Music remains a fundamental aspect of sociocultural traditions and environments. In this article, I explore a sierreño band of translingual youth artists and their appropriation of norteño music in their designing of new forms of expression. Employing the concept of communities of practice, I examine three youth musicians’ experiences as members of a grupo sierreño (sierreño band) to highlight the nature of learning, sharing, and collaborative cultural action taking place in the membership of this collective. I use translingual literacy and translanguaging as sociocultural frames for understanding how the focal bilingual youth leverage their full semiotic and linguistic repertoires for productive musical and cultural practice and literacy. Drawing from ethnographic methods, the findings highlight the translingual ingenuity and power of the focal youth musicians as active agents in the construction of their musical and linguistic lives and their families’ financial stability through the formation of their own creative translingual economy. Attending to these cultural activities can shed light on how transnational and translingual young people negotiate and make decisions, sophisticatedly employ literacies to communicate and solve problems, and come to make sense of their social worlds. Thoughtfully considering the musicality of young people can help educators better understand them as agentic constructors of their own creative capacities, skills, knowledge, and cultural lifeworlds.

中文翻译：

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崛起中的吉他手：将青年 Sierreño 乐队塑造为跨语言独创性

音乐仍然是社会文化传统和环境的一个基本方面。在这篇文章中，我探讨了一个由跨语言青年艺术家组成的 sierreño 乐队，以及他们在设计新的表达形式时对 norteño 音乐的挪用。运用实践社区的概念，我考察了三位青年音乐家作为 grupo sierreño（sierreño 乐队）成员的经历，以强调在这个集体成员中发生的学习、分享和协作文化行为的本质。我使用跨语言素养和跨语言作为社会文化框架，以了解焦点双语青年如何利用他们完整的符号和语言库来进行富有成效的音乐和文化实践和读写。借鉴民族志方法，调查结果突出了重点青年音乐家的跨语言独创性和力量，他们通过形成自己的创造性跨语言经济，积极推动他们的音乐和语言生活及其家庭的财务稳定。参加这些文化活动可以了解跨国和跨语言的年轻人如何进行谈判和决策，巧妙地运用读写能力来沟通和解决问题，并开始理解他们的社会世界。深思熟虑地考虑年轻人的音乐性可以帮助教育工作者更好地理解他们是他们自己的创造能力、技能、知识和文化生活世界的代理人。