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Aqui Esta La Salud Para El Pajaro En El Monte

by Sarah Viviana Valdez

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Blanca Flor 07:01

about

Aqui Esta La Salud Para El Pajaro En El Monte, a self digital release featuring two renditions of folk songs that have been living with me since early Spring. Both songs include folkloric motifs that provoke the rhythmic use of poetics and metaphorical eroticism. Originating from the repertoire of the Romany gypsy Queen Caroline Hughes, the first song titled, Parjaro en el Monte, translates to Bird in the Bush. Originally recited by Hughes in English and Angloromani—a creole language that combines the grammar of English with the Romani vocabulary—this version, translated into Spanish, maintains the sensual story of three young vivid women who run into a youthful man and together they go into the thick greenwoods. The use of playful symbolism describes a sexual scene where this young man traps a bird that flew onto the knee of a maiden. Drinks are drunk to the sun and moon dismissing the village gossip about their mutual infatuation.

Originating from a Mayan mythology with Spanish origins but anti-colonial vigor, Blanca Flor, the second song included in this release, is from the written records of Nahua natives in the mountains of the puebla San Miguel Tzinacapan, Mexico. Their story describes Juan del Maestro who falls in love with the Devil’s daughter, Blanca Flor. Together Juan and Blanca set out the impossible task to outwit the Devil with their magical abilities. For example, her blood that turns into milk to make bread when there was no resources available or the use of subterfuge where during a chase her comb is transformed into a thorny tangled bush. In the end the love between them turns into a bell tower, Juan the tower and Blanca the bell ringer, tricking the Devil into believing they completely disappeared so that they are able to live within their final spiritual transformation. The song in this release is a shortened version but drawn out to express the grief and ecstasy of failing in love with Blanca Flor by the simple use of vocals guided by a hammered dulcimer drone.

I hope the songs spark a reminder that

"Love is the funeral pyre
Where the heart must lay
Its body." - Hafiz

credits

released August 7, 2020

Harmonium, hammered dulcimer, and vocals by Sarah Viviana Valdez
Recorded and Mixed by Jeremiah M. Carter
Mastered by Kelby Clark

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