"In sum, Edberg's is a valuable contribution to an emerging,
promising, and rich interdisciplinary field." -- Journal of Latin
American Anthropology "This is a brilliant study on a subject that
since the 1970s has riveted national and international attention:
the exploits of those men and women who traffic in drugs.... The
work is very original and offers new theoretical paradigms for both
understanding the corrido as an artistic cultural form and
understanding a people through this expressive artistic form." --
Maria Herrera-Sobek, Acting Associate Vice Chancellor for Academic
Policy, University of California, Santa Barbara
Since the late 1970s, a new folk hero has risen to prominence in
the U.S.-Mexico border region and beyond-- the narcotrafficker.
Celebrated in the narcocorrido, a current form of the traditional
border song known as the corrido, narcotraffickers are often
portrayed as larger-than-life "social bandits" who rise from poor
or marginalized backgrounds to positions of power and wealth by
operating outside the law and by living a life of excess,
challenging authority (whether U.S. or Mexican), and flouting all
risks, including death. This image, rooted in Mexican history, has
been transformed and commodified by the music industry and by the
drug trafficking industry itself into a potent and highly
marketable product that has a broad appeal, particularly among
those experiencing poverty and power disparities. At the same time,
the transformation from folk hero to marketable product raises
serious questions about characterizations of narcocorridos as
"narratives of resistance."
This multilayered ethnography takes a wide-ranging look at the
persona of thenarcotrafficker and how it has been shaped by Mexican
border culture, socioeconomic and power disparities, and the
transnational music industry. Mark Edberg begins by analyzing how
the narcocorrido emerged from and relates to the traditional
corrido and its folk hero. Then, drawing upon interviews and
participant-observation with corrido listening audiences in the
border zone, as well as musicians and industry producers of
narcocorridos, he elucidates how the persona of the narcotrafficker
has been created, commodified, and enacted, and why this character
resonates so strongly with people who are excluded from traditional
power structures. Finally, he takes a look at the concept of the
cultural persona itself and its role as both cultural
representation and model for practice.
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