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Cuicuilco
Revista Activa *
ISSN: 1405-7778
Cuatrimestral
Antropología
Escuela Nacional de Antropología e Historia
México



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María de la Paloma Escalante Gonzalbo
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José Andrés García Méndez
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en: This paper presents an anthropological sketch on a musical instrument that is barely addressed within the realm of musical research in Mexico: the equine jawbone. As a first approach, it covers some of the historical references from the earliest times of its known presence in the Americas, then goes on to deal with specific aspects of the instrument. In light of the two musical traditions—the Dance of the Devils and the Son Jarocho— an analysis is done regarding the jaw, not necessarily as a musical instrument, but rather as a result of the complex process of the cultural and political creation thereof, which provides significant weight to its presence in Mexico’s musical traditions.>>>
Andrea Berenice Vargas García
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en: This dissertation deals with how a social aesthetic generates a vocal/ritual practice by way of a dialogue with a musical code. It is a case study carried out in the Santa Cruz Xoxocotlán community of Oaxaca State, where there is a position designated as the “Apostolate,” the person responsible for singing the praises in the annual ritual cycle. This example demonstrates how the indigenous and mixed-race societies of Oaxaca generate new, musical/ritual codes through a long- term process. Its origins date back to the centuries throughout which the evangelization process in Latin America took place, and is a product of the internalization of modernity in its capitalistic phase by way of a Baroque ethos (a theoretical concept outlined by Bolívar Echeverría, which helps in the understanding of this phenomenon). This ethos is revealed in a socially constructed aesthetic, based on a dialectic dialogue and using a specific vocal technique.>>>
Leopoldo Flores Valenzuela
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en: This paper reflects on the potential of music to assist in the process of the (re)vitalization of the linguistic and cultural aspects practiced in Mexico’s indigenous communities; it focusses on several relatively successful experiences that demonstrate the potential music has for the transmission, advancement and assessment of linguistic practices in Mexico’s indigenous languages.>>>
Itzel Vargas García
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en: This paper briefly reviews patriotic music and the music of the military brass band throughout the period 1857-1910, which runs from the War of Reform, to the end of the Porfiriato era. It was in the latter period that the military band played an influential role in the country’s musical culture, since it placed the works of the Grand Masters of both Europe and Mexico within reach of the general population. This was achieved thanks to the tradition of offering serenades in the main squares of the country. Thus, the military band was converted into a musical symbol of Mexico, given that it represented Mexico at both universal and international events.>>>
en: Only a few decades ago, people living in the rural areas of Mexico held a fiesta for a deceased child, in which the families were to be content that the child’s soul had gone to heaven. They believed that if the child had been baptized, it would go directly to Paradise without having to pass through purgatory, since infants were innocent and free from sin. This is why they held neither a mass nor respected a mourning period. This paper reviews some of the ways in which communities from Mexico’s southern and eastern regions bid farewell to their “angels,” by way of a genre sung and interpreted specifically for the occasion of bidding farewell to the deceased children. Based on a comparative work regarding the verses of the said genre, details of the ancient burial ritual for deceased children can be seen.>>>
Alejandro Martínez de la Rosa
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en: Nowadays, sound has become a theme of investigation in several academic fields given its importance within the activities of human being, which is why the present text aims to contribute to the anthropological and ethno-historical studies on the analysis of sonorous expressions used in the sale of products, and their implications for society. The daily sounds bombard us with information from whatever space and time we find ourselves in, they form a network on human interactions that establish codes of communication. For this reason, to analyze a social phenomenon, it is not enough to only observe, one must also listen and not elaborate mere visual descriptions of a community, but rather discover the true social facts.>>>
Liliana Jamaica Silva
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en: Drummer music (aj jobeno) is one of the most important traditions of the Yokot’an culture (the Chontal of Tabasco), it is present in the most significant of their rituals (the Dance of the Old Man, offerings, and the veneration of the dead, among others) and in everyday life (from school festivals to political meetings). From the second half of the 20th Century, the aj jobeno have transcended the ritual sphere of the indigenous communities to become the present day musical representatives of Tabasco State. This paper emphasizes the arduous work of two yoko yinikob (“true men”) —from Tucta, Nacajuca—, who, through the transmission, teaching and diffusion of this musical tradition, have contributed to the continuance and present-day validity of this music throughout the Chontal lands.>>>
Manuel Alejandro López Jiménez
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en: Based on proposals by Pierre Bourdieu and John Blacking, this paper is an anthropological analysis on the relationship between the Fandango Jarocho and religious affiliation, revealed through the roots of this musical expression among the residents of Chacalapa, Mexico., but which is qualified according to religious affiliation and the decisions of each individual, so as to place it in accordance with other manifestations of social life. In this way, music can be understood as a form of social cohesion and of difference, depending upon the framework of historical, religious and communitary ties.>>>
Yaredh Marín Vázquez
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en: In Chile, the construction of the folklore repertoire has gone through several disputes regarding the choice and representation of the tradition. During the first few decades of the 20th Century, the emergence of the cultural industry, together with a developmental State that sought to define the national identity, made possible the emergence of a discourse on what the Chilean identity truly is, articulated around a highly exclusive musical tradition and imposed under selective criteria. The popular tradition was absent from this discourse of identity, whilst the Left, the political sector that sought to represent the interests of the ‘working class,’ who, due to the slow development of national industry, in reality represented a much smaller sector of the the the populace.MargotLoyola and Violeta Parra, due to their emphasis on the collection of folklore, together with their contribution to the promotion of this genre, enlarged the folkloric repertoire of Chile, in the same way that their compromise to the authenticity of the said genre provided the optimum conditions for the folkloric musical roots, and the roots of the Left of the country, to come together. This paper presents and discusses the history of this event.>>>
Raúl H. Contreras Román
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en: Extensive research has been carried out in Mexico with regard to the religious field, to its diversity, and to the processes of religious conversion. Nonetheless, little importance has been placed on music as a factor of adhesion, conversion, and the reaffirmation of faith, even when it is impossible to find any religious practices that do not contain some form of association with music and song. This article analyzes the music-religion relationship in different Christian churches, and how music has begun to rekindle, explicitly, the relevance it has had within religious cults, as well as its transformations to adapt to the needs of present-day life, as well as to the tastes and interests of today’s Christian youth here in Mexico.>>>
José Andrés García Méndez
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Alejandro Ariel Silva Zamora
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Hilario Topete Lara
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Héctor Adrián Reyes García
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Magdalena Gómez
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