References to Mexican Culture in Coco
By now, youâve probably heard Coco is one of the most well researched films about Mexico and its culture. There are many small details that make it feel like Mexico: the stone roads in a small town, the traditional embroidery patterns in the shirts of Miguelâs female relatives, an uncle wearing a soccer team shirt, even a bowl of limes in a stand of aguas frescas. Of course, the looks of papel picado, day of the dead altars, and cemeteries are also well represented. The clothes of the relatives Miguel sees in the world of the dead is accurate to their eras. While these are a nice touch, youâre ultimately not missing out on anything by not spotting them, so in this post I wanted to talk about the more culturally based details that show the most research and you might not understand if youâre not very well acquainted with Mexican culture:
This one is the most straightforward, so letâs start with the name of the movie. While the protagonist is called Miguel, we soon learn that Coco is his great grandmother. âCocoâ is what we call a woman called âSocorroâ (lit. âhelpâ - itâs a very traditional name thatâs considered old fashioned).
The Rivera family calls her âMamĂĄ Coco,â which means âMother Coco.â They also call Imelda âMamĂĄ Imelda,â and so on. Calling your grandparents âmamĂĄâ or âpapĂĄâ instead of âabuelitaâ and âabuelitoâ is a thing you can do, though I canât say how common it is.
In the Spanish version of the film, Miguelâs grandmother, Elena, talks to MamĂĄ Coco with âustedâ (I didnât notice other instances, but they might be there). Spanish has a formal and an informal version of singular âyou:â âustedâ for formal, âtĂșâ for informal. The verb conjugation also changes depending on which one you use. It is used differently all through the Spanish speaking world, but in Mexico, other than older people you respect (like a teacher), you can talk to older family members with âusted,â which means respect rather than the distance the formality might imply. Nowadays, it has fallen out of use: as someone born in the 90s, my grandparents talked to their parents almost exclusively with âusted;â out of my parents, my mother talked to hers with âustedâ and my father with âtĂș;â I speak to my parents with âtĂș.â I have cousins on my motherâs side that talk to their parents with âusted,â but I would say that makes them a minority nowadays.
2. Crossing to the world of the dead on a bridge of marigolds
If you paid very close attention, you might have noticed two children scattering marigold petals on the ground and their mother telling them not to scatter them, but to make a bridge so the dead could cross over. It was easy to miss, but thatâs actually something we believe!
There are several types of flowers you can place in a day of the dead altar, but the one you canât do without is the yellow marigold. Its petals are scattered all around the altar, and at the very front, youâll form a path surrounded with candles. The bright yellow will help the dead properly make their way to the altar, and the candles surrounding the path will light their way.
3. Crossing to the world of the dead with a xoloitzcuintli
Several prehispanic cultures had a similar concept of the underworld as many other cultures around the world, in which there was a river they had to cross to get there. For both the Aztecs/Mexicas and the Mayas, a xoloitzcuintli would guide their souls so they could cross the river safely and arrive to Mictlan (Mexicas) or Xibalba (Mayas). To achieve this, a xoloitzcuintli would be sacrificed and buried with its owner. Day of the dead altars can have a xoloitzcuintli figure so that the dead can make it back safely as well.
4. Being thrown into a cenote
My screenshot isnât the best but at some point, Miguel is thrown into a big pit with water. Thatâs not just any random pit, but a cenote.
Cenotes are naturally ocurring sinkholes caused by the collapse of limestone. The word âcenoteâ has Maya etymology, as cenotes are commonly found in the YucatĂĄn peninsula, where they (still!) live. In old times, they would sacrifice animals and people as tributes to the gods, and also throw ceramic objects and jewelry as part of the tribute.
I left these for last because they donât have any deep meaning. Alebrijes are colorful fantastic animals that a man called Pedro Linares saw in a fever dream. He was a skilled artisan, so when he woke up from his long sickness, he brought them to life in his art.
In Coco, alebrijes are spiritual guides, and while their designs are to the likes of the real alebrijes, the film actually gave them a more important role than they have for us.
6. Genres of Mexican music
The songs in Coco all belong to genres weâve grown up with, so even if someone isnât that knowledgeable in music theory or genres, we could vaguely tell they sounded âMexicanâ (some more than others). Someone who is more knowledgeable of music genres can help me out here, but I think:
- Remember Me / Recuérdame is a bolero ranchero.
- Much Needed Advice / Dueto a través del tiempo is a ranchera.
- Everyone Knows Juanita / Juanita is a corrido.
- Un Poco Loco is a son jarocho.
- The World Es Mi Familia / El mundo es mi familia is huapango inspired.
- Proud CorazĂłn / El latido de mi corazĂłn is a a son (son de mariachi? Iâm most uncertain about this one).
Un Poco Loco starts in English as
What color is the sky, ay mi amor, ay mi amor,
You tell me that itâs red, ay mi amor, ay mi amor
Que el cielo no es azul, ay mi amor, ay mi amor,
Es rojo dices tĂș, ay mi amor, ay mi amor
(You say the sky isnât blue, oh my love, oh my love,
Itâs red, you say, oh my love, oh my love)
This might be a deliberate reference to a huapango called âCielo rojo,â which says:
Mientras yo estoy dormido
Sueño que vamos los dos muy juntos
A un cielo azul
Pero cuando despierto
El cielo es rojo, me faltas tĂș
(As I sleep
I dream of us close together
Going towards a blue sky
But when I wake up
The sky red, I am missing you)
Within the universe of the movie, this would make it an anachronistic reference, though. Additionally, Cielo rojo is a song of loss and Un poco loco is about a woman who thinks very differently and likes to say everything backwards, and that makes him crazy (in a good way!). Hence, in English weâve got her saying to put his shoes on his head instead of his feet, and in Spanish him saying she might think with her feet and also how she keeps playing with his thoughts. Cielo rojo is a pretty sad song.
And I purposefully left La Llorona out of that list (itâs originally a son istmeño, though).
Thereâs a full musical number in Spanish, which seems to have suprised some people. For those of us who watched Coco in Spanish, it wasnât too hard to guess it was this one: La Llorona was likely left in Spanish because itâs a very old folk song, one of those that are so old it has no known author and there are many different versions of the lyrics.
âLloronaâ just means âweeper,â which is not really as unusual of a word in Spanish as it is in English. Itâs closer to âcrybabyâ in use. If youâre curious, the version used in Coco says the following, with âlloronaâ being the singer herself:
Poor me, llorona, llorona dressed in sky blue
Even if it costs me my life, llorona, I wonât stop loving you
I climbed the highest pine tree to see if I could spot you
Since the pine tree was so green, llorona, it cried upon seeing me cry
What is grief and what is not grief, llorona: it all is grief to me
Yesterday, I was crying to see you, llorona; today, Iâm crying because I saw you
Poor me, llorona, llorona dressed in sky blue
Even if it costs me my life, llorona, I wonât stop loving you
âIsnât he an original charact-â NO LISTEN STAY WITH ME.
Remember how I said Remember Me is a bolero ranchero? Guess who we associate boleros rancheros with?
That would be Pedro Infante, who happens to have a strong resemblance to no other than Ernesto de la Cruz.
Itâs probably not a coincidence at all, as later on we see Ernesto with Pedro Infante and Jorge Negrete at his party. Ernesto de la Cruz was explicitly stated to be inspired on both of them and another singer of the same genres, Vicente FernĂĄndez.
My parents left the movie saying âPedro Infante didnât deserve that burn,â lol.
9. Frida Kahlo (and Diego)
She does have a rather prominent role so sheâs hard to miss. For those unaware, Frida is the artist who made the flaming papaya.
The themes in Fridaâs are autobiographical, as she had a rather unusual life due to polio and injury. She painted herself and her suffering a lot. That might be why we get performances with many Fridas and things like a crying cactus thatâs herself.
Bonus: her husband, Diego Rivera, is also in the same studio where we meet Frida. He was an important artist, specifically a muralist.Â
10. Other Mexican celebrities
I already brought up Pedro Infante and Jorge Negrete as characters that appear right beside Ernesto de la Cruz.
But we also get to see a cameo of many other famous Mexican names in Ernestoâs studio! Excluding the people at the piano, from left to right:
Emiliano Zapata, a revolutionary; (my best guess is) Adela Velarde, another revolutionary; Ernesto and Miguel; (probably) AgustĂn Lara, composer and singer; (probably) Dolores del RĂo, actress (in Hollywood too!); Cantinflas, comedian and actor; Pedro Infante, singer and actor; MarĂa FĂ©lix, actress; El Santo, wrestler and actor; Jorge Negrete, singer and actor.
They kind of looked like this:
Another bonus: this gal looks like the calavera garbancera / the Catrina illustrated by José Guadalupe Posada.
There might be more things Iâm missing or forgot; if thatâs the case, feel free to let me know! You can also fix my music genres for me since thatâs never been my forte.
I hope this was of interest to someone!Â
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