http://jaranabeat.com | 917-288-9648 | info@jaranabeat.com

JARANA BEAT

Jarana Beat is a New York-based world music band, which since 2007 has aimed to share with a wider audience the unknown sounds of Mexico. They present a new interpretation of music that blends the traditional with the contemporary, and how these bear fruit within a collective of artists in NY. The music is conscious, all original and deeply rooted; a combination of where Mexico’s Afro-Amerindian music came from and where it stands today. Having formed in Argentina as part of NYU’s 2007 Hemispheric Institute of Performance and Politics Encuentro, the band features a wide variety of traditional instruments, such as jaranas, leona, ayoyote shells and donkey jawbones. In addition, they feature two dancers, traditionally dressed, that interweave percussive footwork into the rhythms, creating dynamic performances in which, we promise, the public canNOT resist dancing. Jarana Beat was recently featured on NPR’s Latino USA with Maria Hinojosa, in which reporter Willis Ryder Arnold graciously mentioned that:

“The audience� dances like they can'’t control themselves shuffling and rocking back and forth with grins plastered across their faces; Jarana Beat's music cuts across all

age groups.” and,

“Listening to Jarana Beat you feel

like part of the community, no matter what your background.”

http://jaranabeat.com | 917-288-9648 | info@jaranabeat.com

Summer of 2013 also brought a successful tour of Jarana Beat in Mexico with a scaled-down version of the band in Veracruz (San Andres and Xalapa), Queretaro and Toluca.

Teaching and performing in venues such as Berklee College of Music, The Bowery Ballroom, Symphony Space, Dollywood’s Festival of Nations, an interview on NPR’s Tell Me More, and an official showcase at SXSW 2012 in Austin, Jarana Beat has also performed with artists such as Dan Zanes, Mono Blanco, Los Vega and Lila Downs, weaving a truly colorful journey through the Afro-Amerindian culture of Mexico.

The rhythms of world music blending with the regional sounds of son jarocho from the Gulf Coast, son guerrerense from the Southern Pacific Coast, son huasteco from the Central & North-Eastern region, mexika from the Central, and norteña from the North, all converge into the point of departure for his musical creativity, opening an environment for expressing this unique musical amalgam. The band released the album “¡Echapalante!” in 2011 and is currently working on their new production, scheduled to be released in summer 2014. Aside from performances, Jarana Beat is involved in additional projects, including educational programs and cultural outreach.

“Mexico-via-Brooklyn combo Jarana Beat weaves intricate rhythms and delicate plucks with rich, yearning vocals to gorgeous and surprisingly jolly effect. The strong outfit includes dancers, who use their stomps and taps as percussion, and you’ll hear Native American, Gypsy and Afro-Mexican motifs in their music. Great stuff.”

– Critic’s Pick, Time Out New York, 2012

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THE FAMILY

SINUHÉ PADILLA-ISUNZA (musical director, composer, producer, lead vocals, leona, jarana, percussion) Sinuhé was born in Mexico City and grew up in an environment of constant artistic activity. As a child he began his first studies in corporal expression, music and dance, disciplines he has continued practicing and studying in various forms to this day, such as Nahuatl cosmogony, sacred Aztec music and dance. He studied Flamenco history, music and dance in Spain for four years, and then he traveled to South America for four more years, this time investigating the various manifestations of Afro-Amerindian music in Brazil, Uruguay, Argentina, Chile, Peru and Bolivia, where he created and collaborated in various projects in music, dance and performance. He currently resides in New York, where teaches guitar and jarana, and founded his own recording label, Jarana Records, producing a number of different artists. In addition to Jarana Beat, he has been musical director of projects such as Calpulli Mexican Dance Company, Bilingual Birdies and SonJarocho.MX, among others. In 2012 he began to make jaranas out of recyclced materials and has been the subject of various local news reports on the subject. Sinuhé has also spent the past few years writing and recording music for documentaries by National Geographic Mundo (Firmes), Storyhunter.TV and the United Nations.

JUAN LUCERO

(requinto, jarana, vocals) Juan is originally from Puebla, Mexico and from a very early age was exposed to his native music and dance. As a teen he started playing string instruments such as guitar, vihuelas, jaranas and ‘bajo sexto’ (a type of Mexican bass) in such styles as Conjunto, Norteño, Cumbia, Huasteca, Jarocho, and Mariachi. As a dancer he has worked with several dance companies in the NYC and NJ area, such as Mexico Beyond Mariachi, and Calpulli Mexican Dance Company. He is a member of the Mexika Chichimeca dance group Calpulli Huehuetlahtolli and is also working on his first album of original Norteño music.

HUGO MORENO (trumpet, jarana, flugelhorn, vocals) Hugo is a multi-instrumentalist from Brooklyn, NY. Recently featured as a soloist with the Chelsea Symphony and Yale Philharmonic performing the Trumpet Concerti of Hummel and Tomasi, he has performed at Marlboro and Spoleto USA. A former member of

the El Paso and Las Cruces Symphony Orchestras, Hugo enjoys a wide-ranging free lance career in the New York area having recently played with such groups as the New York Gilbert and Sullivan Players and the Long Island Philharmonic. Further downtown, Hugo is the trumpet player for Cumbiagra, Jarana Beat, Rocola de Cantina, and is a member of the Gregorio Uribe Big Band. He recently returned from a residency at Dollywood with Calpulli Mexican Dance Company, where in addition to trumpet he performed on guitarra huasteca, percussion and voice.

CLAUDIA VALENTINA (vocals, jarana, percussive dancing) Claudia is the California-born, New York-raised daughter of Mexican and Jamaican immigrants. Growing up listening to the unlikely mix of Lucha Villa, Stevie Wonder, José José and Ella Fitzgerald to name a few, She spent her early years training in voice, piano, ballet, tap and jazz. The niece of Jamaican reggae icon Tyrone “Garth” Evans of The Paragons, Claudia has followed in his footsteps, regularly participating in studio sessions, having met with some of the legendary musicians that collaborated with her uncle’ s band. She was also a co-founder of Calpulli Mexican Dance Company. She taught in schools, began a children’ s program and toured the country with them for four years. Claudia lives in New York performing with Jarana Beat, son jarocho group Son de Montón and as a soloist, project for which she is recording her debut album.

GEORGE SÁENZ (trombone, accordion, vocals)

George is a multi-instrumentalist, composer, arranger, and educator originally from the U.S.-Mexico border town of Laredo, Texas. Primarily a trombonist, he also plays keyboard, guitar, bass, accordion, and percussion. George attended Berklee College of Music, where he studied brass performance and jazz composition. Aside from playing the bass trombone, George is a talented composer and arranger. Working

as a performer with numerous bands, he is also the current Musical Director of Calpulli Mexican Dance Company. In addition, he is a member of the Gregorio Uribe Big Band and regularly tours with internationally renowned Mexican singer Lila Downs.

KELI ROSA CABUNOC

(jarana, percussive dancing, back vocals) Keli grew up in Santa Ana California and now resides in New York. She counts with a long record of community activism and involvement in traditional music and dance. Keli has been a dancer since the age of 4 and began playing the Jarana at 16. Ever since, she has been a member of numerous Son Jarocho groups including Son del Centro in Orange County and Son de Montón in New York. Over the past ten years, Keli has made several trips to Mexico, spending months at a time in Veracruz learning with renowned groups such as Los Negritos, Mono Blanco and Son de Madera. She has since taught several jarana and zapateado workshops at schools, community centers, and festivals in the Bay Area and the five boroughs of New York City.

ANDRÉS LEMONS (guitar, requinto)

Andrés was born in Albuquerque, New Mexico. As a teenager he became interested in the art of Flamenco. He later began taking music lessons as an apprentice in Phoenix with Chris Burton Jacome for three years. From 2002-04, he decided to augment his training by spending summers in Seville, a city that is arguably the heart of where Flamenco originated. Returning to the States, Andres studied in Phoenix and played regularly at Pepin. Moving south to Tucson, Arizona, Mr. Lemons further spread his name and shared his music by playing at different places such as The Muse and Casa Vicente.

LAUTARO BURGOS

(drum kit, percussion) Lautaro is an Argentinean-born performer. He studied formally in Buenos Aires, but his relationship with sounds, drums and skins comes from way back in his home town Chaco, Argentina. His versatile personality allowed him to share music with folk cantoras Marina Santillán and Mónica Abraham, as well as tango artist María Volonte and Brazilian music composer Broder Bastos. In New York, he is a member of several music groups, including Jarana Beat.

ALDA REUTER

(percussion, back vocals) Alda comes from a family of artists who celebrate the culture and traditions of Latin America. As a dancer and an accomplished percussionist, she is always exploring the close relationship between music and dance. She is the Artistic Director of Mexico Beyond Mariachi, bringing an appreciation of folklore, culture, and traditions of Mexico through music and dance to thousands of young students and audiences of all ages.  

JARANA BEAT TOUR DATES Sep 19, 2014 Friday 7:00 PM SHORTGRASS MUSIC FESTIVAL Cimarron, NM, US

Jun 30, 2014 Sunday 3:00 PM NYU HEMISPHERIC INSTITUTE OF PERFORMANCE AND POLITICS ENCUENTRO

Montreal, CANADA

Dec 25, 2013 Friday 10:00 PM Terraza 7 Train Café Elmhurst, NY, US Dec 11, 2013 Wednesday 11:00PM Saint Peter’s Church New York, NY, US Oct 31, 2013 Thursday 10:00 PM Terraza 7 Train Café Elmhurst, NY, US

Oct 24, 2013 Thursday 4:00 PM El Museo del Barrio Día de Muertos Workshop and Performance New York, NY, US

Oct 11, 2013 Friday 7:00 PM The Puffin Cultural Forum Teaneck, NJ, US

Sep 28, 2013 Saturday 12:00 PM 3er ENCUENTRO DE JARANEROS DE NY Taller Latino Americano New York, NY, US

Sep 27, 2013 Friday 12:00 PM Terraza 7 Train Café Elmhurst, NY, US

Sep 22, 2013 Sunday 2:00 PM Children's Museum Of Manhattan Workshop and Performance New York, NY, US

Sep 21, 2013 Saturday 3:00 PM Villa Victoria Boston, MA, US Sep 14, 2013 Saturday 10:00 PM Terraza 7 Train Café Elmhurst, NY, US

Sep 14, 2013 Saturday 2:00 PM CELEBRATE MEXICO NOW FESTIVAL 10th ANNIVERSARY Smithsonian Museum of the American Indian

New York, MA, US

Aug 31, 2013 Saturday 9:00 PM La Casa de la Troje Metepec, EDO MX, Mexico

Aug 28, 2013 Wednesday 9:00 PM Foro Landó Toluca, EDO MX, Mexico

August 17, 2013 Saturday 8:00 PM Quitiplá Centro Cultural Queretaro, QRO, Mexico

August 10, 2013 Saturday 9:00 PM Centro Cultural de Xalapa, Culturaama Xalapa, Veracruz, Mexico

August 9, 2013 Friday 9:00 PM La Tasca Xalapa, Veracruz, Mexico

August 3, 2013 Saturday 3:00 PM Parque Lerdo San Andres Tuxtla, Veracruz, MX

Jul 17, 2013 Wednesday 9:00 PM Jalopy Brooklyn, NY, US Jul 12, 2013 Friday 10:00 PM Terraza 7 Train Café Elmhurst, NY, US Jun 23, 2013 Sunday 4:00 PM The Puffin Cultural Forum Teaneck, NJ, US Jun 22, 2013 Saturday 10:00 PM Terraza 7 Train Café Elmhurst, NY, US May 24, 2013 Friday 10:00 PM Terraza 7 Train Café Elmhurst, NY, US May 22, 2013 Wednesday 8:00 PM Gustavus A. Church, 155 E 22nd St New York, NY, US May 10, 2013 Friday 10:00 AM Bamba con Bomba w/Los Pleneros de la 21 Harlem, NY, US May 4, 2013 Saturday 10:00 PM Terraza 7 Train Café Elmhurst, NY, US Apr 13, 2013 Saturday 10:00 PM Terraza 7 Train Café Elmhurst, NY, US Mar 29, 2013 Friday 10:00 PM Terraza 7 Train Café Elmhurst, NY, US Mar 9, 2013 Saturday 10:00 PM Terraza 7 Train Café Elmhurst, NY, US

Feb 2, 2013 Saturday 9:00 PM Terraza 7 Train Café Elmhurst, NY, US Jan 5, 2013 Saturday 10:00 PM Terraza 7 Train Café Elmhurst, NY, US Dec 8, 2012 Saturday 10:00 PM Terraza 7 Train Café Elmhurst, NY, US Nov 3, 2012 Saturday 10:00 PM Terraza 7 Train Café Elmhurst, NY, US Nov 3, 2012 Saturday 6:00 PM Brooklyn Museum Brooklyn, NY, US Oct 12, 2012 Friday 10:00 PM Terraza 7 Train Café Elmhurst, NY, US

Oct 10, 2012 Wednesday 8:00 PM OPENING FOR LILA DOWNS Hemispheric Institute of Performance and Politics New York, NY, US

Sep 27, 2012 Thursday 12:00 PM SUNY Dutchess Poughkeepsie, NY, US Aug 19, 2012 Sunday 8:00 PM Arlene’s Grocery New York, NY, US Aug 11, 2012 Saturday 10:00 PM Terraza 7 Train Café Elmhurst, NY, US Jul 13-15, 2012 2ndo ENCUENTRO DE JARANEROS DE NY Elmhurst, NY Jun 9, 2012 Saturday 10:00 PM Terraza 7 Train Café Elmhurst, NY, US Jun 2, 2012 Saturday 2:00 PM Red Hook Waterfront Arts Festival Brooklyn, NY, US May 20, 2012 Sunday 12:30 PM 345 Jay Street Brooklyn, NY, US May 20, 2012 Sunday 12:00 PM BROOKLYN FOLK FESTIVAL Brooklyn, NY, US May 11, 2012 Friday 10:00 AM Bamba con Bomba w/Los Pleneros de la 21 New York, NY, US Apr 14, 2012 Saturday 10:00 PM Terraza 7 Train Café Elmhurst, NY, US Mar 30, 2012 Friday 10:00 PM Jalopy Brooklyn, NY, US

Mar 17, 2012 Saturday 10:00 PM SXSW 2012 Copa Bar & Grill Austin, TX, US

Mar 17, 2012 Saturday 2:00 PM WEBEON ROOTS N’ RIDDIM FESTIVAL South Congress Distillery Austin, TX, US

Mar 15, 2012 Thursday 9:30 PM Bohemeo's Houston, TX, US

Feb 23, 2012 Thursday 10:00 PM OPENING FOR LOS DEL FUEGOS Bowery Ballroom New York, NY, US

Feb 4, 2012 Saturday 8:00 PM Barbès Brooklyn, NY, US Feb 2, 2012 Thursday 7:00 PM Casa Mezcal New York, NY, US Jan 24, 2012 Tuesday 7:30 PM Drom Bar & Restaurant New York, NY, US Jan 6, 2012 Friday 8:00 PM Casa Mezcal New York, NY, US Dec 10, 2011 Saturday 10:00 PM Terraza 7 Train Café Elmhurst, NY, US Dec 9, 2011 Friday 10:00 PM The Shrine NYC New York, NY, US Dec 5, 2011 Monday 8:00 PM Ofrenda New York, NY, US Dec 1, 2011 Thursday 8:00 PM Zinc Bar - New York NY, NY, US Nov 2, 2011 Wednesday 8:00 PM Ofrenda New York, NY, US Oct 29, 2011 Saturday 9:30 PM Terraza 7 Train Café Elmhurst, NY, US

Oct 27, 2011 Thursday 3:00 PM PERFORMANCES AND TEACHING WORKSHOPS Berklee Performance Center

Boston, MA, US

Sep 30, 2011 Friday 9:30 PM Terraza 7 Train Café Elmhurst, NY, US 22-30 July 2011 1er ENCUENTRO DE JARANEROS DE NY New York, NY, US May 2010 SILVER DOLLAR CITY Branson, MO

Jun 15, 2007 Friday 11:45 PM WHERE IT ALL BEGAN FOR JARANA BEAT Cabaret Bauen Piano Bar Buenos Aires, AR

Hoy es tocado, escuchado yenseñado en centros culturales yeducativos de ese país

El son jarocho es hoyelemento de identidad delos inmigrantes mexicanos en EU

Al principio el que se ejecutaba era el de “escenario”, a la manerafolclórica, pero con el tiempo se fue explicando el concepto defandango, como una fiesta y un baile comunitario

Jarana Beat y el maestro Andrés Flores en Queens, Nueva York Foto Cinthya Santos Briones

Especial para La JornadaPeriódico La Jornada

Lunes 29 de julio de 2013, p. a13

En un encuentro festivo, allende las fronteras, se escuchan los versos cantar y latarima resonar, convocando a la comunidad a bailar y celebrar al son de la jarana,la memoria de lo vivido.

En los últimos años, la música de jarana, conocida popularmente como sonjarocho, se ha convertido en un vínculo de expresión cultural y en un elemento deidentidad para muchos inmigrantes mexicanos. Después de que en 1958 RitchieValens popularizara La bamba al ritmo de rocanrol, el son jarocho se fue

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CINTHYA SANTOS BRIONES

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expandiendo junto con las nuevas oleadas migratorias que llegaban a trabajar aEstados Unidos.

Hoy, el son jarocho es tocado, escuchado y enseñado en distintos espaciosculturales e instituciones educativas a lo largo de la Unión Americana. También serealizan anualmente distintos encuentros y festivales de soneros y jaraneros enEstados Unidos, a fin de establecer vínculos con los músicos de son jarocho quehan tratado de rescatar este género musical de generación tras generación, como lafamilia Vega, los Utrera o los Cojolites.

Con el son emigró también la tradición de hacer fandangos. Al principio el sonque se tocaba en Estados Unidos era el de “escenario”, a la manera folclórica, perocon el tiempo se fue explicando el concepto de fandango, como una fiesta y unbaile comunitario; a la par el son fue fortaleciendo y cohesionando los procesos yluchas de la comunidad migrante en la vida transnacional.

El son atraviesa EU

Aunque desde los años 50 se escuchaba el son jarocho del otro lado de la frontera–por la influencia del cine de la época de oro– no fue sino hasta después de laentrada del siglo XXI cuando el movimiento jaranero o fandanguero comenzó aflorecer con mayor ahínco en ciudades como Los Ángeles, Nueva York, Chicagoy, más recientemente, en Milwaukee, Washington, Austin y Seattle. Cada región yciudad tiene una historia particular de cómo fue que el son comenzó a escucharse ya tocarse

En Nueva York, el son jarocho se ha difundido con el trabajo de grupos comoJarana Beat que desde su nacimiento en 2007 ha promovido la cultura delfandango entre la comunidad mexicana, “latina” y estadunidense. Desde 2011,organiza a la par de Tlacotalpan, Veracruz, la fiesta de La Candelaria, con unconcierto, fandango y convite. En esta última celebración, los jaraneros, bailaronhasta el amanecer, cantando las tradicionales coplas de la vida campesina, altiempo que las mujeres compartían con alegría la tarima, al escuchar los sones demontón.

Paula Sánchez-Kucukozer integrante de Son Pecadores comenta: “Cuandoempezaron a hacerse los primeros fandangos aquí en Nueva York, hace como añoy medio, la asistencia era de nos más de 10 personas y en esta última Candelaria,¡ni cabíamos! Y es que creo que esto se debe a que una vez que te involucras en lacultura del fandango es muy difícil salir, porque todo alrededor del son jarocho setrata de comunidad y a uno como mexicano, le da más cohesión, ya que en lacultura estadunidense toda es muy individualista”.

En Chicago empezó a oírse por la influencia de músicos como Víctor Pichardo,integrante del grupo Zazhil y cofundador en 1994 del proyecto Sones de MéxicoEnsamble.

Y en California, el son comenzó a hacerse más visible durante la década de los70, cuando en las universidades y los colegios empezaron a incluir, dentro de losprogramas de estudios chicanos o méxico-estadunidenses, la enseñanza del sonjarocho.

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Son de lucha

A través de versos, coplas o décimas, músicos inmigrantes han empezado aexpresar las problemáticas de este lado de la frontera, creando sones de protestacontra las leyes antinmigrantes, el racismo, la discriminación, contando anécdotasde la vida de los trabajadores indocumentados y las historias vividas en los barriosmexicanos.

Son del Centro –grupo de jaraneros y programa de son jarocho del CentroCultural de México en California– participa con diversas campañas sociales ypolíticas en defensa de los derechos de los trabajadores migrantes como con laCoalición de Trabajadores Immokalee (CIW), promoviendo el son jarocho comouna herramienta de conciencia y movilización. Otros ejemplos incluyen a SonArmado y el Colectivo Altepee que narra así el problema de las deportaciones:

“Soy un jaranero andante viví en Estados Unidos por todos es bien sabido que esta es nación de inmigrantes desde los tiempos de antes gente de tantas naciones trabajamos como peones beneficiando a los ricos por eso hoy les exijo ¡alto a las deportaciones!”

(notonemoredeportation)

Atravesando generaciones

Por otro lado, el gusto por el son jarocho ha estimulado el surgimiento de diversosproyectos educativos para niños y jóvenes en escuelas, museos y centrosculturales. En Chicago desde 2010, Gina Gamboa desarrolla el proyecto SonChiquitos, programa basado en las familias migrantes, que tiene por objetivomantener el español por medio de la música y el arte. Dicho programa impartetalleres a través del grupo de son Jarochicanos a niños desde los 4 meses de edad,involucrándolos en la cultura de los “fandanguitos”.

Al mismo tiempo, Alda Reuter y Peter Basil crearon México Beyond Mariachiun programa pedagógico de danza y música tradicional de México, impartido endistintas escuelas públicas de la ciudad de Nueva York y Nueva Jersey, a fin dedar a conocer la riqueza cultural de nuestro país, más allá de la música de mariachi.“Uno de los talleres más importantes que impartimos es el de instrumentos de sonjarocho, así como el zapateado en la tarima. Las clases se imparten a alumnos dedistintas nacionalidades, desde chinos hasta estadunidenses, con la intención deque se valore la riqueza cultural de México”, indica Alda Reuter.

Atravesando fronteras

A su vez, han comenzado los intercambios culturales a escala binacional;Fandango sin Fronteras, una red informal de son jarocho integrada por músicos y

artistas chicanos como Son del Centro y Músicos de la Bahía de California y laorganización de Portoluz de Chicago, han impulsado el intercambio entre músicosde Veracruz y Estados Unidos con la idea de generar comunidad a través de lamúsica participativa, ampliando el concepto de fandango a un nivel transnacional.

De manera similar, las redes sociales en Internet han sido una plataforma paradifundir y mantener en contacto a músicos de jarana de muchas partes del mundo.Actualmente, podemos encontrar una infinidad de sitios en YouTube, Facebook, oMySpace con información sobre este género musical. Es el caso de Jarochelo sitiocon diversas programaciones en inglés y en español, que van desde un programade televisión, chat, noticias, reportajes, podcasts, entrevistas hasta sintoníaradiofónica.

“Jarochelo surgió con el propósito de mostrar a la gente que se interesa por elmovimiento jaranero una fuente fiable de información a través de un sitio web. Asíque, junto con mi.com y la reputación que me dio el ser un ex Mono Blanco, mepropuse armar este sitio, que al principio tuvo una jarana interactiva, lo cual fuemuy atractivo tanto para mi por su novedad, como para los visitantes”, dice CésarCastro, integrante del grupo Cambalache y laudero veracruzano radicado en LosÁngeles.

Es así como de este a oeste retumban las tarimas con el zapateado,fandangueros, soneros, decimeros, jaraneros, bailadores y músicos que se reúnenen distintos espacios comunitarios –casas, parques, calles, bares y auditorios– deEstados Unidos para sembrar las raíces y esparcir la semilla del fandango, más alládel Sotavento. Con ello, una parte de la comunidad inmigrante rehúsa olvidar susluchas y construye, al son de la jarana, un presente más humano y digno.

me encantojorge

Cinthya, soy jaranero de corazón, nunca he ido a USA, pero con esto me dan ganas, nomás para tocar un son, gracias

IncreibleLups

El son el lo máximo y saber que en EsTADOS uNIDOS, están reproduciendo la cultura,es un hecho fenomenal...

InteresantísimoPambo

Interesante artículo y recorrer a través de él, cómo es que los mexicanos en los EstadosUnidos está transmitiendo una música tan bella como el Son, enhorabuena Cynthia

JaraneraPaloma