Adzel Villanueva
SON JAROCHO
Veracruz, Mexico
Abstract
The ancestral roots of rebelling enslaved Africans and indigenous people mixed with Spanish instruments would bring about what makes Son Jarocho unique in being a mixture of sounds creating an identity of celebration, resistance, and community. The musical instruments that consist of string, drum and foot tap dancing are played rhythmically together where it's up to the musicians to improvise in what to say over the music. Son Jarocho is developed through a social event called the fandango where lots of community members come together in any communal setting where the event is performed. The fandango also has everyone of all ages surrounding a Tarima, an elevated wooden platform which can have two to eight dancers perform a Zapateado dance that involves rhythmically tapping your feet to the sounds of the music.
the Influences
Colonial History
La Villa Rica de la Vera Cruz
"the rich village of the true cross"
Mexico and most of Latin America and the Caribbeans was owned by the Spanish, claiming the mainland as New Spain. off to the east coast of modern-day Mexico was the port city of Veracruz primarily used to import and export commodities, especially enslaved African people which its estimated that half of all slaves were transported to Veracruz through the Caribbean navigational system
The Navigation system was influential to what would become the "Caribbean Identity" for how this space encompass characteristics of defensive ports, Spanish Imperialist designs, economic exchange, travelling mariners, and even pirates. The area would even be given the name, The Sea Of Desires. An inspiration for storytelling
(Acre, Christine)
Influence From Puerto Rico
One influential characteristic of what would help make the sound of the Sone, was the Puerto Rican Decima which was improvised singing that would be orally passed down for other inspiring musicians (Gross, Joan)
El Chuchumbe
Most early known records of the musical style of Sone, was of the African inspired dance and music movement known as the Chuchumbe which was meant to mock the catholic church and Spanish authority in the 18th century. This musical style comes from Afro-Cuban styles that became inspiration for the style of Son Jarocho, where a courtship dance was followed by lyrics singing along the rhythm of instruments. the Chuchumbe was prohibited from the authorities, making the practice be concentrated in rural areas where Indigenous and Afro-Mexicans can express their resistance against colonialism. (Diaz-Sanchez & Hernandez)
Legacy of Influences
From utilizing the African musical characteristics of the Chuchumbre with the lyrical influence of the Decima, the sound of the Son Jarocho would soon develop to create a sense of culture for the marginalized population of Veracruz which would be conglomerated to be known as los Jarochos.
The People of Veracruz
Caste System
In nearly all of Spanish America up until the 19th century, a racial hierarchy was established to justify the treatment of mixed, indigenous and afro mexicans all to secure the Spanish crown over her subjects (Diaz-Sanchez & Hernandez). Afro Mexicans that would intermarry with European or indigenous people would be stigmatized and called Jarochos as meant for a derogatory term, but soon would be expressed more as a celebration of culture through series of resistance
"Owners of their Freedom"
One of the most famous rebellion episode is the African prince led movement of Gaspar Yanga (1608), who led disgruntled natives and enslaved Africans to fight against the Spanish authority in order to escape into freedom. By 1618 The rebellion would create their own community free of their oppressors, naming their town San Lorenzo De Los Negro, the first free black town in the Americas. by 1932, the town would be renamed to Yanga in honor of the leader. Through the restrictive nature of slavery, many of the freed Afro-Mexicans would mix cultures with the indigenous population through food, and especially through music. (Zarela), (Diaz-Sanchez & Hernandez).
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Mexican Nationalism
Around the 1810s would Mexican war of independence be commenced with calls to separate from Spain and abolish slavery which would soon be achieved once in 1821 would independence be achieved and slavery formally abolished by Mexican president Vicente Guerrero who was of African Decent (shown to right).
While the abolishment did terminate the Caste System, racial prejudice still existed in excluding Afro-Mexican identity to the greater Mexican national image by intellectuals. As for the musical style of the Son Jarocho, it's authentic would be lost as the more popularized version praising the nation would be known in the cities. the folk style would retreat into the countryside to be Informally exchanged (Cardona)
The revival Period
Back to the Locals
By the 30s and 40s there was recognition for the musical style but there was question of how authentic the sones were (Howard). Starting in the Seventies, a groups of anthropologist and ethnomusicologist would travel to the countryside to capture the "authentic" sound of the Sone which they would record a collection of testimonies from the local population. One captured example is the Sones de Veracruz recording from 1969. (Cardona)
Take a listen below!
About the Music
Now that you got the social and historical context down, it's time to dissect the music more formally. The musical style is a fast tempo with guitar strumming and percussion beats in the sounds of the feet clapping the floor, called the Zapateado. Singing has to keep on Rythm of the music and mainly be prepared for improvision at any moment. the lyrics can sing about anything especially of current sociopolitical issues, a tradition still held from the Chuchumbre back in the colonial days. There are culturally significant Sones from Veracruz which have been popularized for many to know such as La Bamba as one example (Howard). one traditional context of experience where the Son Jarocho is shared is the Fandango which has many community members join to dance and sing, all around a raised wooden platform called the Tarima where a dancer or couple dance to the rhythm of the music.
check out the video below to see the Fandango in action!
The Instruments of Son Jarocho
The Main Two
The most often used instruments in this style of music include the Jarrana and the Guitarra de son. check below to learn more about them
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While not needed, these instruments add more variety to the sound regardless!
Daniel, Levy & Estevan, Azcona
Putting it all together!
The Significance
The sounds that originated from dissent showcase the spirit of singing and dancing your emotions through an energetic Rythm that inspires similar sounds to places like in California, Arizona, and even Chicago (.Acre). The powerful lyrics of
"Yo Crucare,Yo Crucare,Yo Crucare" (I crossed x3)
shows how Son Jarocho shows no borders and is open for all to experience this tradition.
This expression is not done alone which makes the experience communal for how it requires more musicians and dancers that work harmoniously to create a sound that is continuing to inspire many to share their music of Son Jarocho!
References:
Cristine Acre, B. “Of Other Caribes: Son Jarocho And the Sounds of Dissent” Institute of Caribbean Studies. 2020 of December, Vol 48, No. 2: 87-116
Joan Gross. “Defendiendo la (Agri)Cultura: Reterritorializing Culture in the Puerto Rican Decima” Oral Tradition. 2008 of Feburary, 219-234
Zarela Martinez “The African Face of Veracruz” Los Angeles Times. Web. 12th of September 2001
Daniel, Levy & Estevan, Azcona “Global Encounters, Music of Mexico.” Carnegie hall, Weill Music Institute. 2010
Micaela Díaz-Sánchez & Alexandro D. Hernández. “The Son Jarocho As Afro-Mexican Resistance Music” The Journal of Pan African Studies. 2013 of July. Vol 6, No.6
Karen Howard. “From Veracruz to Los Angeles: The Tradition of Son Jarocho” Journal of General Music Education. 2022. Vol 32(2) 39-42
Ishtar Cardona. “Fandangos de Cruce: La reapropiación del Son Jarocho como Patrimonio Cultural” Revista de Literaturas Populares. 2011. Vol 1