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Summary Of La Adjetivacion De La Viencia Del Narco

542 Words3 Pages

In the article “La Adjetivación de la Violencia del Narcotráfico en la Cultura de México: Religión, Arquitectura, Música y Literatura,” María Eugenia de la O Martínez discusses the transformation of message in corridos by conducting a textual analysis. The author writes its research by treating narcocorridos as the modern form of the traditional folk ballad, or corrido, currently often associated with Mexican drug culture. The author uses books and songs, narcocorridos to understand the cultural meaning of violence, fear, and pain in Mexico, as well as the social circumstances that legitimized the narco-trafficking. De La O Martínez analyses the topic through three thematic lenses: architecture, music, and literature. Due to the topic of my …show more content…

She claims that the people from these culture who are stigmatized as “dangerous” or “gangsters,” are some of the most marginalized communities. With this, the author demonstrates that narcocorridos are the illusion where the low-income have right to the corrupted opportunities of the high income by looking at different authors such as Carlos Monsivaís and Valenzuela. Thus, narcocorridos portray drug traffickers as heroes who follow the rules of the drug world, and overcome the obstacles of violence, persecution, murder, meeting their destination: Death. However, despite the violence, these songs still hold on to rural values and honor the land, family, and demonstrate nostalgia of a poor childhood. Therefore, the author also analyses the words used between the relationship of singer and fan, “maziso” and “enfermos.” She notes that these vocabulary encourages feeling of revelation against social norms. Furthermore, the exaggerated fashion used in this genre, is the result of a combination between rural fashion and rural assumptions of high-class fashion. De La O Martínez connects that by associating these values and stories to current drug lords such as El Chapo Guzmán, Chino Antrax, El Mayo, they take the role of the heroes and “the voice of the people.” The author concludes that this genre is the result of a community that is trying to keep their morals and own verion of rules in a violent and corrupted state that allowed many generations to fall into poverty without a future in which to

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