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Sandunga
by Richard Malmed
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The Isthmus of Tehuantepec in the state of
Oaxaca stands alone in space and time.
Colorful native apparel remains as the
dominant choice of women's clothing. In
this matriarchal society the women are
known for their ability to consume large
amounts of beer. Just about every week of
the year holds a major fiesta day. My
experience has been that the few outsiders
who visit are invited to join in the
festivities. We happened to be in the
Isthmus on Constitution Day. Walking about
the town of Huchitan at dusk, we were
enjoying the birds who were loudly
roosting in the trees giving a musical
sense to the total town square. There was
a hustle and bustle as the vendors in ox
carts were leaving their station while the
holiday calibrator's in regal native dress
were beginning to trickle in for the night
that was about to be. It was not hard to
see that the only strangers to this town
were us. Hardly a person passed by that
did not recognize their visitors in some
way. "Hola guapa", they would say with a
smile to my wife Mimi. "Hello, beautiful"
is a pleasant way to great a guest and to
me they often said "hola guero". This
translates as "Hello white person". It is
intended to be a compliment and is
accepted as such.
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Long
after the men were under the
table, the Isthmus women
continued consuming beer and
dancing with each
other.
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Fiesta
day
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Turning the corner and heading away from
the main square we happened upon a full
city block that was closed on both ends
with temporary constructed bandstands.
There were tables set up along both sides
with family groups of between 20 to 40
people sitting in rows behind each table.
The food and drink in picnic style went
from the respective table to it's family.
A large band was stationed on each stand;
one would play for about a half an hour
and without missing a beat, the other band
would start, the dancing never stopped.
The sound of the music enticed us closer
and we slid into the shadows for a listen.
Not ten minutes passed before a woman came
out to invite us in. The first row behind
her family's table was immediately made
available to us, our laps were
spontaneously filled with plates of food
and our hands were holding bottles of
beer.
The band that was playing included about
15 members all of which had the earmarks
of being a single family unit. Of the
three drummers, the youngest was about ten
years old, the ages of the band members
stepped up to men in their fifties.
Toddlers of that family band played around
the stage some dancing others holding toy
guitars. Eureka! This is where the music
starts. That evening I found room in my
list of favorite music gandras for
cumbias. Their deliverance of "Macondo"
still lingers in my ear a year later.
 The
drinking and eating was outrageous with
celebrations going on past morning light.
Long after the men were under the table,
the Isthmus women continued consuming beer
and dancing with each other.
In my opinion, the music that originated
in the Isthmus is Mexico's most precious.
Some tunes of the area are "La Llorona" ,
"Naila", and "La Sandunga". "La Sandunga"
can be looked upon as the unofficial
anthem of the Isthmus of Tehuantepec, It
was written by Máximo Ramó
Ortiz a man that was also governor of
Tehuantepec.
The word sandunga - sometimes spelled
zandunga - is not a frequent visitor to
the average Mexican's daily vocabulary.
Most lesser Spanish-English dictionaries
don't include it. Those that do vary a bit
in their English translation. A
combination of references define sandunga
as: gracefulness, elegance, charm, wit,
celebration. The story of this musical
poem involves a local indigenous woman
{Zapotec} embracing her dead mother's body
and receiving no response. The bereaved
painfully wails "SANDUNGA" and sadness
turns to song as she sends her loved one
off to God. There is in the music
inspiration from the dances of Zapotec
women and it is to this day played at all
ceremonies in Tehuantepec at midnight. It
is a waltz and it was influenced by the
"Jota", a Spanish music style and is mixed
with Native American and Mestizo
elements.
Tim Sparks and I sat on a cliff
overlooking the Pacific Ocean one sunset.
Our conversation that evening centered on
the local music. We listened and we
talked. "Sandunga" is a captivating piece
and it captured us both. Tim touched his
guitar and "Sandunga" flowed. The next day
he put it on paper, enabling me to
approach learning it. In Tim Sparks style,
he passes it on to you.
LA SANDUNGA
Sandunga, sandunga mamá
Por dios
Sandunga no seas ingrata
Mamá de mi corazón
Hay! sandunga, sandunga
Mamá por dios
Sandunga no seas ingrata
Mamá de mi corazón
Antenoche fui a tu casa
Tres golpes le di al candado
Tu no sirves para amores
Tienes el sueño pesado
Sandunga, sandunga mamá
Por dios
Sandunga no seas ingrata
Mamá de mi corazón
Me ofreciste acompañarme
Desde la iglesia a mi choza
Pero como no llegabas
Tuve que venirme sola
Hay! sandunga, sandunga
Mamá por dios
Sandunga no seas ingrata
Mamá de mi corazón
A orillas del papaloapa
Me estaba bañando ayer
Pasaste por las orillas
Y no me quisiste ver
Hay! sandunga, sandunga
Mamá por dios
Sandunga no seas ingrata
Mamá de mi corazón
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