WHAT IS THE SON JAROCHO?
Que es el Son Jarocho

The Son Jarocho of southern,Veracruz is one of the most dynamic variations of the musical/dance genre known as the Son Mexicano. The "folk music" of Mexico, the Son Mexicano emerged during the colonial period as a mix in between Spanish, Indigenous, and African, music and dance. As early as the 16th century, the Spanish introduced the native indigenous population to stringed instruments such as the violin, harp, and various guitar-types. These three instruments thus became an "instrumental core" and for the next 300 years natives and Mestizos developed their own regional stringed instruments on the European models. Some of these instruments are the vihuela of the west coast, the jarana huasteca of the eastern-central regions, and the jarana jarocha of Southern Veracruz. As a distinct regional instrumentation developed so did a distinct regional music/dance tradition. Just as the Son Huasteco from east-central Mexico
and the west coast Son de Mariachi (see map) have their own characteristics the Son Jarocho can be distinguished by its percussive rhythms, syncopation, vocal style, and improvisation in its harmonic and rhythmic framework and verse.                   

El Son Jarocho del sur de Veracruz es uno de los estilos mas dinamicos entre entre el genero de musica/baile conocido como el Son Mexicano. La "Musica Folkorica" de Mexico, el Son Mexicano, nacio durante la epoca colonial en una mexcla entre la musica y baile Indigena, Espanola, y Aficana. Desde el siglo XVI, los Espanoles introdicieron la arpa, el violin, y  guitara a Nueva Espana. Estos tres instrumentos se convertieron en la base en que por los siguiente 300 anos se desarollaron los instrumentos regioinales de Mexico como la vihuela de la costa occidental, la jarana-huasteca del sur-centro, y la jarnana jarocha del la costa del este.   Igual que el Son Huasteco del sur-centro de Mexico y el Son de Mariachi de  la costa occidental, el son jarocho se destingue por sus caracteristicas en ritmo, baile,estilo de canto, y improvisacion de veso y musica .
                                                                                                                                                                                                                                                                                
According to ethnomusicologist Daniel Sheehy, although the son jarocho repertoire consists of around  80 individual sones based on local themes, the jarocho musicians ability to improvise new harmonies, melodies, and verses, always makes the performance of one of these sones unique. Jarocho musicians always say that they never perform two identical versions of the same son.

El etnomusicologo Estaudonidence Daniel Sheehy ha escrito que aunque el repetorio del son jarocho solo consiste de 80 piesas con temas regionales, la abilidad del musico jarocho en imprivisanr versos, harmonias, y melodias nuevas hace la presentacion de un son distincta a la occasion. Musicos jarochos simepre dicen que nunca tocan la misma version de un son mas de una vez.

The dance aspect of the son jarocho is also a defining characteristic of the tradition. The "zapateado" footwork is not simply a disassociated part of the son jarocho, but an element of the tradition which provides a rhythmic complement to the instrumental and vocal accompaniment. The traditional setting of the son jarocho, the Fandango, is at  the center of social reunions throughout southern Veracruz. As local musicians perform the sones, people dance atop a large wooden platform known as a Tarima.     

La tradicion de baile entre la tradicion jarocha es una de sus caracteristicas mas importantes. Los pasos del "zapateado" no son solo un aspecto relacionado a la tradicion, pero un elemento integral de la tradicion musical en que los pasos de los danzantes sirven como parte de la harmonia musical. El Fandango es  la escena tradicional  del son jarocho. En estas  festividades sociales los musicos tocan sus sones mientras el publico baila sobre una plataforma construida de madera llamada la Tarima.
 

                                                                        
 The Son Jarocho-Instrumentation
El Son Jarocho- Instrumentacion 

The base instrumentation used by contemporary jarocho ensembles consist of three main instruments: The arpa, requinto, and jarana. The arpa jarocha is a large wooden harp with 32-36 strings tuned diatonically over five octaves. Usually, the harpist plays a bass line on the low strings with one hand and with the other supplies arpeggiated melodies on the higher strings.

La instrumentacion basica del conjunto jarocho contemorano consiste the tres intrumentos basicos: La arpa, requnito jarocho, y jarana jarocha.
La arpa jarocha de 32-36 cuerdas  es un instrumento diatonico construida para ser afinada sobre  5 octavos.
 

The requnito jarocho,(also known as the "javalina" or the "Guitara de son") not to be confused with the requinto romantico, is also a melodic instrument. Its four strings are plucked individually with a long,thin pick fashioned from either cowhorn or plastic. Although construction of the requinto jarocho varies, the most prized are the requintos "basiados" which are carved from a solid piece of cedar.

El requinto jarocho, (tambien conocido como la "javalina" o "Guitara de son") no confundido con el requinto romantico, de cuatro cuerdas es un  instrumento melodico que es tocadocon una pua construida de cuerno o plastico. Aunque la construcion de el requinto jarocho es variable, los requintos mas apreciados son los requintos "basiados" construidos de una pieza solida de cedro.

The most fundamental and common jarocho instrument is the jarana. Most likely derived from the XVI century Spanish Baroque guitar, the jarana has eight to twelve strings grouped in five courses. It is strummed in a chordial manner called a rasgueo and furnishes the rhythmic and harmonic framework of the son jarocho.

El Instrumento fundamental de la tradicion jarocha es la jarana. Basada sobre la guitara baroca  del siglo  XVI, la jarana tiene entre ocho y doce cuerdas. La jarana es tocada en un estilo conocido como el "rasgueo" y  proveer la harmonia entre el son jarocho.
 

Although the base instrumentation used by contemporary ensembles is the harp, requinto, and jarana, these are not the only instruments used in performing the son jarocho. Jaranas range in various sizes(the smallest are called "mosquitos") Some ensembles use a large bass known as a "liona" or  the "Guitarron Jarocho",and the 6-string Spanish guitar is commonly seen in many ensembles. Other unique instruments that are not as common but show the variation and ingenuity of jarocho musicians are the pandero, (tambourine) the quijada (a mule or horse jawbone), the cajon (percusive box), and the marimbola.  Otros instrumentos ingeniosos que son parte de la tradicion jarocha son el pandero, la quijada, el cajon, y la marimbola.


Aunque la instrumentacion basica de los conjuntos jarochos contemporanos es la arpa, requinto, y jarana, estos no son los unicos instrumentos en huso entre la tradicion jarocha. Hay varios tamanos de jarana ( las mas chicas son conocidas com "mosquitos"), se usa tambien un bajo conocido com "la Liona" o "guitarron jarocho" y es muy commun ver la la guitarra de seis cuerdas.
 

                                                                                

                                                                                                        
 

The Son Jarocho- The Inovators & Urbanization
El Son Jarocho- Los Inovadores Y Urbanizacion

Like many other types of  folk music, commercialization and the rise of the professional musician has played a part in the development of an urban son jarocho tradition. For example, prior to the 1940's the arpa jarocha was much smaller than the one used by jarocho musicians today. Harpists would have to play the harp sitting down due to its size, however, as the jarocho harpist Andres Huesca (1917-1957 below, right) gained fame in Mexico City through his film roles ( "Alla en el Rancho Grande"(1936),"Historia de un Amor"(1942), "La Perla"(1945), "Solo Veracruz es Bello"(1948), "Oro y Flor de Cana"(1948), and others) and recordings, his use of a larger instrument, modeled after the west coasts' arpa grande, was  followed. Advantages to the larger size are the greater sound produced and that it can be played in a standing position.  

Como varios otros estilos de musica folklorica, la  comercializacion y profesionalizacion ha tenido un gran efecto sobre el desarollo de un estilo de son jarocho urbano.  Por ejemplo, antes de los 1940's, la arpa jarocha era chica (por su tamano, arpistas jarochos tocaban la arpa sentados) en comparacion con la arpa que se acostumbra en hoy tiempo. En los 30's el arpsita jarocho Andres Huseca(1917-1957) gano gran fama en la capital con sus papeles en el cine ("Alla en el Rancho Grande"(1936),"Historia de un Amor"(1942), "La Perla"(1945), "Solo Veracruz es Bello"(1948), "Oro y Flor de Cana"(1948), and others) y grabaciones en que empeseo a husar una arpa jarocha construida al estilo de las "arpas grandes" de la costa occidental.  En poco tiempo arpistas sigieron la tradicion empesada por Huesca. Las adventajas de la arpa grande eran la ampificacion de sonido y la abilidad de poder ser tocada de pie.    

In the late 1940's, many jarocho musicians such as Andres Huesca, Lino Chavez, Nicolas Sosa, and  Julian Cruz left for Mexico city to earn a living as musicians. In the years that followed many outstanding groups such as Conjunto Tlalixcoyan de los hermanos Rosas (the first exclusive conjunto jarocho for Ballet Folklorico de Mexico, below), Los Costenos, Los Pregoneros del Puerto, Conjunto Tierra Blanca, Conjunto Villa Del Mar de Angel Valencia, Los Riberenos, Los Nacionales de Jacinto Gatica, and many others, emerged but of all of these the most influential group by far was Conjunto Medellin de Lino Chavez.

En los 1940's varios musicos  jarochos como Andres Huesca, Lino Chavez, Nicolas Sosa, y Julian Cruz, llegaron a la capital de Mexico para empesar una vida nueva como musicos profesionales. Durante los proximos anos grupos comos Conjunto Tlalixcoyan de los hermanos Rosas, Los Nacionales de Jacinto Gatica, Los Costenos, Conjunto Tierra Blanca, Conjunto Villa del Mar de Angel Valencia, Los Pregoneros del Puerto, Los Riberenos, y varios otros tuvieron grandes exitos pero el Conjunto mas influencial fue el Conjunto Medellin de Lino Chavez.

The various recordings made by Lino Chavez and his Conjunto Medellin (below) are classics and the innovative styles of requintero Lino Chavez (1922-1993) and harpist Mario Barradas as well as Chavez' instrumentation of harp, jarana, and requinto and their technique have become the standard for contemporary urban jarocho ensembles.

Las grabaciones de Lino Chavez y su Conjunto Medellin son  clasicas entre el genero jarocho y la inovaciones de Lino Chavez ( 1922-1993) en reguinto, Mario Barradas en arpa, y la instrumentacion de arpa, jarana, y requinto estblecida por Chavez y su tecnica, establecieron el ejemplo en que la mayoria de musicos jarochos urbanos se comparon en hoy tiempo. 
 

Although he recorded over twenty albums in his lifetime, Lino Chavez was a musical purist and never deviated from his jarocho tradition. He virtually invented the contemporary style of requinto performance technique that is now so widely imitated. Alberto de la Rosa, professor at the Universidad Veracruzana and director of one of Mexico's premiere jarocho/Latin American ensemble Grupo Tlen-huicani said,"Actualmente tocar requinto jarocho significa tocar el estilo de Lino Chavez...la musica del requinto jarocho es la musica de Lino Chavez."("Presently, to play the requinto jarocho means to play the style of Lino Chavez... the music of the requinto jarocho is the music of Lino Chavez.")

Aunque grabo mas de veinte discos durante su vida, Lino Chavez era un  tradicionalista que nunca le gusto salir fuera de su tradicion jarocha. Chavez origeno el estilo contemporano de tocar el requinto jarocho que en hoy timepo tan  imitado.  Alberto de la Rosa, professor de la Universidad Veracruzana y director del Grupo Tlen-huicani, dijo, "  Actualmente tocar requinto jarocho significa tocar el estilo de Lino Chavez...la musica del requinto jarocho es la musica de Lino Chavez."

1950's recording star Tona"la Negra" accompanied by Jarocho ensemble

The Son Jarocho-The Present
El Son Jarocho- El Presente

What is the current state of the son jarocho? While the roots of the son jarocho are in southern Veracruz, those who have decided to earn a living as jarocho musicians have for the past sixty years found it more profitable to leave Veracruz for Mexico city or other tourist areas. Ensembles such as "Conjunto Tierra Blanca" (below),  founded in the 1950's and directed by Marios Barradas Murcia,  have earned a living playing their native music and many of these urban jarocho ensembles have not only traveled throughout the world and recorded various albums but have also taught hundreds of students abroad how to play the son jarocho in University workshops and in school's such as Mexico city's "Escuela de la Muscia Mexicana". Although the  traditional manner of transmitting the son jarocho from generation to generation is common, the aspect of  teaching  the son jarocho to students in an academic setting is new and  a vibrant new part of the son jarocho tradition. 

Que es el estado del son jarocho en hoy timepo? Mientras sus raizes siguen en el sur de Veracruz, por los ultimos sesenta anos, los que han querido sobrevivir como musicos han salido fuera de la cuna jarocha para la capital o otras areas  de turismo. Varios de estos conjuntos jarochos urbanos como  "Conjunto Tierra Blanca",  fundado en los '50's y direjido por Mario Barradas Murica, se han mantenido tocando su musica nativa y muchos no solo han grabado discos y recoido a el estrajedo pero tambien han ensenado estudiantes en talleres universitarios y escualas como la "Escuela de la Musica Mexicana". Aunque la manera tradicional de trasmitir el son de generacion a generacion sigue viviente, el specto de ensenando el son a estudiantes en un lugar academico es un aspecto nuevo  de la tradicion jarocha.
                

In Xalapa, Veracruz the Universidad Veracruzana is the home of Grupo Tlen-Huicani (right) and its director, Prof. Alberto de la Rosa, who has had a great influence in promoting the  preservation of the son jarocho and Latin American folk music. For over 25 years,Tlen-Huicani has remained one of the most faithful interpreters of the traditional folk music of Veracruz, Mexico and most of Latin America. Since 1973, their music and international achievements have earned them the honor of 'Best Folk Group in Mexico' by the Union of Music and Theater Critics.

En Xalapa, Veracruz la Universidad Veracruzana es la base del Grupo Tlen-Huicani y su director, el  Prof. Alberto de la Rosa,  ha tenido una gran influencia en prometiendo la difussion del son  jarocho y musica de Latino America. Por mas de 25 anos, Tlen-Huicani se ha dado a conocer como unos de los grupos mas fieles en la interpretacion demusica tradicional y se han reconocido como el 'Mejor grupo folkorico de Mexico'por la Sindicato de Critcos de Musica y Teatro.

 
Another wave of preservation called the "Movimiento Jaranero" began in the late 1970's which saw contemporary ensembles who had developed a style from the more commercial urban ensembles in the 1940's as steering away too much from its roots. These "renovadores" have concentrated on preserving the fandango setting (the traditional celebratory environment of the son jarocho) such as at the annual "Encuentro de Jaraneros" in Tlacotalpan, Veracruz. The movimiento stresses the Afro-caribbean aspects of the son jarocho and at the head of this movement is grupo Mono Blanco (right) who since 1978 has recorded various albums, traveled throughout the world, and conducted various workshops and conferences concentrating on their unique style of the son jarocho. Although commercialization and the birth of the professional musician has had an effect on the son jarocho tradition in Veracruz , the age old folk tradition of playing the son jarocho as a pastime is still alive and well. While we will always have the commercial recordings of professional groups such as Medellin, Tlalixcoyan, Tlen-huicani and others, there are hundreds of musicians throughout southern Veracruz who are unknown and continue a tradition which is over two hundred years old.

The Son Jarocho-North of the Border
El Son Jarocho- Al Norte de la Frontera

Proving the age old adage that music knows no boundaries, many jarocho ensembles have also been formed throughout the Unites States and in particular southern California. As early as the 1940's, Andres Huesca and his ensembles, Los Costenos and Trio Huracan, were staples at theatres in the Los Angeles area. Huesca, in fact, died in Los Angeles in 1957. In time, Los Angeles became a hotbed for Mexico's musical talent and had a great influence on the musical scene throughout Mexican communities in Southern California. Although many folk ensembles formed throughout the Los Angeles area, initially these ensembles consisted of transplanted musicians arriving to the southwest from Mexico. It was only a matter of time before "homegrown" folk ensembles began to be formed on this side of the border. During the 1960's, the rise of Chicano political activism and cultural nationalism ushered in a high interest in the folk arts and music throughout Chicano communities in the southwest. Some of the first homegrown Jarocho ensembles that would emerge out of Southern California were: "Conjunto Papaloapan"; Prof. Tim Harding of California State University of Los Angeles and his ensemble "Los Tigres De La Sierra"; Prof. Fermin Herrera of California State University Northridge and his family-based ensemble "Conjunto Hueyapan."(below) , and "Conjunto Alma Grande" de la familia Moraza of Ventura,California.

Dando prueba  al dicho que la "Musica no tiene Fronteras", varios musicos jarochos se han establecido en los Estados Unidos, y en particular el sur de California. Desde  los 1940's, Andres Huesca y sus conjuntos, Los Costenos, y el Trio Huracan, andavan en giras en el sur de California. Huesca murio en Los Angeles en 1957. Antraves del tiempo,Los Angeles se convertio en una centro de exponer los talentos del entretenimiento Mexicano y esto tuvo un gran efecto sobre la cultura muscial de la comunidade Mexicanas en el sur de California. En tiempo se empesaron a fundar conjuntos jarochos en que sus miembros no solo eran trasladaros de Mexico pero nacidos al otor lado de la frontera. Durante los 1960's y el nacimiento del movimiento politico y nacionalista Chicano, crecio el interes en la arte y musica tradicional de Mexico. Unos de los primeros conjuntos jarochos fundados en el sur de California eran:"Conjunto Papoloapan", "Los Tigres De la Sierra" del Prof. Tim Harding de la Universidad del Estado de California-Los Angeles; el "Conjunto Hueyapan" del Prof. Fermin Herrera de la Universidad Estatal de California-Northridge y su familia; y el "Conjunto Alma Grande" de la familia Moraza de Ventura, California.
 

 While many ensembles have come and gone, the native-born Herrera family of Oxnard, California have been active for over 25 years in disseminating the son jarocho to hundreds of students throughout southern California . There are currently dozens of jarocho ensembles throughout southern California and the United States. Although the ensembles on this side of the border have obviously formed out of the traditional contextual environment of the son jarocho, these musicians have traveled to Mexico and abroad to establish the traditional master/apprentership relationships which are vital in the transmission of the son jarocho. Members of ensembles formed on this  border such as "Conjunto Hueyapan", "Conjunto Jardin" (below), "Conjunto Alma Grande", "El Son del Pueblo","Conjunto Tenocelomeh", and others are true "Jarochos" without having to be native Veracruzanos. While some folk genres in Mexico have been forgotten, this developing unique aspect of the jarocho tradition will insure that it will continue long into the future.
 

 Mientras varios grupos en el sur de California se han fundado y desentegrado, la familia Herrera de Oxnard, California han difundido el son jarocho a cienes de estudiantes por mas de 25 anos. En hoy tiempo, hay varios conjuntos jarochos de origen estadodiense en el sur de California y en todo los Estados Unidos. Aunque estos conjuntosse han formaron fuera del contexto tradicional jarocho, estos musico had girado a Mexico a aprendaer la muscia jarocha y han establecido la relacion imoprtante de maestro/estudiante con maestros y expertos en el folklore Mexicano. Miembros de conjuntos como "Conjunto Hueyapan", "Conjunto Jardin", "Conjunto Alma Grande"," El Son del Pueblo", "Conjunto Tenocelomeh", y varios otros son verdareros musicos "jarochos" sin tener que ser Veracruzanos nativos. Mientras otros generos del folkore Mexicano han pasado al olvido, el  desarollo de este aspecto nuevo del la tradicion del son jarocho es unica y asegura su lugar en el futuro.

                                                                                                        F.J.G

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