Using Multimedia to Expand the Audience of ... - Richard Repp

Using Multimedia to Expand the Audience 

of Huichol Culture 

Literature Review and Project Summary 

By Angela L. Aranda 

Submitted in partial fulfillment of the requirements 

for the degree of Master of Music in Music Technology 

in the College of Graduate Studies at Georgia Southern University, 

May 2007

Using Multimedia ii 

ABSTRACT 

This multimedia project documents, displays and archives examples representing 

the musical talent of Huichol people from northwest Mexico. This paper is an account of 

a personal experience with modern Huichol musicians and is an explanation of the 

process of transmitting this unique occasion to a larger audience through multimedia. A 

goal of this research and fieldwork is to demonstrate the complex interconnectedness of 

art, music and behaviors characteristic of Huichol culture. 

Through first-hand filming, editing, and Web display, the author supports the use 

of digital media in the discipline of ethnomusicology. Utilizing these digital tools, this 

multimedia project is a demonstration of an audio-video recording of contemporary 

leisure music featuring a Huichol string quartet. The project includes a comprehensive 

DVD, a Web page that is home for QuickTime files, a photograph gallery and a 

hyperlinked research paper for future reference.

Using Multimedia iii 

TABLE OF CONTENTS 

ABSTRACT………………………………………………………………………………ii 

TABLE OF FIGURES…………………………………………………………………....v 

INTRODUCTION………………………………………………………………………..1 

LITERATURE REVIEW…………………………………………………………………3 

Ethnomusicology, Anthropology, and Ethnography……………………………...3 

Multimedia……………………………………………………………………….14 

METHODOLOGY…………………………………………………………………….. .21 

The Journey……………………………………………………………………...21 

Equipment………………………………………………………………………..25 

Bringing It Home: Editing and finalizing process……………………………... 26 

Web page………………………………………………………………………...30 

DISCUSSION…………………………………………………………………………...31 

Huichol History………………………………………………………………….31 

Ethnomusicology………………………………………………………………...35 

Huichol Music…………………………………………………………………...36 

Sacred……………………………………………………………………36 

Secular…………………………………………………………………...38 

Multimedia……………………………………………………………………….41 

CONCLUSION………………………………………………………………………....44 

REFERENCES……………………………………………………………………….…46 

Journals and Books……………………………………………………………...46 

Audiovisual Media...............................................................................................48

Using Multimedia iv 

Huichol Culture Links.......................................................................................... 49 

Ethnomusicology, Anthropology, and Ethnography Links……………………...50 

Geography Links………………………………………………………………...51 

Technology Links………………………………………………………………..52 

Multimedia Equipment and Software Links……………………………………..53 

APPENDIX……………………………………………………………………………...54 

Copyright Form PA for a Work of Performing Arts…………………………….54

Using Multimedia v 

TABLE OF FIGURES 

Figures 

1a: Las Sierras Huicholes, Jalisco, Mexico……………………………………………...22 

1b: Las Sierras Huicholes, Jalisco, Mexico……………………………………………...22 

2: A church in the center of town, Huejuquilla el Alto, Jalisco, Mexico…….………….22 

3: Plaza Principal gazebo, site of the Huichol string quartet performance……………....23 

4: Municipal building, Plaza Principal, Huejuquilla el Alto……………………………..24 

5: Plaza Principal rose garden……………………………………………………………24 

6: Huichol string quartet performing in front of the gazebo in the Plaza Principal……...24 

7: Sony DCR-DVD105 camcorder and Mini DVD disc ………………..........................25 

8: Screen shot of Sony Vegas 6……………………………..…………………………...27 

9: Screen shot of a QuickTime video on a Web page……………………………………27 

10: DVD cover and liner notes photographs…………………………………………….30 

11: Attire of the Huichol violinists………………………………………………………32 

12: Embroidered pants of one of the violinist…………………………………………....33 

13: Huichol woven bag: cuchurie………………………………………………………..34 

14a: Huichol bead necklace closeup……………………………………………………..34 

14b: Huichol bead necklace closeup……………………………………………………..35 

15: Huichol playing a rabel of 4-strings for traditional sacred ceremony.........................36 

16: Lead violinist, in the foreground, holding modern violin like a raweali………….…37

Using Multimedia 1 

INTRODUCTION 

This project shows how multimedia, coupled with worldwide accessibility, can 

increase an understanding with the Huichol culture of Mexico across broader audiences. 

The purpose of this research paper is to demonstrate the utility of multimedia as part of a 

comprehensive approach to documenting, displaying and archiving a unique cultural 

identity in our global community. Cultural awareness enhances an audience’s connection 

with a diverse world; more specifically, this project focuses on a culture that is essentially 

isolated from the general public. 

The World Wide Web and Internet reach a global audience, and multimedia has 

capabilities to effectively represent human behavior. Interactive audiovisuals on the Web 

display live recordings to those with Internet capability. Cultural and historical 

information reaches the world in an educational and entertaining manner through flexible 

interactivity, allowing the user a variety of options. In this project, through active 

engagement over the Internet, users have the opportunity to select their own search path 

to browse information about the Huichol culture, the region in which they live, the 

musical choices of the indigenous group, and how musical cultures affect each other. 

The following section describes methodology, explaining the journey to 

Huejuquilla el Alto, Mexico, the equipment used in the process of recording, editing and 

finalizing the video and an approach for establishing a Web page to display the 

completed work. Afterward, a discussion investigates technological developments of the 

twenty-first century, specifically, the impact of the World Wide Web and the Internet in 

ethnomusicology. In support of using multimedia to expand the audience of Huichol 

culture, the discussion promotes interdisciplinary networking with the use of multimedia.


This paper provides resource links referring to ethnomusicology, anthropology, 

ethnography, geography, and the multimedia equipment and software used to record, edit, 

and preserve the live music of the Huichol quartet. QuickTime video files are also 

available on a Web page and a Digital Versatile Disc (DVD) supplements this paper. 

This promotion of multimedia intends to assist ethnomusicologists and enthusiasts 

better understand culture through the application of wide-ranging technological 

developments available. Multicultural awareness is important in today’s world, especially 

for smaller, isolated cultures. Preserving records of ancient traditions helps to fill the 

need to develop a deeper understanding of world civilizations through experiencing their 

cultures. Older methods of capturing and preserving audiovisual materials on magnetic 

tape and vinyl were limited due to their lack of resiliency. Emerging and developing 

digital technologies currently provide the most efficient means of archiving and 

communicating. Multimedia is ideal for introducing culture because it allows a real-time 

glimpse, using several humans senses, into a wide array of cultural activities, such as 

music, art, dance, and architecture. The methodology of creating a digital record of the 

Huichol people weds contemporary technology with a study of tradition influenced by 

external forces, communicating the immediacy of this cultural change to a global 

audience.


LITERATURE REVIEW 

“Using Multimedia to Expand the Audience of Huichol Culture” utilizes a variety 

of resources. Journals and books about cultural anthropology, ethnology, 

ethnomusicology, communications over the Internet, audiovisual media (sound 

recordings on cassette, record, Compact Disc, video on Digital Versatile Disc) and 

multimedia design and presentation were the dominant influences in this study. Web sites 

about Huichol language, history, and culture, geography, research methods of 

ethnography field work and collections, ethnomusicology and the formats of presentation 

of cultural research, technology and telecommunications census, statistics, definitions of 

terminology, and multimedia equipment, software, and tutorial links supplement and 

enrich the study of culture in our 21 st century global community. 

Ethnomusicology, Anthropology, and Ethnography 

A major scholar in the subject of ethnography, author Carl Lumholtz expressed 

the excitement of new fields of study in his writings; he was one of the first scientific 

travelers to document his neutral interaction with the Huichol people beginning in 1890. 

The Norwegian naturalist-scientist became a leading figure in the development of the 

field of ethnography through his writings Unknown Mexico (1902). Lumholtz lead six 

expeditions throughout northwest Mexico in about a ten-year span. Lumholtz 

acknowledged information regarding flora, fauna, terrain, and food during his travels in 

Mexico between 1890 and 1910. He also documented the customs of colonists, the 

mestizos (people with both European and indigenous ethnicity), and the customs of native 

people in the Northwest Sierras of Mexico. Lumholtz indicates the musicality of the 

Huichol in these early records:


[I] spent … ten months among the Coras and Huichols. At first the natives 

persistently opposed me; they are very distrustful of the white man, and no 

wonder, since he has left them little yet to lose. But I managed to make my entry 

and gradually to gain their confidence and friendship, mainly through my ability 

to sing their native songs, and by always treating them justly. (Preface, para. 17) 

In 1898 I made my last expedition to Mexico… staying there for four months. I 

revisited the Tarahumares and Huichols….Sixty melodies from these tribes were 

recorded on the graphophone. (Preface, para. 20) 

The author describes how secluded a people the Huichol were at that time, and 

surprisingly they still are today. 

In contrast, Rodney Gallop’s journal article “The Music of Indian Mexico” (1935) 

displays detailed pictures of indigenous cultures holding their instruments dressed in their 

traditional attire. The author recognizes that the traditional societies in Mexico were 

changing or disappearing by the 1930s because of European enculturation. Gallop 

collected images and transcriptions, including examples of tonic-dominant song models 

performed by indigenous cultures during mestizo-catholic celebrations. The pictures 

show a variety of native instruments: horizontal carved log drums, pipes and small 

drums, tall drums, homemade fiddles, gourds and ankle rattles. His writing also includes 

examples of folk song transcriptions that show “a blend of European melody and native 

rhythm” (p. 211), which developed roughly between the mid-1600s and mid-1800s. 

Gallop discusses the “Indian influence on a Spanish foundation” (p. 210) of music, such 

as how music was performed in “pre-Cortesian” (p. 211) times (before 1519) and at the 

time of his observation of the practice of traditional, sacred celebration. He refers to the


people as “untamed tribes of the western Sierra Madre, such as the Yaquis, Seris, and 

Huicholes…” having “preserved fragments of genuine indigenous song” (p. 211). The 

author states that the main influence on the “evolution of folk-song” (p. 212) is the 

European equal-temperament instruments. This steered the article away from music used 

exclusively for religious events towards playing music for cultural expression. 

Frances Toor illuminates the dignity of the enumerable natives of a country whom 

the Europeans have marginalized and oppressed. A Treasury of Mexican Folkways, 

written in 1947, dedicates Part Three of the book to Music and Dance. Drawings, color 

plates, and black-and-white photographs of dancers in costumes and musicians with 

instruments present beauty in the diversity of the indigenous peoples of Mexico. Toor 

discusses the elements of Music and Dance together in historical context before the 

Spanish conquest of the Aztecs in 1521 and leads up to what was still flourishing during 

the late 1940s. The author emphasizes Christian ceremonial influences; performances 

were interpreted with “crude, tiny, homemade violins and guitars” (Toor, 1947). The 

author affirms that the book is a collaborative work of personal field research beginning 

in 1922 on the subject of anthropology, folklore, ethnology, archaeology, collectors of 

music and song, authors of books of music, authorities on art and Latin American studies. 

In another valuable guide, editors Stacy B. Schaefer and Peter T. Furst exemplify 

the essence of Huichol culture in People of the Peyote: Huichol Indian History, Religion, 

and Survival (1996). A variety of authors contributed to this book’s seventeen chapters. 

Schaefer and Furst discuss the history of the Huichol dating back to the 1580s, explaining 

how the indigenous people resisted zealously to religious conversion by missionaries; 

only a small percent of the native population in the sierras converted to Catholicism by


the Franciscan order in the early 1700s. The two main groups are identified by the area in 

which they live. The Tecual Tepona-Huastlan Huichol settled in Nayarit, close to 

Santiago Ixcuintla and around Río San Pedro. The Chapalagana Huichol inhabit the 

Sierras of Jalisco around the Río Chapalagana and Río Jesús-María (p. 3). This 

multinational collection of essays on Huichol history, religion, and survival includes 

black-and-white photographs of the Huichol people engaged in daily rituals and chores, 

the land on which their communities thrive, yarn paintings, sacred relics and votives, 

peyote and herbs, drawings of a Huichol temple, maps, figurines, and a homemade violin 

and horsehair bow decorated with hot knife engraving and beadwork. Anthropologist 

Masaya Yasumoto (p. 251) explains that 

Huichol men play small, homemade three-string violins, as well as homemade 

guitars. They learn to play these stringed instruments, which were introduced into 

Mexico by the Spaniards in early colonial times, by following the example of 

others. Those who play well are elected to serve for terms of five years as 

musicians with the other members of the temple group. They also receive 

invitations from neighboring communities to perform in their ceremonies. 

Anthropologist Salomón Nahmad Sittón (p.495) explains how indomitable the Huichol 

are to maintain their identity in the face of change. 

The reality of the mestizo world had been around them for a long time, but 

while its influence made some people fall away, it failed to affect the majority. 

And now the aleluyas [Christian converts] in their own midst, that majority, the 

traditionalists, became even more Huichol, more determined to remain Huichol 

and be identified as Huichol people by the outside world.


This book is an indispensable resource in the study of understanding the intriguing nature 

of the Huichol people. 

In addition, a magazine-book named Arte Huichol (2005), number 75, is part of a 

series of Artes de México/ Arts of Mexico. The presentation format has sophisticated 

advertisement at the beginning and at the end, resembling a magazine. There are at least 

one hundred pages that are devoted to stunning colorful photographs of the Huichol 

peregrination to the sacred land of Wirikuta. Analysis of the vivid Huichol votive yarn 

and bead art pictures, a Huichol traditional territory map, a glossary of Huichol 

vocabulary, a useful bibliography, and pictures of ceremonial musical instruments such 

as a violin, drum and rattles complete this issue of the magazine. Ten different 

contributing writers, including mestizo and Huichol, recount that the religious 

components of the Huichol are embedded in their artwork. The consumption of the 

peyote as a sacred rite inspires yarn paintings, bead work, and other votives. The majority 

of the museum quality magazine-book is in Spanish, but there is a “Huichol Art: 

Complete English Version” (p. 69) section towards the end with quality photographs in 

black and white. 

According to ethnomusicologist Bruno Nettl, “…if there is anything really stable 

in the musics of the world, it is the constant existence of change” (p. 275). In 2005 Nettl 

updated and published the second edition of The Study of Ethnomusicology: Thirty-one 

Issues and Concepts due to the transformations the discipline has undergone since the 

first publication in 1983. The book is a discussion of the study of the variety of musics in 

our world, the philosophy of fieldwork, and how ethics and globalization affect the 

interpretation of the study of music in present day culture. Nettl emphasizes that ethics


and globalization highlight a new era of ethnomusicology. He suggests that 

ethnomusicologists be very careful to not violate the moral principles of a people through 

a bias analysis, and to employ a method of transcribing “what would the culture say about 

itself” (p. 233). This discussion is essential in expanding an understanding of 

ethnomusicology and how it relates to other fields such as historical musicology and 

cultural anthropology. Nettl highlights two major purposes of music: as a “thing in itself” 

or “in conjunction with other activities” (p. 246). This idea stresses delving into the 

aspect of music functioning as an intricate part of society and comparatively finding out 

what is typical in a culture. In the first chapter, Nettl offers an accumulation of 

definitions within the field of ethnomusicology relating interdisciplinary to musicology, 

anthropology and linguistics. The author later defines ethnomusicology as the 

“relationship to other cultural domains and a view of music as a world of musics” 

(p.273). He calls the attention of the researcher to “take change into account because it is 

always there, and that they [ethnomusicologists] have a special stake in the understanding 

of history.” Nettl references around 960 items focusing on aspects of ethnic music; the 

author presents many approaches about studying music of culture as a whole. 

As stated by the anthropological and archeological writings of Marie-Areti Hers 

“Los toltecas en tierras chichimecas: Santuarios huicholes en la Sierra de Tenzompa 

Jalisco” (“The Toltecs in Chichimecas Land: Huichol Sanctuaries in the Sierra of 

Tenzompa Jalisco”) (1982), the territory in and around Huejuquilla el Alto, Jalisco was 

traditional land of the Huichols since pre-Columbian times, but they abandoned the area 

in the 16 th century. The Autonomous National University of Mexico promoted and 

embraced this research. The author’s documentation, which included pictures of ruins,


maps and religious offerings, confirmed that this area was the home of Huichol 

sanctuaries. 

Negrin da Silva’s unpublished manuscript Moving towards a new relation?: The 

struggle to preserve Huichol self-sufficiency in the face of the developmentalists politics 

of the Mexican state (2004) presents a window into how modernization effects the 

Huichol. The author informs the reader that in the past two decades, government 

developmentalists have built roads, a major dam project and electrical posts and wires 

bringing curious outsiders closer to the Huichol’s sacred land. 

Editors Malinowski, Sheets, Lehman, and Doig present facts collected in 1998 in 

Volume II of The Gale Encyclopedia of Native American Tribes. The article on the 

Huichol people includes a general historical and cultural description of who they are, 

where they live, a population count, a brief timeline from 1524 to 1970s, and a short five 

item bibliography for further reading by Paula Pyzik Scott. The encyclopedia identifies 

many important facets of the Huichol, such as remarking how they are very isolated with 

a population count of approximately 19,000 over the age of five and speak the 

Aztecoidan branch of a Uto-Aztecan language. The treasures of tradition of the Huichol 

culture, least affected by the impact of missionary acculturation, have been safeguarded 

in the remote mountains in the states of Jalisco and Nayarit. At an altitude of about 6,560 

feet tower the majestically rugged Sierra Madre Occidental Mountains. In this area, 

Huichols inhabit extended-family ranches linked between several miles of arid, rocky 

terrain. This essential text is a straightforward presentation about native people that 

features succinct information. The volume recognizes the Huichol as a thriving traditional 

tribe, but the information needs to be updated. There is no mention of Huichol music in


its cultural context. 

Editors Dale Olsen and Daniel Sheehy of The Garland Encyclopedia of World 

Music, Volume 2, South America, Mexico, Central America, and the Caribbean, (1998) 

provide a section titled “The Music of Mexico’s Native People” (pp. 548-625), which 

documents an extensive variety of native musical traditions and musical instruments, but 

does not provide evidence of the Huichol music. They include photographs of different 

musicians annotated with a description of instrumentation influenced by region. The 

information identifies musical styles and popular music, such as the mestizo son (p. 605- 

608), among various demographics of Mexico. The book presents information to the 

audience in sections combining historical, geographical, and cultural background of 

indigenous and folk music. A section on “Folk-derived popular music” (p. 619) and 

“Other folk-derived popular musics” (p. 622) explains historical transformations of the 

Mexican musical culture into the voice of the mestizo, including mariachi, ranchera, 

banda, and orquesta típica (p. 621-622). Popular musical groups called mariachis are 

strolling folk orchestras found originally in the western Mexican states of Colima, 

Nayarit, and Jalisco. Mariachi orchestras have acquired much fame in the capital city of 

Guadalajara, Jalisco. The encyclopedia includes a plethora of useful bibliographic 

information and guides to film, video, and sound recordings. 

The article “The Many Forms and Styles of the Mexican Fiddle” by Ana Zarina 

Palafox Méndez, Fiddler Magazine (Fall 1998), reprinted as an internet article “Mexican 

violin styles”, relates information that concurs theoretically with the previously 

mentioned source. The author establishes an historical connection with the European 

fiddle-like instrument to what the Huichol musicians adopted for their own. She


distinguishes between the separate developments of the indigenous and mestizo fiddle 

styles, and defines the Mexican son. She elaborates on a variety of Mexican fiddle styles 

in relation to the mestizo son, such as the huastecan son and the jalisco son or mariachi 

style as well as sones in the states of Michoacán, Nayarit and Colima. The article presents 

a correlation with the secular musical genre son and the expression of the violin voice. 

Méndez claims the instrumentation of the musical groups is characteristic of the regional 

style of music. 

The Mankind Quarterly published Raymond Friday Locke’s “The Huichol 

Indians of the Mexican Sierra Madre” (1972) which relates historical facts along with 

annotated photographs of the indigenous group. This article is about the ceremony in 

which Huichol sacred music is performed. An outsider, Marianne Greenwood, who 

witnesses a “Huichol Purification,” a religious rite from pre-Hispanic times, identifies 

particular ceremonial instruments: gourd rattles, huehuetl drum, homemade violins and 

guitars. The author states that “they play both secular music and songs learned from 

Christian missionaries” on the later two instruments (p. 30). Locke elaborates on the 

perseverance of the preservation of the sacred way of life of the Huichol. 

Adding another angle to the research, in a 1992 issue of Ethnomusicology, Jeff 

Todd Titon from Brown University published “Call & Response: Representation and 

Authority in Ethnographic Film/ Video: Production” (pp. 89-127) with the purpose to get 

fellow ethnomusicologists to discuss the current issues in the discipline. This paper 

proposes that in order for the presentation of a culture’s music to be authentic in the 

process of documenting, one should observe without translating the event; the music will 

remain “in its own terms” with a lack of prejudice (p. 89). By capturing the purity of a


performance, the moving picture shows what actually happened with the camera being 

the witness. When meaning to represent reality, Titon recommends very little editing; this 

allows for the presentation of a live cultural event to naturally unfold. Titon also includes 

is an extensive response to his call, with more than twenty pages of bibliography, 

discography, and filmography along with dissertations and theses related to the subject of 

ethnographic film and video. 

According to Serena Nanda, “…music [is] a language consisting of a number of 

dialects…” (p. 310). Cultural Anthropology (1980) is a textbook at the university level. 

The author presents basic, fundamental concepts, theories, methods, data, and references 

regarding cultural anthropology with a variety of ethnographies. This text is a thorough 

introduction and overview to the discipline. The black-and-white photographs, maps, 

definitions, and suggested readings are essential elements. Cultural anthropologist Serena 

Nanda expresses a traditional view of music as a separate part of society having an 

adaptive role. She contends that research of music relates directly to research of culture: 

Music, like the other arts, may be said to represent the ‘soul’ or cultural identity 

of a people in a highly condensed and emotional form. An important aspect of 

studying music, then, is in an attempt to understand the culture of a particular 

people. And like other art forms, music plays an important indirect role in human 

adaptation, primarily perhaps by contributing to the integration of society. (p.312) 

This ethnologic comparison offers an intricate description of traditional and progressive 

approaches to understanding a culture’s music. Nanda addresses a basic cultural 

conception of music with a section referring to the emerging field of ethnomusicology. 

The author quotes several forefathers of the discipline, Alan Merriam and Alan Lomax,


during the 1960s. Comparing Nanda’s book from1980 with Nettl’s (2005) book shows 

readers the transformation of the approaches of study in the field of ethnomusicology. 

Music Library Association Notes provides an insightful book review of Shubha 

Chaudhuri’s and Anthony Seeger’s Archives for the Future: Global Perspectives on 

Audiovisual Archives in the 21 st Century. The book review focuses on audiovisual 

archives that document cultural traditions useful to the studies in the discipline of 

ethnomusicology. At an international conference, a group of scholars presented problem 

solving ideas concerning archiving music and folklore in the 21 st century. Participants 

discussed their experiences with archiving and the promotion of the latest technology for 

audiovisual recording. The document points out that sound archives have endured typical 

changes of preservation goals and audiovisual technology shows to be a dynamic benefit. 

Chaudhuri and Seeger recommend converting from analog to digital, which is now 

available due to the capabilities of enormous hard drive space. Common problems that 

ethnomusicology archivists face are storage, preservation, cataloging, and funding issues 

for the aforementioned. The authors propose a progressive view point to solve the 

problems: sending copies of field recordings back to their country of origin and 

establishing research and documentation centers by and for indigenous people. This 

proposal protects ethical and moral rights giving ownership of the collected material to 

the people who granted the permission for the documentation. This gives fair treatment 

for all people involved in a project, such as the collectors and the documented 

communities. Digital archives provide priceless benefits for radio collections, academic 

institutions, and private collections. Chaudhuri and Seeger promote the need for the


opportunity for archiving audiovisual collections with global perspectives for a digital 

future. 

The selection of books and journals in this section are related by complimentary 

disciplines: ethnomusicology, anthropology, and ethnography. Cross referencing 

historical events with musical events connect facts that exhibit how a culture develops its 

art forms. Several of these particular documents establish a musicological foundation of 

the Huichol culture, yet the information is limited and incomplete. Other resources 

express the need for change in field work documentation, display, and preservation for 

future study in ethnomusicology. A discussion follows on the benefits of available 

technological advances in digital media that assist in capturing live performances for 

study. Branching out from the old-fashioned to future methods of collecting, archiving, 

and presenting field work in the discipline of ethnomusicology generates a list of 

resources in the next section on multimedia. 

Multimedia 

“Hypermedia and Ethnomusicology” written by Barbara Rose Lange (2001) 

steers ethnomusicologists towards the use of digital media in presenting a subject. The 

author emphasizes the tremendous prospects developing technology offers to the field of 

ethnomusicology. At the same time that she praises the effects of the Internet, 

hypermedia and web pages, Lange comments on potential negative results in the process. 

The author urges the presenter to be careful to honor fieldwork methods and ethical 

duties; content precedes glamour. She also advises the researcher not to allow the design 

of presentation to interfere with “comprehending live performance” (p. 132). The article 

references several educational journals that publish essays online and discusses the


difference between actual academic portrayals of ethnographic material versus the 

artificial commercial representation of stereotypes: “[These] projects initiated from a 

scholarly perspective have depth and consistency of conception that the general public 

appreciates” (p. 10), and professionals praise as well. Lange emphasizes the positive 

impact of enhancing a well planned presentation of ethnomusicological field work. This 

new method of research through large hypertext libraries requires necessary hardware 

and knowledge to navigate the Internet, and in so, may create a gap between the new and 

the old methods. 

According to editors Emily Berk and Joseph Devlin, Hypertext / Hypermedia 

Handbook (1991) is a primary guide to the implementation of hypertext. The first of its 

kind, the handbook highlights combining literature and innovative technology. Berk and 

Devlin present this book as a non-linear, all-inclusive collection of many views regarding 

hypertext; they bring forward many problems and possible solutions of hypertext as a 

mass medium outlet. The specialists advise to heed the following checklist (p. 144) when 

designing hypertext: 

Golden Rules of Hypertext 

! There is a large body of information organized into numerous fragments. 

! The fragments relate to one another. 

! The reader needs only a small fraction at a time. 

Author’s Goals in Structuring a Hypertext 

! To improve information accessibility 

! To enhance usability 

! To increase reader satisfaction (Glushko, 1989)


The authors offer a variety of approaches regarding literary issues and computer 

applications towards standardization and application of hypertext. 

In addition, Hypertext 3.0: Critical Theory and New Media in an Era of 

Globalization (2006) by George P. Landow offers updated information in a third edition 

since its first publication in 1992. Both informative and analytical, this text presents 

elaborate figures of different structures of hypertext. Regarded as being one of the 

influential books promoting the idea of merging literature and technology into hypertext, 

the author presents the various ways of linking text on the Internet and its affects on 

scholarly communications. According to Landow, hypermedia encourages interactivity 

and public dialog, and hyperlinks allow the audience to generate content on an 

individualized path; the navigator becomes the author of his/ her own search through 

browsing hyperlinks non-linearly. Suitable hypertext quality permits reader-centered, 

multi-linear access to a large menu of valuable and relevant links. Landow discusses 

Internet-related technologies, globalization of a virtual library at the fingertips of usercontrolled 

settings. Clear definitions of hypertext vocabulary validate this invaluable text. 

Also, Tay Vaughan presents the sixth edition of Multimedia: Making It Work 

(2004) which includes a Compact Disc-Read Only Memory (CD-ROM) trial software 

from Macromedia and Adobe. Color figures and tables present an assortment of examples 

of Web and CD-ROM multimedia development possibilities. This text is an exceptional 

reference of step-by-step instruction in multimedia design and production, technical 

vocabulary, chapter reviews, quizzes and lab projects. Blurbs of first-hand experience 

accompany each of the eighteen chapters recommending specific multimedia hardware 

and software. Audio and visual presentations have undergone many changes on personal


computers in Web design and development with specialty hardware. This instructional 

manual introduces digitized audiovisual movie making tools, such as AVI (Audio Video 

Interleaved) to author QuickTime videos on Web pages; blending audio data with video 

data in this format provides a significant and highly beneficial development in recording, 

presenting, and archiving field study of world music. A seventh edition is now on the 

market updated with the latest advancements in a field that is constantly improving. 

New Media (2005) by Terry Flew is a text that discusses technology and culture 

as a new “network society” (Preface, p. x) by looking at historical interpretation of the 

progress of mass communication and implications of digital media. The author focuses 

on the ideas of globalization through computer-based electronic networks such as the 

Internet and the World Wide Web and discusses how multimedia links people together 

“for both interpersonal communication and information retrieval” (p. 4). Flew directs the 

reader’s attention towards thinking about the concepts of virtual cultures in a 

technological system driven by information seekers. She defines new media as 

…manipulable, networkable, dense, compressible, and formally indifferent to 

what is represented, its ownership or creation, and its final uses. Digital media 

encompasses forms of media content that combine and integrate data, text, sound, 

and images of all kinds, and are stored in digital formats, and are increasingly 

distributed through the digital, networked environment. (p. 83) 

New media is praised for its capabilities to provide interactivity, “…which 

promote(s) flexibility, user choice, creativity, and individual discovery” (p. 15). Flew 

intends the book for the general public with interests in new media technologies as well 

as undergraduate and postgraduate students. The author markedly revised this version


since 2002 by adding information on “Games” and “Internet Law and Policy”. The 

numerous figures, tables, and useful references to Web sites tie together research 

resources with critical analysis of the development of new media. 

Linda Ericksen’s, Compact Guide to Web Page Creation and Design (2001) 

demonstrates designing Web documents and pages with a variety of methods. This 

concise book serves as a useful supplement to other computer theory texts at the 

beginning level for learning how to use Hypertext Markup Language (HTML) and 

developing advanced skills with JavaScript to add interactivity to a Web site. Ericksen 

offers an alphabetized list of HTML tags and attributes used in the book as a glossary for 

easy reference. She recommends that the general structure and links should be clearly 

mapped out as a storyboard before coding and offers checklists for planning a Web page, 

for example: 

! Define the purpose 

! Decide on an audience 

! Determine the information to convey 

! Determine how to organize the information 

! Determine what will attract visitors to the Home page 

(pp. 12-13) 

The author provides applicable vocabulary and visual examples with screen captures of 

leading home pages in grayscale with relative source codes and Web page design. 

A valuable addition to a multimedia collection featuring Huichol culture produced 

by Larain Boyll includes a DVD, Huichol Sacred Pilgrimage to Wirikuta (1991). This 

presentation allows the audience to accompany a group of Huichol on an annual ritual


pilgrimage. The Huichol pilgrims explain that this sacred area in the desert Wirikúta is 

where their people originated, for this reason they return each Spring. Traditionally on 

foot, the 300-mile journey begins on the pacific coast of Nayarit. Heading east, the trek 

requires Huichol pilgrims to cross three states to reach the desert of San Luis Potosí. 

Recent fencing of portions of the path has forced the Huichol to take alternative routes 

with the use of automobiles. The presentation conveys how the journey allows Huichol 

individuals to seek a vision that shows them their path in life. The video focuses 

particular attention on collecting of sacred peyote cactus for religious ceremony as a vital 

custom of Huichol culture. Sacred music performed during ceremonial procedures shows 

the interconnectedness of music. This accessible DVD is an enlightening example of 

first-hand fieldwork. 

These resources connect the continually developing fields of technology and 

ethnomusicology, largely through the means of the Internet and the World Wide Web. 

The capabilities of multimedia bring academia to the general public through Web pages 

and virtual libraries. The innovative technology offers guidance for whoever is ready to 

accept new media as an effective method of worldwide communication in any discipline. 

The aforementioned books and journals influenced the direction of this study in 

several ways. The lack of resources about the Huichol music identifies a need for 

continued and updated research about the indigenous culture. There are few Huichol 

musical recordings, and some of the audio samples available on record and cassette were 

scratched, deteriorated or missing necessary supplementary materials. Concentrating on 

music as an intertwined element of culture, the new fieldwork presented in this project


brings an audience up-to-date with the musical developments of the Huichol culture with 

the facility of more pervasive, flexible and reliable formats of digital media.


METHODOLOGY 

The research of this project began with interests in both indigenous music and in 

multimedia. At the onset of investigating what the Huichol music expresses, the resources 

focused on the sacred rituals of music, art and the consumption of peyote. However, my 

trek to a town high in the mountainous region of northwest Mexico with a small, handheld 

digital camcorder revealed a previously little known aspect of modern secular music 

of the Huichol. After the process of editing and finalizing, the completed digital media 

unfolds a collection of montages of music and people around the municipality of 

Huejuquilla, el Alto and nearby territory. 

The Journey 

My travels and observations took place in northwest Mexico in mid-July, 2006. 

The colonial town of Huejuquilla el Alto, Jalisco, founded in 1548 by Spanish 

missionaries, is located north of Guadalajara in the Sierra region. I traveled to the Sierras 

Huicholes (see Figure 1a) up curvy roads for eight hours, but which covered only about 

186 miles. Along the way the rocky, inclined farmed plateaus were speckled with 

grayish-green agave plants and a variety of common cacti (see Figure 1b). Around the 

town of Mezquitic, a torrent of rain accompanied by hail flooded and iced the road, 

slowing the ascent even more. Reaching beyond the summer storm in the higher altitude, 

the remains of the day appeared cloudy and the temperature fresh.


Figure 1a. Las Sierras Huicholes, Jalisco, Mexico 

Figure 1b. Las Sierras Huicholes, Jalisco, Mexico 

Figure 2. A church located to the north of the principal plaza in the center of town, 

Huejuquilla el Alto, Jalisco, Mexico.


Arriving from Guadalajara, Jalisco in Huejuquilla el Alto (see Figure 2) in the 

early evening, I was surprised to see a group of strolling musicians on the main avenue. 

Recognizing that they were Huichol by their distinguishing attire, an unplanned musical 

event was about to take place. Two of the men were wearing embroidered outfits typical 

of the indigenous group and the other two men were wearing western clothing. Even 

though I understand the Huichol are extremely shy and reticent towards outsiders, I could 

not miss the opportunity to meet them. The quartet agreed to play several songs for a 

small fee of one hundred Mexican nuevos pesos, equivalence to ten U. S. dollars. As we 

were walking down the street together towards the center of downtown, a passerby 

remarked “los mariachis”, referring to the musical ensemble. The vocabulary used to 

describe the musical group struck me as odd, since there were only four musicians and 

neither of them carried a trumpet, which is standard instrumentation for a mariachi band. 

The musicians said that they were on their way to perform at a party farther down the 

sierras. We arrived at the center of town where a quaint gazebo (see Figure 3) marked the 

center of the principal plaza. Well-kept rose gardens (see Figure 5) decorate the north and 

south sides of the park. Also in the plaza is the municipal building (see Figure 4) that 

quarters the police and the local Museum of Anthropology Tatuutsima. 

Figure 3. Plaza Principal gazebo; site of the Huichol string quartet performance


Figure 4. Municipal building, Plaza Principal, Huejuquilla el Alto 

Figure 5. Plaza Principal rose garden 

Figure 6. Huichol string quartet performing in front of the gazebo in the Plaza Principal


Equipment 

The quartet was recorded in front of the gazebo of the Plaza Principal (see Figure 

6). The musicians stood at the side of the stairs in order for the small camcorder with a 

built-in microphone on the lower front end to boost up the sound input reverberating off 

of the walls. I recorded about 20 minutes of audiovisual material. 

The small, light-weight equipment used to record the live music is a Sony DCR- 

DVD105 camcorder (see Figure 7) which records onto an 8 centimeter Re-Writable DVD 

that holds 1.4 Gigabytes of information. Sony claims that this small disc is highly durable 

and damage resistant (Newegg Inc., 2007). I recommend having on hand two batteries 

when traveling away from access of electricity in the field. This precaution prevents 

missing recording opportunities. Also, a battery charger is an indispensable accessory. 

The audio input capabilities with this camcorder need boosting due to the compressed 

sound (reduced amount of data) onto only two channels of Dolby Digital; this camcorder 

offers minimum features for basic documentation. 

Figure 7. Sony DCR-DVD105 camcorder and Mini DVD disc


Bringing it home: Editing and finalizing process 

Before displaying a QuickTime video, editing software such as Sony Vegas 6 

compiles, trims, add transitions, and renders digital audiovisual projects. Sony Vegas 6 

software converts digital audiovisual projects to play on a variety of computer platforms 

and DVD players. Several key features of Sony Vegas 6 software (see Figure 8) used in 

this project include video and audio editing, converting audiovisual files in the rendering 

process to QuickTime 6 and Windows Media 9 compatible file formats, text animation 

and effects, photograph snapshots from video, and audio mixing tools. According to 

Vaughan (2004), “QuickTime is a software-based system for multimedia delivery for 

seamlessly integrating sound, text, animation, and video (data that changes over time), on 

Macintosh and Windows platforms” (p. 243). QuickTime (see Figure 9) is a popular 

format of communication on Web pages and is a free downloadable plug-in that displays 

as a pop up window on a graphical interface.


Figure 8. Screen shot of Sony Vegas interface during the editing process of Huichol 

string quartet song 1 

Figure 9. Screen shot of a QuickTime video


For this multimedia project, fifteen QuickTime videos of the setting around the 

Plaza Principal portray the charming qualities of the colonial town of Huejuquilla el Alto. 

Additionally, two QuickTime videos describe the surrounding landscape, and two other 

videos show Huichol artwork. Narrations relating historical information and studio 

produced music occur over several of the visuals, and some of the project videos 

broadcast the sounds that coincide with the real environment. Recording the voice 

narration took place after editing, finalizing, and rendering the QuickTime files using 

Sony Vegas 6 on a Windows XP operating system computer. Rendering converts the 

Sony Vegas file to a compatible QuickTime movie file which takes as long as the video 

clip is in real time to finalize. By customizing the rendering format to a multimedia 

template, a client, at a later time, has less downloading time to access the video over the 

Web. Conversions from a Sony Vegas (.veg) file to a Window Media (.avi) file and then 

finally to a QuickTime (.mov) format results in best resolution display on a Web page.


In the discreet editing process, the footage of the musical performance naturally 

portrays the musicians. The edited version of the quartet’s performance contains five 

short, approximately two-minutes each, QuickTime files: Introduction with Huichol 

Quartet Song 1, Huichol Quartet Song 2, Huichol Quartet Song 3, Song Titles, and 

Credits. There is no narration during the performance, so the audience has an 

uninterrupted experience meeting the musicians. These abovementioned rendered 

QuickTime files were burned onto a data CD by way of Nero Express for easy transport 

to Georgia Southern University music department recording studio. In the studio, 

Macintosh OS X hardware served as the next arena to put all the pieces together into final 

presentation formats: Web page and DVD. To create a quality audiovisual, the following 

software is recommended: iMovie, iDVD, Photoshop, Garage Band, Digital Performer (a 

digital audio workstation, MIDI sequencer software program), and Dreamweaver MX. 

Some of the multimedia software is only compatible on Macintosh, such as iMovie, 

iDVD and Garage Band. 

In iMovie, all eighteen individual files were arranged on a timeline with chapter 

markers generating basic structure. Then, transitions were chosen to go between the video 

clips, title and credit text, and visual effects added details. These applications provide 

polished appeal to the work. Again, another rendering process occured in order to share 

the iMovie with other programs, such as Digital Performer to record and edit narration 

and Garage Band to create loop compositions of prefabricated sequences. Both of the 

aforesaid programs provided the author ability to watch the video while composing the 

sound. In order to produce quality sound, studio narration recording employed a quality 

vocal microphone, such as an AKG C3000, a large diaphragm condenser microphone


with a cardioid pattern receptive to fine distinction of sound between 20 – 20K Hz, the 

audible range of human hearing. After completion of the narration process, the file was 

bounced down, and converted to a new QuickTime file for export to iDVD. This 

Macintosh-only program allows an author to create a menu for the audience to facilitate 

interactivity with finished multimedia. Created in Photoshop, the DVD label, and jewel 

case cover photograph (see Figure 10) with liner notes presents the final video as an 

accessible product. 

Figure 10. DVD disc cover: Cactus double mirror image edited in iMovie and single 

mirror image edited in Sony Vegas 6 

Web page 

A Web page displays the panorama and music encountered in Huejuquilla, el 

Alto. As indicated by Ericksen (2001), “Web pages are made up of text and graphics


along with links to other documents” (p. 8). Browsers, such as Netscape, Internet 

Explorer, and Safari provide a flexible media service for Web sites used extensively by 

educators, advertisers, and the general public to find, send and store information and 

messages. Two popular Web design and development products on the market today are 

Macromedia Dreamweaver and Microsoft Front Page, both utilize standard codes such as 

HTML (Hypertext Markeup Language) and JavaScript. Purchasing Web design software 

and spending necessary time to produce quality work or hiring a professional Web 

designer are options to producing a Web page. 

The organization of this project’s Web site menu incorporates the following 

links: Home, Videos, Research Paper, Photograph Gallery, Useful Links, and Contact 

Info. Each link displays a short description of its contents. By purchasing a domain name 

and server space, the Web page connects with the global network. For this multimedia 

project, the chosen hypertext paths have clear parameters with a purpose to facilitate the 

reader’s navigation in cyberspace. This document becomes hypertext on the Internet 

linking to other relative documents and images accessible at 

http://www.angelaaranda.org. 

DISCUSSION 

An intimate connection with the hidden culture of the Huichol occurs through 

multimedia presentation. Audience connection with the diverse world enhances cultural 

awareness, and the World Wide Web is a portal to this experience. Multimedia captures 

the attention of an audience aurally and visually; consequently, this medium is a 

comprehensive approach to documenting, displaying and archiving music. 

Huichol history provides evidence of perseverance in maintaining traditional


customs in their religion, art, and music. There is a need to update the archives of the 

developments of Huichol music, as both ethnomusicology and technology have 

undergone transformations within the past twenty years with the goal of improving 

procedures and outcomes. The digital technology of the World Wide Web, the Internet, 

and multimedia allows flexibility and durability in this process. This multimedia project 

intends to promote a better understanding of this culture through the utilization of wideranging 

technological developments available to enhance ethnographic collections. 

Huichol History 

While there is relatively little documentation regarding Huichol music, 

available literature describes their religion, embroidered clothing (see Figures 11 & 12), 

folk art (see Figures 13, 14a & 14b), and language of this indigenous group. The Huichol 

currently maintain their distinctive religion and cultural dress, minimally influenced by 

the Spaniard’s conquest and colonization of Mexico. 

Figure 11. Attire of the Huichol violinists 

Huichol, as a close-knit farming community, deems every member as essential 

to the survival of their society. Referring to themselves as Wixárika or Wizrarika, (a


Guachichil word indicates a person who cultivates the soil for planting and growing 

crops), the life of the Huichol is rooted in the agricultural cycle; they are caretakers of the 

earth.


Cultural anthropologists regard the Huichol as the largest of the indigenous 

ethnic groups in Mexico with an approximate population of 26,000 (Answers 

Corporation, 2007) who have maintained a traditional lifestyle of cultivating the land and 

practicing shamanism (Schaefer & Furst, 1996). For the most part, the Huichol are 

reserved and self-reliant people not venturing far from their own society, and who also 

limit participation in the Mexican economy. Frances Toor (1967) observed that, while 

some chose a modern way of life in a city, most others did not allow their ancient 

heritage to be lost, therefore living in indigenous communities practicing their traditional 

rituals and beliefs. Like their work, their art is strongly associated with cultural identity. 

The Huichols attract outside attention because of their unique spiritual use of the peyote, 

a hallucinogenic cactus, in connection with the creation of folk art. Stimulated by the 

peyote, the artist communicates with the gods of nature. Each spring, pilgrims return to a 

sacred area in the Chihuahaun desert, Wirikúta, the traditional place of origin. Annually, 

the 300-mile journey begins on the Pacific coast of Nayarit. Heading east, the trek was 

formerly made on foot, crossing three states to reach the desert of San Luis Potosí. 

Customarily, artists leave their artwork as sacred offerings along the journey route. 

Additionally, functional art decorates Huichol’s daily life with embroidered clothes, 

woven bags called cuchuries, and bead necklaces. The Huichol come down from the 

mountains to sell their artwork and farm goods to tourists and to the general Mexican 

public. 

Figure 12. Embroidered pants of one of the violinist


Figure13. A Huichol woven bag: cuchurie 

These examples of bead necklaces (see Figures 14a & 14b) were purchased at a small 

pharmacy in the center of the town of Huejuquilla el Alto. Huichol folk traditions are 

increasingly under pressure from surrounding development. This global phenomenon is 

inevitable and unpreventable, but attitudes range from resistance to selectively accepting 

elements of modernization. Change delivers new possibilities such as benefits of


technology, but modernism does not incorporate well with the traditional lifestyle of the 

Huichol. Current governmental projects on and around the Huichol territory threatens the 

preservation of the Huichol’s traditional folk life (Negrín, 2004). 

Figure 14a. Bead necklace closeup 

Figure 14b. Bead necklace closeup 

Ethnomusicology 

By incorporating related disciplines and fields within the area of 

ethnomusicology, a researcher creates a strong link between each discipline that, in turn, 

strengthens an understanding of world cultures. Sensitivity in honoring the values of 

specific cultural perspective requires the observer to take on a character as an insider


opening a window. The researcher’s task is not only to collect fieldwork in an impartial 

manner, but to do so with sensitivity towards the society one is studying. Nettl (2005) 

encourages ethnomusicologists to branch out from established roles of documenting 

facts, recording, collecting and interpreting music to an analysis of the functions of ethics 

and education in ethnomusicology, technology, cultural anthropology, ethnography, and 

ethnology. 

The modern musical choice of the Huichol is a demonstration of transformation. 

Up-to-date technology makes possible an audiovisual presentation of this adaptation. 

The performers have an appreciation for this contemporary music as an artistic 

expression functioning for enjoyment and income. The cultural distinctness of the 

Huichol, who have been recognized more for their religious music, is not compromised 

because of this variation in purpose. Digital tools assist in bringing this remarkable event 

from the remote region in Mexico to the home of a wide audience. 

Huichol Music 

Sacred 

Indigenous music is customarily passed down aurally and orally; therefore, no full 

transcriptions of Huichol songs are available. Traditionally, during religious ceremonies, 

the shaman plays a tall, wooden tepu drum, men chant, women and children shake caitsa 

rattles made from small, round gourds. The majority of past recordings of Huichol music 

are religious.


Figure 15. Huichol playing a rabel of 4-strings for traditional sacred ceremony 

(Simental, 2007). 

Gradually, the Huichol incorporated European instruments in their religious 

music. Spanish clerics and militia brought with them 12-inch long, 3-stringed violin 

called a rabel. Around 1555 the native musicians adopted the rabel as their own 

instruments and called the small string instrument a raweali and the bow, a toepi. 

The modern Huichol raweali is about 14-16 inches long and is still played like its 

precursors by holding it against the left upper arm in front of the shoulder and chest near 

the armpit (Mendéz, 1998). Huichol violinists have maintained this traditional posture 

and instrument position over the centuries. Rodney Gallop provides a 1939 picture of 

Chief Xenobio holding a raweali (p. 224) in the exact position previously described, and 

a 2006 field observation witnessed the lead violinist in a Huichol string quartet holding 

his instrument in a similar manner. 

Figure 16. Lead violinist, in the foreground, holding a modern violin like a raweali


Over time, Huichol musicians more frequently employed several European 

instruments, especially violin and guitar, in sacred rituals. As Greenwood observed, while 

music had become well developed as an essential part of Huichol religious ceremonies, 

the musicians also utilized the aforementioned instruments in an ever-increasing body of 

secular music. This reinforces the use of music as an essential, cultivating element 

enriching both sacred and secular Huichol society. 

A civilization’s way of life incorporates the musical element as part of the whole. 

Nettl elaborates on the nature of this: 

…the overriding determinant must be that special character of a culture. The ways 

in which people live, relate to each other, see themselves in relation of their 

natural and human environment, control energy, and subsist determine the kind of 

music they have. (p. 347) 

For the Huichol, music is an integral part of societal communication, for it consecrates 

beliefs, tells stories, and expresses emotions. The interrelationship of music in Huichol 

culture is dualistic: music as prayer to the force that sustains life and as an expression of 

joy in social settings. 

Secular


Gradual assimilation of outside influences into Huichol musical expression is 

evident, and can easily be heard in evaluating past recordings and comparing them with 

more recent ones. Folk music of the Mestizo has had a great influence on the modern 

secular music performed for recreation and revenue. For some Huichol, this change in 

musical direction is an indelible mark of contemporary culture. As previously mentioned, 

Locke (1972) explains that the Huichol devote their free time to developing their art and 

music. The string quartet observed in Huejuquilla, el Alto, Jalisco is an example of this 

aforementioned devotion to pursue and develop one’s art. The instrumentation of the 

quartet does not perfectly fit in any of the ensemble categories previously mentioned by 

The Garland Encyclopedia of World Music, but is shows distinct influence of mestizo 

folk music. Ekholm and Yurchenco (1962) state that violins and guitars are the most 

popular instruments of Mexican musicians. Instrumentation of the recognized Huichol 

string quartet includes 2 violinists, who alternate playing with singing in their native 

Huichol language, a guitarist, and a double bassist. In my experience with this music all 

instruments appear modern and manufactured, rather than handmade. The Huichol live 

on ranches and sustain their life mainly through what they produce from the land, 

therefore identification of the new style of secular Huichol music as ranchera 

appropriately substantiates the genre. Ranchera topics share characteristics with the son 

expressing themes of romance and pride of rural Mexico (Answers Corporation, 2007). 

The string quartet in this multimedia presentation exhibits qualities of the modern, 

popular Mexican genre ranchera and regional style of son jalisciense (son identified with 

the state of Jalisco). The distinctive attributes of the son identified with this study are 

instrumental and vocal techniques, regional origin of practice, and an adaptation of


instrumentation. Styles of sones from Michoacán, Nayarit and Colima resemble each 

other due to the fact that those states neighbor one another in the northwestern region of 

Mexico (Olsen, Sheehy, p. 608). Therefore, this developing trend of ranchera genre 

influenced by the regional son style of rural Mexico connects with the identity of Huichol 

secular music. 

Characteristics of the son familiar to Jalisco include 3/4-6/8 metrical ambiguity 

(Sheehy & Olsen, p. 613) shared by the guitar and double bass. This rhythmic-harmonic 

relationship between the guitar and bass complements the vocal and violin melodic line. 

A violinist plays the lead in the son (Mendez, para. 15) and introduces the melody before 

the vocals enters into a cyclical and repetitive phrasing which returns in verses. These 

elements are distinct of the string quartet recorded in 2006. The traditional rural Mexican 

genre ranchera displays elements of the musical form a/b/a/b. The first section (a) is 

instrumental and introduces the theme. A lyrical verse (b) follows with instrumental 

embellishments between the lyrics. Ranchera meters employ 2/4, 3/4, and 4/4 rhythmic 

patterns (Answers Corporation, 2007). While listening to the recording of the Huichol 

string quartet, identifiably, the first of the three songs utilizes 4/4 meter and the other two, 

3/4-6/8 meter. 

Two additional musical samples of Huichol secular music are Kupuri: Huichol 

Songs and Music (Cruz Rios, 1990) on cassette and a CD of Huicholes de la Sierra Norte 

de Jalisco: El Venado Azul (1999). A large Huichol family performs the songs and music 

on the Kupuri cassette expressing joy and humor as an important part of life. These songs 

do not sound very different from sacred music recordings and all songs are sung in the 

indigenous language. The performers utilize a 6/8 rhythmic pattern in the majority of the


songs; voice, violin, and guitar invoke the music. Many of the songs in this collection 

have secular titles and few are of the sacred genre. The Huichols of the north mountain 

range of Jalisco: (El Venado Azul/ The Blue Deer, 1999) is recommended as one of the 

best commercially recorded Huichol bands of Mexico. Only the first song, the title of the 

CD “Acabame de Matar”, is sung in the Huichol language, but the title is written in 

Spanish. The other nine songs on the CD have typical characteristics of ranchera genre, 

previously mentioned, expressing themes of romance and rural life. The instrumentation 

of this group is similar to the string quartet recorded in Huejuquilla el Alto: two vocalists, 

(male and female), a violinist, a guitarist, and a double bassist. The interaction between 

the instruments and voices as well as the rhythmic patterns resemble the sound of the 

aforementioned string quartet. Even so, the ranchera style is taken to a polished, 

published level by The Blue Deer group. The string quartet recorded in Huejuquilla el 

Alto resembles the commercialized group most of all out of the published Huichol music 

available. The live recording in 2006 of the quartet offers additional material to support 

the development of Huichol secular music. 

Multimedia 

Multimedia captures an audience’s attention by presenting audio and visual 

perceptions of a performance: music, language, and behavior. Globalization of 

broadcasting information opens new doors for lesser known ethnic groups to be a part of 

the world-wide community through the World Wide Web. Since the 1990s, the Internet 

has been a fast growing location for ethnomusicologists to present and review topics for 

discussion. Web sites are outgrowing the trend of CD-ROM since multimedia Web page 

presentations are updated faster and are easier use than conventional formats, such as


magnetic video tape or compact disc. Digital libraries are ideal for archiving and 

referencing live performances. 

Hypermedia applications provide opportunities to expand representations of 

musical performance. …so hypermedia appears to help contemporary 

ethnomusicologists in their concern to comprehend and represent the whole. 

While not everyone will be committed to gaining the technological expertise 

required to create or access them, hypermedia applications presently offer the 

basic benefits of easy access to archival material, narrative experimentation, and 

an approach to live performance from multiple angles. (Lange, 2001, pp. 11-12) 

The Internet provides paths for authors to post, share, and archive massive amounts of 

material collected to serve as teaching tools in addition to formal paper publications. An 

animated map of worldwide internet users (Scarponi, 2005) indicates the progressive 

growth of people connected to the internet from 1993 to 2015. Online Breitbart News on 

May 18, 2006 documented that a little over one billion-one hundred fourteen million 

people worldwide have Internet access, with a quarter of that tally using broadband 

connections. Internet usage statistics (2007) have shown an increase by 208.7 % between 

the years 2000-2007 with a world population saturation of 16.9%. Flew (2005) describes 

the Internet as being the “fastest-growing medium ever recorded” (p.7). These 

calculations demonstrate the enormous capabilities of using multimedia to expand the 

audience of a subject. 

Hypermedia, the Internet, and the graphical interface of the Web open new 

dimensions of educational authorship and commercialism through signs and symbols that 

potentially direct or possibly distract Internet users. Lange (2001) warns readers about


temptations of hype in multimedia, but promotes hypermedia as an ideal method of 

demonstration: 

The influence of software engineering culture, particularly in its orientations 

toward entertainment, is often evident. The semiotic content of these graphicstwirling 

globes, montages, miniaturized photos often contradicts the grounding of 

ethnomusicology in the real actions of real people. Hypermedia seems to offer a 

more full representation of the subject than do print or audio recordings alone. 

(p. 134) 

These aforementioned statements encourage the use of multimedia as one of the most 

effective formats of presentation to expand the audience of Huichol culture. The World 

Wide Web system can efficiently link digitized creations to a world wide audience 

connected to the Internet with a browser and QuickTime plug-in. Researchers and 

hypermedia authors should be careful not to misrepresent the conventions of a scholarly 

discipline with flashy ornamentation in attempts to catch the attention of an audience. 

Titon believes that “…film has undeniable evocative power” (p. 91); sound and 

moving images intensify an experience. Allowing a narrator to enter the minds of the 

viewer is risky because an outsider may tell the audience what to see instead of allowing 

the spectators to become involved directly with the performer. The author urges film and 

video ethnographers to be intensely mindful of ethics with sensitivity towards other 

cultures, especially if the final product is to be broadcasted (Titon, 1992). Multimedia 

also excels at capturing, preserving, and presenting the intensity of life found in cultural 

events.


Essentially, electronic text is a visual image of printed text which then 

automatically converts to hypertext, “because the computer restores and heightens the 

sense of word as image—an image drawn in a medium as fluid and changeable as water” 

(Landow, 2006, p. 84). This process of embedding commands in text, networking and 

interacting with multiple Web sites enriches the document, in turn allows the reader to 

control what one wants to get out of the research. A hypertext author becomes a 

collaborator in this environment. Hypermedia systems encourage interdisciplinary 

relationships by producing collective designs. This idea of building connections with 

different disciplines is indicative of Nettl’s idea of the new era of ethnomusicology. 

Other commercial products of multimedia in permanent, non-editable format are 

CD-ROM and DVD. The DVD has taken the lead for preferred optical storage devices 

because of the quality of graphics, resolution, capacity to hold fifteen times more data 

than a CD-ROM and its ability to rapidly transfer and share information (Zeytinci, 2001, 

p. 19). This new format of hard-copy digital media functions as archives for museum 

collections as well as accessible e-products for the general public. 

Media is central to globalization in all of its forms because of its role as 

communications technologies that enable the international distribution of 

messages and meanings…. The media provides informational content and images 

of the world through which people seek to make sense of events in distant places. 

(Flew, 2005, pp. 178-179) 

New media is also used to promote and develop structural change of an open global 

electronic market. Idealistically, new media benefits the whole world, but realistically the 

benefits go to only those who have the ability to access these technological applications.


Constantly being upgraded, digital media use by clients increases with affordability, 

therefore posing the challenge for patrons to be up-to-date and proficient with new 

software. Massive networking offers a wealth of extended resources, but at the same time 

exposes systems to vulnerability, since this new market is fueled more by the desire for 

economic prosperity than by the growth of shared knowledge for the common good. 

CONCLUSION 

The potentials of multimedia enrich interdisciplinary research and hands-on 

approach to documenting fieldwork. Through the use of technology, the opportunity to 

connect with an indigenous culture while maintaining respect for their privacy is 

invaluable to the field of ethnomusicology. Producing a project for display on the World 

Wide Web promotes appreciation of cultural diversity and fosters intimacy with the art of 

performance. New media equipment and software creates a connection between the 

traditional and the modern attracting and engaging a wide audience. 

Information technology innovations further the accessibility of a global library, a 

valuable resource for comparative study available from home or office. A global 

audience on the Internet gains the opportunity to interact in virtual intimacy with a 

cultural nuances and adornment by observing attire, facial expression, body posture, and 

instrument design. The multiple benefits in utilizing digital audiovisual media streamed 

over the Internet for the purpose of building connections with other cultures confirm the 

goals of this project. Research, experiencing a musical event on location, and processing 

multimedia all played important roles to enhance understanding of the Huichol people. 

This project exemplifies the capabilities of the computers for more than a personal 

information tool. Through further groundwork of cultivating multifaceted ideas that bring


people together over the World Wide Web, the art of communication and the products to 

get clients there, quickly and efficiently, remains a focus of the future.


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