#latin american culture

[girls-are-weird]

YR fanfic pet peeves (and corrections): latin america edition

so. i was originally going to post this in january as a kind of "new year, new opportunity to learn about simon's hispanic heritage" kind of a thing, but life got busy, and then my computer died and i lost my original list, so i've had to reconstruct this from memory as best as i could. there may be some stuff missing, so perhaps i'll just keep adding to this post as missing/new points come to mind.

disclaimer 1: if you've included any of the points made here on any fanfic of yours, please don't take this as a call-out. this isn't intended to shame anyone, but rather as an educational opportunity. it's very rare that a latin american nationality that is not mexican or colombian or puerto rican is showcased in an international show, especially outside of the US, and it's given me such joy to have all of you lovely folks make the effort to be open to and research and understand the idiosyncrasies of simon's (and omar's) heritage because the rest of latin america tends to go overlooked in most other fandoms. so i don't intend to scold anyone with this. we can't all know everything about every other culture-- lord knows i don't know everything about sweden, but i want to be respectful to the country and its people and that is why i heavily research anything i don't know and ask people who do know when my research doesn't quite cover it and am open to corrections when even that falls short. i expect most of you come to write about simon's family background in good faith and also want to be respectful to his family's culture, and so i thought i might make things a bit easier for you all by putting the most common errors/misunderstandings i've seen in one handy post. but once again, it's not a call-out, i don't get offended by these things, and i'm in no way implying, if you've done any of these things in fic or in life, that you are a bad person. i understand people make mistakes when they don't know things.

disclaimer 2: i am not venezuelan myself. i was born and raised in the same general region of latin america, though, and i have venezuelan friends and have worked with venezuelan people and have visited venezuela. generally speaking, i feel their culture is very similar to mine (though our spanish is much closer to spanglish than theirs is, haha xD) and feel a deep kinship with them. but of course, i'm no native, and if you're venezuelan and catch anything here that you feel is incorrect, feel free to point it out and i'll add a correction in your name.

warning: this is very long. christ almighty. DX if you can't make it to the end, tl;dr-- feel free to ask if you have any questions or if anything isn't clear. my ask box/messages are always open.

1- "mijo." this is the only one that legit has caused me to click out of several fics/chapters, at least in the beginning, but i've learned to grin and bear it by now. it's not so much that it's wrong, per se, but rather it's more of a location issue. "mijo" is, to my ears, very much a mexican (or, if you stretch it, northern triangle) slang. it IS used sparingly in other countries, but rarely used unironically. instead, if you hear the term used in the caribbean region of latin america (which my country is part of, as is a large part of venezuela), it's almost always used… let's say sarcastically. for example, if your grown-ass adult friend is being a dumbass and doing something reckless, you might call out "oiga, mijo, se va a romper el cuello" ("hey, mijo, you're going to break your neck"). basically, it's a way of calling someone immature like a child. it doesn't have to be ENTIRELY unaffectionate (kinda like the way someone might call their significant other "idiot" or "dummy" but mean it endearingly. in fact, in colombia it's way more common for spouses to call each other "mijo/a" than it is for them to call their children that), but you can also use it with complete strangers-- like if someone cuts sharply into your lane while you're driving, you might yell at them "oiga, mijo, a donde le enseñaron a manejar, en un potrero?!" ("hey, mijo, where did you learn how to drive, in a horse paddock?!"). but even in these sarcastic/neggy cases, it's rare. and EVEN RARER to hear a mother call her children "mijo" or "mija" in this region. it's just not a thing. so when i read it in fanfic, it immediately takes me out of the story because it's so weird to me that linda would sound mexican-- it's a very distinctive accent, which carmen gloria 1000000% does not have. (plus, "mijo" in spanish is a type of birdseed. so it gave me a chuckle the first few times i read it in a fic because i always have that brief second of confusion where i go "why is linda calling simon birdseed?" before it clicks. xD i'm a dork.) it's much more likely that linda would just say "hijo" or "mi hijo," instead.

1b- the way you decide on whether to use "hijo" or "mi hijo" is important because "mi hijo" can sound overly formal in the modern context especially, much like it would in english. in fact, you can use the english version of it, "son" vs "my son" to guide you on which of the two to use. like for example, if linda were to say directly to simon "i love you, my son," she would sound oddly old-timey and anachronistic, so you would just use "son" ("hijo") in that case. whereas if she's talking about simon with someone else, for example saying "i told my son to be here on time," you'd be perfectly okay to use "mi hijo" in that sentence in spanish. it's very transferable in that case.

2- speaking of non-transferable, though, you can't use "cariño" in all instances you would use "sweetheart" or "sweetie." it really depends on the grammatical construction, and it can be tricky to get it right, but it depends on whether you're using it as a direct address or as an object. for example, if you're using it in place of someone's name-- say, a mother telling her child "te quiero, cariño" ("i love you, sweetheart/sweetie") is perfectly fine, because in that case, she could also say "te quiero, hijo" ("i love you, son") or "te quiero, simon" ("i love you, simon"). but if, say, simon says to wille "you're my sweetheart," you would not use "cariño" there; you'd go instead with some syrupy way to say "boyfriend," like "eres mi novio" or "eres mi enamorado" or even "eres mi amor," and if sara tells felice "you're a sweetheart," that would also not involve "cariño" at all. in addition, "cariño" is also very rarely used in plural; if linda is using a term of endearment for both her kids, or for a group of teens her kids' age, she would use a different term of endearment altogether: "hola, mis amores" ("hi, my loves"), "hola, bebés" ("hi, babies") or "hola, mis tesoros" ("hi, my treasures") among some examples. one exception is when you say "cariños míos" ("my sweethearts"), but very rarely the plural by itself. in fact, "cariño" is often slang for gift or present, especially in the diminutive-- for example, if you go to someone's celebratory party for some occassion (birthdays, graduations, baby showers, heck even christmas), you might hand them a small gift and go "te traje un cariñito" ("i brought you a small present"), and if it's more than one gift, or you're bringing gifts for several people, then you'd say "unos cariños" or "unos cariñitos" in the plural.

3- simon's skin is tan, not tanned. this… doesn't personally bug me as much because it's more of an english grammar issue, but i know people who might actually feel very offended if you get this one wrong with respect to them. "tan" is a color; a light shade of brown. "tanned" implies the original color of your skin has darkened with the sun. now, i'm sure simon can tan (lucky goat, says she whose skin burns even while indoors), but about 95% of the time "tanned" is used in YR fanfiction, it's used as a descriptor of the color of simon's skin as we see it on the show. that would imply his skin used to be lighter at some indeterminate before-time and has been darkened by the sun. this is incorrect; that is the natural color of simon's skin. so stick to "tan skin" instead (not tan PERSON, mind you. his SKIN is tan, he is not). and i would gently suggest that if you take away any single thing from this post, make it ESPECIALLY this point, as someone more sensitive than me might interpret this error as some kind of retroactive whitewashing. and i don't want anyone here to get in trouble for simply not knowing.

4- pabellón criollo is one dish, yes, but it's four different FOODS. it's not something a newbie would be able to make off of a recipe (i don't know how to make it and i've been eating it all my life), and it's not something that's likely to be taught in just one day. also, if you're bringing it to a dinner or a potluck, you're bringing four separate food containers, not just one.

4b- also, venezuelan food, for the most part, is not particularly spicy. you CAN make it spicy if you want, but traditionally, it is not. it's flavorful, maybe even saucy depending on the dish, but rarely spicy. i know the joke of white people being unable to handle spice is funny, but there's also plenty of us hispanic people who are equally terrible at it, because there's different levels of spice in the food from different regions of latin america. besides, as a friend of mine perfectly put: we are living in the 21st century now. if you can eat mild mexican food, you should be able to handle traditional venezuelan food just fine. and i'm pretty sure there's mexican food in sweden. plus, wille would probably be more used to international food-- not only does he have the means, but having traditional meals in foreign countries is kind of part of the job.

5- while i'm at it: simon is definitely half venezuelan. this is canon as of S2. there is no other place in the world where that dish is called pabellón. please keep that in mind when you're writing and researching.

5b- this, along with several of the points above, is important because it's a bit of diaspora trauma that whenever we venture outside of latin america and people learn we're latino, they immediately assume we're mexican, or that our culture and traditions are the same as those of mexican people. it happens often, and it's incredibly annoying. not that there's anything wrong with mexico or mexican people-- they're lovely, and their traditions and culture and food are fantastic-- but we are not them, and treating us like we are is reductive. the rest of latin america can be very different and incredibly diverse, and it can be dispiriting when people treat us like we're all the same. so that is why it is important when writing about simon, his family or his venezuelan roots, that you take care to actually research things as they are in venezuela, and not just pick the low-hanging fruit of latino facts you might've learned through pop cultural osmosis, which eight times out of ten will be mexican-only because most hispanic people in the US are mexican and the US exports its media all over the world. i've learned to just roll my eyes at it by now, but some people might actually feel offended or hurt, and i'm sure nobody here intends for that to happen.

6- although simon speaks spanish, neither he nor sara nor his mother nor any aspect of his mother's culture is spanish. "spanish" is what people from spain call themselves. people from spanish-speaking latin american countries are not spanish; we are hispanic, or latino/a/e. "latinx" is… let's call it controversial, at least outside of the US. most people born and raised in latin america don't like it; i personally don't get offended if people use it, but i don't use the term myself. also, you can say "latin food" or "latin music," but we usually don't refer to PEOPLE as latin, but rather latino/a/e. if in doubt, just use latin american or hispanic. they're also conveniently gender neutral.

EDIT: @andthatisnotfake also brought up a very important point: "if you spell it latinx, it makes it harder for screen readers to read (or so I've been told) and some people depend on those, so there's another reason to avoid it." (the unpronounceability of that term is at least part of the reason why hispanic people who live in latin america don't like it.)

6b- never use "the latino/a" on its own to refer to people. "latino/a/e" is an adjective, not a noun, so you would say "the latino boy" or "the latino man" but never just "the latino." kinda like it would be weird to point out the one japanese man in a room as "the japanese." there are some nationality/ethnic terms that just don't work as nouns in english.

7- spanish is not simon's one native language-- or at least not any more than swedish is. he grew up in a mixed-race household, speaking two different languages. it's pointless to call spanish his native language when comparing it to swedish. both are his native languages. also, while we're at this, wille is probably at least bilingual (i'm assuming he can speak at least english), although he only has one native language. it's hardly a competition between the two boys as to who's more of a polyglot.

7b- simon wouldn't take classes on the spanish language-- like to learn how to SPEAK the language-- since spanish is one of his native languages. he wouldn't take them at hillerska, nor in university, nor elsewhere. he wouldn't be allowed. you're literally not allowed to take classes on your native language, nor get credit for said classes. trust me, those would've been an easy extra 24 credits for me in college if that was a thing.

EDIT: have been made aware (thanks, @rightsogetthis and @plantbasedfish!) that at least in sweden and in finland one IS allowed to take classes of your non-swedish/finnish native language, in certain circumstances. i have to say, i'd be pissed if i were taking my french classes alongside a french native speaker, but hey, the system's the system, i guess. ;) so i've struck this one out.

8- dear god please don't use google translate for your spanish translations. listen, i'm not judging-- i do it with other languages, too, when i'm in a pinch. but google translate is literally The Worst (tm) so i always try to either check with someone, or stick to the stuff i already know is correct. seriously, you don't want to know the kinds of crazy stuff GT can spit out that people actually put out in the real world; some of them are quite hilarious. if you're unsure, my ask box/messages are always open and i looooove helping people with this kind of thing, hispanic language and cultural stuff. i know it seems like i'm hardly around, but i do check my messages. don't be shy, even if it's something really small.

PS: while i'm talking pet peeves, malin is wille's bodyguard, not his butler. she's nice enough to attend to him at hillerska because there's no other palace staff around and she's literally stationed outside his door, but she wouldn't do that in the actual palace. there's other staff for that. she wouldn't even guard him at the palace, i don't think, because the royal palaces in sweden are guarded by the royal guard, not SÄPO. if anything, malin might spend the time while wille is in the palace grounds at a gatehouse (like in YR 2x03 and onwards) or at some kind of security office in the palace, and then get called whenever wille needs to go anywhere. she wouldn't be giving wille messages from the queen or walking guests to wille's room or anything like that. that's not her job. (sorry, i had to get that off my chest, lol.)

[iloveethnicities]

"¿Qué volá, compa? Aquí estamos echándole ganas."

"What's up, friend? We're here giving it our best."

Lexical Analysis

¿Qué volá?

This phrase, particularly volá, is a colloquial expression that likely originates from Afro-Caribbean Spanish, especially Cuban Spanish. In Caribbean Spanish, volá is a variant of volar (to fly) but serves as an idiomatic expression meaning "What's up?" or "What's going on?"

The use of qué as an interrogative reflects standard Spanish sentence formation, but volá as an expression shows the influence of Cuban and Afro-Caribbean colloquial language.

Compa

Compa is a shortened form of compadre, which originally means "co-father" (a relationship between a father and his child’s godfather), but in colloquial use across Latin America, it has come to mean "buddy" or "friend."

Compa is common in Mexican Spanish and serves as a term of endearment or camaraderie, creating an informal, friendly tone in the phrase.

Aquí estamos echándole ganas

Aquí estamos (literally, "here we are") is a common structure in conversational Spanish, often used to imply "we’re here, present, and enduring."

Echándole ganas is a colloquial Mexican expression meaning "putting effort into it" or "pushing through."

— Echándole comes from the verb echar (to throw or put), conjugated in the gerund form, creating echando (throwing).

— The construction le ganas adds a colloquial meaning: "giving it effort" or "giving it all we’ve got."

— The phrase as a whole implies perseverance or resilience, a common value expressed in Mexican Spanish.

Morphological Analysis

¿Qué volá?

The phrase is a simple question using the interrogative qué (what). In standard Spanish, we might expect ¿Qué pasa? or ¿Qué tal? but volá provides a colloquial and cultural twist. The omission of additional elements, such as auxiliary verbs, makes it a compressed, efficient form typical of spoken language.

Compa

As a contraction of compadre, compa is an example of syllabic shortening. This morphological change reflects informal, rapid speech patterns and closeness in the relationship between speakers.

Echándole ganas

This is a pronominal construction with le as an indirect object pronoun that doesn’t directly translate into English but helps convey emphasis in Spanish.

Ganas (desire or effort) is a noun that, in this context, is colloquially paired with echar to create a unique phrase with an implied meaning. The combination echar + ganas forms a multi-word expression that cannot be directly translated word-for-word.

Syntactic Analysis

The sentence structure follows an informal conversational syntax common in Latin American Spanish. The first clause, ¿Qué volá, compa?, is a separate interrogative with a direct address to compa (friend).

The second clause, Aquí estamos echándole ganas, is declarative, using aquí estamos as an introductory phrase indicating the speaker’s presence and state. This clause also has the structure estar + gerund (estamos echándole), which is typical in Spanish for ongoing actions.

There is no explicit subject pronoun (e.g., nosotros/we), as it is implied by estamos (we are), consistent with the Spanish preference for dropping subject pronouns when they are not needed for clarity.

Sociolinguistic Analysis

¿Qué volá? is commonly associated with Afro-Cuban and Caribbean Spanish, marking an Afro-Caribbean influence, even though this phrase is also understood in Mexico, particularly in Afro-Mexican communities along the Costa Chica. Its use can signal camaraderie and familiarity, often reserved for close friends or peers.

Terms like compa help to create solidarity and equality among speakers. In informal, culturally rich communities, addressing someone with compa indicates a sense of closeness and shared experience.

Echándole ganas is a distinctly Mexican idiomatic expression reflecting cultural values of perseverance and optimism. It underscores the determination of the speaker to continue putting in effort despite challenges, a sentiment often embraced and celebrated in Mexican communities, including Afro-Mexican areas.

Pragmatic and Semantic Analysis

Pragmatically, this phrase serves as a friendly check-in, expressing care and solidarity, but it also implicitly communicates resilience. The question ¿Qué volá? signals a casual inquiry into the listener's well-being, while the response Aquí estamos echándole ganas reassures the listener that the speaker is enduring and persevering.

Semantically, the phrase combines common and colloquial elements from both Afro-Caribbean and Mexican Spanish, showing how language evolves through cultural interactions and shared experiences.

The phrase “¿Qué volá, compa? Aquí estamos echándole ganas” is a rich linguistic blend that reflects the Afro-Mexican community’s historical and cultural connections to the broader Afro-Caribbean world while maintaining a distinctly Mexican flavor through phrases like echándole ganas. It represents a shared identity, informal camaraderie, and resilience, with each word choice carrying layers of social and cultural meaning.

[goizueta-leadership-training]

Le Jour des Morts dans les Pays Hispaniques : Un Voyage de Traditions et de Souvenirs

Par David Dantes La célébration du Jour des Morts, ou Día de los Fieles Difuntos, est aussi variée que les paysages et les cultures des pays hispaniques. Avec des racines dans les coutumes indigènes et transformée par l’influence espagnole, chaque pays a sa propre façon d’honorer les défunts. Commençons notre parcours à Cuba, en explorant les façons uniques dont ce jour est observé dans toute…

[skyfire85]

Sancocho (from the Spanish verb sancochar, "to parboil") is a traditional soup in several Latin American cuisines. Variations represent popular national dishes in Dominican Republic, Colombia, Cuba, Honduras, Ecuador, Panama, Puerto Rico, Trinidad and Tobago, and Venezuela. It usually consists of large pieces of meat, tubers and vegetables served in a broth.

[expressingartwithvideos]

#RadioShow #radio #Music #Musician #Radio #Host #LatinAMerican #Audience If you're looking for a captivating and authentic experience of Latin American culture, look no further than the YouTube channel titled "La Fritanga Radio Show". This channel is your go-to source for all things related to Latin American music, cuisine, dance, art and more. With an engaging and professional tone of voice, La Fritanga Radio Show offers a unique perspective on the diversity of Latin America that you won't find anywhere else. Whether you are seeking to learn about traditional dishes such as tamales or pupusas; discover new artists in genres like salsa or reggaeton; or simply immerse yourself in the vibrant cultural traditions that define this region - La Fritanga Radio Show has got you covered.

[artcentron]

Venezuelan Artist Oswaldo Vigas Finally Gets the Recognition He Deserves

With a new art exhibition at the Boca Raton Museum of Art and other major global art events, Venezuelan artist Oswaldo Vigas finally gets the recognition he deserves.

Organico1969, Oil on canvas. 42 15/16 x 40 15/16 in, by Venezuelan artist Oswaldo Vigas. Image: Oswaldo Vigas Foundation With a new art exhibition at the Boca Raton Museum of Art and other major global art events, Venezuelan artist Oswaldo Vigas finally gets the recognition he deserves. BY KAZEEM ADELEKE, ARTCENTRON Oswaldo Vigas: Paintings Between Latin America, Africa, and Europe, an…

[honeyyoubetter-believeitsbutter]

What I absolutely love about Latin American/Hispanic music is how big they are when it comes to covers

When one song is a hit and released to the world immediately you can find five different artists of different genre singing that same song in their style!

They recycle music, tunes, and beats and it never feels like stealing! It’s never repetitive and it never gets old!

Like a song by Joan Sebastian? Wonder what it would sound like if it was in bolero/salsa/bachata? Boom! Charlie Zaa has a whole album in his honor!

Like Juanes’s song La plata? Wonder what it would sound like if it was cumbia? Boom! Los Ángeles Azules did a remix!

Fuck it! You like the English song Blame it on the boogie by the Jacksons and want to hear it in Spanish? Luis Miguel did a cover of it in 1990!

The night Chicago died? Boom! Banda Toro!

You like Back on the chain gang by the Pretenders? Wonder what it would sound like in Spanish? BOOM SELENA 1995

[lanada]

Ignacio Gómez | El Pachuco / Zoot Suit

[pixiatn]

POKEMON AND DISLYTE CHARACTER DESIGNERS, SNEAK INTO HOYO HQ AND MAKE DARK SKINNED CHARACTERS AND MY LIFE IS YOURS‼️‼️‼️

[caribbeanart]

So I was watching a program the other day on CUNY TV in which an anthropologist in Afrolatino studies claimed Marcus Garvey to be an Afrolatino. Nothing wrong with being Afrolatino of course, but I felt it was yet another attempt to not actually learn anything about Caribbean culture and just lump us in with another group.

I understand some of us are both Afrolatino and Caribbean but the point is that we get to choose our own identity that authentically represents our own experience and that did not feel very authentic. I tried to email the person in the program and they responded very respectfully but also very...indifferently, saying how it depends on the context (?!?) and how they know one Jamaican person who identifies as Afrolatino (and some exceptions with the Dutch Caribbean) so that means Marcus Garvey could be Afrolatino...

Anyway, I just wanted to give you guys an opportunity to voice your own opinions whether that's in the comments on YouTube, on Facebook, or on Instagram at cuny.tv or at brownblackpodcast. People benefit so much from our culture as Jamaicans (and Caribbean ppl) but then don't want to actually take the time to learn about our identity and I'm not having it. This is not an attack but an opportunity to respectfully express our heritage.

Below is an example of one of my responses (no reply for now). I know Caribbean identity is complex and many of us may identify as more than one thing but there is room to acknowledge the diversity in our identities without invalidating each other's experiences (hence the motto of Jamaica, "out of many, one people").

I actually love the idea of studying Afrolatino and Caribbean narratives alongside each other as two groups that have been largely ignored in our region. I think there are a lot of correlations in our narratives + a lot we can learn from our resistances, just not a fan of lazily lumping one group in with another.

[nickysfacts]

Hot Chocolate is the drink of the Gods and Democracy!

☕️🇲🇽☕️

[naturallawofweirdnessmagnitism]

Here are some of my Nomad headcanons!!

I based some of his clothes on traditional gaucho fashion, mainly the belt, leather, and Poncho patterns

They always seem to be unarmed in the series, so instead of a facón, I just gave him a pouch and spare cloth

The tassels and bells make all the shaking and jingling sound effects in the show

Sometimes, their critters bring him little flowers or shiny trinkets. He loves this and has some of them pinned on his poncho

The antler stubs are there to push my similarities-to-the-otgw-beast agenda

[goizueta-leadership-training]

El Día de Los Muertos Across Hispanic Countries: A Journey of Traditions and Remembrance

By David Dantes The celebration of El Día de Los Muertos, or Day of the Dead, is as varied as the landscapes and cultures of Hispanic countries. Rooted in indigenous customs and transformed by Spanish influence, each country has its own way of honoring the deceased. Let’s begin this journey in Cuba, exploring the unique ways this day is observed across Latin America. Cuba: A Blend of Catholic…

[transastronautistic]

i want to make a sewing piece with flowers from different liberation movements — e.g. lavender for queers, poppy for Palestine...

anyone have information on flowers linked to other movements / cultures? For instance, Black liberation or Latin American / Indigenous liberation?

[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.

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