Jarana Beat is a full vibe, blending Afro-Mexican rhythms with contemporary sounds. The band is set to electrify Lincoln Center’s David Rubenstein Atrium on Oct. 31 as part of the center’s Día de Muertos celebration, along with a community ofrenda created by Mano a Mano: Mexican Culture Without Borders, a Harlem-based nonprofit that champions the essence of Mexican traditions, including Día de Muertos.
Time Out New York described Jarana Beat as a “Mexico-via-Brooklyn combo,” and their sound reflects this fusion of influences. Expect a captivating performance featuring traditional instruments like the jarana, leona, ayoyote shells, and even donkey jawbones, all accompanied by percussive footwork from dancers in traditional costumes.
Led by composer and producer Sinuhé Padilla-Isunza, Jarana Beat draws deeply from Mexico’s Afro-Amerindian musical heritage, \ incorporating elements of son jarocho, son guerrerense, and son huasteco, alongside salsa, cumbia, samba, and rumba. Their performances celebrate Mexico’s intricate cultural tapestry, blending Indigenous, African, and Spanish influences.
The band’s distinctive sound is the result of more than a decade of fieldwork and research. Their latest album, “Vibración por Simpatía” (“Vibrations by Sympathy”), explores the interconnectedness of Indigenous, African, and Spanish roots in Mexican culture. These distant cultural cousins come together beautifully, now recreated in New York City, as part of an ongoing narrative of cultural exchange and survival.
This celebration is deeply personal for me as I step into producing my first short documentary, “Mexicans in Harlem: Día de los Muertos,” directed by Cristy Trabadass. The film follows the talented Mexican artists of Mano a Mano and captures the authentic ofrendas they are creating throughout the city, including the one at Lincoln Center. This project is also an exploration of my own Afro-Mexican heritage and the ties that connect Africa to Mexico.
One revelation came when I encountered the Danza de los Diablos (Dance of the Devils), an Afro-Mexican tradition from Oaxaca. Originally dedicated to the African god Ruja, this ritual saw enslaved Africans praying for freedom from Spanish rule. Over time, it evolved into a ceremony during Catholic holidays that incorporated Indigenous elements. The dancing devils represent the eternal struggle between good and evil — a symbol of resilience and survival.
I invite you to join this Día de Muertos celebration of life, death, and the cultural legacies that connect us all. The community ofrenda, created by Mano a Mano, will be on display from Oct. 31 to Nov. 2 in the David Rubenstein Atrium.
You’re welcome to participate by bringing copies of photographs, letters, or notes to honor your departed loved ones — whether they be family members, friends, or even pets. (Only copies will be accepted because these items will not be returned. Do not bring food, candles, or incense.)
This is an opportunity to be part of a time-honored tradition that bridges the living and the dead, offering a space to celebrate those who have passed while embracing the Afro-Mexican roots that continue to shape our collective cultural identity. For more info, visit www.lincolncenter.org.
