Documente Academic
Documente Profesional
Documente Cultură
Cianci Melo-Carrillo
University Writing
Progression 3
The original This Land Is Your Land was written by Woody Guthrie in the 1940s. The
Okies. Guthrie was born in Okemah, Oklahoma but in 1935, the Dust Bowl forced him to take
to the road. His experiences on the road provide the background for what the narrator of This
Land Is Your Land observes: no trespassing signs, golden valleys, wheat fields, and dust
clouds rolling. Guthrie hitchhiked, rode freight trains, and walked all the way to California
(Mateus). Once he arrived, Guthries experience in California included intense scorn, hatred,
and even physical antagonism from resident Californians (Mateus). Guthrie was not alone in
feeling alienated by resident Californians: all migrant workers were derisively labeled as
Okies. In California, Guthrie was able to begin voicing the thoughts of his community. He
hosted a regular program on KFVD Radio alongside Lefty Lou where he was able to sing
In This Land Is Your Land, Guthrie recounts his experiences of traveling the United
States and of seeing the necessities of his people, Oklahoma migrant workers, ignored. The final
message of the song is this land was made for you and me. In Esta Tierra Es Tuya, Sones de
Mexico, a Chicago based traditional Mexican band, adapts Woody Guthries song to recount the
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experiences of their people: Mexican migrant laborers. Their last message is that this land is for
Sones de Mexico changes the style and lyrics of This Land Is Your Land, arranging the
original into a norteo style with mostly Spanish lyrics. The lyrics are not direct translations.
This land was made for you and me becomes this land is for you and for me. The difference
between was made and is in the translation of the lyrics is not a style choice. The new
arrangement of the song is focused on the active opportunities that are available to immigrants,
not on the passively made geographical landscapes. Instead of including verses about golden
valleys, wheat fields, and dust clouds rolling, Sones de Mexico includes verses about the
travelers in search of an opportunity. Instead of historical details such as relief offices, Sones
de Mexico adds a verse about the travelers destiny: to own the land that they work. Even the
sections that are conserved in the translation have a different ring. The same no trespassing
sign that is referenced in Guthries version signifies something else to Mexican immigrants: no
trespassing signs are posted all along the recently built fence along the border between Mexico
and the United States. This new version of Woody Guthries song is solely based on immigrant
experiences. Sones de Mexico makes the purpose of their song clear in the introduction, where a
singer declares Esta Tierra Es Tuya the national anthem of the immigrants.
sections of the song: come on compadre!/Dont be down about being far away from you
land/right here, right here is your land. In addressing their audience like this, Sones de Mexico
highlights a key aspect of the immigrants experience: they are nostalgic for home and are stuck
in land that is foreign to them. The immigrants nostalgia extends to cultural traditions. That is
why this norteo adaptation was created: to reassure them that their cultural traditions followed
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them to this foreign land. But, the song also includes American cultural components. This Land
Is Your Land is an American folk song, and Sones de Mexico pays tribute to the original song
With the mixing of American and Mexican cultural components, Sones de Mexico
reassures immigrants that this land, the United States, and its culture is theirs. Sones de
Mexico has taken an American folk song and appropriated it as the national anthem of the
immigrants. American culture can be shaped in their image, but is this image one that maintains
individual cultures, or merges them into one? Sones de Mexico have combined two cultures into
one adaptation. This adaption could either be evidence of cultural assimilation or cultural
communication.
is seen in the language loss of immigrants native tongues. It seen in the loss of cultural variety.
Folk music collector Alan Lomax writes on the necessity for cultural education in order to
prevent the loss of cultures and the traditions that they contain in his essay Appeal for Cultural
Equity. According to Lomax, cultural assimilation threatens the cultural variety by leading to
Cultural assimilation could also be considered beneficial to the groups it affects. The
Melting Pot is a symbol of equal opportunity for the immigrant groups that enter the United
States. Richard Rodriguez, an American writer with Mexican ancestry, declares cultural
assimilation as the ultimate tool for freedom in the United States in his essay The Third Man.
Rodriguez states that culture restricts an individuals freedom of choice (Rodriguez 131). Only
cultural assimilation allows for full American white freedomfreedom to choose your actions
Sones de Mexicos Esta Tierra Es Tuya contains lyrics in both Spanish and English,
although the English portion of the song is isolated to the last verse of the song. The inclusion of
an English verse shows part of the process in language assimilation among immigrants. Rubn
assimilation in his essay The Americans: Latin American and Caribbean Peoples in the United
States. According to Rumbaut, the loss of language has generational breaks (Rumbaut 300). The
first generation of immigrants learns survival English but speak[s] their mother tongue to their
children at home (Rumbaut 300). The second generation still learns their parents mother
tongue, but in a motley manner. They learn Spanglish, an amalgamation of Spanish and
English (Rumbaut 300). Esta Tierra Es Tuya falls into the category of Spanglish. The included
English is not survival English, but instead shows an active assimilation of Spanish into
English. By the third generation, the assimilation is complete and children only learn English
(Rumbaut 300). This is the last step in the extinction of languages. It is motivated by the
presence of a dominant culture, and the benefits that arise from participation in that culture
(Rumbaut 302). According to Rumbaut these are the benefits: English proficiency has always
been a key to immigrants socioeconomic mobility and full participation in their adoptive
society (Rumbaut 302). The adoptive society shapes the immigrants into its image, which the
However, Sones de Mexico sees other benefits in including English lyrics into their song
other than for socioeconomic mobility and full participation in their society. They already see
themselves as participating in society. In an interview on NPR with Renee Montagne, Juan Dies,
Sones de Mexicos group leader, states that [Sones de Mexico is not] trying to pretend that we
live in a small village in Mexico. We live in Chicago and interact with the world around us.
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Sones de Mexicos intention in participating in society through songs such as Esta Tierra Es
Tuya to take control of their society. Their intention to take ownership of society is proclaimed
in saying this land is for you and me. While American society has adopted Mexican
immigrants, it is Son de Mexicos intention to shape their society in their image unlike what
Rumbaut says the trend is with immigrant groups. This image includes the livelihood of Spanish.
Esta Tierra Es Tuya is mostly in Spanish, speaking to its audience in Spanish, only including
Even if Sones de Mexico is asserting control over their society, they are still combining
two separate cultures in Esta Tierra Es Tuya. Now there is one Mexican-American culture as
opposed to separate cultures. This culture has as a component the dominant American culture,
which already threatens to eradicate cultural variety in a globalized world. American culture
According to Alan Lomax, in his essay Appeal for Cultural Equity, cultural variety is
quickly dying due to an unrestrained mercantilism (Lomax 287). Mercantilism dismisses weak
and unfit cultures as a necessary cost; mercantilism make it seem inevitable that stronger, more
fit cultures will pervade (Lomax 286). This is the positive argument for the spread of Western
culture. However, this culture is affected by the negative aspects of mercantilism: everything is
manufactured. Lomax argues that instead of a better culture, a dominant standardized, mass-
produced and cheapened culture is being spread (Lomax 285). This culture is synonymous with
popular culture. However, Sones de Mexicos arrangement of This Land Is Your Land is not
for commercial purposes, although they target a popular audience. They are not seeking to profit
on their targeted bilingual audience. Sones de Mexico makes their purpose clear in the spoken-
word sections of their song: this is national anthem of the immigrants. By having intentions of
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helping their immigrant community, Son de Mexico has avoided being overwhelmed by
educationwhich Lomax states is the only way that cultural variety can survive (Lomax 288).
According to Lomax, a faulty educational system, such as the one currently present in the United
States, can lead to brainwashing in which we teach children that no other cultural system has
value (Lomax 288). He gives as an example that the only type of music taught in schools is
Western classical music; this inhibits children from finding a way of viewing, thinking, and
feeling (Lomax 288,286). A healthy education, however, guarantees cultural independence and
Mexican folk traditions through their songs and educational programs. Sones de Mexico is
nonprofit organization committed to quality education programs for children and adults of all
ages (Sones). They hold weekly music classes in the Chicago area. Juan Dies, the bandleader, is
also folklorist that engages in educational programs across the country. In an interview with Taki
Telonidis on NPR, he describes a program that he held in Oregon in which he taught students the
importance of the corridoa type of Mexico folk songfor describing their lives. Juan Dies has
seen immigration as a common theme in contemporary Mexican folk songs. Esta Tierra Es
Tuya involves the same immigration theme; it is also an educational, popular folk song.
Esta Tierra Es Tuya has popular appeal, but it is still a folk song. Ethnomusicologist
Bruno Nettl defines the folk music in in his book Folk and Traditional Music of the Western
Continents as music that all of the people in a culture could understand and in which many
could participate (Nettl 2). The spoken-word portions of Esta Tierra Es Tuya always includes
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a call for participants. But this is also an aspect of popular music; it appeals to the large masses
and is easily understandable. Nettl creates one final condition for folk music that ensures Son de
Mexicos place in it: songs must be passed on through oral tradition and must fit the needs of its
audience (Nettl 3). The final portion of that condition is specifically employed by Sones de
Mexico. Esta Tierra Es Tuya only resembles This Land Is Your Land. The lyrics and the
style has been intentionally changed to suits the needs of Sones de Mexicos immigrant
audience. Even though Sones de Mexico has changed an American folk song into a song that
address a different audience with different needs, they still maintain the folk tradition.
John Abrams, member of the folk group the Abrams Brothers defines folk music as
authentic music that is deeply ingrained our history, in an interview with journalist Stephanie
Ledgin. By continuing to maintain folk traditions, Sones de Mexico is also maintaining the ties
between its audience and their history. This prevents complete assimilation of Mexican culture
into American culture. Using shared cultural experiences and history, Sones de Mexico reasserts
cultural boundaries. Maintaining their culture is part of the freedom that Es Tierra Es Tuya
expresses in saying come on compadre!/Dont be down about being far away from you
land/right here, right here is your land. Immigrants are not far away from their land is they carry
the memory of their past land into the shaping of their new land.
Hispanic culture, which Rodriguez had not choice in choosing, prevented him from choosing his
own actions because he was tied to his past (Rodriguez 129). Rodriguez does not argue for
forgetting history, he argues for releasing the holds that history has on individuals. White
freedom involves speaking freely about history, and stopping the holds that it has an individual,
so that they can freely act (Rodriguez 131). In this sense, white freedom is a freedom related to
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the present. How can people achieve the freedom of their actions in this moment? Ultimately, the
affected groups still lose part of their sense of history in exchange for freedom.
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Works Cited
Dies, Juan. Esta Tierra Es Tuya (This Land Is Your Land). Sones De Mexico Ensemble Chicago.
2007. Youtube. Web. 24 Apr. 2016.
<https://www.youtube.com/watch?v=q1R4xFrQQNE>.
"Education." Sones De Mexico. Web. 24 Apr. 2016.
<http://sonesdemexico.com/education.html>.
"Immigrant Songs Offer New Twist on Old Sounds." Interview by Taki Telonidis. Weekend
Edition Sunday. National Public Radio, 19 Sept. 2007. Web. 24 Apr. 2016.
Lasch, Christopher. "The Awareness Movement and the Social Invasion of the Self."
The Culture of Narcissism: American Life in an Age of Diminishing Expectations. New
York: Norton, 1978. 3-30. Print.
Ledgin, Stephanie P. "Bridging Folk: Tom Paxton to the Abrams Brothers." Discovering Folk
Music. Santa Barbara, CA: Praeger, 2010. 105-10. Print.
Lomax, Alan. "Appeal for Cultural Equity." Alan Lomax: Selected Writings, 1934-1997. Ed.
Ronald D. Cohen. New York: Routledge, 2003. 285-99. Print.
"Mexican Folk in the Heart of Chicago." Interview by Renee Montagne. Morning Edition.
National Public Radio, 08 Nov. 2007. Web. 24 Apr. 2016.
Nettl, Bruno. "Folk and Traditional Music in Cultural Setting." Folk and Traditional Music of the
Western Continents. Englewood Cliffs, NJ: Prentice-Hall, 1965. 1-14. Print
Rumbaut, Rubn. "The Americans: Latin American and Caribbean Peoples in the United States."
Americas: New Interpretive Essays. Ed. Alfred C. Stepan. New York: Oxford UP, 1992.
300-03. Print.