Voces Unidas 2025 returns in celebration of Hispanic heritage

On Oct. 23 and 24, Blair hosted its annual Voces Unidas performance in the auditorium, marking the first time the event took place during the school day. Previously held after school, this year’s shift stemmed from concerns surrounding potential ICE activity. The move, however, brought even more students into the experience—auditorium seats were packed with students from every grade, brimming with energy that rarely faded across the show’s hour-long run. 

The program, part of Blair’s broader celebration of Hispanic Heritage Month, gave Latin American students a platform to express identity and pride through performance. Organized entirely by students and staff, Voces Unidas featured music, dance, poetry, and traditional dress from across Latin America. The show has become a staple of Blair’s cultural shows, and this year’s 16-act lineup continued that legacy with both high-energy group numbers and more intimate pieces that highlighted the diversity of Hispanic voices. 

The show began with “Banderas”, a showcase of flags as students from 17 Latin American countries stepped forward from the wings of the stage, holding their national banners. In a slow circuit around the auditorium, they waved their flags with pride in a moment that set a tone of unity and celebration that lasted throughout the program. 

Shortly after, the performance shifted into something more subdued with “Yo ya me voy”, a traditional Mexican farewell ballad. Performed by students Giselle Ayala Carreto, Darlin Cabrera, Layniker Cabrera, and Adaly Vasquez, alongside teachers Sra. Gargiulo and Sra. Hernández-Catá, the piece featured layered harmonies and gentle guitar instrumentals. While slower in tempo, the performance held the audience’s attention through its emotional tone, touching on themes of family and remembrance.

Maya

Photo: The Club Maya performance featured students decked out in costumes filled with Guatemalan heritage.

The Club Maya performance featured students decked out in costumes filled with Guatemalan heritage. Photo courtesy of Zach Carter.



Club Maya's performance followed soon after with one of the most visually striking routines of the show. Two performers entered in vibrant red costumes, full-face masks with long black hair, and feathered headdresses that shimmered under the lights. Their outfits, inspired by Guatemalan and Mayan ceremonial dress, were covered in mirrored discs and intricate patterns. They opened with exaggerated, upbeat movements to “Funkytown”, drawing laughs and cheers from the crowd. Just before exiting, the performers removed their masks, revealing wide smiles as they shimmied off the stage. 

Later in the show, "Sabor Latino" delivered one of the most dynamic dance performances of the afternoon. Seven couples dressed in sleek black moved through a high-energy mix of bachata, reggaetón, and salsa. The routine opened with smooth partner work to Aventura’s “Un Beso”, before shifting into faster footwork and individual freestyle moments as the music transitioned to Cinturón and Safaera. Each section brought a new style, but the group maintained strong coordination throughout, keeping the crowd engaged from start to finish.

cachiporras 2025

Photo: The Cachiporras twirl their batons as they move through synchronized formations.

The Cachiporras twirl their batons as they move through synchronized formations. Photo courtesy of Zach Carter.

Meanwhile, the Cachiporras' performance exhibited yet another type of dance popular in Latin America. Performers wore blue tops and white skorts, twirling batons in perfect unison to “Enfermera” by Los Hermanos Flores, a well-known Salvadoran cumbia band. The routine drew from a Central American tradition of rhythmic baton performances often seen in parades and festivals. Backed by bright, brassy instrumentation, the group moved smoothly through their formations, matching the beat with each spin and turn. As the music faded, the performers exited together through the wings, still spinning their batons with practiced ease. 

However, one act’s dance wasn’t the focus, but rather, the clothing. Four students in shimmering floor-length gowns walked onto the stage one by one for "Baile de Quinceañera," each getting her own moment under the lights. The quinceañera celebrates a girl's 15th birthday across Latin America, signifying the shift from childhood to young adulthood with family gatherings, elaborate dresses, and ceremonial dances. To Natalia Lafourcade's Hasta la Raíz, each performer danced before striking a pose, allowing the audience to admire her dress. The choreography stayed minimal on purpose, putting the focus on the tradition itself rather than flashy moves.

The final act, Colombia Mix, wrapped the program on a high note. The dancers opened with upbeat pop tracks like “Hips Don’t Lie” and “Taki Taki,” going quickly between formations with sharp movements. About halfway through, the music changed to “Los Tambores de Mi Tierra” by Checo Acosta. The choreography grounded itself—literally—as dancers lowered into bent stances, their movements following the percussion-heavy beat. The lyrics name Indigenous Colombian communities like the Ailoma, Chimila, Embera, and Wayú, and the performance drew on that heritage through strong, stylized group choreography. The group came together for one last pose as the rest of the performers joined them for a final bow. 

For junior Angie Padilla, one of many performers involved, the experience was more than just a performance. “Honestly, it was great. We all had so much fun behind the scenes,” she explained. “I definitely made so many more friends.” Having worked on her performance since early September, Padilla admitted to moments of nervousness, but left the stage beaming. “I definitely loved it. It was such a wonderful experience.”

Meanwhile, Blair’s new dance teacher Sydney Brooks brought her expertise to rehearsals both on and off the stage. Though it was her first year at Blair, Brooks connected with students quickly—sometimes even teaching choreography outside the auditorium when space was limited. “I felt like that was a really great opportunity to connect with everyone, and it’s more personable,” she said.

Reflecting on the show’s opening day, Brooks discussed how early nerves gradually gave way to excitement. “A lot of dancers were nervous... but then they started to smile more before they went on stage and gave it their all when up there,” she noted. That energy carried through each act, culminating in a celebration that “was a moment where everything finally came together."