Arriba folklorico music and dance of Mexico

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In this episode, we explore the region of the Huasteca and the musical genre of the Huapango.

The Huasteca region consists of:

- the southern part of the state of Tamaulipas;

- the northern part of the state of Veracruz;

- the state of San Luis Potosi;

- the state of Hidalgo

- the state of Queretaro

- the state of Puebla

We introduce the section by the introduction of 2 Huapangos:

- Brief introduction of the Classic huapango of LA PETENERA, as played by a conjunto huasteco; and

- Brief introduction of the Modern huapango EL REY DE LA HUASTECA from Jose Hernandez, the director of the Mariachi Sol de Mexico.

We then go into the elements of the Huapango, which includes:

- the inverted verses;

- the falsetto voice (in Spanish, falsete);

- the dynamic and improvised lyrics of the pregronero;

- and in some cases, the picaresque and rogue-like double-meaning huapango picante.

For the latter, we demonstrate with a case-in-point of the huapango picante EL QUERREQUE.

Also, to demonstrate the falsetto voice (falsete), we have the classic huapango of LA MALAGUENA, as compared to the purist version from the original style as played by the Trio Chicontepec. Both of these are only a few seconds in length to show the contrast of the same song, but in different styles that have emerged for the benefit of entertainment.

And finally, we end the episode by playing the entire version of the modern huapango, which was written and composed and arranged and played by Jose Hernandez. He is the director of the Mariachi Sol de Mexico from South El Monte, California, and whose restaurant CIELITO LINDO is highlighted during the interview with him in episode 2 of this podcast series. The theme and story line for this song, published in 2005-2006 by Hernandez Productions, is also explained.

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.

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.

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.

This episode covers the music and dance of the Isthmus of Tehuantepec in Mexico--in particular, the state of Chiapas and the sound of the marimba. In this episode of Arriba! Folklorico Music and Dance of Mexico, we discuss the costume of the Chamula tribe in Chiapas and some of the older folklorico dances in the state of Chiapas--el Jibali, el Rascapetate and Las Chiapanecas. As you can see from the image, above, the women wear beautiful, full, black dresses that have been decorated with bright colors with patterns of tropical flowers. The men of the region wear calzones de manta (trousers), camisa de manta (shirt), huaraches (sandals) and sombrero de paja (straw hat). As the podcast describes, the men usually work in the plains areas of Chiapas, either cutting wood or cutting sugar cane with their machetes. 1. From the stories of Don Juan Tenorio, the Jibali (wild boar) descends upon the unsuspecting wives of the villagers and tries to deceive them and win their favor. Obviously a symbol of an intruder who preys upon the innocence of the women of the family, the Jibali dances in circles as he enjoys the liberty to win the favor of the women. However, the men of the village discover what is happening and return to the village, machetes in hand. They deal a vengeful blow and destroy the Jibali, after which they tie him to a couple of bamboo shoots and carry him off the stage. This dance symbolizes the respect for women due by their partners and the punishment dealt to a deceiving intruder. 2. El Rascapetate is another courtship dance, in which the flaring of the rebozo (woman's shawl) highlights the mellow choreography that quickly changes into a fast, dynamic rythm of happiness and the agreement of the woman to the courtship and marriage of her suitor. 3. Las Chiapanecas is the most famous melody of the state of Chiapas, in which the homage is paid to the lovely ladies of Chiapas. Simple and melodic in its tune, this is a favorite among the schools of the US during the Cinco de Mayo festivities, as many of the educational institutions teach the basic steps of this dance to the children. It is a happy and enjoyable melody that rivals only the world-known melodies of Mexican music of the Jarabe Tapatio (a son jalisciense) and La Cucaracha (a corrido from the Mexican Revolution of 1910). We look forward to the next podcast episode, in which we are trying to confirm an interview. We are trying to confirm with a musician in Austin who is a professional that plays the marimba tropical. We are also trying to locate other musicians who can describe and play for us some of the more famous public domain corridos of the Revolucion Mexicana. In the meantime, we hope you enjoy the lovely music and dance of the Isthmus of Tehuantepec, especially the state of Chiapas.