Mariachi Christmas - Schooltime Series at Popejoy Hall

Transcription

MariachiChristmas
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CD
Presented by Noberta Fresquez
and Fiestas Unlimited
Performed by Mariachi Jalisciense del Valle
and Ballet Folklórico Paso del Norte
Standards addressed by attending this performance
LANGUAGE ARTS:
STRAND I: Reading and listening for comprehension.
Content Standard I: Students will apply strategies and skills to comprehend
information that is read, heard and viewed.
FINE ARTS/ THEATRE, MUSIC & DANCE
Standard 3: Integrate understanding of visual and performing arts by seeking
connections and parallels among arts disciplines as well as other content areas. Standard 5: Observe, discuss, analyze and make critical judgments about
artistic works. SOCIAL STUDIES
Strand I: HISTORY
Content Standard I: Students are able to identify important people and events in order
to analyze significant patterns, relationships, themes, ideas, beliefs, and turning points in
New Mexico, United States, and world history in order to understand the complexity of
the human experience.
Strand II: GEOGRAPHY
Content Standard II: Students understand how physical, natural, and cultural processes
influence where people live, the ways in which people live, and how societies interact
with one another and their environments.
As part of our mission to integrate the arts into classroom academics, the
Dreamcatchers Study Guides are designed to provide helpful information to be
used by teachers and students before and after they attend our performances.
The activities in these guides are suggested to stimulate multi-sensory
explorations of themes and concepts, so that the theatrical events are used for
cross-cultural and language arts learning. Educators are encouraged to use
our suggestions as springboards to lead students into meaningful, dynamic
learning, thus extending the experience of the plays.
Selected Dreamcatchers materials provided by http://www.mexconnect.com,
http://www.mariachi.org, and other resources noted throughout this guide.
O
ur wonderful
New Mexican holiday tradition
continues! Stomping feet, thrilling
horns, twirling dresses, and vivacious
violins fill the air as Mariachi
Christmas, now in its 14th season,
returns to Popejoy Hall. This year,
the music of Mariachi Jalisciense del
Valle will accompany the exuberant
dancing of Ballet Folklórico Paso
del Norte. Enjoy the sights and
sounds of these richly woven
cultural traditions, and ring in the
holiday season with all the pride and
pageantry of Mexico. ¡Feliz Navidad!
Stay for our 15-minute bilingual Q & A session
with the cast, following the
12:15 pm performance.
Friday,
December 14, 2012
10:15am & 12 :15pm
Grades: 2 - 12
Curriculum Connections:
Language Arts, Fine Arts/Theater,
Music & Dance, Social Studies
In this issue of Dreamcatchers–
Introduction & Synopsis ................................... 2
Fun Facts ................................................................................... 3
Vocabulary............................................................................... 3
Pre-performance Activities............................. 4
Post-performance Activities.......................... 6
Outreach Activities..................................................... 8
Resources & Websites............................................. 8
About the Companies............................................. 8
Worksheets.............................................................................. 9
Etiquette....................................................................................... 12
Introduction
(http://www.mexconnect.com and http://www.mariachi.org/history.html)
Mariachi is more than just music. It is the sum of a cultural revolution (expressed through a group of
musicians) that encompasses the essence of Mexico and its people. Like the sarape, which often uses widely
contrasting colors side by side - green and orange, yellow and blue - the Mariachi use sharply contrasting sounds:
the sweet sounds of the violins against the brilliance of the trumpets, the deep sound of the guitarrón against the
crisp, high voice of the vihuela; and the frequent shifting between syncopation and on-beat rhythm. The resulting
sound is the heart and soul of Mexico.
During the Schooltime Mariachi Christmas performance, students are invited to sing along, clap, and have
a fun time with the artists. However, we do ask that, during solos, the audience wait to join in and appreciate the
moment until the rest of the performers begin singing again.
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We recognize that not all students celebrate Christmas. However, this show is based on the traditions and culture
of Mexico during the Christmas celebration. Our lessons reflect this particular show. We encourage discussions
of diversity in family traditions from home to home and culture to culture, particularly during this rich season.
History of the Mariachi
(http://www.mariachi.org/history.html)
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TRUMPET
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photos courtesy www.wikipedia
Prior to the arrival of Hernán Cortes, the music of Mexico was an integral part of religious celebrations,
and was played with rattles, drums, reed and clay flutes, and conch-shell horns. As Christianity spread, these
instruments gave way to instruments imported by the Spanish: violins, guitars and harps, brass horns and
woodwinds. The Indian and mestizo musicians not only learned to play European instruments, but also to build
their own, sometimes giving them shapes and tunings of their own invention.
Music and dance were important elements of Spanish theatrical productions, which were enormously popular
throughout the Spanish-speaking world during the colonial period. The typical Spanish theatrical orchestra of
the 16th, 17th, and 18th centuries was comprised of violins (usually two), harp and guitars (or guitar variants).
It was from this group that several of the most distinctive regional ensembles of Mexico developed,
including the Mariachi.
VIOLIN
GUITAR
According to the best scholarly opinion, the word Mariachi has Native roots. One theory suggests
the name comes from the wood used to make the platform on which the performers danced to the
music of the village musicians. But whatever its true source, the word today has two meanings that
are crystal clear: Mariachi is the music of the people, and means one of the most exciting and enchanting
musical ensembles found anywhere in the world.
The Musical Instruments
(http://www.ehow.com/about_5036272_instruments-used-mariachi-music)
Each instrument in the Mariachi serves a special function. The violins provide the melody,
or the main song line. A second violin, if used, would play a harmony. Sometimes three
violins play different notes to make a complete, harmonious chord. Trumpets add strength
to the melody played by violins. The guitars, vihuela, and guitarron provide the rhythm.
Violins are played in the same manner for Mariachi music as they are played for any
other type of music. Violins are often used to develop the total sound of Mariachi
music, and blend with the sound of other instruments.
The vihuela is an instrument unique to Mariachi music. It was originally created by
the Coca Indians of Jalisco. The vihuela has a bowed and swollen V-shaped back and
five strings. It looks like a small guitar that is slightly larger than a ukulele. Players
strum a vihuela with a thumb pick. Vihuelas produce a crisp, clear sound that fades away
quickly. It is the rhythmic and harmonic foundation of the distinctive Mariachi sound.
GUITARRON
VIHUELA
The guitar is played in Mariachi music as much as it is played in any popular music
genre. It is played in collaboration with the vihuela, and is used to supplement the
rhythm. Nearly all Mariachi bands include guitars.
A guitarron is another instrument unique to Mariachi music. It forms the bass foundation for the music and gives Mariachi music its special sound. The guitarron looks
like a large version of the vihuela; it also originated in Jalisco. It has six strings
which are plucked in pairs to create a big, deep sound. By many accounts, the
guitarron is considered to be the single most essential element of Mariachi music.
The trumpet is also important in Mariachi music. It is played in much the same
manner as in other popular music. However, in some instances, cup mutes are
used to modulate the sound of trumpets.
Other Instruments: Depending on the specific arrangement of Mariachi music,
flutes, accordions, French horns, and even organs can be incorporated. They are
usually played in the conventional manner, but are used to contribute to the
distinctive Mariachi sound.
2. POPEJOY SCHOOLTIME SERIES PRESENTS - Mariachi
Christmas
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VOCALIST
Fun Facts
- History
& Background
Mariachi songs speak about machismo, love, betrayal, death, politics, revolution
ary heroes, and even animals.
Although the indigenous tribes of Mexico made music with flutes, drums, and
whistles, there is no clear link between the indigenous music and the Mariachi.
The instruments originally used by the Mariachi were those introduced by the
Spaniards - violins, guitars, vihuelas, harps, etc. These instruments were for use
in masses, but the criollos (Mexicans of Spanish descent) began using them to
make popular music, as well.
Mariachi music was first passed down aurally, meaning that songs were not
written down but taught and learned by ear.
Mariachis could be seen wearing traditional workmen’s clothes – white pants
and shirt and a straw hat – and traveling around looking for work. They would
most commonly find employment at haciendas, where they would earn more than
the average laborer. With the revolution, many of the haciendas were forced to let
the Mariachis go. They would then wander from town to town, singing songs of
revolutionary heroes and enemies, and carrying news from one place to another.
The principal music played by these early Mariachis was the Son, the popular
music of the day. A mixture of folk traditions from Spain, Mexico, and Africa,
the son was found in many regions of the country. The son from Jalisco is called
the son jalisciense. “La Negra” is the best-known example.
The son and other types of Mariachi music is not just music to be played and
sung. From the very start, it was also music to be accompanied by dance.
This dancing may include hard rhythmic heel stomping, straight-backed with
gliding, shuffling footwork. It can also be waltzes, polkas, schottisches, or
other regional dance.
Mariachis often help celebrate the great moments in the lives of Mexican and
other Hispanic people. With the serenata (serenade), the Mariachi participates
in the rite of courtship. In a society where the young members of opposite sexes
were kept apart, the serenata was a means of communication by which a young
man could send a message of love to the woman of his heart.
In many areas of Mexico, it is not unusual to be awakened by the sound of
Las Mañanitas, the traditional song for Saints’ days, or for birthdays.
The Mariachi is usually positioned strategically on the street beneath the window
of the festejada, but the sound of its music echoes through the whole neighborhood.
Mariachis are commonly hired for baptisms, weddings, patriotic holidays, and
even funerals; it is not unusual to leave a list of favorite songs to be sung beside
the grave at burial.
Mariachi music has been incorporated into the Roman Catholic Church’s most
sacred ritual: the Mass. The Misa Panamericana is a Mariachi folk mass, sung
in Spanish, which uses traditional instruments to create vivid new interpretations
of the traditional elements of the service.
With the advent of radio and television, Mariachi popularity continued to grow.
Due to the popularity of jazz and Cuban music, the trumpet was adopted, pushing the violins into second place and, in some cases, replacing the harp.
The Mariachi tradition was later extended to a widespread mainstream audience
in the United States, when rock singer Linda Ronstadt fulfilled her dream of
making a record of Mexican songs and released Canciones de mi Padre (Songs of
my Father) in 1987. The Grammy Award-winning album was a smash hit that
went double platinum; it has never gone out of print.
The many variations of Mariachi music are grouped into different rhythmic
meters. The jarabe and huapango are typically in 6/8 time, while the cumbia and
bolero ranchero are usually in 4/4. Perhaps most popular are the mariachi styles
in 3/4, such as the valses, Mexicanos and corrido.
Vocabulary
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The Clothing/La Ropa
Because Mariachi began as informal folk music to accompany dance,
early mariachi groups did not have specific uniforms. However, groups
did sometimes wear regional costumes.
By the 1930s, Mariachis were wearing the traje de charro, which has
come to be a universal symbol of both the Mariachi musician and the
Mexican horsemen. This gentleman’s suit has a history, a purpose and
passion that makes it a mark of Mexican pride and respect.
The history of the charro suit can be traced back to the peasants of
Salamanca and Andalucia, Spain, whose outfits were comprised of tight
pants, shirt, jacket, boots, and a hat. Later, aristocratic families added
colors and other adornments for special occasions.
Today’s charro suits are usually black.
There are two main types of trajes, or suits; one has bontonaduras (shiny
metal buttons), and the others are made with greca, or Greek design, a
type of pattern of Mexican suede embroidery. Some of the most ornate
and expensive suits use both bontonadurs and greca. The International
Charro Association has guidelines for trajes de charro standards.
Mariachis of both sexes wear the traje de charro to perform, though
women can choose a skirt made to echo the tight charro pants.
For the Mexican Hat Dance, male dancers don the classic outfit of the
charro, while the women wear the china, a festive, brightly sequined
skirt with a hand-woven shawl. Women also attach large bunches of silk
flowers at the back of their heads where their hair has been drawn back
from their faces.
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The Dance
It is important to remember that the son and other types of Mariachi music are not
just pieces to be played and sung; Mariachi music is also to be accompanied with
dance!
The traditional dance technique associated with the son is the zapateado, a
distinctive type of footwork that originated in Spain. When dancing the zapateado,
the performers skillfully drive the heels of their shoes or boots into the dance floor,
pounding out swift, often syncopated rhythms, which complement the different
sounds of the musical instruments.
Each of the regional variations of the son has its traditional style of dance.
Sharing this vocabulary with your students will enhance their experience of the
performance. Encourage them to watch for examples of these elements of music
and dance during the performance!
Bolero (boh-leh-ro) – moderate dance/popular song type in 4/4 time
Corrido (coh-ree-doh) – a ballad that usually includes facts about historical events
Ensemble (on-sahm-bel) – a small musical group of voices or instruments
Guitarron (ghee-tah-rohn) – large, portable acoustic bass instrument and member
of the guitar family, with a V-shaped back, short neck, and six strings
Mestizo (mehs-tee-soh) – the mixture of Hispanic, Indian, and African cultural and
musical elements in the New World
Polka – a lively dance originally from Eastern Europe
Ranchera (rahn-cheh-rah) – a popular song type, with texts dealing with emotions
such as love, or nostalgia for the land or people
Son (son) – a lively instrumental/vocal/dance piece, characterized by the alteration
of fast and slow rhythms
Sone - the spanish word for “sound”
Vihuela (vee-wee-la) – a small member of the guitar family, with five strings, a
V-shaped back, and short neck. The vihuela produces a high sound
Waltz – a slow or moderate dance originally from Western Europe
The huapango or huasteco, like the son, was originally danced on wooden
platforms. In some areas these dance floors were mounted on earthen jugs. To
dance the huapango, the couples line up in opposing columns. The upper part of
the body is held perfectly upright as the feet perform rapid, intricate, shuffling
maneuvers. Today, it is sometimes performed with a glass of water on the dancer’s
head to show off the dancer’s great muscular control.
The lyrics of the songs frequently describe country life, and form the inspiration
for the dances’ movements. Sones often depict the plants, animals, and people
of the region. Some songs tell of the courtship of farm animals to depict the
relations of men and women. In the dance, the movements of the performers often
represent the farmyard courtship described in the verses of the sones.
Another kind of music related to the son and connected with a particular dance is
the jarabe. The jarabe is a medley of dance pieces, including sones, danzas, jotas,
and polkas.
No discussion of Mariachi music would be complete without mentioning the
famous Jarabe Tapatio – the Mexican Hat Dance. Associated with Guadalajara,
in the state of Jalisco, it has become the national dance of Mexico. It is a highly
stylized dance, with prescribed movements and costumes. (page 7)
POPEJOY SCHOOLTIME SERIES PRESENTS
- Mariachi
Christmas
3.
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Pre-performance Activities
write lyrics for a mariachi song
Grades: 6 – 12
Objectives:
Students create original lyrics inspired by Mariachi music.
Students’ lyrics reflect a specific occasion.
Students’ lyrics will follow a rhyme scheme.
Materials:
A recording of Las Mañanitas (see page 9, also widely available - many versions can be found on iTunes or YouTube)
Pen
Paper
Procedures:
1. Review the history of Mariachi music. See “Resources & Websites (page 8)” for information. Note that Mariachi groups are
most often seen playing at important family celebrations, such as weddings, birthdays, or public festivities.
2. Distribute the “Las Mañanitas“ lyric sheet. Ask the students how many of them are familiar with the song. Ask the students
who are familiar to cite occasions on which they have heard the song. Who was singing it? To whom was it being sung?
What was the occasion? If students are not familiar with the song, explain that it is native to Mexico, and traditionally sung
for people on their birthdays.
3. Play the song for the students. Have them read along with the lyrics.
4. Explain that the students will now write their own lyrics for a Mariachi song. The song will be for a specific special occasion –
birthday, anniversary, wedding, funeral, farewell party, etc. Ask students to choose an occasion and to think of the sentiment
s/he would want to convey for the occasion.
5. It might be helpful if students think of a specific person who they are addressing in their song. Instruct them to evoke imagery
that would be meaningful, either to themselves, or to the person for whom they are writing.
6. Be sure to note the rhyme scheme of the song. It may be helpful to read the Spanish lyrics out loud to identify the rhyme
scheme used in Las Mañanitas. Students don’t have to repeat that exact rhyme scheme, but should follow some sort of rhyming
pattern in their lyrics.
7. When the lyrics to their songs are complete, have the students share them in class.
Extensions/Modifications:
È If students are fluent enough, have them write the songs in Spanish. You may also help the students to translate their songs
into Spanish once they are written.
È Set the songs to music. Identify which Mariachi instruments would be featured prominently in the song.
È Younger students can do this assignment together as a group with teacher assistance.
Assessment:
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QStudents create lyrics that: 1) are specific to an occasion, 2) follow an identifiable rhyme scheme and 3) make sense to others.
QQuality of Participation
Standards
LANGUAGE ARTS
Content Standard I: Students will apply strategies and skills to comprehend information that is read, heard and viewed.
STRAND II: Writing and speaking for expression.
Content Standard II: Students will communicate effectively through speaking and writing.
STRAND III: Literature and Media
Content Standard III: Students will use literature and media to develop an understanding of people, societies and the self.
SOCIAL STUDIES
Content Standard II: Students understand how physical, natural, and cultural processes influence where people live, the ways in
which people live, and how societies interact with one another and their environments.
FINE ARTS/ MUSIC
Standard 2: Use dance, music, theatre/drama and visual arts to express ideas.
Standard 3: Integrate understanding of visual and performing arts by seeking connections and parallels among arts disciplines as well
as other content areas.
Standard 4: Demonstrate an understanding of the dynamics of the creative process.
Standard 6: Show increased awareness of diverse peoples and cultures through visual and performing arts.
Christmas
LAS POSADAS
The word “posada” means “inn” or “lodging”. This festival celebrates the story
of Joseph and Mary searching for an inn where Mary could give birth.
Grades: 3 – 8
Objectives:
Students will learn about the tradition of Las Posadas.
Students will learn the melody and lyrics to the Posada Song.
Students will enact their own version of Posadas.
Materials:
Las Posadas video: http://www.youtube.com/watch?v=D6nwzpI-6UE
“Posada Song” sheet (page 10)
Material for costumes: fabric, construction paper, etc.
Procedures:
1.
Introduce Las Posadas to the class. Ask the class if anyone is familiar with the Mexican tradition of Posadas. The Posadas are
a long established tradition in Mexico and typically take place every evening from December 16th through the 24th. You may
want to review the story of Mary and Joseph’s search for shelter. Every year, children in communities throughout Mexico
dress up as Mary, Joseph, angels, shepherds, and wise men. They form a procession through the streets and go door to door in
their neighborhood singing the Posada song, “Pidiendo Posada” (“Begging for Shelter”). At every door they ask for shelter, and
at every door they are turned away. Finally, the children come to a predetermined house, where they ask for shelter and are
welcomed in. A prayer of thanks is said, followed by a celebration with food, music, and a star-shaped piñata.
2. Copy and distribute the “Posada Song” handout to the class. Show the “Las Posadas’ video and have students follow along.
You may want to show the video several times to allow students to learn the melody.
3. Once students have more familiarity with the song, try singing it together as a class. Practice the song until students are
comfortable singing it. You can choose to sing it in Spanish, in English, or both, depending on what will work best with your
class; the lyrics fit the music in either version.
4. Plan your own Posadas reenactment. Divide the class into two groups: Pilgrims and Innkeepers. Decide how you are going to
set up your Posada in the classroom. For example, you might arrange students’ desks to form the outside wall of the inn, with
a gap in the middle representing the door. You may choose to have several inns, moving the procession around the room, and
singing the first part of the song multiple times. Plan any costume elements you may want to include. You can use sheets of
colored fabrics to identify characters, or to create simple symbols or headpieces out of construction paper. Mary traditionally
wears light blue; Joseph, light brown; the angels, white; the shepherds, dark brown; the wise men, gold, red, and purple.
5. Perform the Posada. If students are uncomfortable singing, they may read the text instead.
6. Have students reflect on their experience performing the Posada. How would they feel participating in something like this
outside of school? How does this tradition compare with their own holiday traditions?
È Take your Posada procession to other classes; make arrangements with other teachers ahead of time. Have students knock on
classroom doors and ask for shelter. The classes will respond that they have no shelter. Finish by having students knock at
their own classroom, where an adult helper greets them and welcomes them back in. Prepare a simple celebration with food,
music, and perhaps a piñata.
Assessment:
Quality of Participation
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Standards
LANGUAGE ARTS:
SOCIAL STUDIES
Content Standard II: Students understand how physical, natural, and cultural processes influence where people live, the ways in which
people live, and how societies interact with one another and their environments.
FINE ARTS/ MUSIC and THEATRE
Standard 8: Contribute to communities by sharing expertise in dance, music, theatre/drama and visual arts
- Mariachi
Christmas
5.
Post-performance Activities
FAROLITOS FOR CHRISTMAS
Grades: 3 – 6
Objectives:
Students learn about the tradition of placing farolitos out on Christmas Eve.
Students learn the difference between a farolito and a luminaria.
Students will assemble their own farolitos.
Materials:
The Farolitos of Christmas by Rudolfo Anaya
Paper bags
Candles
Sand
Procedures:
1. Discuss some of the Christmas traditions presented in the show Mariachi Christmas. What traditions were familiar to students?
What traditions were unfamiliar? Tell students that they will be reading a story that features a New Mexican holiday tradition.
2. Read The Farolitos of Christmas by Rudolfo Anaya.
3. Discuss the story with students. What does the book say is the reason that Abuelo would light luminarias on Christmas Eve?
Why was he unable to do so? What is the difference between a luminaria and farolito? You may bring up the fact that many
people use the term luminaria to describe a farolito. Ask the class if they believe these words can be used interchangeably.
4. Ask the students about their own holiday traditions. Examples: Do any of their families put out farolitos? Do any of them
travel to see farolitos at select locations here in town, or at some of the pueblos?
5. Have the class make their own farolitos.
Open the paper bags and put a handful of sand into each one (approx. 1 cup)
Place a candle in the bag. Try to center it as much as possible.
Line one or more of the paths to the school with the farolitos. If your school has a winter holiday event, light the farolitos
as part of the event.
È Hold a class fundraiser where you
sell assembled farolitos. Have the
class collaborate to create a brief
write-up that details the traditions
behind the farolitos. Include the
write-up with all orders filled.
Assessment:
q
q
q
q
photos courtesy www.wikipedia.com
Standards
LANGUAGE ARTS:
SOCIAL STUDIES
Content Standard II: Students understand how physical, natural, and cultural processes influence where people live, the ways
in which people live, and how societies interact with one another and their environments.
Christmas
JARABE TAPATIO (MEXICAN HAT DANCE)
(adapted from http://www.janbrett.com/piggybacks/hatdance.htm)
Grades: 2 – 8
Objectives:
Students follow a set of specific instructions.
Students demonstrate physical expression through dance.
Materials:
Space for students to move.
Music for the Mexican Hat Dance
(Lots of versions out there!)
Procedures:
1.
Play the music for the class. Instruct them to listen to the
melody and to feel the beat of the music: “Repeat 1, 2, 3, and
4 over and over in your head as you listen. This will help you to
put the arm motions, foot steps, and claps together.” Point out parts
of the song where the beat gets faster. Note that when the music speeds
up, so too will the dance movements.
2. The Mexican Hat Dance can be performed with one partner or a group.
Older students may want to note that there is an air of flirtation associated with this dance.
3. The starting position is standing with feet together and hands at sides. Begin the dance on the count of “1” by folding your left
arm across your stomach. Your left hand can have a soft fist. Place your right elbow on your left hand. Your right hand is open,
like you are waving.
4. Fling your right hand back. At the same time, put your right heel out. On the count of “2”, fold your right arm across your
stomach. Your right hand can have a soft fist. Place your left elbow on your right hand. Your left hand is open like you are
waving. Fling your left hand back. At the same time, put your left heel out.
5. On the count of “3”, fold your left arm across your stomach. Your left hand can have a soft fist. Place your right elbow on your
left hand. Your right hand is open like you are waving. Fling your right hand back. At the same time, put your right heel out.
6. On the counts of “and 4”, clap two times very fast.
7. Start over and repeat the motions of counts“1”,“2”,“3”,“and 4”, seven times. You can hear the music change. On the count of
“1”, clap. On the count of “2”, clap. On the count of “3”, clap. On the count “and 4”, raise your arms high and shout “olé!“
(oh - lay) which means “hooray” in Spanish.
8. Repeat these motions three times. The music changes again to the beginning melody. Repeat the beginning motions four times.
Then, the music becomes fast and swirling. You are to hold hands with your partner or group, and move quickly around in a circle.
È Students sit first and get their heels moving. Then add arms.
È Try the dance to different versions of the music (there is a version with a techno vibe on iTunes)!
Assessment:
q
q
photos courtesy www.tripwow.tripadvisor.com
Standards
LANGUAGE ARTS:
FINE ARTS/ THEATRE, MUSIC & DANCE
Standard 8: Contribute to communities by sharing expertise in dance, music, theatre/drama and visual arts and by participating
in the activities of cultural institutions.
- Mariachi
Christmas
7.
Outreach Activities
MARIACHI SPECTACULAR
Workshops & instruction from Mariachi Music’s finest
instructors in the world. Classes at UNM for all ages.
Showcase in Civic Plaza, Downtown Albuquerque.
The 2012 event was July 11-15, so expect it around that
time of year in 2013.
http://mariachispectacular.com/
The Albuquerque Museum of Art and History
The Albuquerque Museum is a great source of Hispanic
history, art, and culture that might be important to the
traditions and families of the students. There are always
new exhibits in addition to the classic permanent
collection. http://www.cabq.gov/museum/
MARIACHI TENAMPA
Ballet Folklórica
Mariachi Tenampa is a local Mariachi group that has been
making music for over 40 years. They perform at both private functions as well as for public festivals. Watching Mariachi Tenampa perform
is the perfect opportunity to see traditional Mariachi musicians with roots in the community. http://www.mariachitenampa.net/
Nob Hill Stroll, Art, and Live Music!
Nob Hill has a vast array of cultural experiences and fun activities for the whole family. Explore their website for more information.
http://rt66central.com/whatsgoingon.html
About theCompanies
Mariachi Jalisciense del Valle was formed in 2010, and is part of a new generation of Mariachis offering fresh, creative,
and vibrant performances without forgetting tradition. Collectively, the members bring decades of experience to the group. Although
Mariachi Jalisciense del Valle is still a fledgling Mariachi group, they already have an extensive repertoire to their credit, as well as a roster
of numerous performances throughout the Americas. Members of the Mariachi Jalisciense del Valle have collaborated and/or shared the
stage with world-class artists, such as Mariachi Vargas de Tecalitlan, Mariachi Sol de Mexico de Jose Hernandez, Joan Sebastian, and many
others. Mariachi Jalisciense del Valle has also traveled throughout the United States and Mexico and performed for thousands of school
children, educating and inspiring young people to have pride in their culture, and to appreciate the beauty of the music of Mexico.
Ballet Folklórico Paso del Norte returns to Popejoy Hall for its fourteenth performance. The company was formed
28 years ago and has performed at many notable events including the Texas Sesquicentennial Celebration, the inauguration of the
Texas Games, and as entertainment for Mexican governors, an unusual honor for an American company. They were also the first nonMexican company invited to the Instituto Mexican-Norte Americano de Relaciones Culturas in Mexico City.
Noberta Fresquez, Producer
Best known in New Mexico for her annual productions of Mariachi Spectacular and Mariachi Christmas
at Popejoy Hall, Noberta Fresquez has over 30 years’ experience in the entertainment field. Her expertise
includes planning, contracting, producing, directing, and promoting major entertainment and cultural
events at local, regional, national and international levels. She works with entertainers from throughout
New Mexico, the United States, and Mexico specializing in Hispanic entertainment.
Resources & Websites
Anaya, Rudolfo A., and Edward Gonzales The Farolitos of Christmas. New York: Hyperion for Children, 1995. Print.
Websites
How to make songs for the Mariachis
http://www.ehow.com/how_5625755_make-songs-mariachis.
html#ixzz1vibJ74Ys
How to make paper sombreros
http://www.ehow.com/how_4857239_make-paper-sombrero.html
The first and largest Mariachi Web-site on the Internet
http://www.mariachi.org
The official site of the famous Mariachi festival
http://www.mariachiusa.com/
A great source of Mariachi information
http://www.mariachipublishing.com
A Look at theHistory of Women
Norberta Fresquez
in Mariachi Music
http://www.sobrino.net/mpc/womenmariachi/alook.html
Mexican Mariachi Music and Instruments
http://www.sbgmusic.com/html/teacher/reference/cultures/
mariachi.html
A school with its own Mariachi program
www.sanbenito.k12.tx.us/schools/miller%20jordan/reading/
mariachi/mariachi_music.html
Samples of Mariachi mp3’s and Lyrics
http://www.elmariachi.com
Christmas
Las Mananitas: A BIRTHDAY SONG
(lyrics taken from http://www.songsforteaching.com/spanish/traditionallyrics/lasmananitas.php)
Spanish Lyrics:
Estas son las mañanitas
que cantaba el rey David
A las muchachas bonitas,
Te las cantamos así.
Despierta, mi bien, despierta,
Mira que almaneció,
Ya los pajarillos cantan,
La luna ya se metió.
English Translation
This is “Las Mañanitas”
that King David sang
to the pretty girls;
As we sing them to you.
Wake up, my love, wake up.
Look at what has dawned,
Already the little birds are singing,
The moon already went in.
Qué linda está la mañana,
en que vengo a saludarte,
Venimos todos con gusto
y placer a felicitarte,
El día en que tú naciste,
nacieron todas las flores,
El la pila del bautismo,
cantaron los ruiseñores,
How pretty is the morning
In which I come to greet you.
We all came with pleasure
and joy to congratulate you.
On the day you were born
All the flowers were born.
At the baptismal font
The nightingales sang.
Ya viene amaneciendo,
ya la luz el día nos dio,
Levántate de mañana,
Mira que ya almaneció.
It is starting to be dawn,
The day has given us light.
Get up in the morning,
Look at what has already dawned.
Quisiera ser solecito
para entrar por tu ventana
Y darte los “Buenos Días”
Acostadita/o en tu cama,
Quisiera ser un San Juan,
quisiera ser un San Pedro
Para venirte a cantar
con la música del cielo,
I would like to be a little sunlight
To go in through your window
And tell you “Good Morning”
While you’re lying in your bed.
I would like to be Saint John,
I would like to be Saint Peter,
In order to come sing to you
with music from heaven.
Con jasmines y flores
hoy te vengo a saludar
Hoy por ser día de tu santo,
te venimos a cantar.
With jasmine and flowers
Today I come to greet you,
Today being your Saint’s day,
We came to sing to you.
photos courtesy www.wikipedia
- Mariachi
Christmas
9.
Posadas Song
(Lyrics found at http://www.experience-san-miguel-de-allende.com/posada-song.html)
Spanish
English
Pilgrims
Innkeepers
Pilgrims
Innkeepers
En el nombre del cielo
os pido posada
pues no puede andar
mi esposa amada.
Aquí no es mesón,
sigan adelante
Yo no debo abrir,
no sea algún tunante.
In the name of Heaven
I ask of you shelter,
For my beloved wife
Can go no farther.
There’s no inn here,
Go on with you,
I can’t open up
You might be a rogue.
Venimos rendidos
desde Nazaret.
Yo soy carpintero
de nombre José.
No me importa el nombre,
déjenme dormir,
pues que yo les digo
que nos hemos de abrir.
We’re weary from
traveling
from Nazareth.
I am a carpenter
by the name of Joseph.
I don’t care who you are,
Let me sleep.
I already told you
we’re not going to open
Posada te pide,
amado casero,
por sólo una noche
la Reina del Cielo.
Pues si es una reina
quien lo solicita,
¿cómo es que de noche
anda tan solita?
I ask you for lodging
dear man of the house.
Just for one night
for the Queen of Heaven.
Well, if it’s a queen
who’s asking us for it,
why does she travel
all alone
and in the night?
Mi esposa es María,
es Reina del Cielo
y madre va a ser
del Divino Verbo.
¿Eres ú José?
¿Tu esposa es María?
Entren, peregrinos,
no los conocía.
My wife is Mary
She’s the Queen of
Heaven
who is going to be
the mother
of the Divine Word.
Are you Joseph?
Your wife is Mary?
Enter, pilgrims;
I did not recognize you.
Dios pague, señores,
vuestra caridad,
y que os colme el cielo
de felicidad.
¡Dichosa la casa
que alberga este día
a la Virgen pura.
la hermosa María!
May God repay,
kind people,
your charity,
and thus heaven heap
happiness upon you.
Blessed is the house
that shelters this day
the purest Virgin,
the beautiful Mary.
Christmas
Hoy en la tierra
(Angels We Have Heard on High)
Hoy en la tierra el cielo envia una capilla angelical
trayéndonos paz y alegría, cantando el himno triunfal.
Gloria a Dios en el cielo, gloria a Dios en el cielo.
Viene anunciar el nacimiento de nuestro amable Redentor.
Colmado de agradecimiento digamos todos con fervor,
Unos pastores que velaban en la pradera de Belén
vieron querubes que entonaban cantares para nuestro bien.
- Mariachi
Christmas
11.
and materials that reflect the cultural diversity of our global community. They include
new plays, familiar stories, literary works, biographies, mythology, folk tales, music,
dance, and puppetry. These professional performing artists create educational experiences
designed to encourage literacy, creativity, communication and imagination.
With such a vast audience to serve, our productions are designed to target different grade
ranges. Please review these materials to make sure the grade recommendations and
content are appropriate for your group.
Music, theater, dance, and opera are collaborative arts. This means they require the cooperation of many
people: the directors, the performers, and the audience. Live performances can transport you to other
times and places, but to do so, they require you, the audience to listen, observe, discover, and imagine.
A poster of Theater Etiquette is included on the website. Please post it and
discuss it with your students before coming to the performance.
Seeing a live performance is a special experience. Although it is not required,
many people enjoy dressing up when they attend the theater.
Gentlemen should remove hats or caps when inside the building.
Please enjoy your food, drink, and gum in the lobby.
Please allow ushers to seat your entire group before rearranging students
and/or taking groups to the restroom.
Photography and recordings of the shows, as well as cell phones, texting,
or gaming are all strictly prohibited during the performances.
Crying babies, unhappy siblings, and other loud noises disturb the actors and
the other patrons. Please be considerate and leave the hall during these periods.
You may still enjoy the show in the lobby via our large screen monitors.
Some shows are interactive, and involve audience participation; some are not.
Discuss with your class how to know the difference, as well as what is appropriate
conduct in a theater, versus at a sports arena or outdoor concert.
During a musical, it is appropriate to clap at the end of a song. During a ballet
or dance performance, it is appropriate to clap at the end of the number.
Curtain calls occur when the show has ended and the cast comes forward to
take their bows. The best way to show the performers how much you appreciate
their hard work is to stay at your seats and clap until the actors leave the stage,
or until the curtain comes down and the house lights come on.
At the end of the show, after the applause, remain in your seats until you are
dismissed from the theater.
If you are staying for the Question & Answer session, remain in your seats
until the house clears and then move down front toward the stage.
SAFETY
Adult
Supervision
Required
 For the safety of our younger visitors, UNM requests clearly visible school
identifiers on all students PreK – 2nd grade. Ex.: matching t-shirts or hats,
school/teacher tags, etc.
 Teachers and students should immediately report to the kiosk (round desk)
in the main lobby if they become separated from their group.
 Restrooms are open to the public. Please escort students.
 Backpacks, strollers, car seats, and lunches must remain in the lobby, as per
fire code. If possible, we recommend that these items are not brought into the
building. We cannot monitor ownership, and UNM is not responsible for
any misplaced or stolen items.
The Popejoy Schooltime Series is supported in part by awards from The Eugene and Marion Castiglia Popejoy Children’s Schooltime Endowment
The Popejoy Schooltime Education Endowment
2 0 11 V I N TA G E
ALBUQUERQUE
The Popejoy Mission: To provide access to the performing arts for all New Mexicans.
“If music be
the food of love,
play on.”
- William Shakespeare
2012 - 2013 POPEJOY SCHOOLTIME SEASON
E ach touring production is selected with youth and family audiences in mind, from titles
Dreamcatchers are produced by the
Education Department of Popejoy
Hall, Albuquerque, New Mexico.
Find us at: www.schooltimeseries.com
Contact: [email protected]
Join our community at:
www.facebook.com/schooltimeseries
Popejoy Hall, New Mexico’s premier
nonprofit venue for the performing arts
and entertainment.
The Popejoy Schooltime Series is a
program of The Univeristy of New Mexico.

Mariachi Christmas - Schooltime Series at Popejoy Hall

Transcription

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