The dilemma of narcocorridos in Mexico
A recent concert in Texcoco, State of Mexico, ended in chaos when the artist Luis R. Conríquez refused to perform his popular war corridos, complying with local legislation that prohibits advocacy of drug trafficking. This episode has reopened the national debate on the effectiveness of censoring this musical genre as a tool to combat violence linked to organized crime.
Divergent political and academic positions
While president Claudia Sheinbaum describes the ban as “absurd”, promoting social awareness campaigns instead, other members of her party, Morena, promote restrictive measures. An example of this is the decree announced by the governor of Michoacán, Alfredo Ramírez Bedolla, to veto shows that glorify crime.
Experts such as sociologist José Manuel Valenzuela maintain that these prohibitions have historically failed: “Corridos adapt, they do not disappear,” he points out, citing how the genre mutated towards more explicit lyrics during the rise of the cartels. Data supports his thesis: Peso Pluma, exponent of the “corridos tumbados”, was the most viewed artist on YouTube during 2023.
Organizations like Article 19 warn about constitutional risks. Leopoldo Maldonado, his legal representative, argues that the criminalization of artists is “a political distraction” in the face of the inability to solve real crimes.
International context and perspectives
Pressure from the United States, where visas were revoked for groups such as Los Alegres del Barranco for glorifying drug traffickers, adds complexity to the issue. Valenzuela links the prohibitionist resurgence to the anti-drug rhetoric of the Trump era.
The UN proposes alternatives: promote positive narratives that preserve freedom of expression. Valenzuela exemplifies with corridos that denounce femicides, demonstrating the potential of the genre to transmit social messages.
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