1. |
EL VIENTRE DE LA TIERRA
04:55
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2. |
CORRIENDO ASUSTADO
03:05
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3. |
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4. |
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5. |
ATEOUILIZCUICATL
04:00
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CUICATL is the Nahuatl word for song
below is a list of different types of documented cuicatls
XOPANCUICATL
songs of springtime
XOCHICHICATL
flowery songs
TOTOCUICATL
songs of birds
MICHCUICALTL
songs of fish
ICNOCUICATL
songs of orphanhood
COZCACUICATL
necklace songs
TEUCCUICATL
songs of the lords
TLAOCOLCUICATL
songs of suffering
CUAUHCUICATL
songs of eagles
YAOCUICATL
songs of war
ATEQUILIZCUICATL
songs of pouring water
CIHUACUICATL
songs of women
COCOCUICATL
songs of doves
CUECUEHCUICATL
provocative songs
and
HUEHUETHCUICATL
old songs, songs of old people
and other indications tell us about the manner
in which the songs were entered and accompanied:
OTOMICAYOTL
in the Otomi manner
CHALCAYOTL
as those of Chalco
HUAXTECAYOTL
in the manner of the Huaxtecs
and so forth in these moods:
MECICAYOTL
TLAXCALTECAYOTL
MATLAZINCAYOTL
HUEXOTZINCAYOTL
and
CHICHIMECAYOTL
*
Info from MIGUEL LEON PORTILLA
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6. |
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LA LLORONA
sung in 16th century Nahuatl
the documentation was written in Spanish in the 16th century
and translated by Dr. Ezekiel Stear into 16th Century Nahuatl for
FLOWER SONGS MUSIC
i.e.,
this is the first time we are aware of anyone doing this to the original version of the story
we were invited by
Getty Research Institute
(GRI),
the Los Angeles County Museum of Art
(LACMA),
and the
Biblioteca Nacional de Antropología e Historia
to present MUSIC for the online reading of
THE FLORENTINE CODEX
one of the pieces we chose was
LA LLORONA
the melody is attributed to a 1947 recording
after hearing many versions of this piece we did additional research
and found differing stories documenting the spectre now known as LA LLORONA,
see below for additional information
LA LLORONA
Its origins as a song are obscure, but composer Andres Henestrosa
in about 1941 mentioned hearing the song in the Isthmus of Tehuantepec.
(which represents the shortest distance
between the Gulf of Mexico and the Pacific Ocean)
The legend of LA LLORONA is often conflated with La Malinche,
the Nahua Princess and consort of Hernan Cortes
The LA LLORONA of the song,
drowned her children in a river in a rage at her unfaithful husband.
As a spirit, she was condemned to wander the shores of the river forever searching for her dead children.
But the first texts that mention a woman with the characteristics
of LA LLORONA are located in the
HISTORIA GENERAL DE LAS COSAS DE NUEVA ESPANA
The Florentine Codex is composed of twelve books and
was put together in 1577 according to the Laurentian
Library of Florence where it is currently located.
Some of the text in its books, however, can be dated earlier.
BOOK Xll
Book twelve was originally written in Náhuatl language
in 1555 according to Fray Bernardino de Sahagún.
Mexican historian Miguel León-Portilla calls this section of the Florentine Codex, Testimonios de los informantes de Sahagún.
Native students from Tlatelolco collected first-hand testimonies from native elders with the supervision of Sahagún. [1]
In book twelve of the Florentine Codex, native elders stated
that ten years prior to the arrival of the Spaniards, the Mexica (Aztecs) and in particular Motecuhzoma (Moctezuma II), began to witness a series of omens.
These prophecies signaled the arrival of men who
waged war and the downfall of Tenochtitlan
Omen number six states that a woman was heard crying
and screaming at night many times,
"My children, we now have to leave far away!"
Other times she would say,
"My children, where shall l take you?"
[2]
The passage is accompanied by an illustration of the native woman, crying, barefooted, and clutching her hands.
[3]
The first and eighth books of the Florentine Codex indicate that the woman crying at night, worried for her children, is none other than the goddess Cihuacóatl, whose name means "serpent woman".
In chapter six of the first book, Sahagún narrates some apparitions by Cihuacóatl.
He describes her attire as "white, with her hair as if she had horns crossed above her forehead.”
The original version of this passage, written in Náhuatl, states that Cihuacóatl was covered in “chalk” and would “appear at night dressed in white, walking and crying”.
[4]
Book eight of the Florentine Codex says that a terrible famine occurred for three years during Motecuhzoma's reign prior to the arrival of the Spaniards, and "the devil who is named Cihuacóatl would appear and go around crying through the streets of Mexico.”
The Náhuatl version of this passage mentions
that everyone would hear her crying and saying,
"My beloved children, I'm going to leave you now."
The eighth book also states that during the sixth omen,
a voice was heard crying and saying,
"Oh, my children, we are about to be lost."
The voice would also cry,
"My children, where shall I take you?"
At the beginning of the text describing the sixth omen,
an illustration shows Cihuacóatl.
She has the head of a woman,
her hair combed like horns and the body of a snake.
[5]
Chapter two makes a terrifying assertion that took place
after the conquest; Cihuacóatl ate a child that was in his crib
in the town of "Azcaputzalco."
[6]
There are two other texts, also from the 16th century, which mention a woman with the characteristics of La Llorona and refer to a set of pre-colonial omens,
The Durán Codex
and
La Historia de Tlaxcala.
The Durán Codex, also known as Historia de las Indias de Nueva España e Islas de Tierra Firme, is dated 1579
according to the Biblioteca Nacional de España where it is currently located.
[7]
The text states that Motecuhzoma summoned all of the leaders of the "barrios" and asked them to tell all of the elders that from now on they are to report to him what they see in their dreams.
Motecuhzoma also asked the leaders to tell those who have a habit of wondering at night, that if they were to run into "that woman whom people say wonders at night crying and moaning, to ask her why she cries and moans."
[8]
La Historia de Tlaxcala,
dated 1592,
according to Dr. Francisco Ramírez Santacruz
and Dr. Héctor Costilla Martínez, was written by a mestizo descendant of Tlaxcaltecan nobility named Diego Muñoz Camargo.
The text states that during a sixth omen,
many times and for many nights, you could hear
the voice of a woman crying and sobbing loudly,
"Oh my children!
We will now lose everything..." and other times she would say,
"Oh my children, where can I take you and hide you?"
[9]
After the arrival of the Spaniards during colonial Mexico,
the story of La Llorona evolved.
Today’s popular versions blames La Llorona for her own
tears and exonerates the Spaniards.
It does not mention the foretold destruction of Tenochtitlan
and arrival of the Europeans. It is important to understand that La Llorona is not just a story or folklore, it is part of Mexico’s historical record.
[1]
Portilla Miguel León, María Garibay K. Angel, and Beltrán Alberto.
Visión De Los Vencidos:
Relaciones indígenas De La Conquista.
(México: Universidad National Autónoma de México, 2017), XX.
[2]
Ibid, 6.
[3]
“Historia General De Las Cosas De Nueva España
Por El Fray Bernardino De Sahagún:
El Códice Florentino.
Libro XII: De La Conquista De México.”
Historia General De Las Cosas De Nueva España Por El Fray Bernardino De
Sahagún: El Códice Florentino.
Libro XII: De La Conquista De México - Visor - Biblioteca Digital Mundial,
https://www.wdl.org/es/item/10623/view/1/7/.
[4]
Rodrigo Martínez,
"Las apariciones de Cihuacóatl",
historias
(Revista de la Dirección de Estudios Históricos del INAH), 24, 1990, pp. 55-66.
[5]
“Title:
General History of the Things of New Spain
by Fray Bernardino De Sahagún:
The Florentine Codex.
Book VIII: Kings and Lords.” WDL RSS, https://www.wdl.org/en/item/10619/view/1/27/.
[6]
Ibid, 61-63.
[7]
“Historia De Las Indias De Nueva España e Islas De La Tierra Firme
[Manuscrito] - Durán, Diego - Manuscrito - 1579.”
BIBLIOTECA DIGITAL HISPÁNICA. Accessed September 21, 2019.
http://bdh.bne.es/bnesearch/biblioteca/Historia de las Indias de Nueva España e
islas de la tierra firme /qls/Durán, Diego (1537
1587)/qls/bdh0000169486;jsessionid=71C71FFA2F6C7627F624C32AE7D40AEF.
[8]
“¿La Leyenda De La Llorona Es De Origen Prehispánico?” Arqueología
Mexicana, October 31, 2016. https://arqueologiamexicana.mx/mexico-antiguo/la-
leyenda-de-la-llorona-es-de-origen-prehispanico.
[9]
Portilla Miguel León, María Garibay K. Angel, and Beltrán Alberto.
Visión De Los Vencidos, 12.
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7. |
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~~~~~~~~~~~~~~~~~~~~~~~~~
LLORONA IN SPANISH
NEW LYRICS
Ay, de mí, Llorona,
llorona de nuestros pesares
Ay, de mí, Llorona, Llorona,
presagio de nuestros andares
Tu llanto son como rios Llorona
lamentos de suenos vacios
Tu llanto son como rios LLorona
lamentos de suenos vacios
El cielo solloza contigo LLorona
mi corazon se estremece
El cielo solloza contigo Llorona
mi corazon se estremece
Tus gritos son los gemidos Llorona
de la noche que oscurece
Tus gritos son los gemidos Llorona
de la noche que oscurece
Ay de mi Llorona, Llorona,
de males crecio el hechizo
Ay de mi Llorona,
Llorona de anil cenizo
Tapame con tu rebozo Llorona
que me muero de frio
Tapame con tu rebozo Llorona
que me muero de frio
Tu llanto no tiene consuelo Llorona
y mi canto se viste de duelo
Tu llanto no tiene consuelo Llorona
y mi canto se viste de duelo
Nuestro corazon aun sangra Llorona
y tu voz tus hijos escuchan
Nuestro corazon todavia sangra Llorona
y tu voz tus hijos escuchan
Ay, Ay, Ayaaaaaaaaay.
LA LLORONA
we were invited by
Getty Research Institute
(GRI),
the Los Angeles County Museum of Art
(LACMA),
and the
Biblioteca Nacional de Antropología e Historia
to present MUSIC for the online reading of
THE FLORENTINE CODEX
Volunteers read the codex in a variety of languages
e.g.,
English
Nahuatl
Spanish
and it can be listened to here at the link below
NAHUA VOICES ON THE CONQUEST OF MEXICO
https://www.youtube.com/watch?v=L4pxnDRKCHI
one of the pieces we chose for this reading was
LA LLORONA
most people know the melody from the 1947 recording
After hearing many versions of this piece we did additional research
and found differing stories documenting the legend now known as LA LLORONA
which had little or nothing to do with the historical context of the story
After reading, studying and comparing the information, Yolanda Delgado Garcia
rewrote the lyrics in Spanish to represent the information which has always been
out there. Once the new lyrics were constructed incorporating that information we contacted Dr. Ezekiel Stear, who translated the new Spanish text into 16th Century Nahuatl.
There are versions online where some have taken the popular version of the text of the piece and translated that text into modern day Nahuatl but this marks the first time that new lyrics were written based on the historical context and/or translated into 16th century Nahuatl. We hope you enjoy the debut of this new version.
see below for additional information and historical context
LA LLORONA
Its origins as a song are obscure, but composer Andres Henestrosa
in about 1941 mentioned hearing the song in the Isthmus of Tehuantepec.
(which represents the shortest distance
between the Gulf of Mexico and the Pacific Ocean)
The legend of LA LLORONA is often conflated with La Malinche,
the Nahua Princess and consort of Hernan Cortes
The LA LLORONA of the song,
drowned her children in a river in a rage at her unfaithful husband.
As a spirit, she was condemned to wander the shores of the river
forever searching for her dead children.
But the first texts that mention a woman with the characteristics
of LA LLORONA are located in the
HISTORIA GENERAL DE LAS COSAS DE NUEVA ESPANA
And have nothing to do with what most people know of the song
The Florentine Codex is composed of twelve books and
was compiled in 1577 according to the Laurentian
Library of Florence where it is currently located.
Some of the text in its books, however, can be dated earlier.
BOOK Xll
Book twelve was originally written in Náhuatl language
in 1555 according to Fray Bernardino de Sahagún.
Mexican historian Miguel León-Portilla calls this section of the Florentine Codex, Testimonios de los informantes de Sahagún.
Native students from Tlatelolco collected first-hand testimonies from native elders with the supervision of Sahagún. [1]
In book twelve of the Florentine Codex, native elders stated
that ten years prior to the arrival of the Spaniards, the Mexica (Aztecs) and in particular Motecuhzoma (Moctezuma II), began to witness a series of omens.
These prophecies signaled the arrival of men who
waged war and the downfall of Tenochtitlan
Omen number six states that a woman was heard crying
and screaming at night many times,
"My children, we now have to leave far away!"
Other times she would say,
"My children, where shall l take you?"
[2]
The passage is accompanied by an illustration of the native woman,
crying, barefooted, and clutching her hands.
[3]
The first and eighth books of the Florentine Codex indicate that the woman
crying at night, worried for her children, is none other than the goddess
Cihuacóatl, whose name means "serpent woman".
In chapter six of the first book, Sahagún narrates some apparitions by Cihuacóatl.
He describes her attire as "white, with her hair as if she had horns crossed
above her forehead.”
The original version of this passage, written in Náhuatl, states that Cihuacóatl was covered in “chalk” and would “appear at night dressed in white, walking and crying”.
[4]
Book eight of the Florentine Codex says that a terrible famine occurred for three years during Motecuhzoma's reign prior to the arrival of the Spaniards, and "the devil who is named Cihuacóatl would appear and go around crying through the streets of Mexico.”
The Náhuatl version of this passage mentions
that everyone would hear her crying and saying,
"My beloved children, I'm going to leave you now."
The eighth book also states that during the sixth omen,
a voice was heard crying and saying,
"Oh, my children, we are about to be lost."
The voice would also cry,
"My children, where shall I take you?"
At the beginning of the text describing the sixth omen,
an illustration shows Cihuacóatl.
She has the head of a woman,
her hair combed like horns and the body of a snake.
[5]
Chapter two makes a terrifying assertion that took place
after the conquest; Cihuacóatl ate a child that was in his crib
in the town of "Azcaputzalco."
[6]
There are two other texts, also from the 16th century, which mention a woman with the characteristics of La Llorona and refer to a set of pre-colonial omens,
The Durán Codex
and
La Historia de Tlaxcala.
The Durán Codex, also known as Historia de las Indias de Nueva España e Islas de Tierra Firme, is dated 1579
according to the Biblioteca Nacional de España where it is currently located.
[7]
The text states that Motecuhzoma summoned all of the leaders of the "barrios" and asked them to tell all of the elders that from now on they are to report to him what they see in their dreams.
Motecuhzoma also asked the leaders to tell those who have a habit of wondering at night, that if they were to run into "that woman whom people say wonders at night crying and moaning, to ask her why she cries and moans."
[8]
La Historia de Tlaxcala,
dated 1592,
according to Dr. Francisco Ramírez Santacruz
and Dr. Héctor Costilla Martínez, was written by a mestizo descendant of Tlaxcaltecan nobility named Diego Muñoz Camargo.
The text states that during a sixth omen,
many times and for many nights, you could hear
the voice of a woman crying and sobbing loudly,
"Oh my children!
We will now lose everything..." and other times she would say,
"Oh my children, where can I take you and hide you?"
[9]
After the arrival of the Spaniards during colonial Mexico,
the story of La Llorona evolved.
Today’s popular versions blames La Llorona for her own
tears and exonerates the Spaniards.
It does not mention the foretold destruction of Tenochtitlan
Or the arrival of the Europeans.
It is important to understand that La Llorona is not just a story
or folklore, it is part of Mexico’s historical record.
[1]
Portilla Miguel León, María Garibay K. Angel, and Beltrán Alberto.
Visión De Los Vencidos:
Relaciones indígenas De La Conquista.
(México: Universidad National Autónoma de México, 2017), XX.
[2]
Ibid, 6.
[3]
“Historia General De Las Cosas De Nueva España
Por El Fray Bernardino De Sahagún:
El Códice Florentino.
Libro XII: De La Conquista De México.”
Historia General De Las Cosas De Nueva España Por El Fray Bernardino De
Sahagún: El Códice Florentino.
Libro XII: De La Conquista De México - Visor - Biblioteca Digital Mundial,
https://www.wdl.org/es/item/10623/view/1/7/.
[4]
Rodrigo Martínez,
"Las apariciones de Cihuacóatl",
historias
(Revista de la Dirección de Estudios Históricos del INAH), 24, 1990, pp. 55-66.
[5]
“Title:
General History of the Things of New Spain
by Fray Bernardino De Sahagún:
The Florentine Codex.
Book VIII: Kings and Lords.” WDL RSS, https://www.wdl.org/en/item/10619/view/1/27/.
[6]
Ibid, 61-63.
[7]
“Historia De Las Indias De Nueva España e Islas De La Tierra Firme
[Manuscrito] - Durán, Diego - Manuscrito - 1579.”
BIBLIOTECA DIGITAL HISPÁNICA. Accessed September 21, 2019.
http://bdh.bne.es/bnesearch/biblioteca/Historia de las Indias de Nueva España e
islas de la tierra firme /qls/Durán, Diego (1537
1587)/qls/bdh0000169486;jsessionid=71C71FFA2F6C7627F624C32AE7D40AEF.
[8]
“¿La Leyenda De La Llorona Es De Origen Prehispánico?” Arqueología
Mexicana, October 31, 2016. https://arqueologiamexicana.mx/mexico-antiguo/la-
leyenda-de-la-llorona-es-de-origen-prehispanico.
[9]
Portilla Miguel León, María Garibay K. Angel, and Beltrán Alberto.
Visión De Los Vencidos, 12.
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8. |
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~~~~~~~~~~~~~~~~~~~~~~
We recently did 2 of these compositions for a benefit concert and 3 of the cooks in the kitchen came out singing the songs and sharing with us that they never thought they would be hearing songs sung from their childhood in Los Angeles.
Pirekua is a traditional music of the indigenous P’urhépecha communities of the State of Michoacán, Mexico, sung by both men and women.
Its diverse mix of styles draws on African, European and indigenous American origins, with regional variations identified in 30 of the 165 P’urhépecha communities. A Pirekua, which is generally sung with a gentle rhythm, may also be presented in non-vocal styles using different beats such as sones (3/8 time) and abajeños (6/8 time).
Pirekua can be sung solo, in duets or trios, or accompanied by choral groups, string orchestras and mixed orchestras (with wind instruments). Pirériecha (Pirekua singers and interpreters) are renowned for their creativity and interpretations of older songs. Lyrics cover a wide range of themes from historical events to religion, social and political thought and love and courtship, making extensive use of symbolism. Pirekua acts as an effective medium of dialogue between the P’urhépecha families and communities that practise it, helping to establish and reinforce bonds. Pirériechas also act as social mediators, using songs to express sentiments and communicate events of importance to the P’urhépecha communities. Pirekua has traditionally been transmitted orally from generation to generation, maintaining its currency as a living expression, marker of identity and means of artistic communication for more than a hundred thousand P’urhépecha people.
https://ich.unesco.org/en/RL/pirekua-traditional-song-of-the-purhpecha-00398
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9. |
||||
|
We recently did 2 of these compositions for a benefit concert and 3 of the cooks in the kitchen came out singing the songs and sharing with us that they never thought they would be hearing songs sung from their childhood in Los Angeles.
Pirekua is a traditional music of the indigenous P’urhépecha communities of the State of Michoacán, Mexico, sung by both men and women.
Its diverse mix of styles draws on African, European and indigenous American origins, with regional variations identified in 30 of the 165 P’urhépecha communities. A Pirekua, which is generally sung with a gentle rhythm, may also be presented in non-vocal styles using different beats such as sones (3/8 time) and abajeños (6/8 time).
Pirekua can be sung solo, in duets or trios, or accompanied by choral groups, string orchestras and mixed orchestras (with wind instruments). Pirériecha (Pirekua singers and interpreters) are renowned for their creativity and interpretations of older songs. Lyrics cover a wide range of themes from historical events to religion, social and political thought and love and courtship, making extensive use of symbolism. Pirekua acts as an effective medium of dialogue between the P’urhépecha families and communities that practise it, helping to establish and reinforce bonds. Pirériechas also act as social mediators, using songs to express sentiments and communicate events of importance to the P’urhépecha communities. Pirekua has traditionally been transmitted orally from generation to generation, maintaining its currency as a living expression, marker of identity and means of artistic communication for more than a hundred thousand P’urhépecha people.
https://ich.unesco.org/en/RL/pirekua-traditional-song-of-the-purhpecha-00398
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10. |
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11. |
YOLTEOTL
10:19
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12. |
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EL PULSO UNIVERSAL Y EL COLOR DEL SONIDO
LYRICS EN ESPANOL
Independientemente del color de nuestra piel:
del color de nuestro cabello,
del color de nuestros ojos,
del idioma que hablamos
O de cómo elegimos definirnos a nosotros mismos:
culturalmente,
dogmáticamente,
económicamente,
étnicamente,
políticamente,
sexualmente,
sociamente,
o espiritualmente:
CADA UNO DE NOSOTROS COMPARTIMOS LA MEDITACION CENTRADA EN UN PUNTO MAS LARGA QUE JAMAS HEMOS EXPERIMENTADO……….
9 meses
270 días
6,480 horas
En el vientre de nuestra madre,
antes de que nuestros pies toquen nuestra MADRE TIERRA.
Pero mientras continuamos viviendo,
nos quedamos atrapados dentro de los ritmos que hemos creado para nosotros mismos:
los ritmos de la familia,
los ritmos de aprendizaje,
los ritmos de juego,
los ritmos de las redes sociales,
los ritmos del trabajo,
los ritmos de adoración.
Estos ritmos corren sin parar a través de nuestras vidas; dentro y alrededor,
al mismo tiempo y bajo este pulso;
todo el tiempo.
Y mientras seguimos haciendo tiempo para cada uno de estos ritmos,
rara vez hacemos tiempo para estar con nosotros mismos,
y re-alinearnos con este pulso universal,
el cual se ha convertido en un recuerdo que se va desvaneciendo
Y cuando permitimos que eso suceda,
perdemos no sólo un poco de nosotros mismos,
sino también una conciencia y comprensión de cada uno de nosotros como seres humanos y de cómo el pasado inmediato y el futuro inminente llegan a ser todos importantes…….
Y el AHORA desaparece.
Pero AHORA solamente sucede AHORA
con y en cada milésima de segundo
con y en el momento
al momento
a CADA momento
y cuanto se detiene
nos quedamos con y en la
RESONANCIA de nuestros RECUERDOS
y el SILENCIO que estaba antes de que empezó
y el SILENCIO que se reanuda después de que se detiene.
Continuemos esforzándonos por vivir nuestras vidas con:
INTENCION
INTEGRIDAD
INTENSIDAD
PASION
Y
BALANCE
PUES TODOS SOMOS INDIGENAS DE ESTE PLANETA
ARTE
VIDA
Y
VIVIR
Sólo están separados cuando les permitimos ser.
VIVA LA VIDA
VIVA LA GENTE!
THE UNIVERSAL PULSE AND THE COLOR OF SOUND
LYRICS EN INGLES
Regardless of the color of our skin:
the color of our hair,
the color of our eyes,
of the language we speak
Or how we choose to define ourselves:
culturally,
dogmatically,
economically,
ethnically,
politically,
sexually,
socially,
or spiritually:
EACH OF US SHARE THE LONGEST POINTED
MEDITATION THAT WE HAVE EVER EXPERIENCED……….
9 months
270 days
6,480 hours
In our mother's womb,
before our feet touched MOTHER EARTH.
But the longer we live the more
we become entrenched within the
rhythms we have created for ourselves
the rhythms of family
the rhythms of learning
the rhythms of play
the rhythms of social media
the rhythms of work
the rhythms of worship
These rhythms run relentlessly through our lives;
in and around this pulse
at the same time
all the time
and while we keep making time for each of these rhythms,
we rarely make time with ourselves to be with ourselves
and re-align ourselves with this universal pulse,
which has become a fading memory
and when we allow that to happen
we lose not only a little bit of ourselves
but also an awareness and understanding
about each other
as human beings
as the immediate past and the impending
future become all important
and NOW disappears............
but NOW only happens NOW
with(in) every millisecond
with(in) the moment
at the moment
EVERY moment
and when it stops
we are left with(in) the
RESONANCE of our MEMORIES
and the SILENCE that was there before it
began
and the SILENCE that resumes after it
stops
may we continue to strive to live our lives
with
INTENTION
INTEGRITY
INTENSITY
PASSION
and
BALANCE
AS WE ARE EACH INDIGENOUS TO
THIS PLANET
ART
LIFE
AND
LIVING
are only as separate when we allow them
to be.................
VIVA LA VIDA
VIVA LA GENTE
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13. |
YO SOY
02:58
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Christopher Garcia Music Projects East Los Angeles, California
Garcia is a
composer/multi instrumentalistr/improviser/educator with hundreds of performances in 28 countries on 5
continents with various ensembles, and multi-media extravaganzas. He continues to play with a literal who's who of musicians from various continents and his YOUTUBES on MesoAmerican instruments has over 170,000 visitors and his site continues to average 2000 monthly visitors.
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