HUASTEC MUSIC

THE REGION

The zone called la huasteca –or las huastecas– corresponds to a traditional delimitation; then it does not have precise limits nor does it coincide with political borders. It is located in the foothills of the Sierra Madre Oriental, towards the coast of the Gulf of Mexico, with the Tamesí rivers to the north and the Nautla to the south as extreme limits. Thus, the region includes part of the states of Hidalgo, San Luis Potosí and Veracruz –the three most important Huastecas for tradition– and those of Tamaulipas, Puebla and Querétaro.

THE HABITANTS

Since the conquest, three ethnic groups coexist in the region, which can be grouped into two contingents in terms of their culture: the indigenous, formed by the Huastec groups -the original settlers of the area and those who give it their name- and Mexican –speakers of Nahuatl established mainly after the conquest–, and the Europeans, today diluted in mestizos. Each group has preserved a more or less characteristic culture, perceptible in language, dress, occupation, etc. But coexistence and exchange have caused the presence of elements that they all share, which could be described, in a broader sense, as a Huasteca culture, a way of life that distinguishes the inhabitants of the area from the rest of the country.

MUSIC

The musical tradition of the Huastecas is of enormous richness and variety, which may be the result of coexistence between diverse groups. As in culture, in music there are common and different elements in the heritage of each group. As a common substratum, although controversial, the European origin of almost all contemporary forms can be mentioned. As differences, the styles and purposes that each group grants to its musical heritage can be pointed out. Based on them, the materials presented in this volume have been grouped into two sections, all of them collected directly in the field in the years 1963 and 1964: the indigenous dances and the huapango or huastec son (musical genre)  of the mestizo group.

INDIGENOUS DANCES

Music and dance constitute an indissoluble unit in the indigenous group by virtue of its purpose: this is eminently religious. The organization and practice of the dances is conceived as a form of worship for the saints of the Catholic pantheon, and even as a vehicle to exert pressure on their action, that is, endowed with magical virtues. Thus, the dances are celebrated associated with the calendar and the Catholic ritual, very especially in the titular festivities of the Patron Saint of the community. This set of dances preserves ancient elements, both pre-Hispanic and European, but these must be considered as integral parts of contemporary forms, of current realities, in a process of constant renewal. The examples described below were selected with the intention of representing a larger group.

FACE A

1) DANCE OF THE TIGRILLO.–Mata del Tigre, Tantoyuca, Veracruz.

It is a mimic dance in which two dancers perform feline movements covered by a tiger skin and a woven horsehair mask; They also hold a rattle and a “cat’s claw” – a wooden handle with three turkey feathers – with which they “scratch” the spectators. It is accompanied by a teponastle -a horizontal wooden drum of pre-Hispanic origin- and a reed flute with a turkey feather mouthpiece, which may have the same origin. It seems to be a very old dance with a magical content, which is why it has been proscribed several times by the clergy. Today this magical content is diffuse or perhaps secret, but still patent.

Performers: Group of Captain Cristóbal Santiago.

2) DANCE OF THE CUANEGROS.–Chililico, San Luis Potosí.

The cuanegros are a troupe made up of six or eight young single men to tour the community on the days of the dead and be presented with food or money. Half of them are grotesquely disguised as mestizo women and the other half as outlandish black ranchers, suggesting that it could be an offshoot of a dramatic dance. Accompanied by a violin and a huapanguera guitar, they tap dance to huapango music in front of houses and heatedly discuss the price of their gift in “thousands of pesos,” which accentuates the satirical tone of this dance.

Performers: Julio Filomeno Hernández, violin, Felipe Hernández, huapanguera.

3) DANCE OF THE WANDS.–Aquismón, San Luis Potosí.

In the main festivals, the dancers spontaneously group around a musician who plays the three-hole reed whistle and simultaneously a double-headed drum; then they dance all night to the accompaniment of rattles. There is or was a more elaborate version of this dance, in which the performers wielded rods adorned with ribbons and made concerted figures. The recording was made during the party, leaving the performers anonymous.

4) DANCE OF THE COLORADAS.–Tancanhuitz (Cd. Santos) San Luis Potosí.

Another case of spontaneous affiliation in which those attending the party carry a rattle to join a group made up of four musicians, who play violin, huapanguera guitar and two tiny two-string guitars, and a “monarch” who leads with a cane and whistle the evolutions. There are also elaborate versions of this dance. At the time of the recording, about a hundred dancers participated. It was not possible to record the names of the interpreters.

5) DANCE OF THE GAVILANES.–Garrapata, San Lorenzo, Tantoyuca, Veracruz.

Contemporary version of the pre-Hispanic dance and game of the flyer, in which the most characteristic element has been lost: the pole from which the performers descend simulating flight. In this variant, two dancers are limited to performing evolutions on the floor, with turns that suggest the flight of the bird; suggestion that is reinforced by a wooden headdress carved like the head of a sparrowhawk and from which ribbons that simulate wings hang. The dance consists of twenty-eight sones and is accompanied by a three-hole reed flute and a double-headed rectangular drum, both performed by a single performer.

Performer: Serapio del Ángel.

6) TSACAMSON (LITTLE DANCE).–Tancanhuitz (Cd. Santos), San Luis Potosí.

Another example of the spontaneous organization that characterizes the usual celebration of religious dances in the area. In this case, the assistants are grouped in two rows in front of the musicians; one plays the small 29-string harp that gives the dance its name, and the other a rabelito, a small two-stringed violin. The instruments suggest that the origin of the dance may correspond to the first part of the colonial era. The names of the performers were not recorded.

7) DANCE OF THE MIRRORS.–Silusúchitl, Tantoyuca, Veracruz.

It takes its name from the headdress worn by the dancers: a cardboard crown with a mirror on the forehead, which is complemented by a rebozo that hangs over the shoulders. Six or eight dancers are grouped in two rows and perform complex movements to the rhythm of the rattles they carry in their hands. The musical accompaniment consists of indigenous versions of the huapango in charge of a violin and a huapanguera guitar. The son included is the “greeting”, with which a first homage is paid to the religious image.

Performers: Ángel Pascasio Concepción, violin; Bonifacio Bishop, huapanguera.

8) PULITSON (BIG DANCE).–Tampate, San Luis Potosí.

Twin dance of the tsacamsón, which is performed with a 31-stringed harp, called grande, which gives its name to the dance. In this case, the sound of the harp was isolated, which develops the melody of the sones, and the rabelito, which is in charge of the rhythmic accompaniment, was eliminated. The son included, the bat, has, like almost all of the hundred sones that make up the dance, an animal name, which perhaps is intended to be illustrated musically.

Performer: Francisco Guzmán.

9) THE MATLACINS.–Ciudad Valles, San Luis Potosí.

Indigenous people often resort to hiring professional mestizo musicians to accompany their dances during religious festivities. Thus, mestizo musicians are carriers of a specific repertoire for these occasions. In it, the dance of the Matlachines stands out with which we close the illustration of the indigenous musical heritage.

Performers: Trio the singers of Valles.

THE HUAPANGO OR HUASTEC SON (MUSICAL GENRE)

The musical tradition of the mestizo group is eminently secular, festive. Everything revolves around a genre: huapango. Two origins are attributed to this name: an etymology from Nahuatl, in which it would mean “on the stage” and which would allude to the traditional way of dancing the genre on a platform, to facilitate and enhance the vigorous footwork; the other meaning would derive from the word fandango and would allude to the name that is still given to the parties today, where between drinks, laughter and competitions, the son is interpreted. Whatever the origin of the word, the huapango is rooted in the Spanish musical and lyrical tradition, although it has become independent from it –possibly in the last century– to become something original. The extreme complexity of the genre inevitably requires virtuosity and mastery, the same for the handling of instruments, voice, improvisation and creation of couplets and dance. This mastery is present in vocational and professional musicians. We use the latter in our illustration and therefore it should be noted that in this case professionalism does not imply commercialization, but only indicates a way of life for popular performers.

FACE B

1) THE INSTRUMENTS.–Ciudad Valles, San Luis Potosí.

The huapango is performed by a trio in which a normal violin, a jarana or small five-string guitar, and a fifth or huapanguera guitar that generally has eight strings, three doubles and two singles, take part. They are illustrated in this order. All the instruments are made of red cedar in the same region, especially in Tamazunchale. The recording was made by the musicians a bit jokingly and under a heavy downpour; however, it illustrates the capability of these instruments.

Performers: Trio the singers of Valles: Dionisio Ramos, violin; Cresencio Martínez, jarana, and José Navarro, huapanguera.

2) LA GUASANGA.–Ciudad Valles, San Luis Potosí.

They are composed of three different melodies and couplets, which ends in a chain of forced foot verses.

Text:

a)

oh the…
The Huasteca is holy land
where God formed his nest,
where the thrush sings
very long whistles,
very long whistles
oh the…
That everyone loves.

b)

oh the…
When I’m in my excesses
with you in great emotion,
I would like to eat you slowly, (?)
tear out your heart,
rip out your heart
but eat it with kisses.

The guasanga always pleases
when (…) from a throat,
in a joyous cry
they always applaud the one who sings,
they always applaud the one who sings,
but let it be well sung.

d)

Oh la… (duet)
Ladybug, remove, remove,
Take away pain and sorrow…
under your shawl,
have a good night…
Good is good memory…
Memory of the one you remember…
String is that of San Francisco…
Saint Francis is not Stephen.
Esteban is no Saint…
Holy is he who prays to him…
Fathers pray matins…
Matins are not complete…
Full were the mornings…
The tricks of a sorcerer…
Sorcerer is the one who plots…
The woman weaves her fabric…
She weaves the one with the good sieve.
Sieve of flour and silk…
She kills the pigs…
Pigs eat grass…
From the grass comes the wheat…
Wheat is that which is sown…
He is planted because it is customary (a duet)
said an old man as he passed by.
And let them throw it into the fire
because he did not know how to trovar.
(repeat the last two verses)

Performers: Trio soul of the three huastecas: Alberto Barragán, violin; Pablo Alvarado Hernández, jarana; Nicolás Martínez Ponce, huapanguera.

3) CRYING (OR EARLY DAWN).–Ciudad Valles, San Luis Potosí.

They are slower cut and lyrical. It is considered a classic of the repertoire.

Text:

a)

oh the…
I came here to see you
gift of my soul Hey!
(repeat second voice)
oh the…
I felt some sorrows
but joy reigns Hey!
(repeat second voice)
oh the…
But queen of joy
Of course I saw you Hey!

b)

oh the…
I am finer than a weight
Before the ground rings, my life!
(Repeat the first voice without text)
oh the…
Until I kiss her
then I thunder it, my life!
(Repeat the first voice without text)
oh the…
But soon, hard, hard,
before its owner comes, my life!

c)

Oh la… I hadn’t been able to come
because I was going about my chores, my life!
(repeat second voice)
oh the…
But today I come to tell you
that if you still love me, my life!
(repeat second voice)
oh the…
I am firm until I die
And I don’t change my pleasures, my life!

d)

oh the…
They tell me not to cry
that she left because she wanted my life!
(Repeat second verse the first voice).
oh the…
And I tell you, gentlemen,
that crying is very precise my life!
(Repeat second verse the first voice).
oh the…
I remember the favors
and the caresses that she gave me, my life!

Performers: Trio the singers of Valles.

4) LA PETENERA.–Ciudad Valles, San Luis Potosí.

They are fantastic and culterano tone. His name is present in Spain and other regions of Mexico.

Text:

a)

Among good singers
I have walked with care, (Bis)
giving you distributions
oh the…
giving you distributions
in all the whole world
and all the nations
has the foreign kingdom.

b)

What does the foreign kingdom have
in the great photograph, (Bis)
I saw a sailboat
oh the…
I saw a sailboat
who came from Oceania,
who was a passenger.
on the beaches of Turkey

c)

On the beaches of Turkey
I have walked without eagerness, (Bis)
sailing night and day
oh the…
sailing night and day
on a german steamer
and that the boss he brought
of the fair of San Juan

d)

From the fair of San Juan
I left for the East, (Bis)
sailing without eagerness
oh the…
sailing without eagerness
excellent sailor,
I went through the Jordan River
among millions of people.

e)

among millions of people
of a lot of category, (Bis)
navigating each other
oh the…
navigating each other
and the sun directed me
noticing that in the current (?)
I arrived in Alexandria

f)

I arrived in Alexandria
I had a hurricane wind, (Bis)
The ship that I brought
oh the…
the ship that I brought
could not be improved.
My fortune wanted
that in Russia it would remain anchored.

g)

That in Russia it would remain anchored
a boat with elegance, (Bis)
It got better from there
oh the…
from there it came out improved
with steam and hope
because it was manned
with sailors from France

i)

With sailors from France
I left for Great Britain, (Bis)
Our constancy was so much
oh the…
Our constancy was so much
that seemed strange.
I saw the alliance released
when we arrived in Spain.

Performers: Trio soul of the three Huastecas.

5) THE SACAMANDÚ.–Ciudad Valles, San Luis Potosí.

In some versions, his verses call him “the king of sones”.

Text:

a)

oh the…
my sorrows went to heaven
because they couldn’t anymore,
oh the…
because they couldn’t anymore
my sorrows went to heaven.

oh the…
I no longer say consolation
which is what suited us,
oh the…
that putting on the veil
I am yours and you are mine.

b)

oh the…
I saw the open grave
where they were going to bury me,
oh the…
where they were going to bury me
I saw the open grave.

oh the…
I tried to live alert
don’t forget me
oh the…
that this soul after death
He has to come and take you.

c)

oh the…
I would like to be like the sky
and blue and sheepskin,
oh the…
and blue and fawn
I would like to be like the sky

oh the…
To make you a sign
on a drawn paper,
oh the…
So you know that I love you
and that I live passionately.

d)

oh the…
How sad and how unlucky
to love you, my life,
oh the…
to love you my life
How sad and how unlucky.

oh the…
I suffer night and day,
Huastecs.
What do I gain from loving you?
oh the…
What do I gain from loving you?
you in your house and me in mine.

Perfomers: The singers of Valles.

HUASTEC

MUSIC

MNA-03

FACE A

INDIGENOUS DANCES

1.- tigrillo dance
2.- dance of the cuanegros
3.- wand dance
4.- dance of the coloradas
5. dance of the hawks
6.- tsacamson
7.- mirror dance
8.- pulitson
9.- dance of the matlachines

FACE B

THE HUAPANGO

1.- the instruments
2.- guasanga
3.- crying
4.- the petenera
5.- the sacamandu

Recording and notes by Arturo Warman.
Cover design by Constantino Lameiras.
Photographs by Alfonso Munoz
Mexico, 1968. ©

Secretary of Public Education, Mr. Agustin Yáñez;
Undersecretary for Cultural Affairs, Mr. Mauricio Magdaleno;
Director of the National Institute of Anthropology and History,
Dr. Ignacio Bernal;
Director of the National Museum of Anthropology,
anthropologist Arturo Romano;
Educational Services Section, Professor Ma. Cristina S. de Bonfil

MADE IN MEXICO BY:
SIGNS OF MEXICO, S. A. DE C.

Gallery: