The celebration of El Señor de la Conquista is one of San Miguel de Allende’s most important events. Every year, on the first Friday of March, hundreds of Indigenous Hñähñu (Otomi) dancers gather to honor a life-size statue of Christ that has been safeguarded in the Parroquia de San Miguel Arcángel for over 400 years.
A history of faith and conflict
Shortly after the town of San Miguel was founded in 1542, Spanish missionaries began efforts to colonize the Central Mexican Plateau and evangelize its Indigenous peoples, whom the Spanish referred to as “Chichimecas.” Threatened by Spanish slave-raiding and determined to defend their lands, the Chichimecas resisted fiercely, fighting the colonizers for 50 years in what is now called the Chichimeca War.
In 1564, Vasco de Quiroga, the first bishop of Michoacán, officially established San Miguel as a parish, entrusting Franciscan friars with the mission of converting the native population. In 1580, two friars set out from Valladolid, now Morelia, accompanied by a small group of Spanish soldiers. According to historical records, the friars carried two large crucifixes, both made in Pátzcuaro using the pasta de caña, or corn pulp technique, to appeal to native traditions.
As they approached San Miguel, the party was ambushed by Chichimeca warriors at the site now known as El Puente del Fraile. Just before dying, the friars are said to have clutched the crucifixes tightly, covering them with their blood.
A few soldiers survived and brought the crucifixes to San Miguel. One of the crucifixes had lost an arm during the attack. Days later, the missing arm was found at the ambush site and, when reattached, it fit perfectly, adding to the crucifix’s reputation for miracles.
It was then decided that one crucifix would remain in the Parroquia, or parish church, of San Miguel, while the other was sent to the town of San Felipe. Both were venerated as El Señor de la Conquista: the Lord of the Conquest. The title is supposedly meant to honor not military conquest but rather spiritual conversion. Many began attributing miracles to these crucifixes, said to heal the sick and protect the region from epidemics.
The celebration of El Señor de la Conquista today
During the colonial era, the crucifix was carried in a devotional procession through the town’s main streets, alongside other religious images still preserved in nearby communities. The last recorded procession took place in 1842. Since then, the celebration consists of gathering around the Parroquia every year on the first Friday of March. This is preceded by a novena, a nine-day prayer ritual, where 33 creeds are recited each day, honoring the 33 years of Christ’s life.
The event begins at 8 a.m., when hundreds of dancers dressed in elaborate traditional attire gather around the Parroquia. The area fills with color, movement and sound while distinct groups of worshipers take their place. The dancers move to the deep, steady pulse of drums while the scent of copal incense marks the space as sacred. As the ritual unfolds, locals and tourists gather, drawn by the powerful energy that fills the air.
This celebration also marks the start of the planting season. The ritual is a show of gratitude, as if a good upcoming harvest had already arrived. In this tradition, gratitude comes first, with dancers moving in celebration of the abundance they trust will come, rather than praying for it to happen.
Each element in the dancers’ attire and body paint is filled with symbolism, a stunning display of pre-Columbian identity. Their towering headdresses are made of feathers arranged in elaborate patterns. Many wear pectoral plates depicting mythological symbols or animal spirits. Their arms and ankles are wrapped in rattling seed pods and shells, loudly proclaiming their every step.
Their shoes are usually simple sandals designed to allow contact with the earth. Many also carry shields painted with motifs that represent warrior heritage. Some shields feature mirrors, believed to reflect negative energy and protect the bearer. Combined with richly embroidered capes or skirts, these garments turn the dancers into moving altars, where every element carries significant meaning.
A paradox of faith and survival
The essence of this festivity can feel like a contradiction. El Señor de la Conquista was created to mark the religious conversion of Indigenous people through colonization and evangelization. Yet today, it is the descendants of those same original communities who lead the celebration, performing rituals and dances passed down from long before the Spanish arrived.
The clamorous rhythm of steps, drums, rattles and chanting pulls dancers and spectators alike into a trance-like state. This way of reaching spiritual heights stands in sharp contrast to Catholic traditions that emphasize verbal worship and quiet contemplation.
Like many other religious expressions in the country, this festivity serves as a living testament to Mexico’s ability to hold multiple truths at once: resistance and compliance, conquest and survival, and Catholic and Indigenous religion. The celebration of El Señor de la Conquista is a window into the complex soul of Mexico.
How to participate
You can witness the event at any time throughout the day, as the celebration continues well into the night. Remember that this is not a performance for tourists; it holds deep spiritual meaning for the dancers and their communities. Treat the space, rituals and participants with respect. Avoid blocking the dancers’ paths and be mindful when taking photos. By showing reverence and understanding, you honor the tradition and the people who have kept it alive.
Sandra Gancz Kahan is a Mexican writer and translator based in San Miguel de Allende who specializes in mental health and humanitarian aid. She believes in the power of language to foster compassion and understanding across cultures. She can be reached at [email protected]
