Indita del rio grande
The piece accompanying this paper is called Indita del rio grande. It is part of the indita genre of Spanish New Mexican music and is performed by the singer Edwin Berry. It was made in Tomé, New Mexico in 1971. Although many Spanish New Mexicans have historically wanted to suppress the mixings of Indians with Spaniards, this history is perceivable in the indita genre. Thus, it is closely associated with the interwoven, mestizo culture of New Mexico (Romero 2002:56). The songs often feature a juxtaposition of Spanish words with indigenous rhythmic motifs which signifies this relationship (Romero 2002:65). Additionally, the refrain of an indita sometimes contain vocables (syllables that don’t have a meaning in the language)
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Songs are sometimes identified as inditas because they contain the word “indita” in the title or lyrics, but this is not always the case. Additionally, a characteristic of inditas are the references to the landscape or the environment of New Mexico. Indita del rio grande is a great example of this. Literally translated as “the woman of the rio grande”, it is about the disastrous flood that happened in Tomé in 1884. The flood was devastating almost wiping out the entire town (Levine and Chace 1999: 99). This story is conveyed in the piece, as the narrator describes the people leaving for higher ground and searching for shelter. It is a perfect example of an indita that documents historical events related to the …show more content…
For example, in the fifth and ninth measures I chose to use a dotted eighth note, attempting to represent what Berry performs. However, this is in no way a full depiction of what he does. This type of indeterminacy occurs throughout the transcription, because Berry’s rhythmic choices are not confined exactly to these durational values. What I have transcribed is a purely prescriptive and generalized depiction of my interpretation of the piece. Consequently, if an observer wanted to understand the depth and complexity of Berry’s performance they would need to listen to the
The crossing of the Rio Grande into Mexico is an important structural device and symbol of the novel. This is when they enter the frame. of the novel in which all the conflicts take place. The crossing of the river naked is symbolic of the cleansing of their souls as well as a new beginning. In only a short time after arriving in Mexico, conflicts start.
Norma Elia Cantu’s novel “Canícula: Imágenes de una Niñez Fronteriza” (“Canícula: Snapshots of a Girlhood en la Frontera”), which chronicles of the forthcoming of age of a chicana on the U.S.- Mexico border in the town of Laredo and Nuevo Laredo in the 1940s-60s. Norma Elia Cantú brings together narrative and the images from the family album to tell the story of her family. It blends authentic snapshots with recreated memoirs from 1880 to 1950 in the town between Monterrey, Mexico, and San Antonio, Texas. Narratives present ethnographic information concerning the nationally distributed mass media in the border region. Also they study controversial discourse that challenges the manner in which the border and its populations have been portrayed in the U.S. and Mexico. The canícula in the title symbolizes “The dog days of 1993,” an intense part of summer when the cotton is harvested in South Texas. The canícula also represents summer and fall; also important seasons and concepts of that bridge between child and adulthood. She describes imaginative autobioethnography life growing up on ...
1Maritza Romero, Selena Perez: Queen of Tejano Music (New York: Power Kids Press, 1997) page 9 paragraph 2.
As a young child, Rodriguez finds comfort and safety in his noisy home full of Spanish sounds. Spanish, is his family's' intimate language that comforts Rodriguez by surrounding him in a web built by the family love and security which is conveyed using the Spanish language. "I recognize you as someone close, like no one outside. You belong with us, in the family, Ricardo.? When the nuns came to the Rodriquez?s house one Saturday morning, the nuns informed the parents that it would be best if they spoke English. Torn with a new since of confusion, his home is turned upside down. His sacred family language, now banished from the home, transforms his web into isolation from his parents. "There was a new silence in the home.? Rodriguez is resentful that it is quiet at the dinner table, or that he can't communicate with his parents about his day as clearly as before. He is heartbroken when he overhears his mother and father speaking Spanish together but suddenly stop when they see Rodriguez. Thi...
This novel is a story of a Chicano family. Sofi, her husband Domingo together with their four daughters – Esperanza, Fe, Caridad, and Loca live in the little town of Tome, New Mexico. The story focuses on the struggles of Sofi, the death of her daughters and the problems of their town. Sofi endures all the hardships and problems that come her way. Her marriage is deteriorating; her daughters are dying one by one. But, she endures it all and comes out stronger and more enlightened than ever. Sofi is a woman that never gives up no matter how poorly life treats her. The author- Ana Castillo mixes religion, super natural occurrences, sex, laughter and heartbreak in this novel. The novel is tragic, with no happy ending but at the same time funny and inspiring. It is full of the victory of the human spirit. The names of Sofi’s first three daughters denote the three major Christian ideals (Hope, Faith and Charity).
The popular revolutionary poem “I am Joaquin” by Rodolfo Corky Gonzales influenced many Chicana/os to embrace their heritage in the Chicano Movement in the 1960s. The poem created psychological work for the Chicano identity. Moreover, this poem developed and promoted social consciousness, commitment to activism, and cultural pride for many Chicanos. However, Gonzales primarily focuses on the identity and struggles of a Mexican-American male which excludes other narratives. Thus, the lack of inclusivity influenced me to recreate the popular poem, which centers on women from Central America who are rarely acknowledged in Chicano Studies. Therefore, our poem “I am Dolores” is focused on these three main themes: empowerment of women of color, resistance
The role of strong female roles in literature is both frightening to some and enlightening to others. Although times have changed, Sandra Cisneros’ stories about Mexican-American women provide a cultural division within itself that reflects in a recent time. The cultural themes in Cisneros’s stories highlight the struggle of women who identify with Mexican-American heritage and the struggle in terms of living up to Mexican culture – as a separate ethnic body. The women in Sandra Cisneros’ stories are struggling with living up to identities assigned to them, while trying to create their own as women without an ethnic landscape. In Sandra Cisneros’ stories “Woman Hollering Creek: and “Never Marry a Mexican” the role of female identities that are conflicted are highlighted, in that they have to straddle two worlds at once as Mexican-American women.
Najarro.Adela. "Angles in the Kitchen:Latino Poets and the Search for Identity." Adela Najarro's Website. 24 Oct. 2002. 16. Sept. 2003
The first stanza of the poem discusses the author’s preference of red chilies as well as how they are important to Mexican culture. The green chile is then described as being
I decided to analyze the poem English con Salsa by Gina Valdes, because I can identify myself with this poem in many different aspects. Both my parents and I were born in Mexico, but decided to move to the United States on February of 2000. With us moving here, we brought along our traditions and customs. My family has a blend of American culture with Latino culture since a few of my uncles married American women and had children. I feel that Valdes poem is about finding that “in between” feelings that are brought up when two cultures are mixed together.
The struggle to find a place inside an un-welcoming America has forced the Latino to recreate one. The Latino feels out of place, torn from the womb inside of America's reality because she would rather use it than know it (Paz 226-227). In response, the Mexican women planted the seeds of home inside the corral*. These tended and potted plants became her burrow of solace and place of acceptance. In the comfort of the suns slices and underneath the orange scents, the women were free. Still the questions pounded in the rhythm of street side whispers. The outside stare thundered in pulses, you are different it said. Instead of listening she tried to instill within her children the pride of language, song, and culture. Her roots weave soul into the stubborn soil and strength grew with each blossom of the fig tree (Goldsmith).
Anzaldua grew up in the United States but spoke mostly Spanish, however, her essay discusses how the elements of language began to define her identity and culture. She was living in an English speaking environment, but was not White. She describes the difficulty of straddling the delicate changing language of Chicano Spanish. Chicano Spanish can even differ from state to state; these variations as well as and the whole Chicano language, is considered a lesser form of Spanish, which is where Anzaldua has a problem. The language a person speaks is a part...
In, A Place Where the Sea Remembers, several events take place to describe the little city of Santiago, Mexico. This town is just south of the border by El Paso, Texas. The book focuses around a lady known as the Remedios. She is a very old healer that helps people with their problems of love, hate, etc. She is the "good" in the book, whereas El Brujo, the warlock, is the bad man in the book. This book's other strong point is that it has several short narratives that focus on one, or a few citizens of Santiago. A few examples are, Candelario (the salad maker), Marta (16 year old that's pregnant), Fulgencio (the photographer that loses all of his equipment) and Don Justo Flores (left his wife and kids and now it haunts him when one of his daughters die). In these stories, these people go threw hardships and ordeals that teach us, the readers, how to or not to deal with life when it isn't looking UP.
In essence, the corrido genre is legendary for its hard-bitten lyrics of drug traffickers plus gunfights, and moreover functions as a genus of musical tabloid, singing of regime dishonesty, the lives of émigrés in the United States, in addition to the scuffles of the Zapatista insurgency in Chiapas. Although principally anonymous to English speakers, narco corridos top the leading Latin charts and govern radio playlists equally in the United States as well as points south. Examining diverse recent studies, the authors present in-depth examinations at the songwriters who have changed groups like the trendy Tigres del Norte into permanent celebrities, as well as the upcoming artists who are hauling the narco corrido into the 21st. In proving for the poetry as well as social demonstration at the back the ornate lyrics of in...
Peña, Manuel H. "Ritual Structure in a Chicano Dance." University of Texas Press: Latin American Music Review Spring- Summer 1980 1.1 (1980): 47-73. Print.