Tag Archives: Latinx

 “Mexilachian,” “Latingrass,” and “Appalatin”: The Holistic History of Appalachian Music

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Often when we think of Appalachian music, we envision a white man sitting on his porch playing a banjo. In class we’ve discussed the commercial nature of this narrative that exists in our culture, as well as the work of Rhiannon Giddens, who has worked to counter these generalizations and lack of knowledge about the African American origins of bluegrass music from the Appalachian region. Sophia Enriquez, a professor and musicologist at Duke University, studies Latinx music in the Appalachian region and takes a deeper dive into the culture of music from the American south. 

 

As Appalachian folk music had been established and country began emerging as a popularized genre, Enriquez reminds us that Mexican ranchera music and country music did not develop independently of one another. The 1930s served as “The Golden Age” in Mexico, where cultural products such as movies and music began to define Mexican culture. This is reflected in the development of both ranchera music in Mexico and country music in the United States. The Carter Family is an emblematic example of the important mix of influences that constructed today’s Appalachian and country music, as well as Mexican ranchera and tejano music. The Carter Family, remembered for having helped develop the country canon, moved to Del Rio Texas in 1938 where their music was broadcasted twice a week by Mexican radio station XET, their music being consumed by both spanish and english speaking audiences. 

 

I invite you to listen to the following two clips, comparing the musicality of these two songs that were released in the 1930s: 

 

 

Latinx, especially Mexican migration to the U.S. sky-rocketed in the 1940s and 50s with Word War II, with migrant workers moving to agricultural areas such as North Carolina and Virginia. With this blend of cultures, there was inevitably a mix of musical influences that shaped these two genres during the peak of their popularization. 

Groups today, such as Lua Project based in Virginia, seek to commemorate and raise awareness for this cultural integration that has occurred across generations.  They intentionally represent this through the blend of Mexican ranchera and Appalachian style and instrumentation. Take a listen below: 

 

As we discuss American music and what it means for us today, it is important to critically consider all of the complexities that construct our musical traditions, and what communities we need to shift our attention towards in order to envelop all of the historical narratives that exist in our American history.

 

 

Enriquez, Sophia M., and Danielle Fosler-Lussier. “Canciones de Los Apalaches: Latinx Music, Migration, and Belonging in Appalachia.” Canciones de Los Apalaches: Latinx Music, Migration, and Belonging in Appalachia, Ohio State University, 2021.

The Quinceañera Tradition and its Latinx Identity in Music

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Quinceanera Father-Daughter Dances That'll Make You Cry

Quinceañeras have been a part of the Latinx tradition in celebrating the coming of age of typically, a young woman. However, more recently they have been used to celebrate the coming of age of young men as well. Celebrations for the coming of age of youth is not only designated to the Latinx community. In America and Canada we often see a take on the Quinceañera through the celebration of a sweet sixteen, and the bat mitzvah ceremony to celebrate the coming of age of 12 -13 year old youth is big in the Jewish community.

Knowing this, a key motif in a Quinceañera is the father daughter dance, where they often dance to Los Baron “La Ultima Muñeca” and “Ya No Crescas Mas” by Tercer Cielo as a symbol of the last doll that the father will give their daughter before becoming a woman.

Gradually, Quinceañeras have become more progressive by being inclusive of all genders including those who identify as nonbinary or queer. Something that remains the same in Latinx Quinceañeras is the type of music played to dance. From bachata, merengue, cumbia, salsa, norteñas, corridos, etc. Depending on what region of Latin America the family is based from determines the customs and music they choose to use.

At my Quinceañera, I wore the dress that my Grandmother chose for my Mother to wear at her Quinceañera. It was a vintage blush pink dress that my Mother passed down to me. This was very special because my Grandmother had it custom made for my Mother and it held sentimental value. One day I hope to pass it down to my daughter. The theme for my Quinceañera was Faith, Family, and Friends, which was also the same theme that my younger Brother had and which we plan my youngest Brother will also have when he turns 15. In some ways, we created our own traditions by celebrating all of my siblings and not only the girls, as well as dancing with each of our parents what would otherwise be known as the father daughter dance.

In some ways traditions can be maintained by making the overarching theme of the celebration of coming of age of the youth. Families choose the music based on their background and geographic ties as well as their upbringing. Though they can draw ties from Indigenous activities as is mentioned in the article below.

“In the early 15th century, before Spaniards invaded and colonized Latin America, Indigenous groups held ceremonies that commemorated the coming of age of both boys and girls" <1>

"Davalos, Karen Mary. 2021. “Quinceañera Style: Social Belonging and Latinx Consumer Identities.” Journal of American Folklore 134 (533): 355–57. https://doi.org/10.5406/jamerfolk.134.533.0355"<2>.
"Deiter, Kristen. 2002. “From Church Blessing to Quinceanera Barbie: America as ‘Spiritual Benefactor’ on La Quinceanera.” Christian Scholar’s Review 32 (1): 31–"<3>.
"Risling Baldy, Cutcha. 2018. We Are Dancing for You : Native Feminisms and the Revitalization of Women’s Coming-of-Age Ceremonies. Seattle: University of Washington Press" <4>.