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 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.

This episode describes the wonderful evening at the Paramount Theatre in Austin, Texas, with the first annual gala event called NOCHE DE MARIACHI.
This was not a "battle of the bands." Rather, it was a community of mariachi bands in and near the Austin area for a celebration of the mariachis in central Texas.

The quality mariachis that were featured and played their songs (which did not overlap with other pieces performed by other groups)--

- Mariachi Los Lobos
- Mariachi Estrella
- Mariachi Suroeste
- Mariachi Relalmpago

and there was a special solist, Rebekah Ramos, who was accompanied by el Mariachi Relampago, when she performed 2 songs, one of them being SOLAMENTE UNA VEZ. What a lovely piece and performed exquisitely well.
There was a folklorico dance group called the Pan American Ballet Folklorico that performed 2 numbers--they opened the event with LA CULEBRA and ended the show with dancers in the aisles of the theatre as ALL the mariachis accompanied them to the piece EL SON DE LA NEGRA by Silvestre Vargas.
Yes, there was also a group called Margaritas de Tejas that tried to perform some numbers. Even though the national fad for having all-female groups has reached Austin, this was the only group whose quality did NOT stand anywhere near the quality of the other mariachis.

We tried to get a number from the CD of songs of Mariachi Relampago (which they were selling in the lobby, and of which I purchased) to be included in this episode. However, the Mariachi Relampago would not give us the permission to include this.
Thus, we had to use a previously recorded live performance of the Ballet Folklorico Estudiantil of the Independent School Districts of San Antonio dancing to the accompaniment of various mariachis in the open air theatre in San Antonio, Texas, during the week-long festivities of the event called FIESTA.
Still, the mariachi Relampago, Estrella and Suroeste (from San Marcos, Texas) provided a wonderful evening of dance and culture. This event even included a live wedding (that was called "Mariachi Surprise", in which 2 young people took their wedding vows as they were accompanied by the Mariachi Estrella.
The finale was a traditional and powerful experience--as Mr. Bowie Ibarra, master of ceremonies, mentioned--that no gala evening of mariachi music would be complete without the performance of LA NEGRA. And, in this case, all the mariachis crowded the stage and the aisles to play that one song, together as a community of Mexican culture.

Copyright (c) 2008, Matrix Solutions Corporation. All Rights Reserved. Artwork was from the program of the event.

In this episode of Arriba! Folklorico Music and Dance of Mexico, we explore the region of Yucatan -- home of the descendants of the Idyllic indigenous peoples known as the Mayas, and center for the folklorico dance known as the Jarana.
In this episode, we explore the beginnings of the big Brass Band, called the Banda Yucateca, and we review the costume worn by both the men and women who danced the Jaranas Yucatecas during the Vaquerias or the Serenatas in the gazebo or town square in municipalities such as Merida.

In addition, the practice of the declamador or pregonero reciting the improvised and humorous (and sometimes double-meaninged or picaresque) verses of the BOMBA! is shown by an audio clip from a piece performed in the FIESTA celebration in San Antonio, Texas.
The final music that ends this podcast episode is that of the Jarana dance of EL TORO, which symbolizes the conquest of the bull by the matador (in this case, the role of the bull being played by the woman, and the man taking the role of the matador in taunting the beast with his handkerchief, which he uses as a "cape.").

Copyright (c) 2008, Matrix Solutions Corporation. All Rights Reserved.

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 epodcaster@gmail.com), or go to the website of www.podcampsanantonio.com.

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 musicans 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 of Mexican Music during the 1950s and 1960s with the troubador group called Show Janitzio.
The interview is conducted live at Estela's Restaurant in San Antonio, Texas. The musical piece 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 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).

The dynamic music of Nayarit, including the Danza de los Machetes or El Jarabe Nayarita.

This is the more popular dance of this region.

The men wear black boots and calzones de manta (that is, the beige colored trousers), with a brightly colored shirt (in some groups, a camisa de manta, or shirt of the same fabric, is worn). The men use scarves or headbands around their temples. They wear a sash of brightly colored fabric, and they would use this sash for holding in place their machetes.
The men carry 2 machetes, and they incorporate their use even when they dance.

The men use machetes for their work in the ZAFRA (i.e., the harvest of the sugar cane). During the dance, they wield their blades, as they would be in competition with other men who may be rivals for the affection of the pretty senoritas.

During the Jarabe Nayarita, the men not only clang the blades together to the tempo and beat of the musical melodies of fast movements, but they then toss the machete to the man facing him, and they EXCHANGE the blades in mid-air, and even later on have them cover their eyes and keep clanging the machetes together to the music, sometimes with sparks flying from the grind of metal against metal.

Also discussed is the dance called El Buey, which describes the agricultural livelihood in the towns and villages of Nayarit.

This episode takes you to the beautiful tropical paradise of Chiapas, the southernmost state of Mexico, bordering on the Central American nations.
We describe the costume and the dances of the Chamula tribe, especially the songs of El Jibali (the wild boar), El Rascapetate and Las Chiapanecas. We also mention the music from the instrument of the marimba, as we hear the accompaniment of the folklorico dancers at a live performance at an outdoor ampitheatre in San Antonio, Texas, during the Fiesta event in April.

Indigenous folkloric dances--the Aztecs, Mayas and Yaquis.

Imagine it to be the late 15the Century or early 16th Centruy -- a time before the year 1519, before the arrival of the Spaniards to Mexico.
It is a cool and breezy afternoon in the central highland plateau of Mexico.
It is possibly the afternoon of the equinox, a religious feast day of tremendous magnitude in the religion of the people that inhabit a major metropolis of nearly one million people in the city of Tenochtitlan, the capital city of the Aztec empire.
The call from the conchas, or shell, alerts the people that the hour has arrived for the religious celebration to take place around the base of the pyramids in the center of the city. The entire population will be asked to participate.
From all the causeways that lead to the center of Tenochtitlan, the people come marching to be in the festivities in which they will pay thanks and homage to their deities.
Atop the top of the pyramid, at the teocalli, the smoke from a small fire can be seen; the high priests from the orden sacerdotal, or the sacerdotal order, await for the massing of the people.
When they are all together, the festivities begin –
-the incantations are given,
- the guerras floridas take place; these are the mock battles and mock wars fought with flowers and banners surrounded by flowers on bamboo or reed shafts carried by warriors and swung like knives and swords, instead of the real weapons;
- the human sacrifices are performed;
- and then the dance begins...

this podcast opens by setting the stage of the folkloric dances of the ancient Aztec empire -- what we call, las DANZAS INDIGENAS – the folkloric dances of the indigenous tribes of Mexico.

This scenario took place in many of the indigenous tribal cities – from Tlaxcala to Cholula to Tenochtitlan, the central might of the Aztec empire, which is today Mexico City.

In this episode, we will cover the danzas indigenas, that is the pre-Columbian era of Mexican folklore and dance.

We cover 3 regions or tribes and their pre-Columbian dances: (1) the Aztecs with their dances honoring their deities called Quetzalcoatl and Huizilopotchli; (2) the Poblanos and their Danza de los Quetzales; and (3) the famous Danza del Venado of the Yaquis in the Northwestern desert areas of Sonora.

Different examples of the music are given in this podcast episode, as the recordings came from an outdoor, live performance of Ballet Folklorico groups in a free presentation at the large open-air ampitheatre in San Antonio, Texas.

This podcast also contains a brief discussion of the importance of folkloric dance to the indigenous peoples of Mexico, as well as how it set the stage of the evolution of what is today folklorico music and dance of Mexico, after the coming of the Spaniards and the Conquest of Mexico.

The podcast was represented at this "unconference."

Well, we did represent the Podcast series of Arriba! Folklorico music and dance of Mexico at the first annual Podcamp San Antonio 2007 event last weekend, on 19 May 2007.
Although we could not stay for the entire day (because we were interviewing an individual who would give us a testimonial for another podcast), it was a rather enjoyable event and full of very inquisitive people
The event itself was very well organized -- both from a technical support and from an infrastructure perspective. Not only were the presentations delivered in a live streaming environment (my understanding is that one of the sponsors, Podcast Ready) was helping to provide this for this "unconference."
We also had the opportunity to listen to, and speak with, Gary Leland of the Podcast Pickle. In fact, there was even an appearance of the Pickle mascot itself.

Presentations and photos

During the conference, I (Federico) personally had an opportunity to share with those who attended the session by delivering two presentations:
(1) Experiences in Podcasting -- podcasting for "passion," Corporate podcasting & Podcasting for profit; and
(2) How to avoid burnout and prevent podfading.

At first, I thought that the audience was falling asleep when I was speaking the second time (right after lunch). However, there were a number of people who came up to me afterwards and gave me feedback and comments about how much they enjoyed the discussion and its relevance to them in their podcasts.
I figured that their silence during the presentation was due to reflecting upon the relevance of the topic in their own lives -- that they were recognizing the stages and signals of feeling overwhelmed, losing passion for their topic, seeing events in their lives now step in and conflict with the time they spent in their podcasts, losing control of their day and possibly overcommitting the financial investment in podcasting.

We did our best to share with others our experiences (especially to those who were interested in getting into podcasting). We tried to share information such as resources, where to go for help, references to those who have pioneered the way in podcast activities earlier.

We did have an opportunity to meet with a couple of other podcasters who were members of the Podcast Secrets 2007 course. We know that we will see them in Ontario at the Podcast and New Media Expo from September 28-30.

The organizers of the PodCamp had organized photographers to capture images of the event. Perhaps we shall be visible in the photos captured during the sessions--they will be at the PodCamp San Antonio 2007 website. Also, we shall see what type of feedback is given by the worldwide podcasters who did view the live streaming delivery of the event (we heard during the session that several European visitors were participating with us during the event).

The value of an "unconference" and some suggestions

All in all, this type of "unconference" does have its value in providing help to others and networking with other podcasters in the region. The only feedback we would give to organizers in other regions who want to implement a Podcamp unconference is to allocate more time to those "sharing" or presenting. Suggestion: 20 minutes for a presentation (to deliver the information on the topic and stir up the discussion), followed by an additional 20 minutes for Questions-and-Answers or feedback/discussion. As it was, 15 minutes to deliver a message or share a topic (which was originally planned for 30 minutes) only created the environment of a more structured conference (i.e., a one-to-many presentation) instead of an interactive discussion.

Although our participation was not as much as we would have liked, due to the prior commitments at the end of the day, as well as the distance from Austin, the intent is to return next year on May 17, 2008, and participate more in the second annual PodCamp San Antonio 2008.

Jarocho dances from Veracruz and La Bamba.

In this episode, we explore the Eastern coast of the Gulf of Mexico, in the lively culture of the Jarocho people in Veracruz and those around the River Papaloapan. Besides el Tilingo Lingo. la Bruja and El Aguanieve (El Zapateado), the focus is on the wedding dance, el son de La Bamba. In addition, the costumes are vividly described, along with the romantic Mexican custom of the serenata (the serenade), but this time, Mananitas con jarana.

Mariachi music from a key Director, composer, author and singer.

Interview with Jose Hernandez, Director of the Mariachi Sol de Mexico and owner of the Restaurant Cielito Lindo in Southern California. During the conversation, folklorico dance and the mariachi music are discussed -- origins, personalities, impact by Sol de Mexico, and the future of the culture as influenced by Mariachi music

Promo podcast and an introduction to Jalisco and Jarabe Tapatio.

This is a promo podcast for the series Arriba! Folklorico music and dance of Mexico. In addition, we explore the origins of the Jarabe Tapatio, one of the most well-known folkloric dances of Mexico.