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The Son Jarocho Revival: Reinvention and Community Building in a Mexican Music Scene in New York City

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The Son Jarocho Revival: Reinvention and Community Building in a Mexican Music Scene in New York City City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 5-2018 The Son Jarocho Revival: Reinvention and Community Building in a Mexican Music Scene in New York City Emily J. Williamson The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2673 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] THE SON JAROCHO REVIVAL: REINVENTION AND COMMUNITY BUILDING IN A MEXICAN MUSIC SCENE IN NEW YORK CITY by EMILY J. WILLIAMSON A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2018 © 2018 EMILY WILLIAMSON All Rights Reserved ii THE SON JAROCHO REVIVAL: REINVENTION AND COMMUNITY BUILDING IN A MEXICAN MUSIC SCENE IN NEW YORK CITY by EMILY J. WILLIAMSON This manuscript has been read and accepted for the Graduate Faculty in Music to satisfy the dissertation Requirement for the degree of Doctor of Philosophy. ________________ ___________________________________ Date Jonathan Shannon Chair of Examining Committee ________________ ___________________________________ Date Norman Carey Executive Officer Supervisory Committee: Peter Manuel Jane Sugarman Alyshia Gálvez THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT The Son Jarocho Revival: Reinvention and Community Building in a Mexican Music Scene in New York City by Emily J. Williamson Advisor: Peter Manuel This dissertation analyzes the ways son jarocho (the Mexican regional music, dance, and poetic tradition) and the fandango (the son jarocho communitarian musical celebration), have been used as community-building tools among Mexican and non-Mexican musicians in New York City. Since the late 1970s, the participatory elements of son jarocho have been revitalized for not only the preservation of the fandango, but also for the purpose of creating a community- building tool that can be adapted and applied to create musical communities. Across the U.S. and in Mexico, son jarocho communities have formed, using similar methods of musical instruction, communitarian music making, and dissemination of the fandango. I argue that New York City’s son jarocho community serves as an example of an “affinity group” that is based not only in a collective “taste” or preference for the musical genre, but also for participatory music making. In addition, this dissertation demonstrates that the revived practices of son jarocho are reinvented and reveal material limits to inclusivity in community music. In Chapter 2, I highlight the socio- historical context of the movimiento jaranero (son jarocho movement and revival) that began in Mexico to analyze the community-building project in New York City. In Chapter 3, I use the revived or reinvented principle of convivencia—conviviality, coexistence, or participation—to examine how the New York City son jarocho community has adapted practices of the fandango to its circumstances and how specific practices are in the process of further reinvention. Last, iv Chapter 4 examines the under-studied percussive dance of the fandango and son jarocho: zapateado. The zapateado is an interesting musical element not only to the music performed at a fandango, but is also becoming more relevant to son jarocho professional, staged performance. Overall, the jaranero community of New York City is an example of a community-building project of Mexicans and non-Mexicans, revealing the ways musical practices become repurposed and reinvented in new social settings. v ACKNOWLEDGEMENTS I have been fortunate to have numerous mentors, colleagues, friends, and family members who have helped me complete my doctoral work. To begin, I must thank my supervisory committee for their time, insightful comments and recommendations, and generative conversation. I had the opportunity to take “Anthropology of Food” with Prof. Jonathan Shannon in my early years of course work at the Graduate Center, where his lessons on food ways and anthropology of the senses have stayed with me ever since. I feel fortunate to have Prof. Alyshia Gálvez offer her support and sharp intellect, and I look to her work with the Mexican Studies Institute as an inspiration for applied academic work that directly impacts students and the greater community. I am honored that they agreed to read this dissertation. Throughout my course work and dissertation research, I am grateful to have learned in office hours, course work, exam preparation, and informal conversation from both Prof. Peter Manuel and Prof. Jane Sugarman. Prof. Manuel’s analytical listening and transcription lessons and Prof. Sugarman’s guidance and advice for writing have shaped my work immensely. Although he was not part of my dissertation committee, I continue to learn from the courses and conversations that I had with Prof. Stephen Blum. While there are many in the New York City son jarocho community who have contributed to my research, there are several people that I am indebted to for their immense generosity, friendship, and collaboration: Mehmet Kucukozer and Paula Sanchez-Kucukozer, Claudia Valentina, Julia del Palacio, Calvin Burton, and above all Sinuhé Padilla. Sinuhé was not only my principal musical instructor for son jarocho, but also his profound knowledge of Mexican culture, language, musical idioms, and spirituality has been an inspiration for my work as a researcher and a teacher. Additionally, I would like to thank members of other son jarocho vi communities that have provided me with insight and musical instruction that I bring to my classroom and research: Rafael Figueroa Fernández, Laura, Rebolloso, and Leopoldo Novoa. During my Ph.D. studies at the Graduate Center, I would not have completed my dissertation without the intellectual and emotional support and comradery of my close colleagues and friends from the music program. Thank you to Joseph Alpar, Dean Reynolds, Jacob Cohen, Elaine Sandoval, Angelina Tallaj, Joshua Katz-Rosen, and Stephanie Jackson. I would like to especially thank Elizabeth Martin for being my writing companion and giving feedback on the early stages of my work. I also am grateful to the Graduate Center’s Doctoral Student Research Grant which helped me in the very early stages of dissertation research. Last, I also thank the Baisley Powell Elebash Fund for a dissertation award that funded my research in 2016 and supported my writing in 2017. Finally, I would like to express my gratitude for the support of my family. Thank you to my sister Abby who has always been my friend and will always have my back. To my parents who were the people who instilled in me a drive for learning and education. More importantly, they taught me how to embrace other people and look out into the world, which is probably why I became an ethnomusicologist. Most importantly, to my partner Pablo who continues to make me a better person through his empathy, intellect, kindness, and love. Thank you for being with me on this journey. vii Table of Contents ABSTRACT ................................................................................................................................... iv ACKNOWLEDGEMENTS ........................................................................................................... vi List of Figures ................................................................................................................................. x Chapter 1: Mexican Immigration, Mexican Music, and an Introduction to the Son Jarocho Community in New York City ........................................................................................................ 1 Mexican Migration and Music in the 20th Century ....................................................................................8 New York City and New Geographies of Mexican Music ......................................................................14 Towards a definition of the son jarocho community ...............................................................................24 Convivencia and Cosmopolitanism .........................................................................................................32 Methodology ............................................................................................................................................39 Outline of Chapters ..................................................................................................................................41 Note on Language, Translations, and Spanish Vocabulary .....................................................................42 Chapter 2: The Movimiento Jaranero and its Connections to New York City Fandango: A Musical Revival that Reinvented Son Jarocho from a Local Music in Veracruz to a Transnational Genre ............................................................................................................................................. 45 What is the Movimiento Jaranero? ..........................................................................................................48 Latin American Nation-Building in the Twentieth Century ....................................................................49 Mexican Nation-Building Post-Revolution .............................................................................................50
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