Arriba folklorico music and dance of Mexico

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In this episode of Arriba! Folklorico Music and Dance of Mexico, we travel to the South of Mexico on the Pacific waters, stretching along the coast to the northern part of the Isthmus of Tehuantepec. The state of Oaxaca has one of the largest populations of native indigenous tribes, or "indios" as the Latin Americans call them. Of the seven major cultures and areas of Oaxaca, we focus on 2: the Zapotecas and the Mixtecos. In this episode, the music from the Jarabe Mixteco opens the show. We also discuss the fiesta that takes place in July which is known as La Gelaguetza, or the "fiesta de la Sierra." In the capital city of Oaxaca itself, we describe one of the main indigenous dances, DANZA DE LA PLUMA. Also, during the festivities of La Gelaguetza, the food is rich--in particular, the famed MOLE NEGRO Oaxaqueno. In addition to the mention of the archaeological zones in the region--such as Mitla and Monte Alban--the episode describes the courtship dance of the JARABE MIXTECO, with its stanzas and tableaus for the CHASE, the TORITO and the conquest of the man over woman to symbolize the move from suitor to marriage partner. Especially symbolic is the rose that the lady carries by the stem in her teeth, and which the man grabs from her with his teeth to symbolize the transition from enagement to marriage. The episode ends with the ending musical score of the JARABE MIXTECO. It is usually played by big brass bands during the festivities of La Gelaguetza, but here, we listen to a version performed by mariachis. Copyright (c) 2009, Matrix Solutions Corporation. All Rights Reserved.

In this episode of Arriba! Folklorico Music and Dance of Mexico, we explore the idyllic region in Southwestern Mexico, the land of the Tarascan indigenous tribes--the Tarascos-- the state of Michoacan. The Tarascan tribes are a people that feel that they have never been subjugated by the Spaniards--although their land was occupied. Like other indigenous tribes of Mexico today, they still mingle their Spanish language with inclusions of phrases and words from their own native dialects, which descend from the word-of-mouth teachings in the Tarascan tongue. Case in point: the song in the audio podcast episode demonstrates the Tarascan lady singing in Tarascan language, then ending up with a Spanish phrase, as she delves into the eternal theme in Mexican folklore--that "Life is a Dream" (la vida es sueno). In addition to the song whose lyrics are mixed with both languages, the instrumental piece of folklore that is common to the entire region of the Tarascos is the Jarabe Michoacano. This is a longer dance, in which the shyness of the woman is characterized by her never looking at her partner--instead, she stares at the ground through most of the dance, until the joy of the parts signifying fiesta, burro, noviazgo, aguila, estrella, and the final pursuit or chase. In the end, the man (who is wearing a zarape or large gavan) covers her braided hair under her straw hat (sombrero michoacano) and symbolizes the marriage--a union of the man and woman. A fitting end to this jarabe from Michoacan, as this dance contains all the symbolism of work, life, fiesta and fun, courtship (as all jarabes are), conquest of the lady's heart, and commitment of marriage and acceptance of the man by the woman.

This episode of Arriba! Folklorico Music and Dance of Mexico describes the wonderful evening at the Paramount Theatre in downtown Austin, Texas, with the first annual gala event called NOCHE DE MARIACHI. This was not a "battle of the bands." Rather, it was a community of mariachi bands in and near the Austin area for a celebration of the mariachis in central Texas. The quality mariachis that were featured and played their songs (which did not overlap with other pieces performed by other groups)-- - Mariachi Los Lobos - Mariachi Estrella - Mariachi Suroeste - Mariachi Relalmpago and there was a special solist, Rebekah Ramos, who was accompanied by el Mariachi Relampago, when she performed 2 songs, one of them being SOLAMENTE UNA VEZ. What a lovely piece and performed exquisitely well. There was a folklorico dance group called the Pan American Ballet Folklorico that performed 2 numbers--they opened the event with LA CULEBRA and ended the show with dancers in the aisles of the theatre as ALL the mariachis accompanied them to the piece EL SON DE LA NEGRA by Silvestre Vargas. Yes, there was also a group called Margaritas de Tejas that tried to perform some numbers. Even though the national fad for having all-female groups has reached Austin, this was the only group whose quality did NOT stand anywhere near the quality of the other mariachis. We tried to get a number from the CD of songs of Mariachi Relampago (which they were selling in the lobby, and of which I purchased) to be included in this episode. However, the Mariachi Relampago would not give us the permission to include this. Thus, we had to use a previously recorded live performance of the Ballet Folklorico Estudiantil of the Independent School Districts of San Antonio dancing to the accompaniment of various mariachis in the open air theatre in San Antonio, Texas, during the week-long festivities of the event called FIESTA. Still, the mariachi Relampago, Estrella and Suroeste (from San Marcos, Texas) provided a wonderful evening of dance and culture. This event even included a live wedding (that was called "Mariachi Surprise", in which 2 young people took their wedding vows as they were accompanied by the Mariachi Estrella. The finale was a traditional and powerful experience--as Mr. Bowie Ibarra, master of ceremonies, mentioned--that no gala evening of mariachi music would be complete without the performance of LA NEGRA. And, in this case, all the mariachis crowded the stage and the aisles to play that one song, together as a community of Mexican culture. This was the first performance of this NOCHE DE MARIACHI. I will not miss next year's annual event--and, as I mentioned in the audio episode, I will probably come dressed in my own Traje de Charro, traje de gala, for this celebration of folklorico music and dance of Mexico. Copyright (c) 2008, Matrix Solutions Corporation. All Rights Reserved. Artwork was from the program of the event.

In this episode of Arriba! Folklorico Music and Dance of Mexico, we explore the region of Yucatan -- home of the descendants of the Idyllic indigenous peoples known as the Mayas, and center for the folklorico dance known as the Jarana. In this episode, we explore the beginnings of the big Brass Band, called the Banda Yucateca, and we review the costume worn by both the men and women who danced the Jaranas Yucatecas during the Vaquerias or the Serenatas in the gazebo or town square in municipalities such as Merida. In addition, the practice of the declamador or pregonero reciting the improvised and humorous (and sometimes double-meaninged or picaresque) verses of the BOMBA! is shown by an audio clip from a piece performed in the FIESTA celebration in San Antonio, Texas. The final music that ends this podcast episode is that of the Jarana dance of EL TORO, which symbolizes the conquest of the bull by the matador (in this case, the role of the bull being played by the woman, and the man taking the role of the matador in taunting the beast with his handkerchief, which he uses as a "cape."). Copyright (c) 2008, Matrix Solutions Corporation. All Rights Reserved.

In this epioside of Arriba! Folklorico Music and Dance of Mexico, we deliver a 4-minute promo podcast episode IN SPANISH to promote the upcoming event called a "Podcamp." Yes, it is that time of year again. The second annual Podcamp (or Podcast unconference) will be held in San Antonio, Texas, on May 3, 2008. We will represent this podcast series in style. Not only will our presence be known, as we will deliver 2 presentations about the current phenomenon of New Media (podcasting), but we will also promote the podcast series in addition to the recent launch of two other podcast shows. The presentations will be (1) How to avoid burnout and prevent podfading; and (2) How to take your podcast from hobby or Corporate podcast to profitable podcast. We will use examples from the recent launch of the 2 podcast series, the Struggling Entrepreneur (at www.strugglingentrepreneur.com) and Gain Control of Your Day (at www.gaincontrolofyourday.com). The Podcamp San Antonio is an UN-CONFERENCE--that is, an unstructured event where anyone can present and participate--from the novice who is there for education, to the veteran podcaster who si there to take the podcast to the next level. Last year, we had the pleasure of the company of Gary Leland, Mr. P. Dilly, who is also known as the Podcast Pickle, since he has a podcast directory known as the PICKLE. The best part of the Podcamp event is that it is FREE -- a no charge event that helps the podcasting community bond and grow. For more information, contact Michael DeLeon or Jennifer Navarrette (at [email protected]), or go to the website of www.podcampsanantonio.org.

In this episode of Arriba! Folklorico music and dance of Mexico, we focus in detail on the musical corridos and polkas of the Mexican Revolution of 1910 (Revolucion Mexicana). The beginning of this podcast starts with Show Janitzio performing a portion of the polka called Jesusita en Chihuahua. This podcast episode ends with 2 complete songs performed live by Show Janitzio (not played from a CD)--Valentin de la Sierra and La Muerte de un Soldado. An emphasis is placed on the role of the Mexican women during the Revolucion, who fought in the conflict right alongside their men. The 5 most famous heroines in the ballads of the corridos during the Revolucion were: - La Cucaracha - Adelita - Valentina - Juana Gallo and - Jesusita en Chihuahua. For more information about the story told by the corrido of La Cucaracha, you can get the 1954 film by that name from Mexcinema Video Corporation. The complete set of Lyrics can be found in the literary work called Antologia de Poesia Mexicana. You can find the lyrics for Benjamin Argumedo, as well. What is interesting is that Show Janitzio includes an accordion in the group, which is not typical for a traditional group of Mexican musicians known as the trio. However, the accordion adds the flavor that is needed to make the experience of the corrido from the Revolucion Mexicana a wonderful experience. This episode ends with Show Janitzio playing Valentin de la Sierra and La Muerte de un Soldado. Copyright (c) 2007, Matrix Solutons Corporation and Show Janitzio. Music performed by Show Janitzio and published with their permisison.

In this episode of Arriba! Folklorico Music and Dance of Mexico, we go further into the discussion of the grenres of the Romantic music of the Golden Age (Siglo de Oro) of Mexican Music during the 1950s and 1960s with the troubador group (los trios) called Show Janitzio. The interview is conducted live at Estela's Restaurant in San Antonio, Texas. The musical piece titled A LA MUJER QUE YO AME begins this episode; and it is played in completion at the end of this podcast episode. Special attention is paid to the composers of these romantic ballads and to the titles of the more famous songs--e.g., Roberto Cantoral, the composer of EL RELOJ, LA BARCA and REGALAME ESTA NOCHE, etc. Also, listen to see which composers and which songs are the favorites of the group Show Janitzio. In addition, the next episode of Arriba! Folklorico Music and Dance of Mexico will be focusing on the corridos and polkas of the Revolucion Mexicana of 1910. Copyright (c) 2007, Matrix Solutions Corporation and Show Janitzio. Album Art displayed and Music played with permission from Show Janitzio.

In this episode of Arriba! Folklorico Music and Dance Of Mexico, we have an interview with the 4 musicians that comprise SHOW JANITZIO, a musical troubador group that specializes in the romantic ballads of the Golden Age of Mexican Music in the 1950's and 1960's. However, this trio and quartet also show their flexibility by being able to play any style of Mexican music on demand--from boleros to rancheras to corridos to polkas, etc. The differential advantage of this group is the inclusion of the accordion that brings a style all their own. Listen to the 4 musicians as they describe their performances in their home base of San Antonio, Texas, as well as their tours across the cities of the United States and internationally, as well. In another set of podcast episodes, we will have the songs from this group played at the end when we focus upon not only the romantic period of the Mexican Music during the SIGLO DE ORO (the Golden Age), but also the corridos of the Revolucion Mexicana of 1910. Note: This present episode is from the archives of a related podcast called The Struggling Entrepreneur at www.strugglingentrepreneur.com. Although it goes deeper into the history of the group and their struggles to become successful in the world of professional troubadors, the content is just as interesting to the world of folklorico music and dance--especially with the emphasis on the Golden Age of Romantic Music of Mexico. For it is here that we see the final evolution of the serenata (serenade) in the modern day--from its humble beginnings in other genres of Mexican folklorico music, such as in Jalisco (see episode 001 for a brief discussion of the serenade by the charro). We have 2 more episodes with Show Janitzio, in which we will focus strictly on the folkloric music and dance of the Mexican Revolution or the Revolucion Mexicana of 1910, especially the polkas and corridos. We will also have a separate episode where we will look deeper into the romantic music of the Golden Age -- the decades of the trios mexicanos.

Danza de los Machetes or El Jarabe Nayarita. In this episode of Arriba! Folklorico Music and Dance of Mexico, Nayarit is a state that is rather small in size, when compared to its neighbors (like Jalisco), which stretches from the Pacific Ocean to the footsteps of the Central Plateau (el altiplanicie). The people of the region are vibrant, dynamic, resourceful, hard-working and respectful of the women in their towns and villages – and it shows in their dances. In Nayarit, the natural surroundings of the agricultural region are part of the daily life. The farmers grow corn, beans, and sugar. The cattle and the oxen that pull the yokes and plow the fields and are used for almost all the heavy work for the farmers are key animals—all part of everyone’s life and livelihood. Thus, as is common with the campesinos, or farmers, the simplest things in life are the topics that are used when creating dances and songs—the eagles, the birds, the horses, and the bovine—both cattle, and in this case, the oxen. A clip is played from the other traditional dance from Nayarit called El Buey (the Ox). However, in this episode, we focus mainly on the Jarabe Nayarita, the more popular dance of this region, otherwise known locally as the “Danza de los Machetes.” The men wear black boots and calzones de manta (that is, the beige colored trousers), with a brightly colored shirt (in some groups, a camisa de manta, or shirt of the same fabric, is worn). The men use scarves or headbands around their temples. They wear a sash of brightly colored fabric, and they would use this sash for holding in place their machetes. Why would they carry machetes? Because even though the livelihood of this region is mainly agricultural—farming and cattle-- the products from the ground are of prime importance – especially the sugar cane. The men carry 2 machetes, and when they dance, one machete is held with the right hand by the handle, and the dull side of the blade rests on the right shoulder. The other machete is held with the left hand, which is wrapped behind the man’s back, resting slightly above his waist. Now, as masters of wielding their instruments during the ZAFRA (i.e., the harvest of the sugar cane), the men would incorporate the machetes into their dances, thus not only showing off their mastery in the way they handled these blades, but also in competition with other men who may be rivals for the affection of the pretty senoritas. During the Jarabe Nayarita, the men not only clang the blades together to the tempo and beat of the musical melodies of fast movements, but they then toss the machete to the man facing him, and they EXCHANGE the blades in mid-air, and even later on have them cover their eyes and keep clanging the machetes together to the music, sometimes with sparks flying from the grind of metal against metal. We are hoping that we can get an interview with a musical group for the next episode, as we would like to present a summary of the corridos of the Revolucion Mexicana of 1910. And we would love to have our musicians actually play these ballads and songs that are still very much alive in the hearts of Mexicans today. We will still try for that special bonus of los corridos y las polkas (o polcas) de la Revolucion.