A Danza Landscape

Abstract

On May 1, 2006, historic demonstrations1 ignited across the United States when millions turned out to support the cause of (im)migrant and worker rights in cities large and small. In San José, California, more than 125,000 people marched from the East Side epicenter of the Mexican-origin community to the city hall in downtown toward Guadalupe River Park (which, appropriately, is a sacred site for the Ohlone Nation). Sergeant Nick Muyo of the San José police department was surprised by the attendance and called it one of the largest demonstrations in the city’s history (McPherson, 2006). At the head of the serpentine procession were members of a Mexica (Aztec)2 dance group, Calpulli Tonalehqueh. In full regalia and along with dancers from associated Aztec dance groups, the dancers paced the procession with drums that carried over the shouts of organizer bullhorns. Calpulli Tonalehqueh was invited to head the march by local labor leaders and was placed ahead of the images of Catholic saints, police cavalcades, and the community at large. It was a historic day. Children missed school. Employers closed businesses to allow their workers to attend. Day laborers halted their searches, and counter-protesters organized their platforms. A plane flew overhead pulling a banner that read, “Wake up America close the borders. Americaisfull.com” (Ostrom et al., 2006).