- Also known as:
- La loterĂa Mexicana or Mexican bingo
LoterĂa
What is LoterĂa, and how is it played?
What is the most common version of LoterĂa?
What are some variations of LoterĂa?
LoterĂa, Mexican card game of chance, played using a deck of 54 cards with images. It is similar to bingo, and players try to match images on drawn cards with a set of 16 images on their individual boards. The most common version of LoterĂa is called Don Clemente Gallo and is known for its brightly colored images that are a staple of Mexican culture. The game is culturally significant in Mexico, where it is usually played within families, often with several generations playing together.
History
LoterĂa originated in Italy in the 15th century before moving to Spain; early versions were used in gambling and as light entertainment. The game was introduced to Mexico (then known as âNew Spainâ) in 1769. In Mexico, LoterĂa was initially played by the upper classes but gradually gained mass popularity via traveling fairs (called ferias).
The images on LoterĂa cards have typically featured commonplace objects and characters and have drawn on artistic influences including tarot cards, local cultures, and religion.
In 1887 Clemente Jacques, an immigrant from France, created Don Clemente Gallo, the version of LoterĂa most widely known today; the gallo (âroosterâ) is the national emblem of France and has continued to be the first card in this version of LoterĂa. Jacques owned both a food processing plant and an ammunition manufacturing business and mass-produced his game as a marketing technique. He also included a version of the game in canned military products sent to Mexican soldiers, thus helping distribute the game further when the soldiers returned home. Another version was created by JosĂ© MarĂa Evia Griñé, a cigar merchant in Campeche, Mexico, in 1895; it featured 90 cards and is now known as the LoterĂa Campechana.
Format and play
LoterĂa is conceptually similar to bingo; both games involve players trying to match chance draws to an individualized game board or grid. However, there are key differences: Unlike the numbers that are drawn from a drum or bag in bingo, LoterĂa cards are drawn from a deck. Each card features a number as well as images of animals, characters, or objects.
The number of cards in a deck varies, but most versions have 54 cards. In addition, the game will feature a number of tablas, each with 16 squares in a 4Ă4 grid; the images on each tabla will be a random selection from the 54 images in the deck of cards. Each player is given a tabla, and one person is named the cantador (âcallerâ). The cantador draws cards from the deck and announces which card it is. Instead of calling out the card name, the cantador may sing the verse associated with the card. How the cantador performs often varies based on the social setting of the game; their skill is thus key to how the game is played and enjoyed. Players who find a match mark the square on their tabla with a bean or coin; the game continues until players finish predetermined objectives, such as completing a column, a row, the four corners, or the entire board. Players who complete a full tabla shout âLoterĂa.â
The 54 cards traditionally used in a LoterĂa deck are listed in the table below, along with the verse accompanying them. Minor variations are often seen across decks, and some decks may contain different cards as well as verses.
| card number | card name | name in English | original verse | verse translated to English |
|---|---|---|---|---|
| 1 | El gallo | The rooster | El que le cantĂł a San Pedro no le volverĂĄ a cantar. | The one who sang to Saint Peter will not sing to him again. |
| 2 | El diablito | The little devil | ÂĄPortate bien cuatito si no te lleva el coloradito! | Behave yourself, buddy, or the little red devil will take you away! |
| 3 | La dama | The lady | La dama puliendo el paso, por toda la calle real. | The lady is perfecting her stride all along the main street. |
| 4 | El catrĂn | The dandy | Don Ferruco en la Alameda, su baston queria tirar. | Don Ferruco is in the Alameda; he wanted to toss aside his cane. |
| 5 | El paraguas | The umbrella | Para el sol y para el agua. | For the sun and for the rain. |
| 6 | La sirena | The mermaid | Con los cantos de sirena no te vayas a marear. | Donât let the siren songs make you dizzy. |
| 7 | La escalera | The ladder | Subeme paso a pasito. No quieras pegar brinquitos. | Take me up step by step. Donât try to go hopping along. |
| 8 | La botella | The bottle | La herramienta del borracho. | The drunkardâs tool. |
| 9 | El barril | The barrel | Tanto bebio el albanil que quedo como barril. | The bricklayer drank so much he ended up round as a barrel. |
| 10 | El ĂĄrbol | The tree | El que a buen ĂĄrbol se arrima buena sombra le cobija. | He who leans against a good tree finds good shade. |
| 11 | El melĂłn | The melon | Me lo das me lo quitas. | You give it to me, then you take it away. |
| 12 | El valiente | The hero | Por que le corres cobarde trayendo tan buen puñal. | Why are you running, coward, when youâre carrying such a fine dagger. |
| 13 | El gorrito | The baby bonnet | Ponle su gorrito al nene no se nos vaya a resfriar. | Put the babyâs little bonnet on so he doesnât catch a cold. |
| 14 | La muerte | Death | La muerte sirqui siaca. | Death, the unexpected visitor. |
| 15 | La pera | The pear | El que espera, desespera. | He who waits grows impatient. [Note: espera (âto waitâ) and la pera (âa pearâ) are rhymes.] |
| 16 | La bandera | The flag | Verde, blanco y colorado, la bandera del soldado. | Green, white, and red, the soldierâs flag. |
| 17 | El bandolĂłn | The mandolin | Tocando su bandolĂłn esta el mariachi Simon. | Mariachi Simon is playing his mandolin. |
| 18 | El violoncello | The cello | Creciendo se fue hasta el cielo y como no fue violĂłn tuvo que ser violoncello. | It grew all the way up to the sky, and since it didnât become a violin, it had to become a cello. |
| 19 | La garza | The heron | Al otro lado del rio, tengo mi banco de arena, donde se sienta mi chata pico de garza moreno. | On the other side of the river lies my sandbank, where my dark-skinned sweetheart with the heron-beak nose sits. |
| 20 | El pĂĄjaro | The bird | TĂș me traes a puros brincos como pĂĄjaro en la rama. | You keep me hopping about like a bird on a branch. |
| 21 | La mano | The hand | La mano de un criminal. | A criminalâs hand. |
| 22 | La bota | The boot | Una bota es igual que la otra. | One boot is just like the other. |
| 23 | La luna | The moon | El farol de enamorados. | The loversâ streetlamp. |
| 24 | El cotorro | The parrot | Cotorro, saca la pata y empiézame a platicar. | Parrot, stick out your leg and start chatting with me. |
| 25 | El borracho | The drunk | A que borracho tan necio ya no lo puedo aguantar. | What an obstinate drunkardâI canât stand him anymore. |
| 26 | El negrito | The little black person | El que se comio el azĂșcar. | The one who ate the sugar. |
| 27 | El corazĂłn | The heart | No me extranes corazĂłn que regreso en el camion. | Donât miss me, my love; Iâm coming back on the bus. |
| 28 | La sandĂa | The watermelon | La barriga que Juan tenia era empacho de sandĂa. | The belly Juan had was just from eating too much watermelon. |
| 29 | El tambor | The drum | No te arrugues cuero viejo que te quiero paâtambor. | Donât wrinkle up, old hide; I want to use you for a drum. |
| 30 | El camarĂłn | The shrimp | CamarĂłn que se duerme se lo lleva la corriente. | The shrimp that falls asleep gets swept away by the current. |
| 31 | Las jaras | The arrows | Las jaras del indio Adan donde pegan dan. | Indian Adanâs arrows hit their mark wherever they land. |
| 32 | El mĂșsico | The musician | El mĂșsico trompa de hule, ya no me quiere tocar. | The rubber-horn musician doesnât want to play for me anymore. |
| 33 | La araña | The spider | Atarmatamela a palos, no me la dejes llegar. | Beat her to a pulp, donât let her get away. |
| 34 | El soldado | The soldier | Uno, dos y tres, el soldado pâal cuartel. | One, two, three, the soldier heads to the barracks. |
| 35 | La estrella | The star | La guĂa de los marineros. | The sailorsâ guide. |
| 36 | El cazo | The saucepan | El caso que te hago es poco. | I pay very little attention to you. [Note: cazo (âsaucepanâ) and caso (âattentionâ) are homophones.] |
| 37 | El mundo | The world | Este mundo es una bola y nosotros un bolon. | This world is a ball, and we are a big crowd. [Note: bola can mean both âballâ and âcrowd.â] |
| 38 | El Apache | The Apache | ÂĄAy chihuahua! ÂżCuanto Apache con pantalon y huarache? | Oh chihuahua! How many Apache are there with pants and sandals? |
| 39 | El nopal | The cactus | Al que todos van a ver cuando tiene que comer. | The one everyone goes to see when itâs time to eat. |
| 40 | El alacrĂĄn | The scorpion | El que con la cola pica. | The one that stings with its tail. |
| 41 | La rosa | The rose | Rosita, Rosaura, ven que te ahora quiero. | Rosita, Rosaura, come hereâI want you now. |
| 42 | La calavera | The skull | Al pasar por el panteón, me encontré una calavera. | Passing by the cemetery, I found a skull. |
| 43 | La campana | The bell | La campana y tu debajo. | The bell, and you beneath it. |
| 44 | El cantarito | The pitcher | Tanto va el cantaro al agua, que se quiebra y te moja las enaguas. | The pitcher goes to the well so often that it breaks and soaks your petticoats. |
| 45 | El venado | The deer | El venado no ve nada. | The deer sees nothing. [Note: venado (âdeerâ) and ve nada (âsee nothingâ) sound similar.] |
| 46 | El sol | The sun | La cobija de los pobres. | The poor manâs blanket. |
| 47 | La corona | The crown | El sombrero de los reyes. | The kingsâ hat. |
| 48 | La chalupa | The boat | Rema que rema va Lupita, sentada en su chalupita. | Row, row, goes Lupita, sitting in her little boat. |
| 49 | El pino | The pine tree | Fresco, oloroso y en todo tiempo hermoso. | Fresh, fragrant, and beautiful in every season. |
| 50 | El pescado | The fish | El que por la boca muere aunque mudo fuere. | He who dies by the mouth, even if he is mute. |
| 51 | La palma | The palm tree | Palmera sube a la palma y bajame un coco real. | Palm grower, climb the palm tree and bring me down a royal coconut. |
| 52 | La maceta | The flowerpot | El que nace pamaceta no sale del corredor. | He who is born to be a flowerpot wonât leave the corridor. |
| 53 | El arpa | The harp | Lâarpa vieja de mi suegra ya no sirves paâtocar. | My mother-in-lawâs old harp, you are no longer fit to play. |
| 54 | La rana | The frog | Al ver a la verde rana qué brinco pegó tu hermana. | Upon seeing the green frog, what a leap your sister took. |
Variants
Several variations of LoterĂa have been created over the years. Both printed and electronic variants have been made based on themes such as food and for specific events such as baby showers.
Annette Sexton-Ruiz, an Arizona-based artist, created a 2011 version inspired by then-recent anti-immigration legislation. In 2017 Mike Alfaro created a version called Millennial LoterĂa to make the game more aligned with modern Latinx culture. He changed some of the names and images of the cards, for example replacing la dama with la feminist and el mundo with la student debt. Originally just a series of images on Instagram, his version proved popular enough to become a best-selling game.
On December 9, 2019, Google released a special Google Doodle titled Celebrating LoterĂa!; the site allowed users to play the game online in a multiplayer format and featured new cards such as el guacamole and el emoji.


" height="20" alt="HEW Logo">
