Tarahumara Matachin Music

Matachines Tarahumares - Tarahumara Matachin Music

released on LP in 1979

Recorded on the morning of January 6, 1979, with the Alta Tarahumara of the Sierra Madre Occidental, Chihuahua, Mexico, inside a church.

The Tarahumara - Raramuri or "Runners" in their own language - occupy the plateaus, valleys, and barrancas of Mexico's Sierra Madre Occidental in Western Chihuahua, Due mostly to the extreme ruggedness and isolation of their homeland, they have been left pretty much to their own devices since the mission days of colonial New Spain. In recent years the logging and tourist industries have made inroads into the Sierra, and Tarahumara crafts, if not the people themselves, have come to be somewhat familiar to interested city dwellers in Mexico and the United States. Their isolation is still a very real thing, however, and it has led to the preservation of a good deal of traditional Tarahumara life, complete with skills, activities, and world views which seem to have taken their present form in the years prior to 1800.

Like almost all of Mexico's Indians, the Tarahumara show evidence of the intense Christianization programs which were carried on under the auspices of the Spanish Crown by Catholic missionaries. Due to their isolation, Tarahumaras accepted less of European culture than did other groups, and adopted much of what they did accept to their own ancient patterns and preferences. The Spanish influences remain, however, and are very important in the music and dances which make up this record.

The Matachines dance is widespread throughout the area that once was Northwestern New Spain - an area which now lies on both sides of the recently imposed International Border between the United States and Mexico. It is a European ritual dance with New World details and flavor, and is found among both Indians and Spanish-descended populations. It is usually performed by two lines of men, to the music of such Old World instruments as violins, guitars, and harps. The dancers wear special costumes which often include headdresses, colorful shirts, and sashes tied round the body. The dance figures are reminiscent of such familiar secular dances as the Virginia Reel. These are not recreational or social dances, however; Matachines dance as an act of religious devotion. The dance can best be described as a prayer in motion, sound and color.

Matachines dances are an important part of the ceremonial year in many Tarahumara communities, especially in the eastern highland area where these recordings were made. They only appear at specific times, usually around December. In one community, for example, the Matachines start dancing at household fiestas in late November. They then appear at a big fiesta in the church on Our Lady of Guadalupe's Day, December 12. Other appearances may be made on Christmas and New Year's Eves. They appear for the last time to celebrate the Day of the Kings, Epiphany - which falls on January 6. Only during this brief period do the Matachines dance, and only at this time can one hear violin music in Tarahumara country.

The violin is the lead Matachina instrument. In fact, where this recording was made, only violins are used for the dance, although guitars are permitted in other communities. Since its introduction into the area by Jesuit missionaries, the violin has become an important Tarahumara instrument and their manufacture is a common household craft. All the violins heard here were homemade of local mountain woods. The instruments vary in size and tone, a feature which lends interest and variety to the ensemble music. They are held at an angle across the chest, in an archaic playing position. The usual tuning employed is CFGG, a deviation from the standard classical tuning. When there is a large group of fiddlers, as is the case on this record, they may play both in unison and in parts. One musician (not always the same one) will lead each tune.

There is a large body of Tarahumara Matachines tunes, concerning which outsiders still know almost nothing. There seems to be a different repertoire for each of four basic activities: dancing at private house fiestas, dancing in front of the church, dancing inside the church, and dancing in procession. Tunes vary in length from 5 to 6 minutes to as long as 30 minutes. This may be determined by the length and complexity of the figure being danced. In between tunes, the musicians may sit for five or more minutes, returning their instruments. Then one man will start to play, others will join him, and the dancing begins again.

There are from 20 to 30 dancers. They are dressed in a costume consisting of a loose-sleeved Tarahumara shirt, shoes and trousers (not normally items of Tarahumara apparel) and one or two embroidered capes over the shoulders. Several colorful bandana handkerchiefs are worn on the head, face, shoulders and waist. On each dancer's head is his crown or corona, constructed of a wood frame and covered with paper streamers and small reflectors. In his right hand he holds a rattle, which may be made locally of gourd or purchased in a store. In his left hand is the palma, a three-pronged wand with paper streamers attached. Each Matachina dances in total silence and concentration, timing his movements to coincide exactly with those of his fellows. On occasion, all stamp their booted feet on the ground - a sound that you can hear on the record.

Accompanying the Matachines at this fiesta were four leaders, or Chapeones. The chapeon is dressed in a normal Tarahumara costume of shirt, sash, breechcloth and sandals. He may carry a small coiled whip of office. His job is to gather the Matachines together and see that they do what is expected of them. The chapeones encourage the dancers with shrill falsetto cries which can be heard on the record and which add a special flavor to the musical experience. (Jim Griffith)


Tracklisting:

Side 1

1. track 1 {4:18}

2. track 2 {5:25}

3. track 3 {3:28}

4. track 4 {4:03}

5. track 5 {4:03}

Side 2

1. track 6 {6:42}

2. track 7 {14:58}

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