La Mexican Revolution It was not only the scene of the struggle for land and freedom, it also contributed to the emergence of the Mexican run.
The corrido is a popular musical and literary form of the Mexican mestizo cultural area that was born in the mid-XNUMXth century and derives from Spanish romance. Since the middle ages there was a tradition of telling stories accompanied by music, where the exploits and love affairs of the knights were told.
Just as in other parts of the world there is jazz, blues or another genre, in Mexico, the regional corrido is one that, in addition to refusing to die, it just doesn't lose its personality.
Addressing issues such as agrarian problems, the railway, religion, or narrating the exploits of the heroes and traitors of the movement that began on November 20, 1910, this sound reflected the national sentiment, whether it was inspired by happiness, sadness or deceit.
The Mexican corrido in the Revolution was divided between the historical and cultural context of Mexico during the revolutionary struggle, and the advances or difficulties of the time. Trains, heroes, traitors, heartbreaks and events were mixed between male and female voices that imprinted their strength on the song.
The corrido was created in an irreverent and subversive way in the most absolute anonymity, and of course it was practiced before these years, but it is also true that reached its fullness in the revolutionary deed, when battles and heroism, executions and burnings were the daily bread.
The objective of this musical genre was to spread fresh news about important events, and that is why it gained the importance that is so much attributed to it. It was a spontaneous and genuine medium that tried to communicate and convince of the validity and persistence of desires, of how fair it is to have the desire for a better life.
Narrating the barracks, derailments, destruction of stations and infrastructure and labor exploitation, among other violent events of that time, the theme of religion also occupied space in the lyrics of these songs, as was the case of those dedicated to the Virgin of Guadalupe, however, the main theme of the corridos was always the heroes and traitors, so it is common to hear Francisco I. Madero, Venustiano Carranza and Francisco Villa in them, who were granted a privileged place in popular memory.
On the other hand, characters like Victoriano Huerta and Felix Diaz they were described as ambitious and traitors of the country, for which they are also extremely identified in the regional song.
“The interesting thing about corridos is that they promoted social gatherings, since they were generally sung in pulquerías, squares, markets, and in the streets of the big cities of the time, such as Mexico, Guadalajara, Puebla, Monterrey and Veracruz; without forgetting the itinerant troubadours of the vast Mexican province, connected by the railway”, he explained. Patricia de Leon, INAH specialist.
With the passage of time, and in the absence of transcendent characters, and with the emergence of more and greater complications for Mexicans, the corrido evolved into this personal song of the feeling that arose.
Thus, one of the most popular Mexican corridos was The adelita, one of the most recognized songs in the cultural field, performed by the singers and actors of the golden age, including George Negrete.
In recent years, in Mexico The economic crisis has intensified, affecting broad social groups, who express themselves through the creation of new compositions that allude to popular struggles, to movements of the left and the corridos that narrate the practice of illicit activities such as drug trafficking are strengthened. and drug production, giving a new development in the genre.