Every year, the Otomí-Chichimeca peoples settled in the semi-desert region of the state of Querétaro, in central Mexico, gather at the symbolic triangle formed by Peña de Bernal and the Zamorano and Frontón hills. They make a pilgrimage carrying religious images and, with rituals accompanied by dances and music, invoke rain and divine protection, venerate their ancestors, and ensure the continuity of their community. The rest of the year, they perform ceremonies in family chapels or in tall, perishable structures called chimales—imposing temporary structures built with reeds and covered with wild plants, which are offerings and symbols of the community's resilience, vitality, and sense of identity—that exalt the resilience and identity of their ethnic groups.

In 2006, the Totonac ethnic group created an educational institution for the comprehensive transmission of their knowledge, practices, and arts. It resembles a vernacular settlement and comprises several house-schools, each dedicated to a specific art characteristic of the community (ceramics, textiles, painting, medicine, dance, music, theater, and cooking), while in the “House of Elders” they learn the essential values of the Totonac people. It seeks to revitalize indigenous culture through the use of the Totonac language, recover traditional techniques, encourage artistic production, reestablish government structures, and promote reforestation. This center is self-managed and cooperates with organizations from other Mexican states and countries.

The process of making Talavera pottery involves traditional techniques that have been passed down from generation to generation through the intrinsic work carried out in pottery workshops (each of which has its own distinctive features, distinguishing one piece from another) or simply transferred orally within each artisan family. Although technological advances have been incorporated into the manufacturing process (such as electric potter's wheels), the same artisanal procedures for production, decoration, and glazing that were used in the 16th century are still in use today.

Held on October 12 each year, the Pilgrimage in honor of the Virgin of Zapopan is a religious and cultural tradition whose origins date back to 1734. That day marks the end of the annual cycle of rituals popularly known as “La Llevada de la Virgen” (The Carrying of the Virgin), which begins in May and includes numerous liturgical and community activities. At the end of this cycle, the return of the Virgin to her basilica in the town of Zapopan is celebrated with (pre-Hispanic) dances, music, prayers, and fireworks, in which more than 30,000 dancers participate and around 2 million pilgrims take part, whose entire families have preserved the tradition for almost 300 years, passing it down from one generation to the next.

Every year at the end of the annual corn cycle, Mexico's indigenous communities celebrate the Day of the Dead with festivities, marking the temporary return of their ancestors' souls to Earth. This ceremony reaffirms the role of individuals in society and reinforces the sociopolitical status of ethnic groups. On specific days, they scatter flower petals and place candles and offerings from their homes in the cemetery, while offering food on altars and graves decorated with flowers, symbolic objects, and paper silhouettes. The symbolic background and religious rites of these celebrations are associated with pre-Hispanic and European beliefs.

Since the 18th century, the traditional Fiesta Grande de Chiapa de Corzo has been held every year from January 4 to 23 in the state of Chiapas. Music, dance, crafts, gastronomy, masses, and entertainment are all part of this festival in honor of Our Lord of Esquipulas, Saint Anthony the Abbot, and Saint Sebastian, with the latter being especially honored. The Parachicos (a term that refers both to the dancers and the type of dance they perform from morning to night) travel throughout the town carrying the honored images and visiting various places of worship. They are led by the Patron, the highest authority of the Parachicos, who wears a mask with a stern expression, carries a guitar and a whip, and plays the whistle accompanied by one or two drummers, while the rest of the Parachicos shake their rattles. During the dance, the Patron sings praises to which the Parachicos respond with cheers.

Its origins date back to the 16th century when cattle ranches in the north and center of the country, due to their rapid development, found it necessary for the cowboys of the region to work together and cooperate in order to keep track of the cattle on each property. This gave rise to the activity of charrería, which consisted of the typical activities of a ranch (exercising control on horseback using a saddle and a rope to herd the cattle), activities that over the years gave rise to a tradition.

Pirekua is a musical creation representative of the P'urhépecha community in the state of Michoacán, whose origins date back to the 16th century as a result of a mixture of Amerindian, European, and African influences. It includes songs sung at a slow pace and/or melodies with diverse rhythms such as sones and abajeños. Pirekua is a P'urhépecha word derived from the verb pireni, meaning “to sing,” and kua, a suffix indicating song or singing. Another word derived from pireni is pireri, which means singer or performer of songs, and pirériecha (singers or performers). The Spanish-ized word pirekua is commonly used in both the P'urhépecha language and regional Spanish.

Mexican cuisine is a living manifestation of a cultural system of collective participation that includes agricultural practices, (rotational cultivation of corn and other plants, with slash-and-burn farming) and chinampa (artificial islands for cultivation in lake areas), ritual celebrations, customs, knowledge, techniques, procedures such as nixtamalization (husking corn with lime water to increase its nutritional value), and ancestral tools such as stone metates and mortars.

The ritual ceremony of the voladores is a dance associated with fertility practiced by various indigenous peoples of Mexico and Central America—including the Totonacs, Teeneks, Nahuas, Ñañhus, and Mayans—although its most representative and emblematic value is concentrated in Totonacapan, Veracruz, a region historically linked to the pre-Hispanic city of El Tajín.