The music video for the song “Me pongo Belikon” by narcocorridos singer Luis R. Conriquez has sparked controversy after the Cabañas Museum announced that it did not authorize the use of José Clemente Orozco’s mural, “El Hombre en Llamas,” featured in the clip. The controversy intensified after it was revealed that the video had reportedly been filmed at the museum without proper authorization.
Although the music video premiered on YouTube on March 15, it gained notoriety only recently when the museum distanced itself from the production, claiming it had not lent its venue for filming a piece that references a criminal organization. The video, which lasts 2 minutes and 28 seconds, exudes an air of luxury, showcasing candles, violins, jewelry, models, and flying cash, all set against the striking backdrop of the museum. The work “El Hombre en Llamas,” prominently displayed in the dome of the chapel at Cabañas, is especially highlighted.
The Cabañas Institute, known for protecting historical and artistic landmarks, insists that any filming in its premises requires permission from the National Institute of Fine Arts and Literature (INBAL). They stated that displaying the mural in the video violated museum space usage guidelines. In response, the museum announced it would initiate appropriate actions against this unauthorized usage, although it did not specify what those actions would entail.
Just two days after the museum’s statement, the video was edited. The section where “El Hombre en Llamas” was visible now features a blurred effect to avoid potential penalties. The clip has gained significant traction, amassing over 6 million views.
Between 1936 and 1939, Orozco created a series of mural paintings in the major chapel of the then-named Hospicio Cabañas. These works are considered peaks of Mexican muralism, combining social and cultural critique with deep reflections on Mexican history. “El Hombre en Llamas,” located in the chapel’s dome, stands as one of the most iconic pieces from this cycle.
The mural spans 11 meters in diameter and stands 27 meters tall. It features intense colors, particularly red and black, and uses dramatic perspectives to depict a man engulfed in flames, symbolizing transformation and sacrifice in the pursuit of knowledge and truth. Accompanying this central figure are three more people, also shrouded in flames, suggesting the struggles and revolutions of the time.
As the lyrics, “Me pongo belicón, cargando un equipón,” play, the image of Orozco’s mural was present. The juxtaposition of the mural’s significance and the narcocorrido’s lyrics about “El Mencho” highlights a tension that has drawn criticism; while Orozco’s work critiques corruption and injustice, the video appears to glorify a lifestyle tied to drug trafficking and violence.
Throughout the song, various lines connect it to the cartel and its leader. The phrase “cuatro letras” (four letters) refers to the CJNG, suggesting their backing of the artist. The letter “M” identifies “El Mencho,” reaffirming his influence in Jalisco and other states.
Despite acknowledging his non-saintly status, the singer conveys a sense of being blessed and committed to his “path,” likely a reference to his criminal undertakings under cartel protection. The lyrics also describe heavy firearms and the use of Gladiator vehicles for territory protection, further indicating a direct connection to cartel operations.
In the visual representations from the video, the presence of the three singers amidst the museum’s ambiance serves as a blatant contrast to the mural’s original intent. This situation raises questions about the underlying values promoted through this juxtaposition.
As this narrative unfolds, it illustrates the complexities and ramifications of using cultural symbols in the context of contemporary music that references violence and crime.
Image and News Source: https://www.infobae.com/mexico/2024/07/24/modifican-video-de-narcocorrido-sobre-el-cjng-de-luis-r-conriquez-tras-polemica-con-el-museo-cabanas/
