CULTURE,
HISTORY,
INSTRUMENTS OF MESOAMERICA
FAQ
1973
started playing drumset
all ears and all thumbs
no feria for lessons
The INTERNET and YOUTUBE did not exist (!)
kinda hard to see folks play when you have no way
to get to a gig and no money to get in
watched
listened
learned
played
watched
listened
learned
and
played some more
thousands of hours doing all the above
by doing
1975
Had the opportunity to attend
EAST LOS ANGELES COLLEGE
while still in high school.
The Chicano Studies program started there in 1965
Took classes in
philosophy,
psychology
and
the HISTORY OF THE AMERICAS
was not interested in the mechanics
of music which I did not study until 1977
Had never heard of or read
THE TRUE HISTORY OF THE CONQUEST OF NEW SPAIN
by
BERNAL DIAZ DEL CASTILLO
a very different point of view of what occurred in Mexico
during the invasion by Spain
which of course led to the writings of
Miguel Leon Portilla, Michael Coe etc.,
the MEXICANIST and MAYANIST of our time
and a fascination for all things Mexican and MesoAmerican
This information I had never heard
or heard of prior to 1975
all the while still playing music
either on
drumset,
then piano,
then marimba,
then tabla,
then kanjira and ghatam
all at the same time
all the time
1975 - 1976
saw Florencio Yescas perform at
RIO HONDO COLLEGE
performing FUEGO
one dancer (literally) bent over backwards
over flames
while the other dancer danced on his abdomen....
1980
In 1980 musician Luis Perez IXONEZTLI from Mexico City was invited
to give a series of lectures and concerts at UCLA in Los Angeles.
IXONEZTLI plays indigenous instruments of Mesoamerica alongside
indigenous instruments far from the Mesoamerican region
e.g., instruments of the Raramuri, Seri, Tepehuano and Yaqui
to name a few.
The stage was full of instruments which have never before been
side by side in traditional settings, e.g., Mayan wood and clay drums,
Rararmuri drums, Yaqui water drums and clay breath instruments from
every region of Mexico.
He presented traditional and original music in a very ritualistic
way, with Luis in regalia which incorporated several languages and
several regions of Mexico.
He sang songs in various indigenous languages that he learned from
his extensive travels throughout Mexico.
His presentations feature the instruments, the music, the regalia and
the ritual of various indigenous peoples of Mexico and Mesoamerica
that he learned elbow to elbow from his extensive travels.
He is one of 3 groups of musicians who continue to record continuously
since 1980 with over 100 recordings of their presentations of the instruments
The first musician to record indigenous instruments of Mexico in Mexico is
Antonio Zepeda,
Luis Perez IXONEZTLI
and GRUPO TRIBU MUSICA
Antonio and Luis recordings are usually multi track recordings,
but they usually play solo LIVE, and TRIBU is a 5, sometimes 6
musicians ensemble also based
in Mexico City.
Each of these artists present the instruments their very own unique way,
with their own experience, traditions and vernacular.
Beyond fortunate to be invited to MAKE MUSIC with IXONEZTLI,
Ramiro R. Duarte formerly of GRUPO TRIBU and indigenous folks
who invite us to play elbow to elbow with them in Mexico
and the United States
Now, there are many artists including myself,
who follow in the path they continue to blaze.
HISTORY,
INSTRUMENTS OF MESOAMERICA
FAQ
1973
started playing drumset
all ears and all thumbs
no feria for lessons
The INTERNET and YOUTUBE did not exist (!)
kinda hard to see folks play when you have no way
to get to a gig and no money to get in
watched
listened
learned
played
watched
listened
learned
and
played some more
thousands of hours doing all the above
by doing
1975
Had the opportunity to attend
EAST LOS ANGELES COLLEGE
while still in high school.
The Chicano Studies program started there in 1965
Took classes in
philosophy,
psychology
and
the HISTORY OF THE AMERICAS
was not interested in the mechanics
of music which I did not study until 1977
Had never heard of or read
THE TRUE HISTORY OF THE CONQUEST OF NEW SPAIN
by
BERNAL DIAZ DEL CASTILLO
a very different point of view of what occurred in Mexico
during the invasion by Spain
which of course led to the writings of
Miguel Leon Portilla, Michael Coe etc.,
the MEXICANIST and MAYANIST of our time
and a fascination for all things Mexican and MesoAmerican
This information I had never heard
or heard of prior to 1975
all the while still playing music
either on
drumset,
then piano,
then marimba,
then tabla,
then kanjira and ghatam
all at the same time
all the time
1975 - 1976
saw Florencio Yescas perform at
RIO HONDO COLLEGE
performing FUEGO
one dancer (literally) bent over backwards
over flames
while the other dancer danced on his abdomen....
1980
In 1980 musician Luis Perez IXONEZTLI from Mexico City was invited
to give a series of lectures and concerts at UCLA in Los Angeles.
IXONEZTLI plays indigenous instruments of Mesoamerica alongside
indigenous instruments far from the Mesoamerican region
e.g., instruments of the Raramuri, Seri, Tepehuano and Yaqui
to name a few.
The stage was full of instruments which have never before been
side by side in traditional settings, e.g., Mayan wood and clay drums,
Rararmuri drums, Yaqui water drums and clay breath instruments from
every region of Mexico.
He presented traditional and original music in a very ritualistic
way, with Luis in regalia which incorporated several languages and
several regions of Mexico.
He sang songs in various indigenous languages that he learned from
his extensive travels throughout Mexico.
His presentations feature the instruments, the music, the regalia and
the ritual of various indigenous peoples of Mexico and Mesoamerica
that he learned elbow to elbow from his extensive travels.
He is one of 3 groups of musicians who continue to record continuously
since 1980 with over 100 recordings of their presentations of the instruments
The first musician to record indigenous instruments of Mexico in Mexico is
Antonio Zepeda,
Luis Perez IXONEZTLI
and GRUPO TRIBU MUSICA
Antonio and Luis recordings are usually multi track recordings,
but they usually play solo LIVE, and TRIBU is a 5, sometimes 6
musicians ensemble also based
in Mexico City.
Each of these artists present the instruments their very own unique way,
with their own experience, traditions and vernacular.
Beyond fortunate to be invited to MAKE MUSIC with IXONEZTLI,
Ramiro R. Duarte formerly of GRUPO TRIBU and indigenous folks
who invite us to play elbow to elbow with them in Mexico
and the United States
Now, there are many artists including myself,
who follow in the path they continue to blaze.
2002
was recommended for a duo performance in Pasadena, CA with
a musician I had never met.
Played percussion from India and the other musician played breath
and string instruments from various parts of the world.
1 year later he invited me to perform at a concert with his ensemble
That ensemble included
Malik Sow of Senegal
and
Martin Espino of Los Angeles,
two musicians that I had also never met
On the drive to the concerts from East Los Angeles with Martin,
we spoke about many things.
It turns out that we had a lot of musical friends in common,
but our names had never been mentioned to each other.
We had been traveling in 2 very different worlds
and our circles had never intersected.
After that performance and long discussions about music, Martin and I collaborated
in two very different musical endeavors between 2003 and 2012 whenever I was in
Los Angeles, as I was touring 90 days a year in 28 countries on 5 continents at that
time which continues to this day
The ensembles we collaborated on were either
MEXIKA
performing original compositions for indigenous instruments of Mexico
from various regions of Mexico
But MEXIKA rarely did anything traditional and we created our own rhythmic
and ambient sonic landscapes utilizing the indigenous breath and percussion
instruments.
and/or
QUE TAL
10 string guitar and percussion of India and Mexico
Each of us knew how to read and write Western notation and had practical
performance experience playing these and other Western instruments and
improvising in different contexts,
(Martin has studied classical guitar at Immaculate Heart College and I attended
CALIFORNIA INSTITUTE OF THE ARTS on a full scholarship studying western music
and percussion of India) but I also had incredible opportunities to learn and play with
traditional and classical musicians from
Africa,
China,
India,
Japan,
Lebanon,
Mexico
as well as classical, jazz and rock musicians
and we started to incorporate other musical aspects and ingredients
of music along with the indigenous ones that we knew.
MEXIKA performed at several concerts and educational lecture
demonstrations mostly in California
(but never outside of the United States)
for various educational levels - middle school to the university level,
sharing what we have learned and continue to learn about instruments,
and various cultures of indigenous Mexico.
Information gleaned through study, and personal contact with various musicos,
danzanates, and artisans, through playing, collaborating, and lots of reading,
research, studying and verifying that information and more playing.
DANZA
Any danza rhythms or drumming I learned was from the following drummers
and not within the context of MEXIKA which never utilized danza rhythms in our performances
CLICK ON LINK for their names
Traditions are ALWAYS in a state of flux, and change constantly,
when one circle intersects another things change,
they always have and they always will......
was recommended for a duo performance in Pasadena, CA with
a musician I had never met.
Played percussion from India and the other musician played breath
and string instruments from various parts of the world.
1 year later he invited me to perform at a concert with his ensemble
That ensemble included
Malik Sow of Senegal
and
Martin Espino of Los Angeles,
two musicians that I had also never met
On the drive to the concerts from East Los Angeles with Martin,
we spoke about many things.
It turns out that we had a lot of musical friends in common,
but our names had never been mentioned to each other.
We had been traveling in 2 very different worlds
and our circles had never intersected.
After that performance and long discussions about music, Martin and I collaborated
in two very different musical endeavors between 2003 and 2012 whenever I was in
Los Angeles, as I was touring 90 days a year in 28 countries on 5 continents at that
time which continues to this day
The ensembles we collaborated on were either
MEXIKA
performing original compositions for indigenous instruments of Mexico
from various regions of Mexico
But MEXIKA rarely did anything traditional and we created our own rhythmic
and ambient sonic landscapes utilizing the indigenous breath and percussion
instruments.
and/or
QUE TAL
10 string guitar and percussion of India and Mexico
Each of us knew how to read and write Western notation and had practical
performance experience playing these and other Western instruments and
improvising in different contexts,
(Martin has studied classical guitar at Immaculate Heart College and I attended
CALIFORNIA INSTITUTE OF THE ARTS on a full scholarship studying western music
and percussion of India) but I also had incredible opportunities to learn and play with
traditional and classical musicians from
Africa,
China,
India,
Japan,
Lebanon,
Mexico
as well as classical, jazz and rock musicians
and we started to incorporate other musical aspects and ingredients
of music along with the indigenous ones that we knew.
MEXIKA performed at several concerts and educational lecture
demonstrations mostly in California
(but never outside of the United States)
for various educational levels - middle school to the university level,
sharing what we have learned and continue to learn about instruments,
and various cultures of indigenous Mexico.
Information gleaned through study, and personal contact with various musicos,
danzanates, and artisans, through playing, collaborating, and lots of reading,
research, studying and verifying that information and more playing.
DANZA
Any danza rhythms or drumming I learned was from the following drummers
and not within the context of MEXIKA which never utilized danza rhythms in our performances
CLICK ON LINK for their names
Traditions are ALWAYS in a state of flux, and change constantly,
when one circle intersects another things change,
they always have and they always will......
INDIGENOUS SYMPHONIC MUSIC
2008 to the present
invited to work with the percussion section of the
BAKERSFIELD SYMPHONY
who performed
CARLOS CHAVEZ
SINFONIA INDIA
and
SILVESTRE REVUELTAS
SENSEMAYA
these pieces composed in 1936 for symphony orchestra and indigenous
instruments continues to be played worldwide but usually with Western substitute instruments instead of the indigenous instruments it was originally composed for.
We worked elbow to elbow for a few hours in order to familiarize them with non Western techniques.
I was also asked to give a 10 minute lecture about the instruments and the composition before we performed the piece.
Since then I have worked with the
THE ALL STAR ORCHESTRA
THE DUPAGE SYMPHONY
LOS ANGELES PHILHARMONIA ORCHESTRA
THE UCLA SYMPHONY ORCHESTRA
and several others providing tutelage for the percussion sections
as the instruments do not respond the way Western instruments do
e.g.,
the water drums move when you strike them
the Yaqui hand held drum requires the instrumentalist to hold
the drum with one hand, and strike it with a stick in the other hand
all the while finding the balance point so that the drum does not lose
its resonance
i.e.,
different techniques which most orchestral drummers have little to
no experience with
2008 to the present
invited to work with the percussion section of the
BAKERSFIELD SYMPHONY
who performed
CARLOS CHAVEZ
SINFONIA INDIA
and
SILVESTRE REVUELTAS
SENSEMAYA
these pieces composed in 1936 for symphony orchestra and indigenous
instruments continues to be played worldwide but usually with Western substitute instruments instead of the indigenous instruments it was originally composed for.
We worked elbow to elbow for a few hours in order to familiarize them with non Western techniques.
I was also asked to give a 10 minute lecture about the instruments and the composition before we performed the piece.
Since then I have worked with the
THE ALL STAR ORCHESTRA
THE DUPAGE SYMPHONY
LOS ANGELES PHILHARMONIA ORCHESTRA
THE UCLA SYMPHONY ORCHESTRA
and several others providing tutelage for the percussion sections
as the instruments do not respond the way Western instruments do
e.g.,
the water drums move when you strike them
the Yaqui hand held drum requires the instrumentalist to hold
the drum with one hand, and strike it with a stick in the other hand
all the while finding the balance point so that the drum does not lose
its resonance
i.e.,
different techniques which most orchestral drummers have little to
no experience with
CLICK
on the YOUTUBE below to hear
SINFONIA INDIA
played twice
INTRODUCTION
by CONDUCTOR BRUNO NASCIMIENTO
03:22
SINFONIA INDIA
performed with substitute western percussion instruments
16:43
SINFONIA INDIA
performed with indigenous percussion instruments of Mesoamerica/Mexico
on the YOUTUBE below to hear
SINFONIA INDIA
played twice
INTRODUCTION
by CONDUCTOR BRUNO NASCIMIENTO
03:22
SINFONIA INDIA
performed with substitute western percussion instruments
16:43
SINFONIA INDIA
performed with indigenous percussion instruments of Mesoamerica/Mexico
The DUPAGE SYMPHONY ORCHESTRA hosted Christopher Garcia
as artist-in-residence for our November 19, 2022 concert, “Mexico & Spain.”,
which was
SOLD OUT
Mr. Garcia is a specialist in indigenous Mexican instruments and music and
demonstrated many of these instruments. Mr. Garcia is a multi-instrumentalist,
composer, and educator with critical accolades and popular acclaim in 28 countries
on five continents who has given hundreds of performances and presentations.
Mr. Garcia is a “Who’s Who” in the world of music, equally skilled with drum set,
marimba, the percussion of North and South India, and is a specialist in the indigenous
wind, string and percussion instruments of Mesoamerica and Mexico.
as artist-in-residence for our November 19, 2022 concert, “Mexico & Spain.”,
which was
SOLD OUT
Mr. Garcia is a specialist in indigenous Mexican instruments and music and
demonstrated many of these instruments. Mr. Garcia is a multi-instrumentalist,
composer, and educator with critical accolades and popular acclaim in 28 countries
on five continents who has given hundreds of performances and presentations.
Mr. Garcia is a “Who’s Who” in the world of music, equally skilled with drum set,
marimba, the percussion of North and South India, and is a specialist in the indigenous
wind, string and percussion instruments of Mesoamerica and Mexico.
INDIGENA COLLABORATIONS
From 2012 to the present I had the great fortune to be invited to work, record and
concertize with indigenous MUSICOS and practitioners from Mexico when they
perform in the United States as well as performing concerts in Mexico where they
allowed me the use of the larger instruments which are difficult to travel with when
I concertize there.
It has been an eye and ear opening spiritual EXPERIENCE to be invited to work
with learn, and MAKE MUSIC with these kind folks
as it is a very different inflection than what is done inside the United States by modern day
practitioners that don't have that practical EXPERIENCE in traditional and non traditional settings.
Being invited to work with INDIGENA on their homeland is
a privilege,
a pleasure and an honor.
They don't care what languages we speak or understand,
their language is the language of musiic and your INTENTION
as MUSIC is beyond borders, cultures, ethnicities etc. an vernaculrs
From 2012 to the present I had the great fortune to be invited to work, record and
concertize with indigenous MUSICOS and practitioners from Mexico when they
perform in the United States as well as performing concerts in Mexico where they
allowed me the use of the larger instruments which are difficult to travel with when
I concertize there.
It has been an eye and ear opening spiritual EXPERIENCE to be invited to work
with learn, and MAKE MUSIC with these kind folks
as it is a very different inflection than what is done inside the United States by modern day
practitioners that don't have that practical EXPERIENCE in traditional and non traditional settings.
Being invited to work with INDIGENA on their homeland is
a privilege,
a pleasure and an honor.
They don't care what languages we speak or understand,
their language is the language of musiic and your INTENTION
as MUSIC is beyond borders, cultures, ethnicities etc. an vernaculrs
INDIGENA COMPOSITONS
most orchestras play music of Mexican composers once a year,
which means that audiences only get to hear indigenous instruments
in these settings once a year.
I have arranged music for various ensembles since 1978 but started to compose
consistently since 2002 specifically for these instruments which has led to concerts
across the world
CLICK
on the link below to visit any of the ensembles I compose for
I have been more than fortunate to be invited to perform my compositions
for indigenous instruments of Mexico/Mesoamerica several times in Mexico since 2006
personal highlights for me were concerts in Mexico City
@
TEATRO DE LA CUIDAD
- the oldest theater in Mexico City
EL CASTILLO DE CHAPULTEPEC
- the only castle in North America
and in San Miguel de Allende
TEATRO de PERALTA
EL CHARCO del INGENIO
EL MUSEO en SAN MIGUEL de ALLENDE
playing elbow to elbow with INDIGENA
as well concerts in
Costa Rica,
Europa,
Korea
U.K.,
and the United States.
THANKS
to the many
anthropologists,
archaeologists,
dancers,
drummers,
educators,
elders,
filmmakers,
instrument makers,
musicians,
scientists,
who continue to share and discuss information
in regards to
the instruments,
the music,
culture and history
in order to learn, research and corroborate the info via books,
personal experience, and modern day practitioners.
There are literally thousands of modern day practitioners
who utilize the instruments in various primarily traditional formats,
most of them being trained through the oral tradition.
My hope is that all the circles mentioned above will continue
to interact and intersect and share their information.
Our youngest daughter is a full time archaeologist, with degrees
history, anthropology and art history and has boots on the ground
in Belize, Guatemala, Mexico and the United States.
She keeps me up to date on the most current discoveries, which still have not
been made public and are being catalogued and documented daily.
The Codices I have only read about for years and shown her as replicas,
she has actually held in her hands. (with gloves on, of course)
The work is never ending and there is ALWAYS so much more to learn about,
which is why this site was created so that people who are interested do not start
where I started, but start from where I left off.
INFORMATION is to be learned, discussed, questioned
and KNOWLEDGE is to be EXPERIENCED
There will always be those who know more than us
and those that know less than us and each has to be treated
respectfully
what little I know I gladly share thru the creation of this site.
CLICK ON BUTTON BELOW
GRACIAS A TODOS
Christopher Garcia
for indigenous instruments of Mexico/Mesoamerica several times in Mexico since 2006
personal highlights for me were concerts in Mexico City
@
TEATRO DE LA CUIDAD
- the oldest theater in Mexico City
EL CASTILLO DE CHAPULTEPEC
- the only castle in North America
and in San Miguel de Allende
TEATRO de PERALTA
EL CHARCO del INGENIO
EL MUSEO en SAN MIGUEL de ALLENDE
playing elbow to elbow with INDIGENA
as well concerts in
Costa Rica,
Europa,
Korea
U.K.,
and the United States.
THANKS
to the many
anthropologists,
archaeologists,
dancers,
drummers,
educators,
elders,
filmmakers,
instrument makers,
musicians,
scientists,
who continue to share and discuss information
in regards to
the instruments,
the music,
culture and history
in order to learn, research and corroborate the info via books,
personal experience, and modern day practitioners.
There are literally thousands of modern day practitioners
who utilize the instruments in various primarily traditional formats,
most of them being trained through the oral tradition.
My hope is that all the circles mentioned above will continue
to interact and intersect and share their information.
Our youngest daughter is a full time archaeologist, with degrees
history, anthropology and art history and has boots on the ground
in Belize, Guatemala, Mexico and the United States.
She keeps me up to date on the most current discoveries, which still have not
been made public and are being catalogued and documented daily.
The Codices I have only read about for years and shown her as replicas,
she has actually held in her hands. (with gloves on, of course)
The work is never ending and there is ALWAYS so much more to learn about,
which is why this site was created so that people who are interested do not start
where I started, but start from where I left off.
INFORMATION is to be learned, discussed, questioned
and KNOWLEDGE is to be EXPERIENCED
There will always be those who know more than us
and those that know less than us and each has to be treated
respectfully
what little I know I gladly share thru the creation of this site.
CLICK ON BUTTON BELOW
GRACIAS A TODOS
Christopher Garcia
