The Tlacolorerosis an interesting and unique agricultural dance. This is performed in the state of Guerrero. The name is derived from the Aztec Tlacolol, which means "to prepare the land for cultivation." The dance represents the burning of the bushes and the cleaning of the corn-patch, and the dancers wear burlap tunics, jeans, tick boots that reach above the knees and are lanced at the sides, and large interesting masks that represent animals, usually a tiger. Guerrero is famous for their dances and costumes. The tlacoloreros are directed by a captain and dance to violin music, marking the rhythm with their whips, which they hit each other with on their padded left arms to imitate the crackling of the fire as it burns the trees. A dog goes after the tiger that is damaging the cornfields. At one stage of the dance, the fires go out. While trying to find out whose fault it is, they go about whipping one another. Their whips are combined with chains, reproducing the bursting flames to the rhythm of the music.

The Spanish presence in Mexico had an influence on dance. Some Mexican dances and costumes appear similar to flamenco, the traditional Spanish dance. In this dance, a story is told through dramatic marked steps and movements. These dances were introduced in the form of zapateados called jarabes, which means syrup or sweet drink in Spanish.

These dances usually are performed by small groups of men and women. They never touch one another. The woman always dance slowly and modestly, with their eyes looking to the ground and lifting their skirts slightly but never flirtatiously. The men dance faster, doing a greater variety of steps but always holding themselves stiff above the waist. When jarabes are danced at funerals of young children and at weddings, they assume a ceremonial character. For example, the huapangos, a name derived from the Aztec Cuah-panco-cuaitl "On top of wood", are danced on a platform. At one time, the huapangos were danced only by the higher classes. In the huastecas (occidental part of Mexico), this dance lasts as long as the parents permit. The first part is danced in the room where the church altar stands. The bride and groom, both with eyes cast to the ground, lead the other couples in forming a circle. Each dancer carries a small jar of Incidence In his right hand and flowers in the left. The only others beside the dancers are musicians playing the wedding huapango. At the end of the dance the purity of the bride are symbolized putting the flowers and incense on the altar (Mexican folkways p313).
Many of the folk colonial dances lost their meaning with the modernization of the Mexican economy.