Week 9: Arrieros Somos / Cama de Piedra

 

José Clemente Orozco, La Malinche y Cortés, mural detail, Escuela Nacional Preparatoria, DF, 1923-26 

Reading. Over the break I'd like for everyone to be reading Guillermo Bonfil Batalla, México Profundo: Una Civilización Negada. Start with his introduction and Parte Primera. That's more pages than we've been doing, but there's an extra week here, and Batalla's writing is more straightforward in exposition than don Octavio's line-by-line poetry (and wide-ranging allusions). In any case, México Profundo will be what we talk about over the next three weeks.

If you haven't purchased the book (Spanish or English translation) see my Download Links post in January for online pdf version.

A Thought. The image above (a detail from Orozco's mural en la Escuela Nacional Prepratoria) was painted in the early 1920s. It's Orozco's way of giving visual form to some of the questions we've been considering. From a point of view that Batalla would agree with--or is this part of México imaginario? A good question. In other words, is this part of the problem or part of the solution? (Either way, it's a powerful image--and an important voicing of México's past. Not just in the way Orozco characterizes La Malinche and Cortés--but also in how the form he chooses recapitulates the meaning. Consider this as you rea México Profundo--and as we continue to listen to--y cantar--las canciones del México imaginario...)

Música:  Along with José Alfredo, the songs of Cuco Sánchez remain classic. (It was great to relive José Alfredo's story, vis a vis his songs, in class last week.) Here's a good selection of Cuco Sanchez to download:

Download:   https://berkeley.box.com/s/ue4249g9smoakbsd54dy

Concentrate on:
Cama de Piedra
Arrieros Somos   (the ideas in the letra are profound--lots to consider)
Fallaste Corazón
Anillo de Compromiso 

Cama de Piedra--una canción del tiempo de la Revolución--one that came to be associated with Cuco Sánchez (whose arrangement--and interpretation--has proved definitive.)
But many of his own songs have become classic as well  ( Fallaste Corazón and Arrieros Somos, both in our cancionero...  and Anillo de compromiso). As with José Alfredo, many have become central to the ranchera tradition. Here's his original version:

Cuco Sanchez "La Cama de Piedra" - YouTube 

Cuco Sánchez presents a different point of view than José Alfredo--his lyrics tend to be reflexive--his self-image becoming the locus for his "oyentes." Philosophical, in his own way--as if there were sometimes a mirror rather than a window. And very different from José Alfredo, whose voice (though often reflexive) always seems to reach out to the listener... Chavela sings both their songs quite beautifully, as you know from listening to her Sentimiento de México albums.

There are many other good interpretations--this one from Lola Beltrán, from 1956--and a more recent version by Lila Downs, whose Cama de Piedra has a touch of Johnny Cash in the accompaniment--but these are the times we live in):   Lila Downs - La Cama de Piedra - YouTube 

Here's another,  based on the original Cuco Sánchez version, with good period photos:   YouTube - La Cama de Piedra * Revolución Mexicana, 1910.   And finally, Cuco Sánchez in a live performance, later in his career, after the song had become one of his icons:

CUCO SÁNCHEZ - LA CAMA DE PIEDRA - YouTube

So, work with Cama de Piedra--or choose another of the Cuco Sánchez songs in our Cancionero (Arrieros Somos, Fallaste Corazón)...and we'll see where everyone takes it!
______

Suplemento: Aquí está la biografía de Cuco Sánchez de la SACM: 
http://www.sacm.org.mx/biografias/biografias-interior.asp?txtSocio=08050
También dice cosas intersantes de él Yolanda Moreno Rivas. Vean el "search." Por ejemplo:

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Note: In coming week's we'll broaden the focus and consider some of the other regional traditions del cancionero mexicano... As well as Guty Cardenas, Agustín Lara y la Canción Romantica (Trío los Panchos). Along with (or in juxtaposition to) Batalla's ideas in México Profundo (for which I'll be posting YouTubes). This combination of la música popular (like Chavela and Cuco Sánchez and José Alfredo) will contrast with videos and recordings of regional musicians who are continuing to play in the older "música del pueblo" traditions. Like this son jarocho "callejero" de Vera Cruz--la Guacamaya, which starts with a "décima" by one of the musicians. Watch how the music seems to flow continuously (I'm tempted to say "forever") in the background.México Profundo:

▶ Décima y Guacamaya - YouTube

Weeks 7-8: Update

La China Poblada

Good class el jueves pasado--many of the pieces were excellent. You can all see how that animates the evenings. And I liked the way we were able to weave don Octavio into the discussion. I hope you'll consider what was said. Another point: there's so much to cover (or so much we might cover) that references come up in passing (like the way Joakina told us about Chris Strachwitz Arhoolie Records archive--which led me to tell you about la tejana (tex-mex) classica, Lydia Mendoza. That's the kind of thing you need to make note of (write down the names) and follow up on later. I'll include the following as a follow-up. Notes on where we're going (this coming week) are below.

Here's a taste Lydia Mendoza:  
Lydia Mendoza - Ojitos Verdes - YouTube
LYDIA MENDOZA - MUJER PASEADA - YouTube

Here by contrast, música norteña (de lado de México):
los alegres de teran - los ojos de pancha - YouTube

Same for la China Poblada -- mito y historia y imagenes...

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THIS COMING WEEK:

PROJECT. I know some of you interpreted my last week's post as "do two for last night." So, take a new theme--based on las canciones viejas (mejor dicho, canciones "clásicas"). Look into the letra, and their stories--and the artists who perform them. Will take you to some good places--but you need to dig a little... not just go for the most obvious. (They all have back-stories--La Paloma, for example.)

Main thing: I want to look carefully at La Barca de Guyamas (see last post). You can chose to work with this as a theme. (Would make interesting contrast with Cruz de olvido.) I know some of you already did projects from la Barca (bravo!)--in which case you can branch out. I'll leave this open. Others, try it for this week. Remember, there are many variant versions as far as letra--each with a slightly different meaning. What are the key images--las imagenes clave--that give the song its depth?

Pedro Infante, Linda Ronstadt (arr. Ruben Fuentes), Miguel Aceves Mejias, and many others--plus a version in Vicente T. Mendoza's book. Cantamos la version de Pedro Infante.

The Cuarteto Coculense (early Mariachi)  recordings are another possibility. I DO want you to listen carefully. You may chose this as your project theme. Remember that the general idea for these two weeks is to compare las canciones viejas ("clásicas")  y las del pueblo.

READING. Do the next chapter in don Octavio--De la independencia a la revolución). For some of you, this will make important reading, for others perhaps less. But you should all know where he takes these ideas about "positivismo" and how they represent a break with Mexico's past.  Y como otra vez se desafiáron en tiempos de la revolución... With Spring Break, we'll move on top other sources--México Profundo included--but Octavio Paz will remain a touchstone.

ATTENDANCE. Hey, I expect everyone in class. Remember what I told you on Thursday!!!
(Three of you excepted, as arranged prior. Everyone else, be there!)

Weeks 7-8: Dos Fuentes

Manuel Álvarez Bravo

El jueves pasado: Many of you also spoke so openly about things that matter to you--all good--somos compañeros en esto--and I think we began to see how don Octavio can play the role of guide in this--not in what to feel--but in how to clarify (enclarecer) those feelings. More important still, las canciones--y de donde vienen. La Llorona in a way is the most mysterious--because everyone (in different ways) senses its roots in something deep, from the past--and at the same time, we all realize that these feelings will always remain (at the same time) unexplained-- sin explicación.  "los útiles nunca son misteriosos..."

Where we're going. I posted Canciones Viejas for week 7. It's really two parts--the "consolidation" of the canciones as "México" through musical figures like Manuel Ponce. And--at the same time--the first recordings of the what Batalla might call "las canciones profundas..."--del pueblo mismo, in this case Cuarteto Coculense. I want you to follow BOTH streams--which is really two weeks work, especially if you follow up on my suggestions as to reading (now is a good time!) some Yolanda Morena Rivas. (See Download Links on my blog for her book.) For Cuarteto Coculense you can find background material on line. And (strangely?) Gloria Anzaldua writes about the meanings of  "estas raices"--for which the music offers its own parallels...  

Weeks 7-8:

MUSICA. For the canciones viejas, Cancion Mixteca is one we can sing por cierto. You'll see that some of the others are also in the cancionero (Adios mi chaparrita, La borrachita. Cielito Lindo would fit here too, because Ponce did the arrangement. For the canciones del pueblo (i.e., Cuarteto Coculense) let's see where you take it...

PROJECT. I want you to do TWO projects, over the two weeks 7 & 8:
1. Canciones Viejas, empahsizing a theme in one of the songs of your choosing
2. Canciones del Pueblo-- the early mariachi recordings being an example--where do these mysterious recordings take you. How do you identify with them? Si esta música puede abrir puertas...?

READING. Don Octavio, Conquista y Colonia. The ideas here continue his thematic journey, now in terms of these two key events/epochs from Mesican history--and how they've continued to resonate (haunt?) lo mexicano... Make your notes as I showed you in class so that our discussion can stay specific to the book!

_________

Pedro Infante, Irma Dorantes, Trío Calaveras

 SUPPLEMENT: Here's a Pedro Infante film video--a beautiful older song--letra anónima--and the visuals address our question spot on. Con Trío Calaveras:

PEDRO INFANTE - LA BARCA DE GUAYMAS - YouTube
(de la película, También de dolor se canta)

Y mientras voy esuchando la letra, me parece que esta canción habla mas que ninguna de la tristeza en sentido que usa don Octavio en su capítulo de esta semana (Conquista y Colonia)...

Week 7: Canciones Viejas: Dos Fuentes

Mariachi "anónimo" (1908-09)

Manuel Ponce

Pensando en lo que podemos saber del pasado, aquí las tienen dos fotos del mismo tiempo--una del músico y compositor bien conocido--Manuel Ponce. Y la otra--un músico "anónimo" del Cuarteto Coculense (quienes hicen las primeras grabaciones de música mariachi). Ponce nos dío versiones formales de las canciones viejas (y muchas veces del pueblo), como "Cielito lindo," "La pajarera" "La orilla de un palmar,"  "El desterrado," "La paloma," "Marchita el alma," "La valentina, " y " La cucaracha." Todas hoy bien conocidas como si fueran las versiones originales--pero de veras son versiones de Ponce mismo. El era la fuente. Interestingly, we think of them as the originals--where in fact, they've been standardized through Ponce's arrangements. Note that his musical studies included a period in the conservatory in Berlin, and that Ponce was the author of an extensive classical (European-based) repertory. There's also the great irony that his best known composition-- "Estrellita" is a song that's recognized the world over--but rarely associated with an individual composer. As if it were"anonymous."

What does it mean to say that the mariachi pictured remains anonymous?  And consider the difference in focus between the two photographs--significant in itself.

Here's a set of the older songs you can listen to, each discussed by Yolando Moreno Rivas in her Historia. (She has a condensed sidebar on each of the musicians--well worth reading. To use an index--that is a find sesarch--you'll need to download the pdf. Find does not work in the online version. Go to my Download Links posted in January. By the way, you can find Gloria Anzaldua there as well.) The versions below are generally from YouTube:
  
Marchita el alma (Zuñiga, 1876?):     
Pedro Infante
Alfredo Kraus (1959) 

La paloma (arr. Ponce)
Jaun Arvizu
La Paloma (Sebastián de Iradier y Salaverri) - Olimpia Delgado Herbert, Soprano 

La orilla de un palmar (arr. Ponce)  
Antonio Bribiesca (1962) - YouTube

La borrachita (Fernández Esperón (Tata Nacho), 1916) 
Antonio Bribiesca (ya la tienen en el S&P cancionero download) /  CANCIONERO
Pedro Infante 

Canción Mixteca (Alavez)                      CANTAMOS ESTA JUNTOS!
Cuco Sánchez 
and this "downhome" version by Gilberto Tovar:
Cancion Mixteca y Paso del Norte - Gilberto Tovar

Adiós Mariquita linda (Marcos A. Jiménez)
Pedro Vargas
Los Panchos

Rayando el sol (arr. Ponce) 
Antonio Bribiesca (1961)

Adios mi chaparrita   Ignacio Fernández Esperón (Tata Nacho)
De Tata Nacho "Adiós mi Chaparrita" - YouTube   (canta Guty Cárdenas) /  CANCIONERO
Mariachi Mexico de Pepe Villa Adios Mi Chaparrita - YouTube

Ignacio Fernández Esperón (Tata Nacho)

__________

Y de la otra tradición, más bien del pueblo.  I'll include this here (for example, the early recording below--Cuarteto Coculense) because it's so important to recognize that it's these two streams together--popular culture as it's formalized in the work of (dedicated!) artistas mexicanas like Ponce--and at the same time, the way it continues to be represented in popular tradition--often anónymous, and much farther removed from music as commercial presentation. (In today's world, of course, everything is potentially commercial--so the distinction is harder to maintain. That said, it's still important to recognize the way the two streams (as I'm calling them) inter-relate. When Octavio Paz writes that he speaks to a "particular" group of Mexicanos, he invokes the distinction. And when some of you (Fernanda, Vero, Jennifer) refer to your families on ranchos or in pueblos pequeños--we get living hints of the second stream... I'd say that to understand México in all her (?) complexity, we need to follow both streams and see how they intertwine... (We'll see much more of this with Bonfil Batalla's México Profundo.)

For this week, I want you to concentrate on the songs above--we'll devote more time to the tradición publerina más adelante en el semestre. Van a ver!  Here's a sample:

Cuarteto Coculense Las Abajeñas (1908-09)

And here's the full recording--published by Arhoolie Records--a cd you should purchase from them directly for your own collection: 

https://berkeley.box.com/s/jtskinje44mmaq254ku4ct6jj5yeclok

Also--be aware of Pasajero, an excellent film made by Los Cenzontles, the Bay Area group who have focused on this older mariachi music (along with many other folk styles de México). Here's an excerpt:
Mariachi Roots
Adriãn nos puede decir mas de los sones--y de sus clases an el East Bay Center for the Performing Arts.

PROJECT. Take one or more of these older songs, above, look into it's history (via YMR or online sources) and use it as point of departure for this week's work. Consider both music and lyrics--and connections to "la historia cultural de México..."

READING. Continue with don Octavio, Conquista y Colonia, as discussed in class... There also inadvertant reference to the themes above all throughout don Octavio--which is (in part) why we're reading him so closely. Y la "soledad"--or separation--that he invokes has to do with his personal relation to this bifurcated history ("las cicunstancias históricas explican nuestro carácter en la medida que nuestro careacter las explica a ellas." (p. 79)


 

Week 6: La llorona / 2

Diego Rivera, Sueño de una tarde dominical en la Alameda Central,

 (detalle), 1946-47)

After the missed week (my  sincere apologies!) I was expecting to see more of your La Llorona projects posted on the cuadernos  so that I could get a sense of where everyone stands. You'll to do this need to do this, even though the discussion/review has been delayed... So make your post, and if you wish, supplement later as need be!

The la Llorona theme--during these two weeks,I've been returning to it again and again. (Uno de los temas grandes, sín duda.). Both the myth--and the way the myth is reflected in the MANY variations in the lyrics. I want you to get into this! There's only a limited mention in Octavio Paz (but then, that's not surprising, since his theme is Los hijos de la Malinche. The two are connected, of course.)  That's why I suggested you read additional sources--Gloria Anzaldua in particular, and look into the related terms and themes on my blog post. YOU NEED TO EXPLORE THIS INDEPENDENTLY--each one of you. Discuss on your individual posts as well as in your projects.

I also suggested you listen to alternate recorded versions.  There are many artists who've done the song. We started  with Chavela y Antonio Bribiesca--you need to be thoughtful as to why. I also gave you some other (now classic versions) like David Zaizar. And why do you think is Lila Downs' contemporary version is so different? Also-- why/how does Chavela change the lyrics in her version for Frida? These are all good questions--so listen to the recordings carefully, and be thoughtful!

My sense is  that we can use the time get into this theme more deeply.  And again, since we missed last Thursday, this would be a good way to use the current week--until we reconvene!

Note that the wikipedia entry  (La Llorona (música) - Wikipedia, la enciclopedia libre
includes a Nahuatl version. Your thoughts on this? And there are various Spanish-language posts on La llorona --MITO y LEGENDA. So, expand your treatment!

There's also an article, with interesting reseach, by Marisela Valdés: "En la mirada, en el oído: Narraciones tradicionales de la Llorona   (Universidad del Claustro de Sor Juana, DF)     http://www.researchgate.net/publication/28124227_En_la_mirada_en_el_odo._Narraciones_tradicionales_de_la_Llorona


READING: I asked you to read don Octavio, Los hijos de la malinche.  You see why that applies for the upcoming La Llorona discussion. (You can also continue with his next chapter--I assume you're doing this without my prompting--Conquista y Colonia, which is relevant--but will be the full subject of a later week's discussion.)

So , for this week, review these chapters from don Octavio, and make specific connections with the La Llorona theme:
Todos Santos, Día de Muertos
Los hijos de la Malinche (concentrate on this chapter!)
____________

I spent some time on Sunday looking through your cuadernos, seeing where each of you are, how you're handling this part of the class...

First (as I anticipated) they're quite different. Some of you are taking it project by project. Others are using the blog space for meditations about home, and other related experiences. Both approaches are good.

* use images of your projects as a point of reference
* do make a connection with the songs
* it's also fine when the writing becomes more associative and free-form. this works for some of you. for others, the direct approach is best.
* what's most important is that the cuaderno hang together--as a whole--as something you've made--as evidence of your thinking, whether  from the reading, from projects, or from ideas that come up in class--and how you bring them together. in other words, it's a creative work in itself--one that reflects the best of who you are
* the cuadernos assume a lot of independence on your part--that is, I expect you to take this on and develop it following your own path (related to readings and assignments and projects and in-class discussion)
* very important: don't fall behind. your individual sites need attention each week. (they're not something you can "make up" later on in the semester!) so, keep your posts current! (and note that I do pay attention to your posts as well!)

I could connect names your names with all the above--but it will sound too much like labeling--so for now, take this as encouragement on my part to keep the cuaderno going each week. let the new posts add up in your own way--and we'll all see where this goes. also, following each others work (writing and visual posts) adds a lot to the endeavor.

my best to all of you,

Tony