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Cantando La Madre Patria: Mexican Musical Heritage in Tucson, 1939-1983

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Cantando La Madre Patria: Mexican Musical Heritage in Tucson, 1939-1983 Cantando La Madre Patria: Mexican Musical Heritage in Tucson, 1939-1983 Item Type text; Electronic Dissertation Authors Merriam-Castro, Kelley Kathleen Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 06/10/2021 07:12:29 Link to Item http://hdl.handle.net/10150/626745 CANTANDO LA MADRE PATRIA: MEXICAN MUSICAL HERITAGE IN TUCSON, 1939-1983 by Kelley Merriam Castro ________________________ Copyright © Kelley Merriam Castro 2017 A Dissertation Submitted to the Faculty of the DEPARTMENT OF HISTORY In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY In the Graduate College THE UNIVERSITY OF ARIZONA 2017 2 THE UNIVERSITYOF ARIZONA GRADUATE COLLEGE As members of the Dissertation Committee, we certify that we have read the dissertation prepared by Kelley Merriam Castro, titled Cantando la Madre Patria: Mexican Musical Heritage in Tucson, 1939-1983, and recommend that it be accepted as fulfilling the dissertation requirement for the Degree of Doctor of Philosophy. 2 3 - g � ,-;,L) -rt)ate: �t�-� 8 -.:23 - / 7 Date: ,I �_:- �-----------------------J:.,· � Date: Kevin Gosner Final approval and acceptance of this dissertation is contingent upon the candidate's submission of the final copies of the dissertation to the Graduate College. I hereby certify that I have read this dissertation prepared under my direction and recommend that it be acce d as fulfil · n the Dissertation requirement. 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Dissertation Committee, we certify that we have read the dissertation prepared by Kelley Merriam Castro, titled Cantando la Madre Patria: Mexican Musical Heritage in Tucson, 1939-1983, and recommend that it be accepted as fulfilling the dissertation requirement for the Degree of Doctor of Philosophy. ______________________________________________________ Date: William Beezley ______________________________________________________ Date: Janet Sturman ______________________________________________________ Date: Kevin Gosner Final approval and acceptance of this dissertation is contingent upon the candidate’s submission of the final copies of the dissertation to the Graduate College. I hereby certify that I have read this dissertation prepared under my direction and recommend that it be accepted as fulfilling the Dissertation requirement. ______________________________________________________ Date: Dissertation Director: William Beezley 3 STATEMENT BY AUTHOR This dissertation has been submitted in partial fulfillment of the requirements for an advanced degree at the University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this dissertation are allowable without special permission, provided that an accurate acknowledgement of the source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder. SIGNED: Kelley Merriam Castro 4 ACKNOWLEGEMENTS A project like this is never an individual endeavor. It takes the time, support, and guidance of an entire community of people. Words seem insufficient to express the full extent of the gratitude I feel toward everyone who has helped me arrive at this place. Nonetheless, I will try here to offer what appreciation I can. I would like to offer my sincere thanks for the countless hours of support, encouragement, and guidance by my committee members: Drs. William Beezley, Janet Sturman, and Kevin Gosner. Other faculty who encouraged and influenced me during my doctoral studies include Jadwiga Pieper-Mooney, Eithne Liubheid, Maribel Alvarez, Lydia Otero, and Raquel Rubio Goldsmith. I am grateful to all of you for challenging me and helping me grow. Financially, this work found support through grants provided by the Tinker Foundation, the Graduate and Professional Student Council, the Social and Behavioral Sciences Research Institute, as well as conference and travel support from the History Department at the University of Arizona. Special thanks goes to the Special Collections staff at the University of Arizona, particularly Bob Díaz, who helped me access old recordings, and shared his love of music with me. The staff at the Arizona Historical Society in Tucson also spent many hours helping me sort through various photographs and ephemera. I am also grateful to the staff at the Fototeca Nacional, the Hemeroteca Nacional, and the Fonoteca Nacional in Mexico City for their time helping me access their archives. I would be amiss without mentioning my interviewees, all of whom took the time to share with me their memories and trust me with their stories. Alfredo Valenzuela, Fred Martinez, Fernando “Nando” Zepeda, Julie Gallego, Isabel García, Raúl Aguirre, and, because thanking her once is not enough, Raquel Rubio Goldsmith. I am honored to know and work with all of you, and am humbled by the good work each of you do. You make Tucson a better, more beautiful place. My degree, my coursework, the time for my research, all of this took a toll on my “day job,” a position as a staff coordinator at Second Language Acquisition and Teaching (SLAT) at the University of Arizona. I am deeply humbled by the support from the Chairs of SLAT who, each in their turn, gave me the time and space I needed to complete this degree. To Linda Waugh, Roby Ariew, and Beatrice Dupuy, thank you for your unflinching support at every step of the way. And, of course, to Robin Staples, who not only was a wonderful sounding board for the worries and stresses of life and graduate school, but who held SLAT together while I was out of the office on my research trips, conference presentations, and writing retreats. Last, but not least, my spouse and children have taken on more than anyone. My children Ana and Eduardo have both brought perspective to life, reminding me of the importance of taking time always, daily, to love my family and enjoy being with them. Ricardo made miracles happen, adjusting his work schedule, stepping in and out of administrative and teaching roles, and providing the space and time for me to study, travel, and write. How many families uproot 5 themselves so a parent can study in Mexico City and Oaxaca? I count myself among those blessed with that kind of support. My mom and dad, Patricia and Don Merriam, have helped by traveling to conferences with me to play with the kids, and by providing essential support during particularly busy times. My in- laws, Heraclio Castro Rodríguez and Gloria Salazar Rodríguez, have cared for their grandkids while I traveled, and put up with the chaos of my academic schedule with patience and grace. In the last months, when illness took its toll on our family, superhero Tío Vicente stepped in to save the day and give me the space and time to defend and complete. !Muchísimas gracias, Tío! ¡Hubiera sido imposible sin tu ayuda y apoyo! Chris Carbone, Rosario Molina, and Tina Schuster Moore, you have been wonderful friends, running partners, lunch mates, and listening ears from the beginning to the end. Thanks for your support, and thanks for listening! And to Luis Coronado Guel and Seidy Dominguez Wong, your kindness and generosity have pulled us all through this past year. I am humbled by the help you have provided, much of which I have not yet had the opportunity to return in kind. Gracias, compadres. The completion of this dissertation has been an uphill process. Due to life circumstances beyond the control of any of us, the hill only got steeper as I neared completion. I walked into my defense with a silver bracelet around my wrist bearing an inscription that had been circulating in the news. The words of this inscription became a mantra of mine as I pushed toward the finish line with a mental, emotional, and physical exhaustion greater than any I had yet experienced. I find it only fitting to include the mantra here. Life got heavy this year, but with the support of the people mentioned, I managed to get it done. The bracelet read: Nevertheless, she persisted. 6 DEDICATION For Ana and Eduardo, mis mariachis locos, for Ricardo, my mom and dad, y mis suegros. Gracias a todos. 7 TABLE OF CONTENTS 1. List of Figures 8 2. Abstract 9 3. Chapter 1 – Lalo’s Guitar 10 4. Chapter 2 – La Música Cósmica: from México to the Diaspora 50 5. Chapter 3 – From Exceptional to Invisible: 1854 through 1939 69 6. Chapter 4 – Songs of Invisibility 114 7. Chapter 5 – Mexicanidad en el Pueblo Viejo I: The ties that bind 159 8. Chapter 6 – Mexicanidad en el Pueblo Viejo II: de caminos y barreras 196 9. Chapter 7 – Trumpets from the Heart: Cantando la Madre Patria 220 10. Appendix A: La música cósmica de Tucsón 232 11. Appendix B: Soundtrack for Cantando La Madre Patria 233 12. References 234 8 LIST OF FIGURES Figure Page Description and Source Fig 1 23 “Status Quo…” El Pueblo, Thursday, November 28, 1968, v 1, n 8, p. 2 Image used with permission from the Estate of Albert M. Elías. Image housed in The University of Arizona Special Collections, Mexican American News collection. Fig 2 72 Sketch from Ron Barber in Ron Barber and Henry Howe, The Loyal West in the Times of the Rebellion; Also, Before and Since: Being an Encyclopedia and Panorama of the Western States, Pacific States and Territories of the Union, (Cincinnati: F. A. Howe, 1865), p. 723. Image and publication in public domain. Fig 3 74 The Celaya family with instruments, Pitziquito, Sonora, 1890. Used with permission from the Arizona Historical Society. Yginio Aguirre Collection, Item number 47824, collection number PC239 F.2 (B) Fig 4 166 Photo, Los Payadores del Pueblo.
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