Música as a Cultural Tool for Enhancing the Development of Young Latin@ Children

Learn how to make music education more relevant for Latin@ Linda Prieto children and their peers. & Marco Cervantes

Flores, 2009; Riojas-Cortez & Flores, 2010). For this ar- Latin@: A New Way ticle we selected three percussion instruments from : , claves, and the güiro (Photo 1). In Spanish, nouns have been considered either masculine or It is common to visit a Latin@ home and hear music feminine and adjectives were expected to match the gender of the noun, often denoted by the “o” or “a” at the end of the word. playing (Wortham & Contreras, 2002), so our sugges- The “@” symbol is now being used as a push back to those rigid tions here aim to provide early childhood educators with linguistic rules and can be universally used with either masculine ideas of how to make the contexts of early childhood or feminine nouns. centers more culturally relevant for Latin@ children. We share how to develop active, stimulating learning environments with a focus on culturally relevant music The population growth of young Latin@ children is for young Latin@ children. We provide a backdrop for of great interest to early childhood educators across the this article by sharing the role of música (music) in our South as Latin@s are the largest and fastest growing own lives as children, educators, and for one of us as an ethnic minority group across the nation. Much of this artist and the other as a parent of a now five-year-old. growth has occurred in the southeastern , We also include brief cultural histories of three particu- where significant Latin@ populations now exist in com- lar instruments, simple instructions on how to make munities where they hardly resided 10 to 20 years ago. them, and how to plan an activity that involves Latin@ All early childhood educators should be knowledgeable families. Familiar music will help children make stronger about the children they teach. Given the sharp increase connections in the classroom thus making the classroom of Latin@ preschool-age children in the southern states, culturally efficacious. we aim to provide all early childhood educators with an example of how to make music instruction more cultur- ally efficacious (Flores, Clark, Claeys, & Villarreal, 2007) The Facts for Latin@ children and their peers. By creating and The school-age population (ages 5 through 17) in the new playing percussion instruments with their students, early settlement areas of the South grew by 322% between 1990 and childhood educators can develop high-quality cultur- 2000. Over the same period, the corresponding white population ally efficacious education environments that enhance grew by just 10% and the black population by 18%. The Hispanic population of preschool age (4 or younger) increased by 382 per- young Latin@ children’s physical (e.g., motor skills), cent between 1990 and 2000, and the number of added social-emotional, and cognitive development (Bergen & was far larger than the number of whites (110,000 vs. 43,000) Coscia, 2001), as well as their cultural identity (Flores, (Kochhar, Suro, & Tafoya, 2005, p. iv). Casebeer, & Riojas-Cortez, 2011; Riojas-Cortez &

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has been a part of my life since the time of my birth when my abuela named me Marco Antonio, after Marco Antonio Vasquez, singer of (a type of Spanish music and dance) such as “¡Y Ya!” (That’s it!) and “Cielo Rojo” (Red Sky). She would sing these songs around the house often and today they bring back warm memories of her love and home. When returning to my parents’ home, I listened to their vast collection of rock, R&B, soul, and LPs. On my own, I listened

Photo provided by Dr. Marco Cervantes Marco Dr. by provided Photo to R&B and rock radio stations and was deeply moved by the beats and rhymes of hip-hop. As I grew older Photo 1: Maracas, Claves, and Güiro. and began performing as a hip-hop artist/musician, I found ways to fuse Nuestras Vidas con Músi- music by traditional Latin@ artists and with hip-hop music. Relocating these memories ca/Our Lives with Music like José Luis Orozco or Suni Paz. My (Cervantes) earliest memo- and musical forms through my re- ries of music were mornings at search and performance helps me re- For as long as I (Prieto) can re- my abuela’s (grandmother’s) house main grounded to my Mexican and member, listening and singing listening to a small General Electric Latin@ musical roots and communi- along with music was a part of my transistor radio as we talked, sang, cate the value of cultural expressions upbringing, whether at home or and danced to different types of to students and audiences. working in the agricultural fields of Latin@ music such as cumbias, California alongside my family. My rancheras, and by such artists father imparted upon us the cultural as José José, Los Tigres Del Norte, traditions of baladas, , y Rigo Tovar, and Los Plebeyos. Music rancheras mexicanas (romantic and folk and the rural traditional of ). His sing- ing helped the long workdays go by La Música faster (Prieto, 2015). He recorded Bachata- An internationally celebrated genre of music from the countryside of the Domini- us singing with him or each other can Republic, performed and popularized within Afro-Dominican rural neighborhoods. on cassette tapes. At the age of 11, I made my own cassette recording -A Colombian genre of music existing in both rural and urban forms in secret with my then six-year-old that became popular throughout Latin America’s Pacific rim regions from to Central brother that we later presented to America and Mexico. our family as our Christmas gift to -A music and dance genre from the that has become a them. Now, as a mother of a five- symbol of national identity and is one the most popular Latin American musical genres. year-old, I also expose my child to the music I grew up with, as well Son- A complex set of traditional Cuban styles of dance and music rooted in Afro-Cuban as , since he was born rhythms that have informed a wide range of Latin American music, including chachachá, mambo, and salsa. in . We sing and dance in the kitchen, and our car rides include Salsa- An Afro-Caribbean song and dance promoted and marketed by New York Latinos singing along to Spanish children’s in the 1970’s. Salsa comprises of genres including Cuban Son and Puerto Rican and .

Dimensions of Early Childhood Vol 44, No 1, 2016 5 Música as a Cultural Tool for Enhancing the Development of Young Latin@ Children Música Enhancing Children’s Development

Because we knew the importance that music played in our develop- ment as children, we decided to provide a música workshop to show children and their parents how to make and enjoy using maracas, claves, and güiros. These percussion instruments are not only common in Latin@ musical expression, but they also reflect the colonial contact between Europe, the Americas, and

Africa. Thus, they present oppor- and Predicates Subjects by Photo tunities to explore the European, Music can build a bridge between cultures, children and families. African and indigenous roots of Latin@ music, while also helping to develop Latin@ children’s cul- Americas. They are commonly used The Güiro tural identity and comfort in a new in Afro-Latino music such as Latin The güiro is a percussion scraper, learning environment. In addition, , salsa, cumbia, and bachata of Amerindian origin, providing usu- these easy-to-replicate instruments (Olsen, 1998; Hernández, 2012). ally stressed downbeats and rhythms represent ways for all young children Many early maracas were made from varied according to the dance accom- to become engaged in the richness of such objects as gourds, with seeds panied (Olsen, 1998). The güiro’s Latin@ culture and raise their aware- that rattled inside. Over time, musi- origins can be traced to indigenous ness of Latin America’s historical cians developed methods of making groups in the Caribbean, especially contributions. maracas, using hardened leather, the Taíno tribes of and wood, and other materials that could (Latino Music USA, 2009). be filled with seeds or pebbles (Latin Other variations of the güiro can be Music USA, 2009). found in Colombian and Affirm children’s Dominican (Latino Claves cultural Music USA, 2009). Claves consists of two hardwood backgrounds. sticks used to keep time in rhythms The Música Workshop: characteristic of West African music Making Maracas, Claves, ( USA, 2009). Claves and Güiros Historical Background of were formally developed in 17th century Havana shipyards from the Instruments dowels used in shipbuilding (Peñalo- Our workshop included the par- sa, 2009). By the 1940s, claves were ticipation of children, parents, and Before describing the details of the an essential instrument of rumba grandparents who do not attend the workshop, we provide a brief de- and the popular style son from same early childhood center; yet they scription below of the instruments’ eastern Cuba. They are popular Afro- quickly engaged with one another history to help you in your prepara- Cuban salsa, jazz, funk, and rock before, during, and after the work- tion and planning of instruction. ensembles (Olsen, 1998). Fittingly, shop. Thus, taking part in the cre- clave is a Spanish word meaning ation of these instruments also im- Maracas ‘code’or ‘key,’ and can also refer to pacted the emotional experience and Maracas are percussion instru- the name of the patterns played on connections made to music and the ments developed by indigenous claves. children’s abilities to create and enjoy groups in both Africa and the music with others. By understanding 6 Vol 44, No 1, 2016 Dimensions of Early Childhood Música as a Cultural Tool for Enhancing the Development of Young Latin@ Children and sharing the cultural and histori- Table 1 cal meanings of the particular musi- cal instruments highlighted in this Materials article, early childhood educators Maracas Güiros Claves draw attention to providing young Rice (various colors) Empty 9-ounce plastic Two 8-inch wooden Latin@ children with opportunities cups with ridges dowels per child to celebrate and learn about their Dried beans (various Plastic spoons own cultural backgrounds. colors) According to scholars, such as Maize or corn kernels Hoffman (1992), “Multisensory (various colors) activities require more planning and Empty 8-ounce trans- more collection of materials and parent water bottles realia (real objects) on the part of the with lids teacher than do standard textbook- based instructional approaches, but Instructions those of their neighboring friends. the motivation and memory advan- We decided to begin with each dry If your classroom is carpeted, we tages of these activities justify the ingredient in a different bowl in suggest you lay a tarp on the floor extra effort”. (pp. 132-133) Thus, on order to share with the children the for easier cleaning up. Otherwise, the day of the workshop Cervantes name of each ingredient and their keeping a broom and dustpan on brought real maracas, claves, and a corresponding colors. However, once hand will suffice. To make the güiro, allowing the children to see, the children began to make their ma- maracas, remove the label on each touch, and listen to the actual instru- racas, we allowed the ingredients to 8-ounce plastic bottle. Wash and ments before constructing their own. be mixed across bowls. Ideally, each dry the bottles, saving the lids for child should have two plastic bottles We recommend the following use later. Place the dried beans, and the accompanying lids, so they materials be used in the develop- rice, and maize kernels in bowls can make two maracas; however, ment of the maracas, claves, and where the children can easily reach during our música workshop, we güiros. (Table 1) Selecting items that in and fill their maracas. Placing found the children preferred making serve as common staples through- a tray in each student’s work area and using one . This allowed out Latin America for the inside of can also help catch spills. Carefully them to fill, use, empty and refill the the maracas, such as corn kernels, monitor children because sometimes maracas. Some children may initially rice, and beans instead of colored they may place these ingredients require assistance tightening the lids beads is purposeful. We also sought in their mouths, nose, or ears or items that would be easily handled by three- to six-year-old children, while developing their dexterity and eye-hand coordination. Lastly, when no longer in use, all items are either recyclable or biodegradable. Materi- als of different shapes and sizes can also be used for children requiring physical adaptations, such as in- corporating the use of a funnel to facilitate the pouring of rice, beans, and maize into the plastic bottles or using larger plastic cups for an easier grip of the güiros. of Louisiana courtesy of University Photo Center Child Development at Monroe

Musical instruments that allow for a wide variety of sounds and rhythms can be constructed with “found” materials.

Dimensions of Early Childhood Vol 44, No 1, 2016 7 Música as a Cultural Tool for Enhancing the Development of Young Latin@ Children on the bottles. The practice of filling cup with either end of the spoon to provide excellent examples. When the maracas and closing the lids also make music. If your nails are long practicing maracas, ’s La supports the development of fine enough, you can also demonstrate Vida Es Un Carnaval (2003) and Ed- motor skills. to the children the scraping process die Palmieri’s Azúcar (1965) provide The children were encouraged to with your fingernails, thus avoiding fitting salsa rhythms with which to hold a bottle in one hand and use the use of a spoon. For the claves, play along. Aniceto Molina’s Cumbia their other hand to fill their mara- you can purchase wooden dowels at Sampuesana (2007) and Andres cas. We did not limit them to this your local hardware store. Prieto pur- Landero y Su ’s Mi Machete method and indeed they varied chased 48-inch long wooden dowels, (2006) provide applicable back- in their preferences. At times they one half-inch in diameter and sawed ing tracks for cumbia rhythms and placed one bottle in a bowl and them into eight-inch long claves. We güiro practice. While these songs can scooped the beans, rice, and kernels recommend sanding down both ends entail complex rhythmic structures, that way or scooped into one bottle of the claves and sides to avoid splin- they also allow for preliminary per- first and used these contents to fill ters. To make music with the claves, cussive practice that young children the other bottle. It is important to the children hold one clave in one can follow and enjoy. provide ample time for the children hand and strike downward with the We observed the importance of to explore the various contents and clave in their other hand. Because no constructing appropriate curriculum enjoy the process of filling and refill- assembly is required, these instru- which “involves teachers making ing their maracas. As the children ments allow them to create music decisions based not only on materi- enthusiastically filled their maracas, more readily while dancing. The als but also on a holistic view of the they giggled and shared with one children enjoyed dancing around the individual needs and capabilities of another as well as with the adults room, tapping their feet, and playing the children” (Miranda, 2004, p. 53) present. As they did so, we reminded different instruments. For example, and demonstrated the value of en- them of the name and color of the one child played the güiro while gaging young children in authentic contents they were using, encour- another child played the claves. activities, such as the ones described aged their levels of pleasure and play, here. Although in the U.S. we often and kept the music playing in the purchase new items for use in mak- background. Once a child completed ing crafts, it is important for educa- and successfully sealed the maraca, Music establishes tors to model ingenuity such as the we asked them to shake the maraca connections for reuse of water bottles in making the for all to hear. Shaking the maracas maracas. In doing so, we also help to allowed the children to distinguish future learning. foster children’s imagination. the different sounds this type of Although we conducted our work- instrument makes with different shop in one afternoon, we highly amounts and sizes of ingredients in- Reflections recommend taking time to explore side. For example, we asked, “What and learn about these instruments do you hear?” (¿Qué escuchas?) “What In the workshop, songs from across a number of days and coming does it sound like?” (¿Cómo suena?) the genres of salsa, merengue, son, back to them throughout the year. “Does it sound the same as before?” cumbia, and more can be used to You can also build up to a communi- (¿Suena igual qué antes?) Without demonstrate the sound of these ty event where the children perform prompting, the children danced, instruments. They also provide for their loved ones by focusing on jumped, smiled, and showed off students with authentic rhythmic a particular singer or musical style their creations. patterns to follow. To demonstrate that is a family favorite. For example, The güiros and claves do not claves playing, use son clave and many Latin@ enjoy the music of Ce- require assembly by the children. For son rumba rhythms; Don Azpiazu lia Cruz. You can have the children the güiros, you must simply show and His Havana Orchestra: Casino dance to her award winning song them how to hold the cup in one Orchestra’s El Manisero (The Pea- (2003). hand and the spoon in the other. nut Vendor) (1930) and Compay Remember to always be open to Then they scrape the ridges on the Segundo’s Guantanamera (2013) learning alongside the children

8 Vol 44, No 1, 2016 Dimensions of Early Childhood Música as a Cultural Tool for Enhancing the Development of Young Latin@ Children and their loved ones, providing an avenue to involve them in teaching dances to the students.

Engaging the Senses As young children make and ex- plore the use of maracas, claves, and güiros, they explore through their senses and establish connections for future learning. Lewin-Benham (2010) documents the significance of using materials that will encour- age children to explore the world by engaging their senses. Children who are visually able will stimulate their sense of sight with the materials used to construct the instruments. As the instruments are assembled and used, young children are simultaneously

stimulating their sense of touch and Center for Way courtesy of United Photo FL Miami, Excellence, hearing as well. Use materials that will encourage children to explore and create. Arousing Interest While Lewin-Benham (2010) writes that young children express zoom in and focus on the source. including their culture. Furthermore, joy in engaging in expressive work We know that attracting and holding understanding children’s background “that is creative, original, complex, attention is the key to learning and enhances educators’ facility for includ- competent, and joyful” (p. 5), she memory” (p. 86). As soon as the ing children’s funds of knowledge and also describes them as “desperate children heard the music playing and families’ cultural knowledge in their for ways to stimulate their brain” saw the materials, they were eager to classrooms. Communication and col- (p. 58). During our workshop, the begin. laboration is promoted when teachers children required little prodding value the input of parents and families to participate. One child yelled, Involving Families and respect their culture. (p. 238) “¡Música!” (Music!) as soon as he saw Since we also recognize the impor- In closing, we posit that early the materials, and when we began to tance of establishing collaborations childhood educators who provide play music, they were quick to dance between families and schools, we opportunities to engage with cul- on their own. made certain to invite young chil- turally relevant music, as described Two great responsibilities of the dren and their parents to participate above, are supporting the develop- early childhood educator, then, are in the música workshop. One child’s ment of physical, social-emotional, development of the learning envi- grandmother attended with him. cultural, and cognitive knowledge of ronment and modeling an engage- Furthermore, by encouraging the Latin@ children and thus promote ment with learning. To create a pur- use of Spanish with Latin Ameri- collaboration and respect towards poseful learning environment, the can music and dance, we affirmed their families. early childhood educator will need the children’s cultural backgrounds to intrigue and capture that child’s during the learning process as indi- References interest. (Rushton, Juola-Rushton, & cated by Riojas-Cortez and Flores Larkin, 2010, p. 353) According to (2009)…knowing how to partner and Bergen, D., & Coscia, J. (2001). Brain research Kaufeldt (1999), “This arousal of emo- work with families allows educators and childhood education: Implications for educa- tors. Olney, Maryland: Association for Childhood tions allows their attentional system to to understand children’s background, Education International.

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Brown, A. & López, M. H. (2013). Ranking Latino Lewin-Benham, A. (2010). Infants at work: Using populations in the states. In Mapping the Latino Reggio-inspired materials to support brain develop- population, by state, county and city (II). Washing- ment. New York: Teachers College Press. About the Authors ton, D.C.: Pew Research Center’s Hispanic Trends Miranda, M. L. (2004). The implications of devel- Project. Retrieved on June 12, 2014 from: http:// opmentally appropriate practice for the kindergar- www.pewhispanic.org/2013/08/29/ii-ranking- ten general music classroom. Journal of Research in Dr. Linda Prieto is the daughter of latino-populations-in-the-states/. Music Education, 52(1), 43-63. Mexican immigrants and began work- Flores, B. B., Clark, E. R., Claeys, L., & Villarreal, Olsen D. A. (1998). The distribution, symbolism, ing in the agricultural fields of the A. (2007). Academy for Teacher Excellence: Re- and use of musical instruments. In Olsen, D.A. & central San Joaquin Valley in California cruiting, preparing, and retaining Latino teachers Sheehy, D.E. (Eds.), Garland Encyclopedia of World though learning communities. Teacher Education Music Volume 2: , Mexico, Central with her family at the age of eight. She Quarterly, 34(4), 53-69. America, and the Caribbean (pp. 28-42). New earned her doctorate in Curriculum and Flores, B. B., Casebeer, C. M. & Riojas-Cortez, M. York, NY: Routledge. Instruction with an emphasis in Cultur- (2011). Validation of the early childhood ecology Peñalosa, D. (2009). The Clave Matrix: Afro-Cuban scale-revised: A reflective tool for teacher candi- Rhythm: Its Principles and African Origins, Redway, al Studies in Education and a Graduate dates. Journal of Early Childhood Teacher Education, California: Bembe Books. Portfolio in Mexican American Studies 32(3), 266-286. Prieto, L. (2015). Documenting the undocumented: at the University of Texas at Austin. Hernández, D.P. (2012). Oye Como Va: Hybridity Sabidurias de una Chicana in Academia. In F. and Identity in Latino Popular Music. Philadelphia, Hernández, E. Murakami, & G. Rodríguez (Eds.), Dr. Marco Cervantes is an assistant PA: Temple University Press. Abriendo puertas, cerrando heridas (Opening doors, Hoffman, E. (1992). Oral language development. closing wounds): Latinas/os finding work-life balance professor in the Mexican American In J. A. Reyhner (Ed), Teaching American Indian in academia (pp. 127-136). Charlotte, NC: Infor- Studies program at the University of students (pp. 132-142). Norman, OK: University mation Age Publishing (IAP), Inc. Texas at where he research- of Oklahoma Press. Riojas-Cortez, M. & Flores, B. B. (2009). Sin Kaufeldt, M. (1999). Begin with the brain: Orches- olvidar a los padres: Families collaborating within es and teaches such topics as transcul- trating the learner-centered classroom. Chicago: school and university partnerships. Journal of turation and shared spaces, Black and Zephyr Press. Latinos and Education, 8(3), 231-239. Chicana/o musicology, hip-hop studies, Kochhar, R., Suro, R., & Tafoya, S. (2005). Pro- Riojas-Cortez, M. & Flores, B. B. (2010). Familias and performance pedagogy. He also ceedings from the Immigration to New Settle- latinas desarrollando el lenguaje oral con sus niños. ment Areas Conference The new Latino South: The Novedades Educativas, 230, 46-49. performs as a solo hip-hop artist and as context and consequences of rapid population growth. Rushton, S., Juola-Rushton, A., & Larkin, E. a member of the Afro- hip-hop Washington, D.C.: Pew Hispanic Center, A Pew (2010). Neuroscience, play and early childhood collective, Third Root. Research Center Project. education: Connections, implications and as- Latin Music USA. (2009). “Explore the Music: sessment. Early Childhood Education Journal, 37, Güiro” Retrieved on June 12, 2014 from: http:// 351–361. www.pbs.org/wgbh/latinmusicusa/index.html#/en/ Wortham, S. & Contreras, M. (2002). Struggling exp/guiro/read toward culturally relevant pedagogy in the Latino dias- pora. Journal of Latinos and Education, 1(2), 133-144.

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