Any self-respecting Mexican has ever sung —with or without tequilas on top— to the sound of a group of gentlemen dressed in charro, with guitar, violin, and trumpet, some traditional song of the genre.
Like most traditional music, mariachi is the result of a mixture of musical influences: that of indigenous peoples and Europe.
There are several theories about its principles:
Most specialists agree that the mariachi arose from the French invasion of the country.
They claim that the word “mariachi” comes from the French Mariage (marriage). In Jalisco, during the French occupation, the French hired local musicians to brighten weddings; but it is curious that something as Mexican as mariachi has a name that does not come from an indigenous language, nor from ancient Spanish, but from French.
Another of the most widespread theories is that the particular son that gave rise to mariachi was born in Cocula, Jalisco.
It is said that when the Spanish friars arrived at Cocula, they realized the ease of the locals – known as Cocas Indians – to reproduce harmonic sounds and, as time passed and be totally conquered by the Spanish.
These transformed their own autochthonous rhythms and adopted Spanish instruments such as the violin and the guitar and later the guitarrón and the vihuela, characteristic instruments for this genre.
Currently, Unesco recognizes Mariachi as Intangible Heritage of Humanity in order to keep the tradition alive and celebrate its wealth, as well as there is a recognized mariachi school for lovers of the genre to train as professional musicians.
Accepting and recognizing any of these theories in no way detracts from the Mexicanity of something that, needless to say, is “very much ours.”
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