El Brinco del Chinelo Arrives in the U.S.
Chinelos from the Guadalupana de José Peña Leal and Tierra y Libertad del Bronx comparsas (troupes) perform at Parlor New York in the Bronx on Sept. 7, 2025. The comparsas joined forces to select the queen of the Mexican parade ahead of the Mexican Independence celebration in New York. Photo by Jaclyn Licht for palabra
The rhythm of Morelos finds a new home in the Big Apple.
The chinelos, traditional dancers from Morelos, Mexico, shook their hips from side to side while jumping to classic banda music. Their long robes swayed with them. One of the hats had beaded patches of revolutionaries Emiliano Zapata and Pancho Villa. Guests with flower crowns surrounded the quinceañera at the center of the dance floor.
The Tierra y Libertad del Bronx comparsa, or chinelo dance group, members were drenched in sweat after they removed their heavy costumes. The group is owned by Laura Labastida and Miguel Gómez, who recently performed at a party. “As children, we prepared all year with the hope of attending the carnival de Yautepec the weekend after Ash Wednesday,” shared Laura.
The dance custom was born in Morelos in the late 1800s during colonial times in the municipalities of Tepoztlán, Yautepec, and Tlayacapan. It was a protest by peasants against their wealthy employers, Spanish colonizers, who participated in annual carnivals and excluded them. Workers wore long robes, masks, hats, and gloves, and danced to make fun of the hacienda owners.
Miguel Gómez prepares the comparsa’s costumes before its performance at Parlor New York in the Bronx. Photo by Jaclyn Licht for palabra
Laura Labastida gears up for the Chinelo performance at Parlor New York. Photo by Jaclyn Licht for palabra
“The story started with the slavery of Moralenses. They were forced to work at haciendas for 360 days, where they produced sugar, rice, and corn. Each generation became angrier and resentful. They decided to imitate their inebriated bosses and their wives at the carnivals. Over the years, the tradition evolved into what it is today,” said Lennin Omar Villalba, the former director of the Museo Centro Cultural del Chinelo (MUCECCH) in Yautepec.
The clothing of the time exaggerated upper-class European fashion, with women wearing ornate dresses and feathered hats, and men growing long beards. They covered their bodies to conceal their identity to avoid punishment, explained Villalba.
Chinelos have spread to neighboring Puebla, Oaxaca, and Guerrero in Mexico. The annual festivity takes place the weekend before Ash Wednesday at town squares, in the streets, and in private homes. It is days of camaraderie and partying with food, music, and drink for locals and visitors. El brinco (the jump) evolved into a tradition that brings people together from both sides of the Mexico-U.S. border. It was passed from generation to generation in Mexico, and now immigrants in the U.S. teach it to children and friends.
Members of the comparsa Guadalupana de José Peña Leal getting ready to perform. Photo by Jaclyn Licht for palabra
Chinelos from the Guadalupana de José Peña Leal and Tierra y Libertad del Bronx comparsas at Parlor New York. Photo by Jaclyn Licht for palabra
The comparsa (troupe) that led the way
“There was nothing of our tradition in New York City. The city’s Mexican population has grown since 2001. Then I had the urge to bring el brinco here. People forgot about it, and I did it. Thankfully, there are many chinelos now,” said José Peña Leal, leader of the Brooklyn-based comparsa Guadalupana de José Peña Leal. It is credited with introducing chinelos to the city in the early 2000s and is well-regarded by the community. Several of his performers later created their own groups, including Miguel.
The comparsas earn little in profits after personal expenses. Regardless of whether they perform at a paid or unpaid event, they have to pay for transportation, costumes, costume repairs, and food for multiple people. The price of a robe can range from $500 to thousands of dollars, depending on the intricacy of the design.
Most comparsas have their costumes shipped from Morelos, made by craftsmen who specialize in the art form. The robes from Tepoztlán are black with white rabbit fur trimmings, those from Yautepec are colorful and elaborate, and Tlayacapan has a signature white robe with three cobalt blue stripes. Dyed ostrich feathers are used for the hat. Today’s garb has designs that range from traditional beaded patches to cut-outs of pop culture characters.
José Peña (second from right) with his wife and fellow chinelos at Parlor New York. Photo by Jaclyn Licht for palabra
Laura and Miguel were raised in Yautepec and Cuatla before moving to the United States. As children, they wanted their own costumes but could not afford them. The money immigrants earn in the U.S. makes it possible for them to afford the clothing, an accomplishment that may have been financially out of reach in Mexico. They make their own robes – he works on the beading and hats, and she makes the robes. Now they have 15, enough for friends and family to dance with them at local events and private gatherings.
In NYC, Latinx from other countries have participated in chinelo performances as well. The comparsas invite their Central American, South American, and Caribbean friends, or anyone who wants to dance at events. There are about 10 groups in the city, and they perform together on Mexican Independence Day, Día de las Raíces (Roots Day), and at parades and holidays.
“Everyone comes together to have fun,” Miguel tells palabra. Added Laura, “I learn from my neighbor, who is from a different country, and they learn from me. It’s a cultural exchange. It’s good to understand each other and build tolerance.”
Chinelos from all ages join in the fun at performances. Photo by Jaclyn Licht for palabra
At the performance at Parlor New York, audience members immediately joined in to dance alongside the comparsas. Photo by Jaclyn Licht for palabra
A chinelo exhibit in Arizona
The first chinelo museum in the United States, Museo del Chinelo, Cultura y Tradición Morelense, opened in Phoenix, Arizona, on March 30th, and hosts free performances for the public.
“There are many who cannot travel to Mexico because they are undocumented, don’t have family there, or don’t have time to go. It is a tradition that we are born with. We have the music of the chinelos with us starting in the womb,” shared museum director Enrique Torres. People who attend the events can enjoy el brinco as if they were back home.
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Torres said he was worried that the Trump administration’s tough stance on immigration would scare people into not attending opening day. The event was planned to help locals feel safe and welcomed. Phoenix is home to at least 18 comparsas. According to the U.S. Census Bureau’s American Community Survey (ACS) 2019–2023 estimates, about 87% of the city’s Latino population is Mexican and Mexican American. Over 1,400 people were at the opening, including Nancy Gómez, the mayor of his Morelos hometown, Tlaltizapán.
José, Miguel, and Laura think it is important to teach the tradition to youth, especially those born in the United States. They want kids to proudly celebrate their heritage. “El brinco got my attention. There isn’t a right way to dance. Your body moves to the rhythm of the music to dance. I enjoy seeing people united by a tradition they like,” said Sofia Aguilar, a 20-year-old college student who has been dancing since she was five years old. Her family's comparsa is Unidos Por Una Sola Pasión (United by a Single Passion)
“It helps me connect with my roots, and I get to de-stress. I’m learning more about Mexican culture. I like that parents are teaching their children so that they can pass it on to their kids in the future.”
For chinelos, each performance comes with a sense of pride for their Mexican roots, even from a faraway place like the Bronx, New York. Photo by Jaclyn Licht for palabra
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Yesica Balderrama is a bilingual journalist and producer based in NYC. She emigrated from Morelos, Mexico, at the age of five. Her work has been published in the Associated Press, Los Angeles Times en Español, PRISM Reports, Yes! Magazine, and Guernica, among others. She has also done production work for WNYC’s The Brian Lehrer Show, Slate’s Culture Gabfest Podcast, and NPR’s Latino USA. When she is not working, she can be found at a music show, bookstore, or museum. @yesica_bald
Jaclyn Licht is a photographer based in Brooklyn, New York. Following four years of working at the United Nations, she now documents the nuances of UN affairs, and regularly reports on issues ranging from politics and culture to climate mobility - all of which illuminate the human impact of high-level political decisions. Her work has been featured in the New York Times, Washington Post, El País, Le Temps, and CNN, among othhers. Jaclyn graduated from Brown University with a B.A. in English and Public Policy, and is a graduate of the Documentary Practice and Visual Journalism program at the International Center of Photography. @shwaclyn
Patricia Guadalupe, raised in Puerto Rico, is a bilingual multimedia journalist based in Washington, D.C., and is the co-managing editor of palabra. She has been covering the capital for both English- and Spanish-language media outlets since the mid-1990s and previously worked as a reporter in New York City. She’s been an editor at Hispanic Link News Service, a reporter at WTOP Radio (CBS Washington affiliate), a contributing reporter for CBS Radio network, and has written for NBC News.com and Latino Magazine, among others. She is a graduate of Michigan State University and has a Master’s degree from the Graduate School of Political Management at George Washington University. She is the former president of the Washington, D.C., chapter of NAHJ and is an adjunct professor at American University in the nation’s capital and the Washington semester program of Florida International University. @PatriciagDC