In that sense, the wardrobe of the "china" woman was considered too provocative. Contemporary Mexican journalists and foreigners who knew these women in the first half of the nineteenth century call attention to the way in which the fashion of peasant women showed off their feminine forms, or were an appropriate feature of all the graces that were attributed to these women. A verbal portrait was made of them as excellent dancers of jarabe music popular in that era—like "El Atole", "El Agualulco", "El Palomo" and others that form part of the folkloric jarabes of the twentieth century—, also as models of cleanliness and order; of fidelity to "their man" although also seen as very liberal sexually.