Story Escaramuza, The Poetics of Home

Escaramuza, the Poetics of Home by US-based Swiss photographer Constance Jaeggi, is a compelling exploration of a rich, female-led equestrian tradition, offering a fascinating glimpse into an evolving symbol of Mexican identity and heritage.

Rooted in Charrería—a practice celebrating horsemanship and ranching that originated in 16th-century Mexico and was later formalized post-Revolution as a symbol of lo mexicano—Escaramuza emerged in the 1950s as a groundbreaking space for women in a historically male-dominated tradition.

For the first time, Escaramuza introduced all-female teams performing breathtaking, synchronized horseback maneuvers at high speed while riding sidesaddle and dressed in traditional clothing to pay homage to the Soldaderas, the fearless women who fought in the Mexican Revolution of 1910–1920.

Today, Escaramuza flourishes across Mexico and has gained growing popularity across the border in the United States, which became the starting point for Jaeggi’s project.

C. Jaeggi: I was initially asked to make a photo project for an upcoming exhibition on the escaramuza tradition at the Cowgirl Museum in Fort Worth, TX. As someone who is interested in the relationship between women and horses, I was drawn to the idea of all-female precision riding teams. As I started researching, the underlying narratives around the US based Escaramuzas were so rich that they felt important to acknowledge. I traveled around the US meeting, interviewing and photographing teams.

C. Jaeggi: The colorful, intricate dresses and the elegant, powerful performances, which resemble a ballet on horseback, immediately captivated me. But it was the stories of the women, that truly moved me. Their commitment to the sport and determination to preserve this tradition is inspiring. While Charrería in Mexico is often associated with the wealthy, many of the charros and charras in the U.S. work hard to cover the costs of owning and competing with horses. A number of the women I met are full-time students, hold multiple jobs, or juggle work with raising children.

C. Jaeggi: The sport is also physically demanding and dangerous. The women ride sidesaddle in heavy, hand-embroidered dresses. Each team consists of eight riders who must perform synchronized patterns, weaving in and out of each other’s paths at high speeds. Riding sidesaddle is especially challenging, as it limits control to just one side of the horse.

There is also a complex narrative around immigration that plays a role in the development of the sport in the U.S., as many riders expressed a sense of not fully belonging either in Mexico or in the U.S.—feeling “not Mexican enough” when traveling to Mexico, but “not American enough” at home.

C. Jaeggi: Gender dynamics are another significant issue. Many women expressed frustration with their exclusion from voting within the Charrería governing bodies, and the strict dress codes they must follow, which are not applied to the men’s events. There are also striking parallels with the Soldaderas—the women who fought in the Mexican Revolution. Their contributions have often been overlooked or under-researched, and the way they have been remembered over time reflects this neglect. It became clear to me that this story is layered with rich history and complex social issues.

C. Jaeggi: I knew photography alone couldn’t capture the complex narratives of the Escaramuza tradition. As an outsider to the culture, collaboration felt essential. I worked with poets Ire’ne Lara Silva, from Texas, and Angelina Sáenz, from California, who drew from their experiences as Mexican American women.

They listened to interviews I conducted with the Escaramuzas and worked from my images, offering unique perspectives—one connecting the soldaderas’ history, the other focusing on contemporary voices. Poetry added depth, creating a bridge between past and present, while complementing the immediacy of photography with its reflective nature. It allowed the women’s stories to resonate in a layered, powerful way.

C. Jaeggi: The formal beauty of the tradition, from the elaborate dresses to the strict rules of coordination, reflects the pride the women feel when representing Mexico. At the same time, many expressed frustration with the machismo in Charrería, balancing respect for their culture with a desire for progress.

The still, confrontational portraits honor their strength and place in Charrería and the American landscape. The action shots, on the other hand, capture the intense physicality and danger of the sport—riding sidesaddle at high speed is incredibly demanding. Together, these approaches convey the complexity of the tradition and the women’s dedication.

C. Jaeggi: My relationship with horses has been pivotal in my personal and artistic growth. I moved to the US from Switzerland for competitive riding, and my passion for horses eventually led me to photography, deepening my curiosity about the human-horse bond. While I’m not Mexican American and didn’t grow up in Charrería, I connected with the riders’ sisterhood and their deep bond with their horses. Escaramuza felt like a universal story about identity, belonging, and resilience—layers that resonate with all of us on some level.

C. Jaeggi: I hope the work reflects the respect I have for the women I met and the fascinating, timely narratives behind Escaramuza. It’s a tradition of cultural preservation, passing down skills and stories while empowering women as equestrians and leaders. Escaramuza challenges traditional gender roles and celebrates heritage, unity, and identity.

At its core, it connects generations and weaves together the past, present, and future. With Charrería being a forerunner to North American rodeo, I also hope this work fosters a deeper understanding of the rich, diverse histories shaping the American West, highlighting how these traditions continue to evolve and resonate today.

All images © Constance Jaeggi