Music of the Chicano Movement: Teacher's Guide

Music of the Chicano Movement: A Smithsonian Folkways Learning Pathway for students in Grades 5–8.

Teacher’s Guide

Lesson 5: The “Big Four”: Themes and Leaders of the Chicano Movement

Lesson Overview

Like many other social movements, the Chicano movement was associated with a variety of goals (some were ultimately attained, and others were not). During the 1960s and 1970s, several leaders emerged as the most prominent faces of different geographical regions and issues.

César Chávez dedicated his life to improving working conditions and wages for farmworkers. He organized numerous walkouts, marches, and strikes, which drew attention these issues and, in some cases, resulted in positive changes (such as higher wages and safer working conditions). Reies López Tijerina fought to reclaim land grants that were stripped away following the Mexican-American War and the Treaty of Guadalupe Hildalgo in 1848 (Montoya, 2016, p. 67). José Ángel Gutiérrez used the ballot box to initiate change. He co-founded the Raza Unida Party (the People United), an independent political party intended to “challenge the Anglo establishment” (p. 149). Rodolfo “Corky” Gonzales was best known for articulating the notion of “Chicano identity” through his epic poem, Yo Soy Joaquin/I am Joaquin. These leaders gave the movement a collective “voice”: they drew attention to the social issues that many Mexican Americans faced (related to discrimination, oppression, exploitation, and marginalization). They worked with musicians to amplify this voice.

This lesson will provide students with an introduction to several important goals of the Chicano movement (e.g., fair wages, safe working conditions, land reclamations, educational equity, voting rights) and the historical figures who emerged as leaders of various facets of this movement.

In this Guide Lesson Overview ...... 1 Lesson Components and Student Objectives* ...... 2 Teaching Plan ...... 3 2014 National Music Standards Connections ...... 9 Additional Reading and Resources ...... 11 Worksheets ...... 12

Lesson Components and Student Objectives *

1. “Our Demands”: Goals of the Chicano Movement (approx. 30 minutes) • Students will identify several themes that were emphasized during the Chicano movement and explain the reasons why they were emphasized • Students will demonstrate and explain triple subdivision

2. Leaders of the Chicano Movement (45+ minutes) • Students will identify several important people who emerged as leaders of different facets of the Chicano movement, and will describe their major contributions

3. Demonstrating Solidarity through Music (30+ minutes) • Students will demonstrate (through performance) how music is one way to express solidarity with people in our communities ______

*Note: The learning icons used above signify the type of learning used in each Component. Keep in mind that these Components are not intended to be sequential; rather, teachers or students may choose which Components they’d like to use from each Lesson.

While all learning types ( History and Culture, Music Listening, Music Making and Creation, and Creative Connections) fulfill 2014 National Music Standards, non- music teachers will be able to use History and Culture and Creative Connections Components without specific musical knowledge.

Teaching Plan

1. Component One: “Our Demands”: Goals of the Chicano Movement

To prepare: • Preview Component 1 of the Lesson 5 Slideshow • Print the “Las condiciones” song lyrics for each student (find below)

Process: Guide student learning while facilitating the student slideshow • Open the “Slideshow with notes” link on the righthand menu of the Lesson landing page, which will allow you to see more detailed teacher hints and notes as you progress through the slides. If you are able to use a different screen than the students, have them open the “Launch Slideshow” link, which will not show the notes.

1. Listening Activity (analyzing song lyrics): “Las condiciones” Students will listen to “Las condiciones,” while following along with song lyrics and thinking about this guiding question: • What were some of the Chicana/o activists’ demands during the Chicano movement? o As they listen, students can underline statements in the lyrics (textual evidence) that indicate the types of changes Mexican Americans were seeking during the Chicano movement. o Discussion points on this topic are provided within the slideshow.

2. Discussion: Unpack the following vocabulary with students (definitions are provided within the slideshow): • Discrimination • Racism • Oppression • Marginalization • Exploitation

3. Attentive and Engaged Listening: “Las condiciones” Play several short (30-45 second) excerpts from this audio track as students think about different questions and actively engage with the recording: • What do you notice about time (meter)? o Compound meter: The main beat is subdivided into groups of three • Can you clap the beat (without the recording)? • Can you clap the subdivisions (without the recording)? • Can you clap or tap the steady beat along with the recording?

• Can you clap or pat the subdivisions along with the recording?

4. Enactive Listening (“Las condiciones”): The main rhythmic motif from this song is notated in the slideshow (along with the steady beat and subdivisions): • Practice clapping the rhythm as a full class • Put all three parts together (1/3 of class on the beat, 1/3 of class on the rhythm, 1/3 of class on the subdivisions • Switch parts • Transfer these patterns to classroom instruments (e.g., rhythm on a drum, beat on a cowbell, subdivisions on egg shakers)

2. Component Two: Leaders of the Chicano Movement

To prepare: • Preview Component 2 of the Lesson 5 Slideshow • Be ready to print song lyrics for students (depending on their choices) (find below) • Optional: Print a listening log worksheet for each student (find below) • Print the “Themes and Leaders of the Chicano Movement” worksheet for each student (find below)

Process: Guide student learning while facilitating the student slideshow. • Open the “Slideshow with notes” link on the righthand menu of the Lesson landing page, which will allow you to see more detailed teacher hints and notes as you progress through the slides. If you are able to use a different screen than the students, have them open the “Launch Slideshow” link, which will not show the notes. • Scroll to the Component Menu slide (slide 3) and click on Component 2

1. Share Information: Using the information provided in the slideshow, provide background information about four important Chicano movement leaders: • César Chávez • Reies López Tijerina • Corky Gonzalez • José Ángel Gutiérrez

2. Self-Selected Listening Activity: In this activity, students will select one theme/leader to study in a more in-depth way (through music). A. Students will listen to a Rumel Fuentes song that corresponds to their choice, while following along with the written lyrics (find below in Worksheets section). o The audio files for this activity are directly embedded in the slideshow. ▪ Students can also access these recordings using Spotify or YouTube. o As they listen, students will underline lyrics that provide examples of oppression, discrimination, exploitation, and/or marginalization. o Optional: Students can also complete a “listening log” for their chosen song (find below in the Worksheets section). ▪ This worksheet will prompt them to reflect on musical and contextual concepts like time, pitch, instruments, structure, transmission, meaning, and use. ▪ Students can complete this part of the activity individually or in small groups during class, or as homework (This part of the activity is most appropriate for the music classroom). ▪ Find a rubric for this activity below in the Worksheets section.

B. Next, students will complete the “Themes/Leaders of the Chicano Movement” Worksheet” (find below in Worksheets section). o This worksheet will prompt them to summarize the main message of this song and reflect on examples of oppression, discrimination, exploitation, and/or marginalization in the song lyrics. o Find a rubric for this activity below in the Worksheets section.

3. Component Three: Demonstrating Solidarity through Music

To prepare: • Preview Component 3 of the Lesson 5 Slideshow • Print the “Soy del pueblo” song lyrics for each student (find below) • Print the “Soy del pueblo” Musical Transcription (if you plan to perform the song with students)

1. Attentive Listening Activity: Play a short excerpt (30–45 seconds) from the embedded recording of “Soy del pueblo.” • Students should think about the following question while listening: o What percussion instruments do you hear? ▪ Lead a short discussion based on student responses . . . detailed information about the instrumentation is provided in the slideshow (voice, guitars, bass, various percussion).

2. Share Information: Use the information provided in the slideshow to provide background information about the recording artists (Flor del Pueblo) and the composer of this song (Carlos Puebla).

3. Attentive and Engaged Listening Activities: Listen to another short excerpt from “Soy del pueblo.” • This time, encourage students to clap or step along with the steady beat. • Listen to another excerpt, prompting students to think about a different guiding question: o What do you notice about the vocal parts? ▪ After leading a short discussion based on student responses, share this information with the students: • Flor del Pueblo was well known for their interesting three- part vocal harmonies.

• Pass out the lyrics to “Soy del pueblo.” • Listen to the song in its entirety, prompting students to think about this question, while following along with the lyrics: o What is the theme/meaning of this song? ▪ After leading a short discussion based on student responses, share this information with the students: • This song “is about a singer who identifies completely with his community and feels the obligation and joy to be their voice in song” (Azcona, 2008, p. 208). • Performing this song helped members of Flor del Pueblo express their solidarity with the Chicano community. • Next, listen to a short excerpt from the end of the song (embedded in the slideshow). • Prompt students to think about this question: o What happens (musically) near the end of the song? ▪ Share the following information with students: • At the end of this recording, the rhythmic structure changes and the percussive sounds become more prominent. • This final section of the song is directly influenced by an Afro-Cuban musical style called guaguanco.

4. Performance Opportunity: Consider adding “Soy del pueblo” to your performance repertoire: • A link to the full musical transcription (playable by middle school age students) is embedded in the slideshow and can also be accessed HERE.

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2014 National Music Standards Connections

MU:Pr4.1.a Demonstrate and explain how the selection of music to perform is influenced by personal interest, knowledge, context, and technical skill. • Can I explain how the selection of this song influenced by the musicians’ personal interest, knowledge, and technical skills (and cultural context)?

MU:Pr4.2.a Explain how understanding the structure and the elements of music are used in music selected for performance. • Can I demonstrate (through performance) the ways in which the elements of music are used in the song?

MU:Pr4.2.b When analyzing selected music, read and identify by name or function standard symbols for rhythm, pitch, articulation, and dynamics • Can I read and perform rhythms written in compound duple meter?

MU: Pr4.2.c Identify how cultural and historical context inform performances. • Can I explain the meaning of this song within the context of the Chicano movement?

MU:Pr4.3.a Perform a selected piece of music demonstrating how their interpretations of the elements of music and the expressive qualities (such as dynamics, tempo, timbre, articulation/style, and phrasing) convey intent. • Can I interpret this song through performance?

MU:Pr5.1.b Rehearse to refine technical accuracy and expressive qualities to address challenges, and show improvement over time. • Can I rehearse this song and show improvement over time?

MU:Pr6.1.a Perform the music with technical accuracy to convey the creator’s intent. • Can I perform this song with technical accuracy to convey the creator’s intent?

MU:Re7.1.a Select or choose music to listen to and explain the connections to specific interests or experiences for a specific purpose. • Can I explain Suni Paz’s purpose in writing the song “Las condiciones”? • Can I select a song to study, and describe its connection to an issue that this leader was passionate about?

MU:Re7.2.a Describe how the elements of music and expressive qualities relate to the structure of the pieces. • Can I explain how “time” and “rhythm” relate to the structure of this song? • Can I describe how the elements of music and expressive qualities used in the recording I chose to analyze?

MU:Re7.2.b Identify the context of music from a variety of genres, cultures, and historical periods. • Can I explain the context within which Suni Paz write the song “Las condiciones”? • Can I explain the meaning, intended use, and context of the song I chose to analyze?

MU:Cn10.0.a Demonstrate how interests, knowledge, and skills relate to personal choices and intent when creating, performing, and responding to music. • Can I explain how Rumel Fuentes’s interests, knowledge, skills, and personal experiences influenced the music he wrote and performed during the time of the Chicano movement?

MU:Cn11.0.a Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and daily life. • Can I interpret why these songs were meaningful and useful during the time of the Chicano movement? ______

Additional Reading and Resources

Azcona, E. C., & Rodriguez, R. (2005). Rolas de Aztlán: Songs of the Chicano movement [Liner

notes]. Smithsonian Folkways Recordings. https://folkways-

media.si.edu/liner_notes/smithsonian_folkways/SFW40516.pdf.

Gonzales, R. (1972). Yo soy Joaquin/I am Joaquin. Bantam Books.

Martinez, B. (1973). Brotando del silencio: Breaking out of the silence [Liner notes]. Paredon

Records. https://folkways-media.si.edu/liner_notes/paredon/PAR01016.pdf.

Montoya, M. (2016). The Chicano movement for beginners. For Beginner Books.

Perez, H. (2019, July 23). Jose Angel Gutierrez recipient, 2019 United States Hispanic hero

award [Video]. YouTube. https://www.youtube.com/watch?v=rx_s0if-Blk

Rosales, F. A. (1996). Chicano! The history of the Mexican American civil rights movement.

Arte Público Press.

Smithsonian Folkways Recordings (n.d.). Suni Paz: Argentinian singer and songwriter. Explore:

Artist Spotlight. https://folkways.si.edu/suni-paz-argentinian-singer-

songwriter/latinworld/music/article/smithsonian.

Zettler, J. (2009). Corridos of the Chicano movement [Liner notes]. Arhoolie Records.

https://folkways-media.si.edu/liner_notes/arhoolie/ARH00507.pdf

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Worksheets “Las condiciones (Our Demands)” song lyrics Written and performed by Suni Paz

Y tanto que nos preguntan They ask so many questions Y ¿Qué estamos demandando? About what are your demands? Pues si es que quieres saberlo So, if you’d really like to know Mejor escucha este canto… Listen to my song… Somos Chicanos, señores We are Chicanos, sirs Y vivimos en el barrio And we live in el barrio (the ‘hood) Queremos organizarnos We want to organize ourselves Para poder ayudarnos In order to help ourselves

Se cansaron mis hermanos My brothers are tired De que les dieran la historia Of being fed the history De América y California Of America and California Sin que entraran mexicanos And Mexicans never come into it Queremos nuestro lenguaje We want our language Enseñado por quien sepa Taught by our teachers Y queremos profesores And we want professors Que nos hablen del Azteca Who can talk about the Aztecs

Que nos digan de los mayas About the Mayans, Del Rey Tigre en Nueva México About the Tiger King of New Mexico De las huelgas y las penas About the strikes and the troubles En que esta Sociedad nos deja This society has put on us Los que sabemos muy bien Those of us who know very well De la grandeza de México About the greatness of Mexico Queremos que se nos trate We want to be treated Con dignidad y con respeto With the proper dignity and respect

No queremos olvidarnos We will not be made to forget Del idioma de la raza The language of our people Diecinueve países lo hablan If nineteen countries use it Está bien hablarlo en casa It’s good enough for here at home No queremos el racismo We refuse your racism Rechazamos la opresión We reject your oppression En que tratan de encerrarnos With which you try to enclose us Que es peor que la prisión That’s worse than any prison

Por eso es que les decimos Because of all of this we say A todos nuestros hermanos: To all our brothers and sisters: Unidos conseguiremos That when we are united Todo lo que demandamos We will win our demands Y ahora si que ya saben And now you too know Que es que estamos demandando What we are demanding ¿Y qué tal si nos ayudan So how about helping us A conseguir lo del canto? To achieve what we are singing about?

“Corrido de César Chávez” song lyrics Written by Rumel Fuentes; performed by Rumel Fuentes and Jo Zettler

Dieciséis de marzo, March sixteenth, Jueves Santo en la mañana, On the morning of Holy Thursday Salió César de Delano César departed from Delano Componiendo una campaña Creating a campaign.

Compañeros campesinos Fellow farm workers, Esto va a ser un ejemplo This will set the precedent Esta marcha la llevamos We will take this march Hasta el mero Sacramento. To the heart of Sacramento.

Cuando llegamos a Fresno When we arrived in Fresno Toda la gente gritaba, Everyone was shouting, "¡Y que viva César Chávez "Long live César Chávez y la gente que llevaba!" And the people who accompanied him!"

Nos despedimos de Fresno; We said farewell to Fresno; Nos despedimos con fe We said goodbye in high hope Para llegar muy contentos Only to arrive with contentment Hasta el pueblo de Merced. In the town of Merced.

Ya vamos llegando a Stockton, We will soon be in Stockton, Ya mero la luz se fue; The sun has nearly set; Pero mi gente gritaba, But my people were shouting, "¡Sigan con bastante fe!" "Onward, be full of faith!"

Cuando llegamos a Stockton When we arrived in Stockton Los mariachis nos cantaban The mariachis sang to us “¡Y que viva César Chávez “Long live César Chávez Y la Virgen que llevaba!” And the Virgin [of Guadalupe] he carried!”

Contratistas y esquiroles, Contractors and strikebreakers Esto va a ser una historia; This will become a tale; Ustedes van al infierno, You are destined for hell, Y nosotros a la gloria. And we are bound for glory.

Oiga señor César Chávez, Hey, mister César Chávez, Un nombre que se pronuncia An unmistakable name En su pecho usted merece Upon your chest you deserve La virgen de Guadalupe The Virgin of Guadalupe

“Aztlán” song lyrics Written by Rumel Fuentes; performed by Rumel Fuentes and Jo Zettler

Aztlán, Aztlán Aztlán, Aztlán Tierra bonita, tierra del sol, Beautiful land, land of the sun, Tierra de los pensamientos The land of the dreams and beliefs De mi antecesor. Of my father.

Aztlán, tierra afamada Aztlán, land of fame Donde mis padres vivieron en paz. Where my parents lived peacefully. Aquí trabajaban, que amaban su tierra Here they worked, with love for their land Pero vino un diablo y se la llevó. But a devil arrived and took it away.

Aztlán, aunque seas de otro Aztlán, although you belong to another Yo sé que solo mía es tu fe I know in me you place your trust alone, Y sé que tú esperas un día glorioso I know you await that glorious day Que estemos libres de nuevo otra vez. When once again we will be free.

Malditos demonios vestidos de blanco, Wicked demons dressed in white, Ya llegó el día de justificar. The day for explanations is at hand. Den un paso al frente, tomen su castigo, Come forward, take your punishment, Y dejen mi tierra en la libertad. And leave my land free.

Aztlán, Aztlán, Aztlán Aztlán, Aztlán, Aztlán

“Política en los barrios” song lyrics Written and performed by Rumel Fuentes and Jo Zettler

En los días de elecciones, During election season, Políticos y demás Politicians and all kinds Con un costal de promesas With a bag full of promises Y cerveza pa’ tomar And beer to drink Vienen a comprar el voto Come to buy the vote Para poderse sentar. To be able to hold a seat. Vienen a comprar el voto They come to buy the vote Para poderse sentar. To be able to hold a seat.

Nomás deme usted su voto, Just vote for me, Todo le voy a arreglar. I will take care of the rest. Las “taxes” hay que bajarse, Taxes ought to be lowered, Calles que pavimentar, Streets need to be paved, Y lo que usted necesite And whatever you may need Eso le vamos a dar. Will be provided for you. Y lo que usted necesite And whatever you may need Eso le vamos a dar. Will be provided for you.

Ya se ganó la elección, The election is won, Vamos todos a gozar, Let’s all celebrate, Pero a nuestro candidato But our candidate No lo podemos ni hallar. Is nowhere to be found. Si no anda afuera del pueblo, If he’s not out of town, Hoy no se le puede hablar. Today he’s unavailable. Si no anda afuera del pueblo, If he’s not out of town, Hoy no se le puede hablar. Today he’s unavailable.

Ya entró pero se volteó, Once seated, now he’s flip-flopped, La gente empieza a gritar, People are beginning to shout, Pero esto no dura mucho, But it doesn’t last long, Ya se empieza a silenciar, It’s already quieting down. Porque pasa tan seguido For it happens so often Ya parece natural. That it feels normal. Porque pasa tan seguido For it happens so often Ya parece natural. That it feels normal

Políticos buscan votos Politicians need votes Y nosotros los tenemos. And we have them. Organícense señores Organize yourselves, Y muy pronto lo veremos, And in a wink we will see, El que no habla, Dios no lo oye, Those who don’t speak up, God cannot hear Solo juntos venceremos. Together we shall overcome. Él que no habla, Dios no lo oye, Those who don’t speak up, God cannot hear Solo juntos venceremos. Together we shall overcome.

“Partido la Raza Unida” song lyrics Written by Rumel Fuentes; performed by Rumel Fuentes and Jo Zettler

Partido la Raza Unida The Raza Unida (People United) Party La esperanza de la gente, The hope of the people, De la gente de los barrios The people from the ‘hoods Que ya está abriendo la mente. Who are broadening their minds. Política nunca es mala, Politics are never evil Puede que sea conveniente. They may be advantageous.

Al fin la gente se junta At last people come together Que la causa se consiga, May the cause be realized, Bajo una causa que es justa, In the pursuit of a just cause, Que Diosito la bendiga. May God bless it. Todos daremos apoyo All of us will show support Al partido Raza Unida. For the Raza Unida party.

Fundadores del partido Founders of the party Son muchos pa’ mencionar, They are too many to list, Porque muchos cooperaron Because many contributed Para la gente juntar To unite the people Y seguirán trabajando And they’ll continue the work Para poder mejorar. To make things better.

Puede y no sea ganador Although it may not win, Nuestro gallo colorado, Our ginger-colored rooster, Yo soy el apostador I am the gambler Y nunca yo me he rajado. Who has never given up. Mejor morir en la raya Better to die on the frontlines Que andar ahí de ocasionado. Than to go there on occasion.

Soy pobre, no tengo nada, I am poor, I own nothing, No traigo ni despedida. I can’t even afford to say goodbye. Pero yo sigo cantando But I continue singing “Que viva la causa mía, “Long live my cause, Que Diosito nos bendiga, May God bless us, Que viva la Raza Unida!” Long live Raza Unida!”

Themes and Leaders of the Chicano Movement Worksheet

Name:______

1. What is the title of the song you chose?

2. What issue and/or leader is this song about?

3. Identify three examples of oppression, discrimination, exploitation, or marginalization in the song lyrics. Please elaborate on these examples below:

Example 1:

Lyrics from Song:

______

This is an example of (circle at least one): oppression, discrimination, exploitation, marginalization

Example 2:

Lyrics from Song:

______

This is an example of (circle at least one): oppression, discrimination, exploitation, marginalization

Example 3:

Lyrics from Song:

______

This is an example of (circle at least one): oppression, discrimination, exploitation, marginalization

4. In your own words, summarize the main message of this song.

“Themes and Leaders of the Chicano Movement” Worksheet Rubric

NAfME Standards Documentation for this Learning Experience (5th–8th Grade):

MU:Re7.1.a Select or choose music to listen to and explain the connections to specific interests or experiences for a specific purpose. • Can I select a song to study, and describe the ways in which it connects to an issue that one of the leaders of the Chicano movement was passionate about?

MU:Re7.2.b Identify the context of music from a variety of genres, cultures, and historical periods • Can I describe the meaning, intended use, and context of the song I chose to analyze?

MU:Cn11.0.a Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and daily life. • Can I explain how this song meaningful and useful during the time of the Chicano movement?

Suggested Rubric for Standards Documentation:

4 = Exceeds 3 = Meets Standard 2 = Approaching 1 = Does Not Meet Standard Standard Standard The student The student identified The student needed The student did not insightfully identified three examples of assistance to identify accurately identify three examples of oppression, three examples of three examples of oppression, discrimination, oppression, oppression, discrimination, exploitation, and/or discrimination, discrimination, exploitation, and/or marginalization within exploitation, and/or exploitation, and/or marginalization within the song lyrics, and marginalization within marginalization within the song lyrics, and adequately summarized the song lyrics. the song lyrics and did used sophisticated and the message of the song not provide a summary thoughtful descriptions they chose to analyze. The student’s summary of the song’s message. to summarize the of the song’s message message of the song was short and lacked he/she chose to detail. analyze.

The student’s summary included connections to one of the Chicano movement leaders.

Listening Log Template

Musical Selection (Title): ______Type of Music/Time Period: ______Composer/Music Makers: ______

People Sound Meaning Use Transmission Instruments Time Pitch Structure

Listening Log Rubric

NAfME Standards Documentation (5th–º8th Grade):

MU:Re7.2.a Describe how the elements of music and expressive qualities relate to the structure of the pieces. • Can I explain how the elements of music and expressive qualities were used in the recording I chose to analyze?

MU:Re7.2.b Identify the context of music from a variety of genres, cultures, and historical periods • Can I explain the meaning, intended use, and context of the song I chose to analyze?

MU:Cn11.0.a Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and daily life. • Can I describe how this song meaningful and useful during the time of the Chicano movement?

Suggested Rubric for Standards Documentation:

4 = Exceeds Standard 3 = Meets Standard 2 = Approaching Standard 1 = Does Not Meet Standard The student selected a song to The student selected a song to The student selected a song to The student selected a song to analyze and used analyze and accurately analyze and identified some of analyze but did not identify sophisticated terminology to identified the ways in which the ways in which the the ways in which the accurately identify the ways in the composer used musical composer used musical composer used musical which the composer used elements and expressive elements and expressive elements and expressive musical elements and qualities. qualities. qualities. expressive qualities. The student identified the The student needed assistance The student did not identify The student thoughtfully meaning, intended use, and to identify the meaning, the meaning, intended use, identified the meaning, historical/cultural context of intended use, and and historical/cultural context intended use, and his/her chosen song. historical/cultural context of of his/her chosen song. historical/cultural context of his/her chosen song. his/her chosen song.

“Soy del pueblo” song lyrics Written by Carlos Puebla; performed by Flor del Pueblo

Yo canto porque el presente I sing because the present No es de pena, ni es de llanto, Is not for sorrow, is not for crying, Por eso es que cuando canto, That’s why when I sing, Canto lo que el pueblo siente. I sing what the people feel.

(Estribillo) (Refrain) Soy del pueblo, pueblo soy. I am of the people; I am the people. Y a donde me lleve el pueblo voy. Where the people take me, I go.

Como cantar es mi oficio, Since singing is my profession, Yo canto el esfuerzo duro, I sing with the effort De construir el futuro Of building the future Con alegre sacrificio. With happy sacrifice.

(Estribillo) (Refrain)

Por el pueblo voy pasando, I go among the people, Y oyendo su sentimiento, And hearing their feelings, Lo recojo y al momento I gather them at the moment, Se lo debo algo cantando. And I owe them something in my singing.

(Estribillo) (Refrain)

Lo poco que doy yo ofrezco What little I have to give, I offer Con alegría y encanto, With joy and enchantment, Al pueblo le doy mi canto I give my song to the people Porque al pueblo pertenezco. Because I belong to the people.

(Estribillo) (Refrain)

Con alegría serena, With serene joy, Canto lo que el pueblo siente, I sing what the people feel, Y canto porque el presente And I sing because the present No es de llanto ni es de pena. Is not for crying nor for sorrow.