Defined as a Veracruz (Mexico) musical style and as the product of mingling different cultural universes (Spanish, African, indigenous), son jarocho has long been considered one of the constituents of Mexican cultural heritage. In the early 1970s, some musicians and academics began to question the commercial and folkloric drifts of its practice. The result was the “jaranero movement” (because of the central use of jarana, a small guitar of Spanish origin). From this movement emerged a discourse on heritage referring to a mythical past that of the fandangos, traditional festivals where memory was transmitted. From the 1990s onwards, the new generation of musicians from Veracruz and the Chicano movement in the United States multiplied proposals to produce a common memory. They also collaborated to develop a social and political activism which, articulating itself with the Zapatista movement, is one of the stakes of patrimonialising a practice that now expands in a transnational social sphere.