already did that too?? No surprise.

[pumpkinsy0]

I remember u making a post a lil while back abt ur new ethnicity hcs,, so like were u gonna drop that orrr🫣

ok anon (and the other anon who asked for this idk maybe ur the same anon),,, these r for U🫵🏽

like i said not alot rlly changed, i apologize</333 BUT there r new additions!!!

the curtis bros- thee whitest americans ever i think, 3/4th irish 🇮🇪and 1/4th hungarian🇭🇺, however they see themselves as more american than anything so they dont rlly claim it too much (like i said also ethnically ashkenazi jewish)(this is a prefect time to say i have had thoughts about them being black before, but them being white is just so,,,yea)

the shepards- AFRO HAITIANS WOOOO YEA SELF PROJECTIONSSSSS AW YEA BABY WOOO🇭🇹🇭🇹🇭🇹🇭🇹, they literally moved FROM haiti so they r def connected w their culture!!!!can soeak the language

two bit- 3/4th cambodian🇰🇭, 1/4th irish🇮🇪, kinda??? connected to culture but not rlly

johnny- mestizo mexican 🇲🇽and bengali🇧🇩, can speak spanish, can speak some bengali, pretty connected to both cultures

sylvia: afro haitian🇭🇹🇭🇹🇭🇹🇭🇹 heyyyyy bff, not rlly connected w culture, learning kreyòl

steve- afro nigerian 🇳🇬(bc nigerians r funny as hell when theyre upset and ik his arguements w pony funny as hell) (from the igbo tribe), not connected to culture</333

dallas- (i flip flop between him being black and white lmao) russian🇷🇺 , thinks hes not connected to culture but he is☝🏽☝🏽, wether or not he can speak the language i flip flop between

cherry-wasain, french (ewwwww)🇫🇷 and vietnamese🇻🇳, like i said shes white passing and not very outwardly connected w the cultures, knows french more than viet but shes trying her best kinda

marcia-blasian (yes im so funny for this), i dont see her as haitian no more lmao, but she is african american❤️🔱🖤 and thais🇹🇭, only connected to thai culture however

evie-african american❤️🔱🖤connected w culture enough id say

sandy-indigenous (cherokee), not rlly connected w culture, dont know the language either

bryon- white, spanish 🇪🇸 , not connected, barely knows spanish

mark-white, polish🇵🇱 and czechian🇨🇿, not connected w culture in the slightest, considers himself more american

m&m and cathy-indigenous (osage nation), somewhat connected, their family tries!!

bob- white, british🇬🇧(ewwwwww)

randy- white, portugese🇵🇹

buck- afro trinidadian🇹🇹, connected w culture, he was born n semi raised there

and i think thats just about everyone???? guys, what r UR ethnicity hcs🤔🤔

[lavender-cat-studio]

Happy Hispanic/Latinx Heritage month!! ♡´･ᴗ･`♡

I thought it would be cute to make a pop culture focused fan art to celebrate the month and especially of my favorite characters of recent!!

Left to right for those who don’t know

Miles Morales - Afro Latino/ Puerto Ricano and VO ed by Shameik Moore

Jaime Reyes /Blue Beetle- Mexican and portrayed by Xolo Maridueña

Monkey D Luffy (live action) - portrayed by Iñaki Godoy who’s Mexican

[iloveethnicities]

The Festival de la Tercera Raíz (Third Root Festival) is a vibrant celebration in Mexico that honors Afro-Mexican heritage, recognizing and elevating the unique cultural, historical, and social contributions of Afro-descendant communities in the country. Primarily celebrated in the coastal regions of Guerrero, Oaxaca, and Veracruz, the festival brings together traditional music, dance, food, art, and spiritual practices in a rich tapestry of Afro-Mexican identity and resilience. It underscores the legacy of African influence in Mexico—often overlooked in mainstream historical narratives—paying homage to the "third root" of Mexican heritage, alongside the Spanish and Indigenous influences.

The name "Tercera Raíz" (Third Root) reflects the recognition of African roots as an essential component of Mexican heritage. While Indigenous and European (Spanish) roots are well-known, the African heritage that arrived with the transatlantic slave trade in the 16th century has often been overlooked. During this era, enslaved Africans were brought to New Spain (now Mexico), predominantly working in the sugarcane plantations, mines, and alongside Indigenous laborers in various regions. Over time, African, Indigenous, and Spanish cultures intermingled, forming a rich and unique cultural synthesis that shaped the identity of Afro-Mexican communities.

The festival was developed as part of a broader movement to increase visibility and acknowledgment of Afro-Mexican culture, which had long been marginalized in Mexican society. Recognition of Afro-Mexican communities gained momentum especially in the late 20th and early 21st centuries, as these communities advocated for the preservation and acknowledgment of their heritage. The festival plays a crucial role in affirming Afro-Mexican identity, celebrating their unique cultural practices, and educating the broader public about the African presence in Mexican history.

Although not confined to a single location, the Third Root Festival is most prominently celebrated in the Costa Chica region, which spans parts of Guerrero and Oaxaca. This area has historically high populations of Afro-Mexican communities, who have preserved African-influenced customs and traditions over generations. Veracruz, another coastal state with a strong Afro-Mexican presence, also hosts the festival and events to honor Afro-Mexican heritage.

The festival generally takes place during special cultural and commemorative dates, often overlapping with Mexico’s national celebrations or other important Afro-diasporic celebrations. In recent years, it has often been held around the International Day of Afro-Latin, Afro-Caribbean, and Diaspora Women (July 25) and Black History Month (February). However, it is celebrated year-round in various forms in different communities, depending on local traditions and scheduling.

The Festival de la Tercera Raíz incorporates a multitude of cultural expressions, reflecting the African, Indigenous, and Spanish influences that define Afro-Mexican heritage. The festivities highlight music, dance, food, art, religious rituals, and oral traditions, showcasing the distinct cultural identity of Afro-Mexican communities.

— Music and Dance: Traditional Afro-Mexican music and dance are central to the festival. One of the most iconic forms is La Danza de los Diablos (The Dance of the Devils), performed in Guerrero and Oaxaca. In this dance, participants wear devil masks adorned with horns and often move to the beat of drums and marimbas, instruments with African origins. This dance, with its intense rhythms and symbolic masks, is thought to represent the struggles and resilience of African slaves who resisted and survived their conditions. It also includes son jarocho in Veracruz, a musical style characterized by the use of string instruments like the jarana, requinto, and marimbol that blend African, Indigenous, and Spanish influences.

— Cuisine: Afro-Mexican culinary traditions are celebrated through dishes that blend African, Indigenous, and Spanish ingredients and techniques. Dishes often feature plantains, yams, coconut, corn, and a variety of seafood, reflecting both African culinary heritage and local resources. Popular dishes include tostadas de camarón (shrimp tostadas) and pescado a la talla (a grilled fish dish) in coastal areas. Food not only serves as nourishment but also as a medium through which Afro-Mexican heritage is passed down, with recipes and cooking techniques often preserved within families for generations.

— Art and Handicrafts: Art forms are another vibrant component of the festival. Artisans showcase crafts such as woven goods, pottery, and sculpture that reflect Afro-Mexican aesthetics and iconography. Many pieces include symbols and imagery from African cosmologies, such as representations of animals or elements believed to carry spiritual significance. The visual arts in the Third Root Festival offer a means for Afro-Mexicans to celebrate their heritage, create connections to ancestral African lands, and express pride in their communities.

— Spiritual and Religious Practices: Spirituality also plays a significant role in the festival. While many Afro-Mexicans are Catholic, their religious practices often incorporate elements of African spirituality and local Indigenous customs. For instance, some communities maintain African-based spiritual practices such as honoring ancestors, engaging in ceremonial drumming, and participating in rituals connected to nature and spirits. These practices serve as acts of cultural preservation, emphasizing the importance of maintaining connections to African heritage within the framework of Mexican religious practices.

— Oral Traditions and Storytelling: Oral tradition is a key feature of the festival, with elders recounting stories, legends, and songs that have been passed down through generations. These stories often include themes of resilience, freedom, and identity, offering insight into the historical experiences of Afro-Mexicans and their ongoing fight for recognition. Storytelling sessions may involve tales of maroons (enslaved people who escaped and formed independent communities), the significance of particular rituals, and the influence of African deities or heroes in local lore.

— Workshops and Educational Programs: The festival also includes educational components, such as workshops, panels, and seminars, where scholars, activists, and community leaders discuss Afro-Mexican history, identity, and contemporary issues. These events serve as an opportunity to learn about Afro-Mexican contributions to Mexican society, confront issues of racism, and advocate for greater political and social recognition. For young people, the festival offers a space to explore their identity and connect with their heritage through art, music, and dance workshops.

The Festival de la Tercera Raíz plays a crucial role in challenging historical narratives that have minimized or erased Afro-Mexican contributions to Mexican culture. It fosters pride within Afro-Mexican communities and brings awareness to their struggles for cultural, social, and political inclusion. The festival is a moment of collective celebration but also a call to action against systemic discrimination and the invisibility that Afro-Mexican communities have faced for centuries.

In recent years, Mexico has taken strides to recognize Afro-Mexican communities, with the 2020 census marking the first time Afro-Mexicans were included as a distinct ethnic group. The Third Root Festival has contributed to such achievements by spotlighting the lived experiences and cultural wealth of Afro-Mexicans, drawing national and international attention to their contributions and challenges.

Through its vibrant expression of art, spirituality, and communal solidarity, the Festival de la Tercera Raíz reminds all Mexicans and the wider world of the depth and beauty of Afro-Mexican culture. It underscores the ongoing importance of preserving and celebrating Mexico’s African heritage, ensuring that the legacy of the "third root" continues to grow and flourish as an integral part of Mexico’s cultural mosaic.

[monkey-network]

Good Stuff: Primos

It was the summer of 2023. We got the opening to Disney's new cartoon. Then it was bullied into releasing next year. Primos is one of those cases where culturally, you could smell the Americana from it in spite of intentions, and when you get around to it the hate wasn't fully deserved. It was funny, but to me this was like if Japanese Americans shitted on Dragon Ball Z for characters being named after veggies. Then again, nobody hates shit harder than Mexicans and Latinos and the PR wasn't the best, Tater's VA definitely didn't help. But, I'm grateful Disney didn't pull a Zaslav and shelf this as if this was the damnedest thing to ever happen to Hispanics. Now that the wait is over, is the show good?

it's far better than Latinx Loud House Cleveland Show, credit where due

The comparison to Loud House/Casagrandes isn't far off, but Primos has the advantage of it feeling like the time Tater spends with her extended family will have a start and end to it. We're in the same headspace as Latka who's not only adapting but revaluing her perspectives regarding her family. Nothing groundbreaking, but reminds me of Clarence where it has that messier but more homey charm as opposed to Loud House where over time it felt too plain and overstayed its welcome. Primos I feel will work as a limited season show like Gravity Falls as you can see well paced progress with both Spud's self-discovery mission and her familial relationships to not too overstay as if it needed to be Disney's answer to Loud House. I overall appreciate DTVA for looking to do less inherently story heavy shows.

We could've had a Katz Cafe too, Disney

Now to get a tad personal, I am Mexican American (Afro-Hispanic specifically) and I can relate to Tuber to a minor extent, given this is based on the creator's own life. Primos doesn't really hit those deep cuts though when despite the heritage I bear, making your show about growing up a gringo or gabacho is not a mirroring experience I'm that into watching. This show isn't like Victor and Valentino or the Puss in Boots cartoon where its representation is purely into its core elements like the folklore and presentation. It's more akin to saying you proudly grew up on Del Taco joints and the ability to grasp subtitles. This is more Disney's overall ethnocentric MO when it comes to other cultures: more for those who want to feel aware than anyone that lived or is living it. I'm not here to chastise Natasha's authenticity in producing this nor act like this is a very patronizing kids cartoon. I'm just saying relatability only goes so far here and we otherwise have a very okay cartoon that had intentions on a perspective we're well aware.

And c'mon, nothing has overthrown the GOAT

Again, I appreciate the small shift to more episodic and grounded shows as opposed to serial adventures to keep track off. While not unique, Primos has a sweet blend of comical and comforting to be worth a watch. French Fry is an enjoyable protag (while Nellie is better) among a good, less archetypal family that overall makes episodes feel as easy-going as Kiff. I won't pretend to say I hated this originally nor did I ever hold any resentment to say this doesn't now deserves more of a chance.

7 Out Of 10, like your average stoner trip to Taco Bell

[ovaryacted]

Now that I’m less…cranky…I do want to say a few things with a logical brain that I didn’t get to say before because all I’ve been doing is being upset so…this might be the last time I’ll talk about the aftermath of the election on here but we’ll see.

1. I truly do not understand why straight white women in particular are starting to talk about the 4B movement and supporting it when just the other day they were talking about “canceling their husband’s votes”. I’m so sick of this fake performative behavior that comes from white women concerning feminism when they know something will directly impact them. Obviously, this is a generalization because I know not all white women wanted Trump and sure I get some people are married to spouses due to financial reasons or are in abusive situations I’m not talking about them. But the fact that 53% of white women indiscriminately voted for that man for god knows why and NOW is when they’re scrambling is crazy lmao? Like what did you think was gonna happen? They’re always behind on things that Black women, indigenous women, and women of color have already been doing or warned them about. They’re too damn male-centered to acknowledge that they’re victims of the patriarchy and historically have prioritized their whiteness above all else.

2. The concept of Latinos for Trump quite literally doesn’t make sense to me. These dumbasses, probably mostly white Latinos at that because they hate Afro-Latinos, crave to assimilate themselves with white supremacy. But it’s so stupid it’s almost laughable I mean. These people don’t realize that they just gave up any chance they may have to get a path to citizenship, but because they think they’re the “good Latinos” and used the “legal” channels of immigration that somehow they’ll be saved. The problem with the possibility of mass deportations happening is that they won’t be able to tell who’s an immigrant and who’s a citizen. Latinos are so diverse, the dialects and cultures are all different across the board. Plus, they’ll only be going for the ones that look “Latino/Mexican” enough to deport them, they definitely aren’t going towards the Europeans that immigrated here on work Visas tho! Latine people sometimes are so ignorant it makes my head hurt, they’re willing to shame and snitch on their own families and relatives and put them in danger, but god forbid they actually get deported or worse now they wanna cry wolf? Okay. Don’t even get me started on the conversation about birthright citizenship, I’ll save that for another day.

3. I know a lot of people are joking and saying that they’re planning on leaving the United States and I get it, everybody is scared and they should be able to do what they think is right. But it’s just the fact that they’re saying this from a place of privilege, most people are one paycheck, one emergency away from being homeless or disabled. Most individuals don’t realize how expensive it’ll be to pack all your shit up and leave an entire country where you have no connections or safety net, and we don’t even know if other countries will start making it harder for Americans to travel abroad or just full on closing their borders to them. It is a luxury to leave, and people are here recommending Germany where literal Nazis are coming back? As if fascism and the imminent global catastrophe is inescapable. You can’t escape American imperialism and the destruction of the empire, it will be a domino effect all over the globe because the U.S. is everywhere, and we won’t know what will come afterwards. People have a right to stay here and fight for their livelihoods and they should, because really, where else is there to go?

I’m done chatting for now, I’ve been annoying all day sure and maybe I apologize for that. It’s been a very stressful, heartbreaking, tense day and I haven’t spoken to anybody about it so I’m talking about it here.

[nitearmorweek]

As everyone gets to work preparing for NiteArmor Week, the mods wanted to encourage people to bring their own lived experiences into their creations. You are welcome to write and draw mandalorians in a way that reflects your own life and culture; Bo-Katan and the Armorer do not have to physically resemble their live action counterparts.

What does this mean? Do you want to share your Mexican heritage and weave it into the story of your NiteArmor fic? Hell yeah! Do you see the Armorer has having dreadlocks? Include them! Do you have an insulin pump and think Bo-Katan has one under her flightsuit too? We want to heart about it!

For those who may need a little help or are looking for new resources, we have gathered a small list of guides. Some of the below sources came from @lavenderursa's collection of inclusive writing tips. The mods recommend reading through the original post they worked hard to put together! The hope of this new post is to build out their post to include a few more elements specific to Star Wars.

Writing Resources Collectives and authors who have published tips and guides on writing stories that center diverse experiences:

Writing With Color

The History of Black Hair [Words to Describe Hair]

A Guide to Natural Black Hair

How To Write About Trans People

A Primer on Writing Trans Characters

The Do’s and Don’ts of Writing Transgender Characters

Important Tips on Making/Writing Asian OCs

Dear Non-Asian Writer

How to Avoid Asian Stereotypes, Appropriation, and White Washing

​Tips for Inclusivity with Reader Inserts

A Guide to Writing Disabled Characters

A general cane guide for writers and artists (from a cane user, writer, and artist!)

Creating authentic deaf and hard of hearing characters

Art Tips Helpful information on how to draw different body types, skin tones, and hair:

Basic Skin Tone Coloring [part 2]

Kupa's Guide to Skintones

A Guide to Drawing South Asian Skin Tones [part 2]

Protocols When Drawing Native American Hair

A guide to designing wheelchair using characters! [part 2]

Whitewashing in Art and How Colors Work

​How to Draw Disabled People

Drawing East Asian Faces

Plus Size Body Types

POC Blush tones

Afro, 4C hair

Image References Websites that offer images that can be licensed for use and/or inspiration. The below three are highly recommended resources, but some do have a cost:

createHERstock - Your destination for authentic stock images featuring melanated women

Nappy co - Beautiful photos of Black and Brown people, for free

Eye for Ebony - Beautiful lifestyle stock photos featuring people of color

Affect The Verb - This is a disability-led effort to provide free & inclusive stock images from our own perspective, with photos and illustrations celebrating disabled Black, Indigenous, people of color (BIPOC).

Pixerf - Asia's fastest-growing Asian stock photo market place

Disability: In - Disability Inclusive Stock Photography

Disability is Beautiful - The best free stock images provided by the disability community.

Cosplayers Artists and content creators that have posted amazing Star Wars cosplay! Their hard work and attention to detail in costuming is a wonderful source of inspiration and reference. If you are inspired by any of their photos, please make sure to credit them and send your love. Here are just three examples of cosplayers within the fandom:

Jahara Jayde | twitter | ko-fi

arseniccupcakes | twitter | patreon

cutiepiesensei | twitter | instagram

Further Reading Additional articles, studies, and analyses that discuss racism and ableism within the Star Wars fandom specifically:

Racism In Star Wars: A List of Resources

Star Wars Franchise: Stitch's Media Mix Analyst

Star Wars: A Tale of Racism

Disability In Star Wars

Blind Warriors, Supercrips, and Techno-Marvels: Challenging Depictions of Disability in Star Wars

What's the Problem, Papi?: Internet Daddy-ism and Coddling, Fetishization, and what "Latino-looking" actually means.

Sinophobia in SW Animation

Thank you for making it to the end of this post! Please do not consider this a definitive list or a replacement for anti-racist work in the real world. Keep reading, stay curious, and seek out new perspectives from voices you may not have been listening for.

Do you have any additional recommendations, sources, or guides to share? Feel free to drop them in the comments of this post ❤️

[blu-ish]

We’ve already had an oh so serious discussion about the ethnicities of Kirby characters, what about Sonic characters? Like Sonic being coded as afro-arab?

(Stemming from his ancsestors being egyptian, canonically being able to read arabic, his inspiration from Michael Jackson, etc)

THIS TIMES A BILLION YEAH YEAH

Literally love all those little details about him and his friends as well. It’s so cool to see all the human designs of Sonic characters stemming from all different cultural backgrounds. Personally one of my all time favorite thangs ever.

Love to either head canon Shadow or Rouge as Latino. Mexican Shadow go brrrrr hsjshshhs omg he’s just like me fr fr

Same with how knuckles is Jamaican inspired, with his colors being the same as the Rastafarian flag which is beyond cool. But also with the echidna tribe having Mescoamerican origins as well, LIKE YEAHHH LETS GO????? My ancestors would be so happy with Knuckles come on shjshshsh.

Same thing with Blaze, her design being very Southern Asian inspired as well— noticeably her bindi aka the mark on her forehead as well as her whole kingdom having a very distinctive architecture.

Silver is Italian 🇮🇹 100%



[roga-el-rojo]

“Borderlands/La Frontera” - Gloria Anzaldúa

Hello friends,

For my first recommendation this Latine Heritage Month, I want to highlight a famous text that dissects the contradictory identities Latines face inside the “US” from a queer Chicana perspective: “Borderlands/La Frontera: The New Mestiza” by Gloria Anzaldúa.

Gloria E. Anzaldúa was an internationally-acclaimed independent scholar, cultural theorist, creative writer, and social-justice activist who has made lasting contributions to numerous fields. This book in particular played a major role in shaping contemporary Chicano/a and lesbian/queer identities.

“Borderlands/La Frontera” is a semi-autobiographical work that explores the Chicano and Latine experience through themes of race, gender, identity, and colonialism. The narrative reflects on Anzaldúa's upbringing in South Texas, her cultural heritage, and the struggles of her community, particularly in relation to land and identity. Her writing aims to connect oppressed Latine peoples with their indigenous cultural backgrounds as shown through her “poet-shaman aesthetics,” her poetry, and English-Spanish code switching.

I really appreciated how Anzaldúa examined the pain and trauma imposed on Indigenous and Chicano communities by colonial powers in relation to their struggles for cultural survival as a form of spiritual healing. I also loved how she critiqued traditional gender roles within Chicano contexts and embraced her lesbian identity as a way of standing in solidarity with queer Latines to affirm current and ancestral queer identities in the face of patriarchy.

Another important and controversial concept Anzaldúa unpacks is mestizaje, referring to the blending and intermingling of different cultural, racial, and ethnic identities, particularly in the context of the Chicano and Latino experience. This can potentially be empowering as it allows folks to re-imagine their histories beyond strict notions of identity and belonging, but can also romanticize the idea of cultural blending at the expense of acknowledging that Afro-Mexican, Afro-Latine, and Mexic-Amerindian experiences are unique.

I highly recommend Latines read this text as a part of our contradictory history.