when was mariachi invented
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When Was Mariachi Invented?
When was Mariachi invented – Mariachi is a style of music and musical group performance that dates back to at least the 18th century, evolving over time in the countryside of various regions of western Mexico. It has a distinctive instrumentation, musical genre, performance and singing styles, and clothing.
From the 19th to 20th century, migrations from rural areas into Guadalajara, along with the Mexican government’s cultural promotion gradually re-labeled it as Son style, with its alternative name of “mariachi” becoming used for the “urban” form. Modifications of the music include influences from other music such as polkas and waltzes, the addition of trumpets and the use of charro outfits by mariachi musicians.
The musical style began to take on national prominence in the first half of the 20th century, with its promotion at presidential inaugurations and on the radio in the 1920s. In 2011 UNESCO recognized mariachi as an Intangible Cultural Heritage, joining six other entries on the Mexican list of that category.
When was Mariachi Invented: NAME
The origin of the word is disputed, but prominent theories attribute it to deep roots. One states that it comes from the name of the wood used to make the dance platform. Another states that Mariachi comes from the indigenous name of a tree called pilla or cirimo; yet another states that it came from an image locally called María H (pronounced Mari-Ache).
In many Mexican cultures they are also called Marietti. Mariachi can refer to the music, the group, or just one musician. The term “Mariachi band” is also a redundant term for a Mariachi because the word ‘Mariachi’ itself in Spanish implies a group of musicians playing Mariachi music.
The word “mariachi” was thought to have derived from the French word “marriage”, dating from the French intervention in Mexico in the 1860s, related to the music’s appearance at weddings. This was a common explanation on record jackets and travel brochures. This theory was disproven with the appearance of documents that showed that the word existed before this invasion.
When was Mariachi Invented: HISTORY
Prior to the arrival of the Spanish, indigenous music was played with rattles, drums, flutes, and conch-shell horns as part of religious celebrations. The Spanish introduced violins, guitars, harps, brass instruments, and woodwinds, which mostly replaced the native instruments. The Europeans introduced their instruments to use during Mass, but they were quickly adapted to secular events.
Indigenous and mestizo peoples learned to play and make these instruments, often giving them modified shapes and tunings. In addition to instruments, the Spanish introduced the concept of musical groups—which, in the colonial period, generally consisted of two violins, a harp, and various guitars. This grouping gave rise to a number of folk musical styles in Mexico.
One of these folk musical styles was the son. This music featured string instruments. Son music divided into various regional varieties—the variety popular in the Jalisco area was called son jalisciense, whose best known song, also referred to as “the mariachi national anthem,” is “La Negra.” Modern mariachi music developed from this son style, with “mariachi” as an alternative name for son jalisciense.
Early mariachi players did not look like those of today; they played only string instruments such as guitars and harps and dressed in typical peasant clothing: white pants and shirts with huarache sandals. Those who could play the son jalisciense/mariachi music could find work at haciendas at a higher rate than those who could not.
When Was Mariachi Invented: PASSIONATE
The distinction of mariachi from the older son jalisciense occurred slowly sometime during the 19th century. The music originated in the center-west of Mexico. Most claims for its origin lie in the state of Jalisco but neighboring states of Colima, Nayarit, and Michoacán have also claimed it. However, by the late 19th century, the music was firmly centered in Jalisco.Most legends put the origin of the modern mariachi in the town of Cocula, Jalisco.
The distinction from son to modern mariachi comes from the modification of the music. By the end of the nineteenth century, the European art music tradition was firmly transplanted to Mexico, with opera, salon music, waltzes, and more written and performed both by Europeans and Mexicans in the country.
One variety was the salon orchestras called orquestas típicas that performed in more rural settings, notably in charro outfits. This use of the charro outfit was repeated with urban mariachi in the 1920s.
The Charro outfit was also used in the national Orquestra Típica Mexicana (Mexican Typical Orchestra), organized in 1884 by Carlo Curti, and touring the United States and Mexico as part of a presentation of nationalism for the Mexican president Porfirio Diaz. Curti’s Orquestra Típica Mexicana has been called the “predecessor of the Mariachi.”
After the Mexican Revolution, many haciendas had to let workers go, including mariachis. Groups began to wander and play for a fee, which obliged them to incorporate other music into their repertoires, including waltzes and polkas. It also required them to play in public venues. From the late 19th century to the 1930s, Mariachi groups were semi-professional.
In the early 20th century, U.S., record companies began actively recording rural music in other parts of the world. One of these as a recording called Cuarteto Coculense by Columbia, Edison and Victor in 1908 and 1909, recognized as the “first” mariachi recordings. The music also gained attention in Mexico City when a wealthy hacienda family brought an early Mariachi from Cocula to play for President Porfirio Díaz in 1905.
When was Mariachi Invented: MODERN DEVELOPMENT
The common perception of the music and look of mariachi developed in the 20th century, as the music was transformed from a regional rural folk music to an urban phenomenon that came to represent Mexico. The music was first introduced to Mexico City in 1905. During this time, many farm workers moved to the city, including those from Jalisco, which settled around Plaza Garibaldi.
These mariachi musicians developed new practices, such as performances in plazas and restaurants. However, it also continued its more traditional venues such as serenades, and performances at major family events.
During this time, the Mexican government was heavily involved in cultural promotion as a way to create a unified Mexican identity after the end of the Mexican Revolution. One of these efforts was the promotion of mariachi as an international symbol of Mexican identity, first with radio and sound recordings and later with films.
FOLK
Mexico built a nationwide radio broadcasting network in the 1920s such as XEB and XEW, which began broadcasting mariachi music as a media production, rather than as a music for social events. This music was already being modified in part due to the advent of sound recording.
For example, most son jaliscense songs were longer than the standard three-and-a-half minutes of the then-standard 78 rpm record, forcing the shortening of tunes. Around the same time, the popularity of jazz and Cuban music introduced the trumpet into mariachi, pushing the violins into second place and in some cases, replacing the harp.
The most prized of the mariachis remained those from the state of Jalisco, particularly the areas of Cocula and Tecalitlán. They represented Mexico to the people during the Independence Day celebrations in Mexico City in 1933 as well as during Lázaro Cárdenas’ election campaign in 1936.
When was Mariachi Invented: CHARACTERISTIC
The charro tradition was strong in Jalisco, especially in a region called Los Altos. After the Revolution, the charreada became a national sport in Mexico and rings were constructed specifically for them, followed by professional charro associations. With the breakup of the large haciendas, charros were no longer economically necessary but were used as a cultural ideal, especially by the film industry in the mid-20th century.
The first charro movies date from the 1920s, but the first to sing mariachi was Tito Guízar in Allá en el Rancho Grande in 1936. The character was played by Jorge Negrete in films such as ¡Ay, Jalisco… no te rajes! and ¡Así se quiere en Jalisco!The main characters used his ability to sing mariachi as a way to show strength, virility, and aesthetic beauty. Its use in film also made the music popular and a symbol of ethnic pride for Mexican Americans in the United States.
Its use in film also promoted a negative perception of mariachi music. The films associated the charros and mariachi music with machismo, womanizing and drinking, especially of tequila. The reason that the movies did this was that mariachi music was associated with bars and the lower classes in a number of segments of Mexican society in the early 20th century. This would change in the latter half of the 20th century, but the music remains strongly associated with tequila.
Mariachi music and musician became more professional with more formal training starting in the late 1940s and early 1950s, principally due to the success of a major Mariachi by the name of Mariachi Vargas. Their appearance in many films, backing many singing stars and their hiring of a formal musician prompted other mariachis to do the same. The group also expanded adding trumpets, violins and even a classical guitar to become a kind of orchestra, keeping the traditional son/mariachi base while integrating new musical ideas and styles.
SPECIAL
One other innovation, in contrast to the machismo of the style were the first female mariachi performers, Lola Beltránand Lucha Villa. One night Mariachi Vargas put Beltrán on stage when she was a teenager. Her versions of “Cucurrucucu Paloma” and “Tres Dias” are now considered classics. Many of the traditional sounds of Cocula were lost as mariachi groups incorporated other musical styles that were popular on the radio. New influences have come into the tradition from the Mexican American community in the United States.
In both countries, however, the learning of traditional pieces and repertory is still stressed to form a base. The International Mariachi Festival in Guadalajara is an annual ten-day event that attracts more than 500 mariachis, who perform in concert halls and city streets. Past players include Mariachi Vargas de Tecalitlán, Mariachi los Camperos (led by Nati Cano) and Mariachi América.
In Mexico City, the center of mariachi music remains Garibaldi Plaza. The plaza fills with mariachi musicians to solicit gigs from individual songs for passers-by to being hired for events such as weddings and baptisms. They even stand on Eje Central in front of the plaza to flag down passing cars.
In 2010, the government renovated the plaza to make it more tourist-friendly, adding new paving, gardens, police, security cameras, painted facades, and a museum dedicated to mariachi and tequila.
Although mariachis can be hired in Mexico City over the phone or on the internet, many people still prefer to come to the plaza, hear the musicians and haggle over the price. About 2,500 mariachis hold union cards to work in the plaza, but as many as 4,000 may circulate through on a busy weekend.
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