The Mexican state of Aguascalientes has joined the growing number of regions cracking down on narcocorridos, songs that glorify drug trafficking. The Aguascalientes Congress recently approved a reform to the state penal code, effectively banning these songs from public events. This decision comes just days before the start of the Feria Nacional de San Marcos, one of Mexico’s most important celebrations, scheduled from April 19th to May 11th. The reform, passed with 20 votes in favor and six against, specifically targets the “incitement to commit a crime or apology of a crime,” carrying penalties of six months to a year in prison. Governor Teresa Jiménez expressed her gratitude to the deputies and emphasized the state’s commitment to ensuring a peaceful and family-friendly atmosphere during the fair.
This move impacts popular regional Mexican artists like Natanael Cano and Alfredo Olivas, known for their “corridos tumbados” style. The government plans to send them formal notification of the new legal implications. Aguascalientes is not alone in this initiative. Mexico City’s government also recently announced restrictions on music with violent lyrics in official events and public spaces, aligning with the federal “corridos sin violencia” (corridos without violence) initiative. Similarly, Michoacán has banned public performances that promote violence or glorify criminals.
These restrictions follow a violent incident at the Texcoco Fair where singer Luis R. Conriquez was attacked after refusing to perform narcocorridos. The debate surrounding the balance between artistic expression and the glorification of crime has intensified. The recent revocation of visas for Los Alegres del Barranco, who projected images of a Jalisco New Generation Cartel leader during concerts, further fueled this discussion. President Claudia Sheinbaum’s launch of the “Mexico canta y encanta” contest, aimed at promoting non-violent music among young people in Mexico and the United States, adds another layer to this complex issue. The confluence of these events highlights a significant shift in Mexico’s approach to the cultural representation of drug violence.
