Son Jarocho is a centuries-old musical tradition originating in the southeastern, gulf state of Veracruz, Mexico. In recent years, it has evolved into a transnational practice; Chicano and Mexican immigrant communities in various population centers of the U.S. have adopted Son Jarocho as protest music within the immigration rights movement, and as an affirmation of their own rich cultural identity (Hernandez, 2). Chicanos are part of a radical revitalization of the tradition, repositioning the music within a modern context, a process is contingent on a transnational cultural exchange between communities in Veracruz and the U.S. This thesis is structured as follows: first, I will provide a historical context, leading to a brief review of the literature examining the modern context, and a description of the fandango. The subsequent section seeks to establish a familiarity with Son Jarocho's instrumentation, and the distinct manner of instrument construction. The penultimate portion of the paper contains a two-part description of my field research, and the final section of the paper will discuss conclusions on the nature of Son Jarocho’s transnational presence and adaptation in the Chicano context.