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Study Guide for Cinco de Mayo With Mariachi Femenil Orgullo Mexicano May 4, 2010 Written by Nydia Algazzali Gonzalez for Mariachi Femenil Orgullo Mexicano and Youth in Arts 999 Fifth Avenue, Suite 290 San Rafael, CA 94901 www.youthinarts.org Sponsored by California Curriculum Standards and Performing Arts Field Trips California’s Visual and Performing Arts (VAPA) framework for students’ learning about the arts is divided into five strands. Following are ideas for relating each strand to a performing arts field trip. 1.0 Artistic Perception Students perceive and respond to art, using increasingly sophisticated vocabulary and concepts. Take time before and after the performance to discuss the experience. Ask children to re-enact scenes or reproduce movements, tones or rhythms. Use study guide to review vocabulary or key concepts. 2.0 Creative Expression Students use various media to express meaning and intent in original works of art. Attending a performance can inspire children to create their own art. Youth in Arts can provide instruction in Mexican music and dance and many other art forms in your classroom. To learn more, call 415-457-4878. 3.0 Historical and Cultural Context Students analyze the relationship between the arts and diverse cultures of the past and present. Use maps, photos and stories to learn about places and people associated with the art form. Discuss language, costumes, etc. Where was the performance set? How do you know? 4.0 Aesthetic Valuing Students critically assess and derive meaning from arts experiences. Ask students to respond to the performance, challenging them to go beyond words like “good” or “interesting”. How did sounds, movements or lines of dialogue create a mood or send a message? 5.0 Connections, Relationships and Applications Students apply arts learning across subject areas and with respect to their own lives. Read books related to the performance. Develop projects using the art form (i.e. puppetry, song) to explore academic concepts. Discuss the arts profession. How do performers learn their skills? Background: What is Mariachi? Mariachi music is a folk tradition that originates in Central Western Mexico, spanning the political states of Jalisco, Nayarit, Colima and Michoacan. “The region of mariachi”; Jauregui, Jesus. El Mariachi. Símbulo Musical de Mexico. pg. 213 In its earliest form, mariachi music was a regional folk genre, practiced only in rural areas of that region for local fiestas; providing the music for traditional dances such as sones and jarabes. Mariachi music, dress, repertoire and instrumentation has grown and changed as its popularity has grown throughout Mexico and the world. Today’s modern mariachi groups typically consist of 6-12 musicians dressed in a variant of the traje charro, and playing the modern mariachi instrumentation: violins, trumpets, vihuela, guitar, guitarrón and sometimes harp. Mariachi is still the main attraction at many fiestas, but is also considered an icon of Mexican culture, performed on stages and at festivities throughout the world. Mariachi Chapala in 1960 History Some scholars believe that the word mariachi comes from the now-extinct Coca language of the indigenous people of central Jalisco. There have been other explanations noting the similarity of the French word mariage, but historical documents show that the word was used prior to the French presence in Mexico. Since mariachis began as a rural tradition, there is not much documentation to tell us about the growth of this genre during early times. Scholars agree that its origins date back to the nineteenth century in, Central Western Mexico, the epicenter being the State of Jalisco. One of the earliest written references to the musical genre was found in church documentation in 1852. Many scholars believe that its origins date back to at least the nineteenth century. After the Mexican revolution, mariachis began migrating to the cities. One of the first urban mariachis to make permanence residence in Mexico City was Mariachi Coculense de Cirilo Marmolejo. Although Mariachi Coculense held great popularity in Mexico City, one of the most influential urban mariachis is Mariachi Vargas de Tecalitlán. Mariachi Coculense de Cirilio Marmolejo with Dr. Luis Rodríguez Sánchez in Mexico City, 1926; Jauregui, Jesus. El Mariachi. Símbulo Musical de Mexico. pg 77 Mariachi Vargas de Tecalitlán was founded by Gaspar Vargas in 1898 in Tecatitlán, Jalisco. The original members were: Gaspar Vargas (guitarra de golpe), Manuel Mendoza (harp), Refugio Hernández (violin) and Lino Quintero (violin). By the 1930s their group was growing in size and moved to Mexico City, when they were invited to play for President Lázaro Cardenas’ inauguration in 1934. Mariachi Vargas de Tecalitlán went on to be the group with most longevity and influence, setting the stage for all groups that followed, and has since been known as “El Mejor Mariachi del Mundo” (The Greatest Mariachi in the World). Once mariachis gained popularity in Mexico City, the transformation from a rural folk genre, to a symbol of Mexican culture and nationalism began. Mariachi Vargas de Tecatitlan with President Lázaro Cárdenas; (Miguel Alemán Valdés,1934). (For more information, see Jonathan Clark’s essay on Mariachi Vargas de Tecatitlan: http://mariachihistory.com/vargas.htm) Instrumentation The instrumentation of the mariachi ensemble includes both instruments that are of European origin: trumpets, violins and guitar; and those that have European influences, but distinct features that are native to Mexico: arpa jaliscience, guitarra de golpe, vihuela and guitarrón. The most prominent of the earlier configurations of the mariachi ensemble were: harp, violin and Mariachi Vargas de Tecatitlan in Tijuana, BC, 1931; Jauregui, Jesus. El Mariachi. Símbulo Musical de Mexico. guitarra de golpe; violin, guitarrón and guitarra de golpe; or violins with a guitarrón and vihuela. This depended on the specific region and how the instrumentation had evolved in that area. After the revolution of 1910, mariachi ensembles were growing in size, and by the 1930’s, were including trumpets, and more violins. Eventually the guitarra de golpe was replaced with the vihuela and guitar, and since the guitarrón served as a convenient and portable bass, we began to see the rapid decline of harp in mariachis. Arpa Jaliscience (Jalisco Harp) – This folk harp usually has 35-38 strings (5 or more octaves). In a modern mariachi ensemble, the harp is used to play the bass notes and play the melodies. This harp has the sound holes on the front side of the body. Since these harps were designed to be played in one or two keys, the musician must re-tune the strings when changing from one key to another. Jose Sosa, Mariachi Chapala Guitarra de Golpe – This instrument was the original chordal instrument used in the first mariachi ensembles. It is a bit smaller than a classical Spanish guitar, but has a deeper body. The tuning pegs are made of wood. The traditional tuning is DGBEA, although there are many variations used to tune this instrument. The guitarra de golpe is sometimes referred to as a guitarra quinta or jarana. Gaspar Vargas, Mariachi Vargas de Tecatitlan Ninfa Iglesias, Mariachi Femenil Orgullo Mexicano Guitarrón – The guitarrón serves as the main bass instrument for a modern mariachi. It is a large guitar-like instrument with a convex shaped back, (like the hull of a ship) and 6 strings on a fretless neck. The tuning for the guitarrón is ADGCEA. The top three strings are nylon and the bottom three are metal. Typically, guitarrón players double the bass notes at the octave by plucking two strings at once. Vihuela – The Mexican vihuela, named after the Spanish instrument used in the sixteenth century, is a small, deep-bodied rhythm guitar built in a similar fashion to the guitarrón, with a convex shaped back. Its five strings are tuned like the first five of a guitar: ADGBE. The A,D and G strings tuned one octave above, similar to a ukulele. Juan Marmolejo, Mariachi Coculense de Cirilo Marmoleja Guitarra (Guitar) – Modern mariachis use the classical Spanish guitar. This guitar is used for harmonic accompaniment in combination with the vihuela. The guitar has 6 nylon strings and is tuned EADGBE. Adela Valdez, Mariachi Las Generalas Violín (Violin) – Mariachi musicians use the traditional European violin. Although it has ancient origins, the modern-day violin was perfected in Italy during the 16th century. It has 4 metal strings with wooden tuning pegs and tuned in perfect fifths: GDAE. Modern mariachis will typically have 3 to 6 violins in the ensemble. Laura Sobrino, Marachi Mujer 2000 Trompeta (Trompet) – Mariachi musicians use the European trumpet. The trumpet has the highest register in the brass family. Modern mariachis will typically have one or two trumpets in the ensemble. Lucia Perez, Mariachi Femenil Orgullo Mexicano Repertoire Mariachis were commonly associated with the rural fiesta or fandango (dance party), and with the tarima (wooden platform) upon which couples would dance sones and jarabes, the two most important genres of the early mariachi music. The traditional sones combine elements of folk music from Spain, Africa and Indigenous American tribes. Examples of these sones antiguos (early sones) of mariachi sones are El Limoncito, El Súchil, La Chachalaca and El Tecolote. As the mariachi repertoire has expanded and become more representative of Mexico as a nation, other regional sones are now part of the repertoire. Examples of this are: “La Malagueña”, a son huasteco from the eastern coast of Mexico, known for its falsettos and Arab and Spanish influenced melodies; and “La Bamba”, a son jarocho from Veracruz, known for its syncopated African rhythms, and a combining of Spanish, African, Arab and Indigenous traditions. The modern mariachi repertoire has expanded from just sones, to a variety of genres from all over Mexico and Latin America including: Cancion Ranchera – (2/4 or 3/4 meter) Songs that are usually about love, courting or nature. Corrido – (2/4 or 3/4 meter) These songs usually tell a story about a person or place, and were used as a tool for oral history and storytelling. Polka - (2/4 meter) Influence of the European polkas brought to the northern regions of Mexico. Pasodoble – (2/4 meter) Directly interpreted from the Spanish music in La Fiesta de los Toros (The Party of the Bulls). Vals – (3/4 meter) Influenced by the European Waltz, these are usually played for formal dance occasions. Bolero – (4/4 meter) A genre brought from Cuba, having roots in the contradanzas (contredanse) of 18th century England. Danzón – (4/4 meter) A result of the criollo (people of Spanish descent living in the Americas) music of Cuba and the coastal region of Veracruz. Cumbia – (4/4 meter) Popular dance music that originated in South America (specifically Colombia) with influence from African rhythms. Clothing Prior to the Mexican Revolution of 1910, mariachis had no uniform and made no attempt to dress alike. Some mariachis dressed in calzon de manta (homespun white cotton pants and shirts) and huaraches (leather sandals) and others wore the typical attire from their region. After the Mexican Revolution, mariachis were spreading beyond the rural settings and were able to afford nicer attire. By the 1930s the traje charro emerged at the preferred dress of mariachi musicians. This was the classic outfit the Jalisco horsemen or charro, consisting of a waist-length jacket and tightly fitted wool pants which open slightly at the ankle to fit over a short riding boot. The fancy version of this outfit, worn by modern mariachis, is decorated with embroidery, intricately cut leather designs, or silver buttons in a variety of shapes. This was the style of the wealthy hacienda owners of that time, and the upper class horsemen. In modern mariachis where women participate as musicians, they typically wear a skirt version of the traje charro. Women in Mariachi Women have played an important part in the advancement and popularity of mariachi music. During the “Golden Era” of Mexican cinema (1935-1959), many Mexican movie had a mariachi ensemble playing music, and commonly, a leading lady singing with them. Some of the lead women singers of this time were Lucha Reyes (“La Reina de la Cancion Ranchera”), followed in later years by Lucha Villa ("La Grandota de Chihuahua") and Lola Beltrán (“La Grande”). Lucha Villa During the 1950s, women were not only singing with mariachis, but also playing instruments. All-female mariachi ensembles began to surface in Mexico: Mariachi Las Coronelas, Mariachi Las Adelitas and the Mariachi Estrellas de México. These women battled incredible resistance and disapproval from their families and male peers. In the United States, women mariachis started out by joining traditionally all-male groups. In the U.S., the earliest known Mariachi Las Generalas, 1976 female mariachi musician was documented to have been performing as early as of 1971. The first all-female mariachi groups formed in the U.S. in the late 1970s: Mariachi Las Generalas in Los Angeles, California and Mariachi Estrellas de Topeka in Topeka, Kansas. Since then, there have been many more women mariachis and all-female groups thanks to advocates and leaders such as Laura Sobrino, Musical Director of mariachis Mujer 2000. Mariachi Femenil Orgullo Mexicano As one of the first and only current female mariachi in the San Francisco Bay Area, Mariachi Femenil Orgullo Mexicano is comprised of women of varying ages, ethnicities and professions, ranging from high school students to teachers. We have a strong focus on education and support each other in our musical and academic educational endeavors. As a group, we are committed to making a difference in our communities and providing a supportive Mariachi Femenil Orgullo Mexicano, 2010 venue for young women to express themselves artistically, enhance self-esteem and develop leadership skills. For more information, contact Lilia Chavez at 650-219-5874 or visit myspace.com/mfom1 Agradecimientos (Special Thanks) Special thanks to Jonathan Clark, who has served as a mentor and resource for the shaping of this study guide. Jonathan Clark has dedicated much of his life to researching the history and evolution of mariachi music. He founded the San José State University Mariachi workshop in 1991, which he directed for eight years, and continues to lecture and write about mariachi music and history. Thank you for taking the time to disseminate the mariachi tradition to students around the world. I would also like to thank William Faulkner, a mentor, teacher and expert on the Jalisco Harp. Sources and Resources: William Faulkner http://www.jaliscoharp.com Jonathan Clark http://mariachihistory.com/ The History of Women in Mariachi Music http://www.mariachi4u.com/hwm/ Mujeres en el Mariachi http://www.mujeresenelmariachi.com/ Mariachi Education Resources http://www.mariachieducationresources.com/ Jauregui, Jesus. El Mariachi. Símbulo Musical de Mexico. Santilla Ediciones Generales, S.A. de C.V. 2007 Classroom Activities In order to facilitate these activities, you will need to have some mariachi recordings available for students to listen to. You could use any recordings that you already have, which include a variety of traditional songs. For those who do not already have such a collection, we recommend this album*: Mariachi Vargas de Tecalitlan: Serie 20 Exitos The activities include suggested songs from this recording, although you can find the same songs from many sources and recordings. *There are many recordings available, and this just happens to be one that contains a nice variety of tempos and genres. Learning about Beat Set-up: Have students form a circle and have at least one mariachi song available to play during the activity. Materials: CD Player, CD: Mariachi Vargas de Tecalitlan: Serie 20 Exitos (or a similar collection of songs) Procedure: • Have students put their hand on their heart and feel their heartbeat. Discuss the importance of a pulse. o Why is your pulse important? o What happens if your heartbeat (or pulse) stops? • Discuss how the “pulse” (or beat) is what gives you life. The beat also gives life to the music. • Discuss the difference between the pulse and the rhythm: o Pulse: rhythmical beating, vibrating, or sounding whose value is normally constant. o Rhythm: A strong, regular repeated pattern of movement or sound. o An easy way to describe how they work together: The pulse (downbeat) remains constant and stable while the rhythm kind of dances around it. The rhythm may change, while the pulse stays the same. o In a mariachi, the guitarrón usually plays the downbeat with the bass line. • Play a compilation CD of mariachi music, mixing different rhythms, like son (La Negra), ranchera (Cielito Lindo), polka (Jesusita en Chihuahua), etc. Try to vary the tempo and beat patterns. Have students find the pulse (or downbeat) of each piece and clap to it. Dancing to the Rhythm Set-up: Have students form a circle and have a compilation recording of mariachi music available to play during the activity. This should be done after students have successfully participated in “Learning about Beat”. Materials: CD Player, CD: Mariachi Vargas de Tecalitlan: Serie 20 Exitos (or a similar collection of songs). Procedure: • Play a son jaliscience (La Culebra) Have students find the pulse of the music playing. Once they have found the pulse, experiment with rhythms that go with the music, by clapping them. • Once students have explored the rhythm with their hands, have each student take a turn creating a body movement that goes with the beat that is playing. The other students mimic the movement. • To directly relate this exercise to Mexican Folk Dance that accompanies mariachi son, have students transfer the rhythms to their feet and practice foot tapping movements called zapateado. Some good sones for dancing are: La Negra, El Jarabe Tapatío, El Carretero, and La Bamba. Students can do this in groups or as individuals and share it with the class. This exercise helps the students really understand the concept of beat and rhythm. Listening and Reflection Set-up: Students can sit at their desks with paper and pencils. Have at least one mariachi song available to play during the activity. Materials: CD Player, CD: Mariachi Vargas de Tecalitlan: Serie 20 Exitos (or a similar collection of songs), paper, pencils, Mariachi Femenil Orgullo Mexicano Study Guide, pictures of modern mariachi groups and instruments for students to review. Procedure: • Review the mariachi instrumentation with your students, using the study guide section “Instrumentation”. • Once they are familiar with the instrumentation, have students close their eyes with their heads on their desks as they listen to a son jaliscience (such as La Negra). • After students have had an opportunity to listen once, play it again, this time asking them to raise their hands every time they hear the trumpet, violins or harp (guitarron, guitar, and vihuela are usually constant throughout the song). • Students can then create drawings of the instruments. • If working with upper grades, they can write about how each part of the music makes them feel. If working with lower grades, students can create a drawing to accompany each instrument they hear. Imaginary Mariachi Set-up: Have students work in groups of 4 to 6 people. Provide pictures of various mariachis from different periods and with different attire available so that students may reference them. This can be done either via a slideshow or a collection of photos that they can sort through in their groups. Materials: Mariachi Femenil Orgullo Mexicano Study Guide, pictures of modern mariachi groups and instruments for students to review, papers, pencils. Procedure: • Each group should imagine that they are a mariachi group. Together they must decide: • a name for their mariachi (in English or Spanish) • what instrument each of them plays • where their group is from • what their traje charro (mariachi uniform) looks like • what event they are hear to perform for (real or imaginary) Once students have decided, hey can also design their group uniforms and create drawings of their groups with instruments and all! • After completing the “Reporting Live From…” activity, someone from another group may act as a reporter, asking the imaginary mariachi questions, so that the whole class can learn about their group. Reporting Live From… Set-up: Students can participate in this activity as a large group from their desks. Students should have access to pictures of different mariachi groups Materials: Papers, pencils. Procedure: • Ask students to imagine that they were reporters for the local news channel for cultural events. • What questions would they ask a mariachi that has come to their town for an event. • Compile a list of these questions and have students act as news reporters so that they may interview one of the mariachi musicians after the show. Make an Instrument Set-up: Choose one of the instruments for the whole class to create, or split the class up into groups so that they may play together as an ensemble composed of different instruments. Procedure: • Straw Horns (Materials: straws, scissors) o Cut the ends of straws in a "V" shape o Press down on the ends of the straws, flattening them o Blow into the straws to produce interesting sounds! o Experiment with the length of straws. Discuss relationship between length and pitch. o Discuss how length of air columns affect sound in things like recorders, flutes, etc. • Rubber Band Guitars (Materials: 1 sturdy box with lid per student, 6 rubber bands of different thickness and size per student, 2 pencils per student, scissors) o Cut a circle in the lid of the box for the sound hole o Stretch rubber bands, or thin elastic bands around the box, stretching over the sound hole o Tuck a pencil under the bands on each side of the sound hole, lifting the bands up to avoid buzzing. o Discuss the effect of different lengths of elastic, different thickness, and different tensions and how it affects pitch. o Explain similarities with guitars and violins and other string instruments. • Bottle Flutes (Materials: 1 recycled bottle per student, water) o Students place their bottles side by side on a surface o Start by filling the first bottle half way with water o Add water to each bottle, making sure every one has a little more than the bottle before it o When blowing across the top of the bottle, each one should produce a different frequency. o Discuss the effect of depth of water and how it affects the pitch o Students can adjust the levels of the water to “tune” their instruments and play a collaborative piece! Mariachi Worksheet Circle the area in which mariachi music started in it’s earliest form: Name 5 of the instruments used in Mariachi music. 1. 4. 2. 5. 3. Label as many instruments as you can. 1.__________ 2._________ 3.________ 4._________ 5._________ 6.______________