Son jarocho entre Mexique, Etats-Unis et Europe : patrimonialisation réticulaire d'une pratique culturelle transnationale

Abstract : Defined as a musical genre from Veracruz (Mexico) and as the product of various cultural universes (Spanish, African, Indigenous) intermingling, the son jarocho was regarded for a long time as one of the constitutive components of the Mexican cultural heritage. At the beginning of the 1970’s, some musicians and university teaching staff started to question the commercial and folklorish drifts of this practice, giving rise to the “jaranero movement” (because of the central use of the jarana, small guitar of Spanish origin). This movement had contributed to the emergence of a patrimonial discourse referring to a mythical past: the fandangos, traditional festivals in and by which the common collective memory is transmitted. From the years 1990-2000, collaboration between the new generation of Veracruz musicians and the Chicano movement in the United States will multiplied the proposals for a common memory production and developed a social and political activism linked to the Zapatist movement. This process constitutes one of the challenges of the patrimonialization of a practice, which is spread from now in a transnational social field.
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Christian Rinaudo. Son jarocho entre Mexique, Etats-Unis et Europe : patrimonialisation réticulaire d'une pratique culturelle transnationale. Autrepart - revue de sciences sociales au Sud, Presses de Sciences Po (PFNSP), 2016, Construire des patrimoines en mobilité, 78-79 (2-3), pp.183-199. ⟨10.3917/autr.078.0183⟩. ⟨halshs-01588667⟩

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