Week II: Casa y Recuerdo

Manuel Álvarez Bravo

Week II: Casa y Recuerdo

Reading: This week we'll start Octavio Paz-- His first chaper, El pachuco y otros extremos. You can read in Spanish or in English. Write down three good questions--and maybe the beginnings of an answer--based on the reading. Think about them for discussion in class next week. And post on you blog. (Label each week as I do so that we can follow and stay together---although what you post will be entirely your own.) I'll want you to come up with these questions from the reading each week--para la conversación que vamos a mantener...

Para ellos que sean músicos--que lean bien (toma dos semanas) Yolanda Moreno Rivas, capítulo primero (La música en tiempos de don Porfirio), especialmente "el mestizaje sonoro." Usen youtube para hacer investigaciones de las fuentes (muchas veces se puede colocar a las canciones que menciona).

For those with other interests, start the intro to a second book. Or at least have it on your radar. (I want you all to concentrate on Octavio Paz.) Gregory Rodriguez would be good. Or your choice (let's discuss in class...)

Project:  Casa y recuerdo.  If Tierra y corazon took us to a landscape, this week we enter inside...
Remember "La lluvia sobre el pueblo..." The focus in the video. That the way the "subject" was not what we were seeing...  Si te gusta mejor la palabra "Lluvia" pues que empiezes con esta...
Or the footage of Bunker Hill, Los Angeles (late 40's) with Don Tosti's Pachuco Boogie...

Música. Keep listening to Chavela, consider the lyrics (this is a gradual process!). And of course, el cancionero que vamos compartiendo... Listening to the cancionero download is important--that's how you need to absorb the songs...ensimismarse... La letra es cosa esencial. Hay que pensar en cada canción así--que nos dice? literalmente? y en términos metafóricos?

Cuadernos electrónicos. Post your work (image of your project) with short written piece each week. I suggested 100 words or less. I don't want to burden you with too much writing--and the point here is to find evocative ways of using words--written language--in parallel with the visal. Los dos andan juntos... Also see my comment above, under Reading--three questions from don Octavio--and the beginnings of an answer...

First post can be your self-description--an edited version of what you sent me to join the course...
_____

And from last night's  class--we watched these videos together with the songs.... Así que cada uno de nosotros que crea el narrativo...el significado...

Lluvia sobre el campo:

Lluvias en Michoacán - YouTube
Chavela Vargas "Vámonos" - YouTube


El Pachuco y otros extremos (versión dubovsky) :

A Drive Through Bunker Hill and Downtown Los Angeles, ca. 1940s - YouTube
Pachuco Boogie (Orquesta de Don Ramon) - YouTube

Week I: Tierra y Corazón

Manuel Álvarez Bravo

Week I: Tierra y Corazón


Our first project. Something which expresses the meaning of these words to you--in your life, in memory, and in what you know of your family past. There will many points of view in the class--that's a good thing--and it will be a subject of our continued conversation when we look at the work next week (pinned up on the walls in 170).


I encourage you to emphasize the hand--that is, the feeling of making by hand--as a route to the personal.

Size, meda, approach--all open.

For those of you with less hands-on studio art experience--start with meaningful photos in juxtaposition (siize, posisition, relative lights and darks). As "information"--but also as something to be looked at.

For those with more drawing and painting experience--dive in.

_____

Practical notes:

Blog. Set up your "cuaderno eléctrico" using blogger.com--and send me an active link. I want you to do this before I give you a cec. We'll discuss posting in class...

Reading: For this week, make sure to purchase  Octavio Paz (El laberinto de la soledad)--at local bookstore or online. (I've posted the original Spanish version on BOX, pero queda más cómodo leerlo en forma de libro... See bibliography.)

Música. Concentrate on all the new songs in the downloads. 

Cancionero. Keep your song sheets in a folder, and bring them to each class. There will be supplements, so you'll need a folder. (I had a pile, but forgot to hand them out. Will have next week.)

Writing. Because we have a largish group (queda bien!) one thing I'll want you to do, as your working on your project for each week is to write something in parallel. maybe 100 words or less--not too long--which can be pinned up along with your work "de introducción..."--as a kind of written introduction. no, I don't know just what I have in mind--so, you'll show me--and show each other--what this means! We pin up the projects at the beginning of the evening--and these can be alongside (or below)... can be trimmed to smaller than 8-1/2 x 11 if you like... Later posted on your cuadenos as well.

S&P: México / Download Links

Música:

Note: When downloading music folders, for full information on each track be sure to include the xml file for playlist and track data when you drag music files into iTunes or equivalent. 

Chavela Vargas, Sentimiento de México (Vols. I-II)
https://berkeley.box.com/s/ibzbwcc0d401qwwrqrm3

Cancionero Méxicano (grabaciones)
https://berkeley.box.com/s/asi7kovmtbcb0e97kq0c


Reading:

Octavio Paz: El laberinto de la soledad
https://berkeley.box.com/s/vbul0clyk0zpshows0eb 

Yolanda Moreno Rivas: Historia de la música popular mexicana
https://berkeley.box.com/s/8wyr5432n3937449lkuw

(You'll need to download the file (pdf) onto your computer in order to use the text search function    (a real plus, since the book has no index)

S&P: México / Canciones--Lista amplia

CANCIONES MEXICANAS (rev Jan 2013 draft). This is a  working list compiled before the start of the semester. It became the basis for our Cancionero (separate entry)--the songs learned together over the course of the term.  During Spring 2014 I'm hoping to ammend and update--it's of course just a start...

El último trago  (José Alfredo, c. Chavela Vargas)  C/2
Arrieros somos  (Cuco Sánchez) E/3
Albur de amor  (Alfonso Esparza Oteo, c. Chavela Vargas)  E/2
Cartas marcadas  (Chucho Monge, c. Chavela Vargas)   E/2
Cruz de olvido  (Juan Zaízar, c. Chavela Vargas)  C/2
Ella  (José Alfredo, c. Chavela Vargas)  G/3 o G/4

Farolito  (Agustin Lara)  G/2

Sin tí  (Chucho Navarro, c. Trío Los Panchos)  C/2
Perdida  (Chucho Navarro, c. Trío Los Panchos)   C/1

Ojos tristes  (Guty Cárdenas)  E/m / 2
Nunca  (Guty Cárdenas)  Am

Ojalá que te vaya bonito  (José Alfredo, c. Chavela Vargas) E/1
Volver, volver  (F. Maldonado, c. Chavela Vargas) E/1
Cucurrucucú paloma  (Tomás Méndez/ Hupango canción) C

El venadito  (tradicionál) C
La feria de las flores  (Chucho Monge, c. Gloria y Ricardo)
Juan Charrasqueado  (V. Corder, c. Chavela Vargas)  C/2

Cama de piedra  (Cuco Sánchez)
Fallaste corazón  (Cuco Sánchez)

La borrachita  (Tata Nacho) A/1

Adiós mi chaparrita (Tata Nacho) C/2?

De los cuatro muleros (España/García Lorca)

Film:
Fui queriendo nomás (Jorge Negrete/Antonio Bribiesca film)
Amorcito corazón (Jorge Negrete, Nosotros los pobres 1949)
La tequilera (v. Lucha Reyes, film)

Los Tres Huastecos (Pedro Infante, cura tocando violín)

La barca de Guaymas (Pedro Infante, tren)

Jorge Negrete y José Alfredo (El hijo del pueblo)

Pedro Infante y Piporro, Cartas a Eufemia

Tizoc (Pedro Infante)

Fallaste corazon (Pedro Infante, y version de Cuco Sánchez)

Jorge Negrete, México lindo y querido

Ernesto Cortázar / Miguel Esperón)

Ansiedad (Pedro Infante y Libertad Lamarque)

Los Pancho-Perdida, Sin tí

Cantinflas, El señor doctor, Bailando Yolanda

Chavela Vargas videos, Lola Beltrán videos

Sufriendo a solas (v. Lola Beltran, video)

Jorge Negrete, Lucha Reyes, Pedro Infante, María Félix

Andy Russell, Enamorado (odd song footage)

Canciones clásicas:

Marchita el alma (Zuñiga)

La golondrina  (Serradel)

Perjura (Lerdo de Tejeda)

Canción de despedida, etc.

La paloma (habanera 1era)

Miguel M. Ponce:

Estrellita

Rayando el sol (arr.)

A la orilla de un palmar

Mañanitas mexicanas

Cielito lindo (arr.)

La pajarera
La Valentina

La borrachita, Ignacio Fernández Esperón (Tata Nacho)

Adiós mi chaparrita (Tata Nacho)

Canción Mixteca (López Álvarez)

Adiós mi mariquita linda (Marcos A. Jiménez)

Mi viejo amor (Alfonso Esparza Oteo)

La barca de guaymas  (arr. Rubén Fuentes)

Indita mía (David Zaízar)

El desterrado (canta Davíd Zaizar

El preso de San Juan de Ulua (cantan Hermanos Zaízar)

Corridos (very incomplete):

La Adelita

La Valentina

El mosquito americano

La tragedia de Belén

El Venadito

La tumba de Villa

Carabina 30-30

Los dos hermanos (c. Chavela Vargas)

Sábado en D.F. (Chava Flores), Voy en el metro (Chava Flores)

Trovas Yucatecas:
Peregrina (Ricardo Palmerín / Luís Rosada Vega)
Flor (Guty Cárdenas)
Beso asesino (Pepe Domínguez)
Nunca (Guty Cárdenas)
Ojos Tristes  (Guty Cárdenas)

Chilenas (Guerrero):
El camino a Chilpancingo (Agustín Ramírez, c. Dueto Caleta) chilenas, gustos, sones

La Sandunga (Oaxaca/Istmeña, c. Chavela Vargas)

José Alfredo Jiménez:
Amanecí en tus brazos (José Alfredo)
El rey
Ella
La media vuelta
Cuando vivas conmigo
Que te vaya bonito
Te solté la rienda
Tu recuerdo y yo
Cuatro caminos
El jinete
Porqué volviste (?)
Vámonos

Yo

Cuco Sánchez

Cama de piedra (arr.)
Fallaste corazón
Arrieros somos 

Anillo de compromiso

Agustín Lara:
Farolito
Imposible
Mujer
María bonita
Piensa en mí

Trios: Los Panchos y otros (boleros) videos

Sin tí

Perdida

Piel canela, Sabor a mí, Frenesí, otros boleros
Angelitos negros (canta Chavela Vargas)

Las “Hermanas”

Las Hermanas Águila

Las Hermanas Huerta (Atotonilco)

Las Hermanas Padilla

Las Jilguerillas

Música regional:

Huapangos (Son Huasteca)

Son jarocho

Jarabes (sones jalisciences))

Jaranas (Yucatan)

Michoacan Orquestras típicas, sones, valonas jarabes

Oaxaca (Cancioneros típicos)

Mariachi, Norteño

Rancheras (in progress--only a start)

¡Ay, Jalisco no te rajes! (Esperón/Cortazar) film--Jorge Negrete

México lindo y querido  (Chucho Monge) film—Jorge Negrete

La tequilera (canta Lucha Reyes)

Besando la cruz (Chucho Monge)

Cartas marcadas  (Chucho Monge)

La feria de las flores  (Chucho Monge)

Pa’ que me sirve la vida?  (Chucho Monge)

El preso de San Juan de Ulua (canta David Zaízar)

Cucurrucucu paloma (Tomás Mendez), huapango canción

La cama de piedra  (Cuco Sánchez)

Fallaste corazón  (Cuco Sánchez)

Arrieros somos  (Cuco Sánchez)

Si no te vas  (Cuco Sánchez)

Echame a mí la culpa  (José Ángel Espinosa, Ferrusquilla), bolero ranchero

Sufriendo a solas  (José Ángel Espinosa, Ferrusquilla)

Cruz de olvido  (Juan Zaízar)
Paloma negra  (Tomás Méndez)

Se me olvidó otra vez   (Juan Gabriel)

Las rancheras de José Alfredo Jiménez

Juan Charrasqueado  (Víctor Cordero), corrido

Carabina 30-30  (canta Miguel Aceves Mejía), corrido

Los dos hermanos  (Juan Mendoza García, El Tariácuri), corrido
Paloma Negra (Tomás Méndez)


Viente años  (Los Aelgres de Terán)

S&P: México / Bibliography

VS 185X S&P: México / Bibliography / Books on Music and Related Topics

PURCHASE THIS BOOK FOR CLASS:


Octavio Paz, El laberinto de la soledad (con vuelta a El laberinto de la soldead). México, D.F.: FCE 2000

Octavio Paz. The Labyrinth of Solitude and Other Writings. trans. Lysander Kemp. New York: Grove Press, 1961 


ON RESERVE, CED Library, and available on BOX as pdf. (Note: To use the search function you'll need to download the pdf. The search is quite useful, as there's no index.)

Rivas, Yolanda Moreno. Historia de la música popular mexicana. México, D.F.: Oceano 2008 (orig. 1979)
_______

As discussed in class:

Malcolm Lowry, Under the Volcano

Gloria Anzaldúa, Borderlands/ La Frontera: The New Mestiza,
Gregory Rodriguez, Mongrels, Bastards, Ophans, and Vagabonds,2008.
Rodriguez, Richard, Brown: The Last Discovery of America. New York: Viking 2002.
J.M.G. Le Clezio, The Mexican Dream: Or, The Interrupted Thought of Amerindian Civilizations, 1993 (original in French)

Peter Everwine. Collecting the Animals (see the Aztec poems, his versions, within)
Ry Cooder. Los Angeles Stories.  SF: City Lights, 2011  (see "La vida es un sueño" and some of the other stories), 2008
Carlos Fuentes, Aura, 1962 (short novel, set in older part of Mexico City)

Bolaños, Marina Alonso. La "invencion" de la música indígena de México, Buenos Aires, 2008
(see Erik Hobsbawm, The Invention of Tradition, 1983). (Excellent bibliography)

Richard Rodriguez:Hunger of Memory: The Education of Richard Rodriguez (1982)
Days of Obligation: An Argument With My Mexican Father (1992)
Brown: The Last Discovery of America (2003)
(Richard Rodriguez--always a tonic point point of view--eloquent, acerbic, and often quite funny)

Mendoza, Vicente T. La Canción Mexicana: Ensayo de clasificación y antología. México, D.F.: FCE 2005 (orig. 1961)
Garrido, Juan S. Historia de la música popular en México. México, D.F.: Contemperaneos 1981
Saldívar, Gabriel. Historia de la música en México (épocas precortesiana y colonial), 1934

Loza, Steven. Barrio Rhythms: Mexican American Music in Los Angeles. Urbana, Illinois: Univ. of Illinois Press 1993
Normark, Don. Chavez Ravine, 1949: A Los Angeles Story.  SF: Chronicle Books 1999. Normark's beautiful photographs.
Cull, Nicholas and Davíd Carrasco, ed. Alambrista and the U.S.-Mexico Border. Albuquerque: UNM, 2004
Chew-Sánchez, Martha.  Corridos in Migrant Memory.  Albuquerque, NM: UNM 2006
Burr, Ramiro. Tejano and Regional Mexican Music. New York: Billboard Books, 1999
______

Serrano, Álvaro Ochoa, ed. De occidente es el mariache y de méxico. Guadalajara: Colegio de Michoacán 2001
Calleja, Julian. Los mejores corridos mexicanos. México D.F.: El Libro Español 1972
Quintanilla, José Ernesto Infante. Pedro Infante: El Ídolo inmortal. México, D.F.: Oceano, 2006 (questionable)

Good General References on Mexican music:

Bibliography in Yolanda Moreno Rivas: an excellent condensed bibliography; refer to it for additional sources
Juan S.Garrido, Historia de la música popular en México
Vicente T. Mendoza (numerous publications on la música mexicana, including the corrido)
Gerónimo Baqueiro Foster (see his ethnomusicological studies)
Daniel Castaneda

S&P: México / Themes

TEMAS.

Note: These themes reflect last year's version of the course. I'll update as we proceed this semester. For now they'll give you an idea of the kinds of themes we cover.

Chavela y Antonio / cancionero mexicano
El último trago, Ojalá que te vaya bonito
Fui queriendo no más (FILM)

La canción méxicana clásica
Marchita el alma, Rayando el sol, La borrachita, Adiós mi chaparrita,
La barca de Guaymas

La trova yucateca: Guty Cárdenas (La canción romántica I)
Ojos Negros
Nunca (El dueto peninsular)

Agustín Lara  (La canción romántica II)
Farolito
Imposible

El Trío Los Panchos: Boleros   (La canción romántica II)
Sin Tí
Peridida
Ry Cooder story: La Vida Es Un Sueño (in Los Angeles Stories)

Cine mexicana
Jorge Negrete, Pedro Infante, Cantinflas,
María Félix, Libertad Lamarque (!)
México lindo y querido (Jorge Negrete)

Rancheras: Los inmortales y las bravías
La feria de las flores, Cuatro milpas, El preso de San Juan de Ulua
Pedro Infante, David Zaízar
Lola Beltran, Lucha Villa

José Alfredo: El hijo del pueblo
Ojalá qué te vaya bonito, Ella

Chavela Vargas
Volver, volver
Angelitos negros, Un segundo amor Las simples cosas

Cuco Sánchez 
La cama de piedra, Fallaste corazón

Las hermanas (Águila, Huerta, Padilla y Las jilguerillas)
Atotonilco, Trés balas, Cuatro milpas, Engañosa y cobarde

La música regional: la zandunga, chilenas, hupangos,  jarabes, mariachi, norteño
El venadito
Cucurucucú Paloma (hupango canción)
La sandunga, y sones de provincia (autores anónimos)

Son jarocho, Son huasteco

El corrido y la crónica popular
La Adelita
Juan Charrasqueado
La tumba de Villa

_______

El norte / East Los Angeles
Lalo Guerreo
Don Tosti
Thee Midnighters
Los Lobos
Newmark photos /  Chavez Ravine 1949
Ry Cooder album, also, some his Los Angeles Stories

S&P: México: Outline

 

VS 185X: SONGS & PLACES: MÉXICO / SP 2014 / 4 units / Thursdays 6-10pm / Anthony Dubovsky

Un modelo de corazón
Una manera de querer
Cosas de múy adentro
________

Some guidelines--
Carpeta / Folder with cancionero / song sheets--bring to every class; there will be in-class handout supplements
Attendance is required (only medical exceptions, or with 3 week notice)
Participation is important
I send you an email each week and post on this blog: read carefully
50-year rule

ONE PROJECT EACH WEEK (based on canciones, letra, and WORD--la voz de la semana?)
Painting, drawing, collage, writing with images...media open...
Pin up at beginning of class, write comments on each other's work (pin up a sheet for this alongside your project--with your name!)

6:00-6:30  Pin-up and comments; help get room organized. PLEASE BE ON TIME
6:30-7:00  Canciones y letras
7:00-7:45  Background (music & images) with follow-up email including URLS
7:45         Return to songs
short break
8:15-10:00  Review & discussion of work--a conversation 

READING:
Octavio Paz (purchase at Ned's; read one chapter each week)
Frances Toor (purchase at Ned's; use for reference, including her photographs)

Yolanda Moreno Rivas (important for reference; on reserve)
Carlos Monsiváis (article on José Alfredo, will be sent by email)
Ry Cooder, Los Angeles Stories, "La vida es un sueño" (short story, by email)

HOMEWORK:
This is a 4-unit class. I expect two good evenings each week outside of class!
* Exploración (including reading and on-line NOTEBOOK)
* Obra creativa -- your creative PROJECT for each week

Plus a more developed PROJECT of your own choosing on one of our two themes (see course description), with in-class PRESENTATION
* Los abuelitos de tus abuelitos
* Mexican Folkways--Huellas de costumbre (use Frances Toor as a guide for both--her book is encyclopedic, and recognized by Mexicans as such)

ON-LINE NOTEBOOK (use blogger format--blogspot.com). This notebook is a way of sharing and writing about, and picturing, your exploration. It will keep us informed as to what you're doing, what you're thinking. Post your projects here each week as well.

SEND ME BEFORE 2nd CLASS (Jan 31):
1. Blog Notebook URL (active link to your blog homepage, on blogspot.com)
2. Confirm acceptance in class 
If I've asked you for examples of your work, and background, send as well, by Jan 26.

Extended Course Outline: http://ced.berkeley.edu/academics/courses/visual-studies/spring/

Course Description SP2014

VS 185X Songs & Places: México

Spring Semester 2014 / 4 units
Thursdays 6-9:30pm / 170 Wurster
Anthony Dubovsky 

Listed in Course Schedule as

Visual Studies 185X: Special Topics: Word & Image (CCN 04153) 

Songs & Places. What are the connections between song and place—visual, musical, and beyond? How can we describe these connections—give them form--through paintings, drawings and related works involving the hand?

Music and place have long been intertwined—and the particulars of place have given rise to some of our most memorable songs. In the fall semester course we explore this question through the American roots song tradition. In this NEW spring semester course we continue the exploration, concentrating now on the folksongs of Mexico (el cancionero mexicano, the classical corrido/ranchera/bolero tradition) including songs recorded by Chavela Vargas, José Alfredo Jiménez, Agustín Lara, Guty Cárdenas, Jorge Negrete, Pedro Infante, Davíd Zaizar, Elvira Ríos, Las Jilguerillas, Cuco Sánchez, Lola Beltrán, Dueto Caleta, Los Alegres de Terán and more. We'll look closely at (and listen to) this material with an eye to the visual sources for the songs--and the ways in which they stem from--and reflect--Mexican culture. La Canción del Alma y el Alma de la Canción. The lyrics are all in Spanish, of course--and Spanish language comprehension  will be important for students in the class. A sub-theme will be the ways in which individuals today reflect (represent) this past--especially young people of Mexican ancestry "a este lado de la frontera." A persistent question might be: who were "los abuelitos de tus abuelitos..." and what would it mean to picture them? Place? Region? Family? Home? Caras y caretas...? We'll explore these themes in visual terms (by making paintings and drawings)--and by listening to--and singing--some of the songs... Readings will include Octavio Paz, El Laberinto de la Soldedad, and selections from Yolando Moreno Rivas,  amond others. A second sub-theme: how do Mexican folk traditions persisit today? All with a passing look, as time permits--and  by way of comparison--at something of the beautiful folclore tradition "del campo de Argentina" (for example, Atahualpa Yupanqui or Jorge Cafrune.)

Note that this is a seminar-with-projects—a course in which we look closely at the original connection between songs and places—and make images in response. The medium here is open—but the hand is emphasized throughout. We'll begin each week by listening to/looking at  a selection of songs and images. Studio projects follow (outside of class). We then reconvene the following week, to sing the songs, look at and discuss the work made by each person in the group. Followed by a new set of songs. Your guide to all this, Anthony Dubovsky is a painter who is also a professor in the Visual Studies Program in the CED. He takes a keen interest in these songs and the places and traditions they represent. The class will be a joint exploration, in Spanish as well as English.

Prerequisites? At least some studio art and music background. A firm grasp of Spanish is required, and genuine interest in the subject. Familiarity with Mexican/Latinoamerican culture(s) a plus. Class size will be limited to 15 students. Open to juniors, seniors, and graduate students with the necessary background.

Application procedures: Send me an email with the following: Your name. Where were you born? Where did you grow up? Your year (junior, senior, grad)? Your Major? Musical background? Art background? Spanish language background? Tell me about your interest in this class, and something of your family story. Include 2-4 jpegs of your artwork (identified with YOUR NAME on each jpeg) and send to Anthony Dubovsky at chambersstreet[at]hotmail.com.  Applications are due by 15 January 2014; earlier applications will be given stronger consideration.

Painting: Anthony Dubovsky, La Guelaguetza, Oaxaca, 1935, acylic/cardboard, 6-3/4 x 6 inches