La Jornada: Historian documents the essence of Huasteco son, forger of great social cohesion

Pahuatlán, nestled between the ravines and coffee plantations of the Sierra Norte de Puebla, is a stronghold of Huasteco son. There, every Holy Thursday, trios of huapangueros gather to sing verses until dawn amid the sound of violins and the clatter of zapateado.

The essence of this tradition has been documented in the book The constant link of music: Son Huasteco in Pahuatlánby Brenda Lira Montero, master in history from the Benemérita Universidad Autónoma de Puebla. The title is the product of research work carried out between 2019 and 2020.

“Puebla is stuck to its colonial baroque identity and that is its most visible, promoted element and what gives it identity. But we also have other expressions, such as the son huasteco of Pahua-tlán, and it is important to make them visible,” he stated.

In interview with The Daythe author explained that this work arose from her taste for music –she studied transverse flute at some stage in her life–, as well as a visit to the magical town that captivated her.

“I loved the sound of the violin, the participation of the dancers on the stage and the joy that is produced there. It was from that visit that I decided to study that link between music, joy and community,” he added.

During the field work, which included an immersion in the community, its festivals and long interviews with its residents, there were several findings that allowed him to understand how this expression remains alive and what its contribution is to the community.

One of his discoveries was the social cohesion that is produced from the sones, even among people who no longer reside in Pahuatlán. He explained that during the holiday, family members of the locals, who for work or study reasons now live in Tamaulipas, Veracruz, San Luis Potosí or Querétaro, return to the town.

“I was able to observe the strong social bonds that are forged through music,” he noted.

Another element that emerged is how music can be a way to break down barriers and overcome mistrust. “I asked, ‘Can you tell me more about how your grandmother danced?’ And there people took the photos out of the drawer and shared with me the experiences of their ancestors in a very sensitive and emotional way.”

For Lira Montero, one of the most relevant aspects during the investigation was the leading role of women in the organization of dances, verses and zapateado. “In the city of Puebla, women had a very different, more limited participation, but in relation to Son Huasteco their presence was more prominent.”

Fusion with new sounds

In The constant link of music: Son Huasteco in Pahuatlánorganized in an introduction, six chapters and the author’s conclusions, reconstructs the history of son Huasteco in the first half of the 20th century, a period in which musical nationalism coincides with the rise of new sounds.

In the midst of traditional sounds (for example, The caiman, The petenera y The taste), the rise of new composers is recorded, among others, Nicandro Castillo, Elpidio Ramírez and Valeriano Trejo, who created sones such as The wanderer, Rogaciano the huapanguero y The Hidalgo.

The volume also records that although the verses or themes of the sonnets have been maintained over time, there are some variations in the humor or mischief that is imprinted on them depending on the region. Another interesting aspect is the changes that have been made in the execution of the instruments.

The new generations, Lira Montero warned, instead of the quinta huapanguera they use an electric bass. “I have heard some fusions, and even some jazz, but they always try to maintain the base structure, which unites them to their roots.”

music instruction

In order for this tradition to stay alive for longer, the inhabitants have pointed out the importance of having musical programs. Until now, children learn empirically from their relatives, but for the Pahuatecos a music school would be ideal.

“More than sporadic workshops, they want a music school that allows them true musical instruction: singing, playing instruments, but also allowing them to be included in festivals and cultural events.”

Lira Montero would like anyone who reads her book to be left wanting to know more about this expression of Huasteco son that is performed in the Sierra Norte of Puebla. “I wish they could be curious about the violins, about the quinta huapanguera, the jarana and about the people behind these instruments.”