The Mexican son genre (also called Son music) is common in different Latin American nations. Son music “is part of the Mexican folk dance” (Castro 46). However, the aspects of the son genre vary from one region to the other. Son music relies on string instruments such as violins and guitars.
The genre also borrows some unique aspects from the famous Baroque music. There is a deep connection between this folk genre and the zapateado footwork. The word zapateado refers to “a group of styles whereby several dancers use percussive footwork to support the dance” (Castro 47). The “dancers and singers strike their shoes to produce a lively rhythm” (Castro 62).
A good example of the above subgenres is the famous Son Jarocho. According to Castro (67), Son Jarocho is a powerful sub-genre of the famous Mexican son genre. This subgenre occurs when several artists come together to produce a powerful dance. These musicians usually use elevated wooden platforms.
Such wooden platforms are called trains. The dancers and musicians embrace the zapateado footwork to entertain their audiences. This approach has made this subgenre popular in Latin America (Diaz-Sanchez and Hernandez, 192). The above footwork offers the required vocal accompaniment to produce the best music.
Many Chicanos in America have also embraced the zapateado idea. Such Chicanos have also managed to sustain this connection in the United States. These Chicano musicians have also sustained this subgenre in different countries across the globe. For instance, many Latinos in the United States began to embrace this folk dance in the 2000s. Such “musicians have used the dance as a way of connecting to their Mexican culture and heritage” (Castro 73).
This fact explains why several cities in America such as Los Angeles have witnessed such Chicano festivals. A new band emerged in California during the 2000s. This group is called Son de Centro. The group performs in Santa Ana and its neighboring regions. This region has a large number of Mexican-Americans.
The group Radio Jarocho has also made this subgenre popular in the United States. These two groups focus on the major issues affecting many Latinos in different parts of the world. They have also performed in different countries such as France, Spain, and Britain.
Some musicians have also supported this subgenre in different parts of the world. A good example of such musicians is Conjunto Hueyapan (Diaz-Sanchez and Hernandez 198). This discussion explains why Son Jarocho has become common in different parts of the United States. Many Chicanos “have embraced the Mexican folk dance because it is inspirational” (Diaz-Sanchez and Hernandez 201).
This genre also portrays the realities and experiences of many Mexican Americans in the country. It is also agreeable that many Chicano musicians have always embraced the zapateado concept. The practice has encouraged such musicians to promote different aspects of Mexican folk dance.
The group Radio Jarocho has also been producing shorter songs. This approach has attracted a large number of youths and Americans in different urban areas. The practice has made the genre popular. The contributions of “different Chicano musicians have made the Son Jarocho subgenre popular in different parts of the world” (Castro 94).
This development has informed more people about the powerful attributes associated with different Mexican sons. It is agreeable that Son Jarocho is a defining genre of the Mexican tradition. This fact also explains why the zapateado footwork is a powerful attribute of the Mexican folk tradition.
Works Cited
Castro, Rafaela. Chicano Folklore: A Guide to the Folktales, Traditions, Rituals and Religious Practices. New York: Oxford University Press, 2000. Print.
Diaz-Sanchez, Micaela and Alexandro Hernandez. “The Son Jarocho as Afro-Mexican Resistance Music.” The Journal of Pan African Studies 6.1 (2013): 187-209. Print.