This is an advance, uncorrected proof. Not for resale, duplication, or reposting. Please do not quote without comparison to the finished book.
This is an advance, uncorrected proof. Not for resale, duplication, or reposting. Please do not quote without comparison to the finished book.
This is an advance, uncorrected proof. Not for resale, duplication, or reposting. Please do not quote without comparison to the finished book.
To anyone who has been silenced: Your voice is precious and powerful
—J.G.
To my teachers, especially those who made learning fun and taught me the art of music and performing
—D.G.
Para mi mami, mi mamá y mi tía Paty
—M.O.
Profound gratitude and applause to our content expert, Mayra García, musical director and founder of the Mariachi Mariposas. You’ve opened the door for so many other musicians, especially young women. Our hearts are singing with joy because you’ve cheered on Rosa (and us) and helped us find Rosa’s authentic voice.
Mil gra c ia s , Jolene and Dakota
The artwork for this book was created di g itally.
Catalo g in g -in-Publication Data has been applied for and may be obtained from the Library of Con g ress.
ISBN 978-1-4197-6715-9
Text © 2025 Jolene Gutiérrez and Dakota Gutiérrez Illustrations © 2025 Mirelle Orte g a Book desi g n by Heather Kelly
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Published in 2025 by Abrams Books for Youn g Readers, an imprint of ABRAMS.
All ri g hts reserved. No portion of this book may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, mechanical, electronic, photocopyin g , recordin g , or otherwise, without written permission from the publisher.
Printed and bound in China
10 9 8 7 6 5 4 3 2 1
Abrams Books for Youn g Readers are available at special discounts when purchased in quantity for premiums and promotions as well as fundraisin g or educational use. Special editions can also be created to specification. For details, contact specialsales@abramsbooks.com or the address below.
Abrams ® is a re g istered trademark of Harry N. Abrams, Inc.
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Written by Jolene Gutiérrez and Dakota Gutiérrez
Abram s Book s f or Youn g Reader s
New York
Ortega
Illustrated by Mirelle
My mami is a mariachi. When she performs, her hands fly across her guitarrón, captivating crowds as she blends emotion with melody.
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When Mami and my madrinas play together, they blanket people with sounds so sweet that audiences sing along, sometimes clapping and sometimes crying.
I’ve always wanted to lift my violin and my voice with Mami and my madrinas.
Today, for the first time ever, it’s my turn in the spotlight!
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My stomach feels heavy, weighted with worry. My knees are knocking, weak and wobbly.
“I’m nervous, Mamiachi.”
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Mami says, “The música is inside you, Rosa. I named you after someone who inspired me—one of the first female mariachis. She played the violin, just like you. She was brave and strong, and you are, too. Just follow the beat, and I know you will soar!”
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Mami spins me toward my suit. We dance as we get ready, and each step sends my stage fright spiraling away.
Slide, snap!Wepullonourvests.
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Wiggle, stomp!
We pull on our boots.
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Scrunch, shimmy!
We tighten ou r belts.
Mami tucks a flower in my braid. She says, “It’s your turn to make music, to share your gift.”
I take a deep breath. I’m ready. Mami and I are mariachis.
This is our moment!
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I hold my violin as Mami takes her guitarrón from its case.
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We join my mariachi madrinas and follow the flowing river of sound to the wings of the stage.
Peeking out at the audience, I worry and wonder. Am I ready? Will they like me?
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When we step onto stage, people clap and cheer. They whistle and yell. My knees wobble and shake, but then . . .
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Mami holds her guitarrón in front of her, cradling it like a baby. She plucks and pulls the strings, giving our music a heartbeat. Mami played even when she was pregnant with me, so I’ve always known the sound of her second heart. My heart beats in rhythm, answering her call.
Madrina Marisol strums her guitar. It talks to me in a smooth voice, telling a story to my soul.
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Madrina Monica’s vihuela sings out when she strikes the strings with her finger pick, la púa. The sweet, clear sound makes me want to dance.
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Madrina Malisa holds her shiny trumpet to her lips. The trumpet trill bursts out, bright and brassy, adding attitude to our song.
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It’s my time to fly! As I lift my violin, I know this is where I belong. My bow glides across the strings. My violin weaves our notes together into a fabric of sound that settles over us all.
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The music fills me with emotions and tears run from my eyes. Mami must feel the emotions, too, because she adds her grito to the music.
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Stepping to the microphone in front of me, I sing. I feel like I am soaring through the melody, painting a picture with my hands and using my voice to tell our story.
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When the song is finished and the last notes fade, the audience erupts in applause.
Mami smiles at me and nods. She says, “You are a mariachi.”
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I smile at Mami and my madrinas, then I turn to the crowd and announce, “We are
mariachi!”
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What Is Mariachi?
Eviden c e s u gg e s t s that maria c hi s tyle be g an s oon a f ter Spain invaded Mexi c o. Small g roup s o f per former s have played s trin g ed in s trument s in Mexi c o for at lea s t 500 year s , and s ome o f the mu s i c the s e g roup s played evolved into what we now c all maria c hi.
Mo s t people a g ree that maria c hi mu s i c
ori g inated in the Mexi c an s tate o f Jali sc o, where in s trument s u s ed in c luded the g uitar, violin, and harp. Maria c hi mu s i c i s u s ually f illed with emotion— s ometime s happy, s ometime s s ad, but alway s power f ul—and maria c hi en s emble s o f ten per form at f e s tival s , c elebration s , and f uneral s .
The Rise of
Women in Mariachi
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A pries t who wrote about maria c hi in the 1850 s mentioned that mu s ic ian s traveled and per formed f requently in environment s where people drank alc ohol, s o at that time, bec omin g a maria c hi mu s ic ian wa s n’t c on s idered appropriate for women. A cc ordin g to Leonor Xó c hitl Pérez, Ph.D., exec utive direc tor of the Maria c hi Women’s Foundation, “We know of at lea s t one c oura g eou s woman, Ros a Quirino, who broke that rule of tradition, and in 1903, a s a thirteen-year-old, joined an all-male
Rosa Quirino
maria c hi. Quirino eventually led her own g roup and wa s known to be tou g h, res ilient, and to c arry a g un to protec t her s el f and member s of her g roup i f s he needed to” (Apeles). We c hos e to name our main c hara c ter Ros a in honor of one of the f ir s t female maria c hi mu s ic ian s .
In the 1940s, Mexican actress and sin g er Lola Beltrán became known as the Queen of Mariachi, but even so, Verónica Oviedo, leader of the mariachi band Mujer Latina, says that only about 5% of mariachi bands are female. Oviedo says, “Part of the reason I started Mujer Latina was to open another door for Mexican women. In a culture where ‘mariachi’ exudes machismo, it’s been a difficult thin g ” (Kiniry).
Mayra García
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Accordin g to Mayra García, musical director and founder of the Mariachi Mariposas, “We are bein g driven to open our own doors, create our own paths, and let our voices be heard without there bein g any limitations to what we can achieve as women . . . I am a dau g hter.
I am a sister. I am a teacher. I am a Mexican. I am a mariachi!” (García).
Lola Beltrán
Trajes de Charro
Maria c hi of ten dress in c harro or c harra s uit s ,
al s o c alled trajes de c harro. Thes e are formal s uit s that eques trian s and c owboy s mi g ht
wear durin g c harreada fes tival s , s imilar to rodeos . Leg end s ay s that maria c hi s beg an
dress in g in trajes de c harro in the late 1800 s or early 1900 s . A cc ordin g to thi s leg end, Mexic an pres ident Por f irio Díaz told a g roup of per formin g maria c hi to dress up, s o they borrowed c lothes f rom a g roup of c harros . Over
the year s , thes e s uit s have c ome to s ymbolize hor s eman s hip, Mexic an hi s tory, c elebration, and maria c hi mu s ic . Women who have joined the maria c hi world g enerally wear the traje de c harro with a s kirt in s tead of pant s , but s ome
female maria c hi g roup s c hoos e to wear c harro pant s or other non-traditional out f it s .
There’s always room for variation and customization, but see the next page for some of the common parts to a traje de charro.
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sombrero: a widebrimmed hat often worn by mariachi
moño: a necktie or bow, sometimes frin g ed or embroidered
flor: a flower, which may be worn in a mariachi’s hair as a decoration
chaquetilla: a small jacket worn over the chaleco, usually embroidered and featurin g buttons
cinturón: a belt, usually embroidered and sometimes featurin g a metal buckle
botonaduras: buttons, especially the metal buttons on jackets, pants, and skirts that are part of a traje de charro. They often feature two or three buttons joined by small chains.
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chaleco: a vest that g oes under the chaquetilla, often embroidered and with buttons
falda: a skirt, sometimes accented with buttons
Glossary
grito: an emotional yell or cry that often accompanies mariachi music. Gritos can express a ran g e of emotions, includin g sorrow, joy, and pride.
guitar: an instrument that typically has six strin g s. Mariachi g roups often use a traditional acoustic or classical g uitar.
guitarrón: a lar g e, six-strin g ed bass g uitar found in most mariachi ensembles. Guitarróns have rounded backs like vihuelas, but they have a lower pitch than vihuelas or g uitars.
machismo: strong pride in being a man, often seen in male-dominated activities like mariachi.
trumpet: a brass wind instrument that requires musicians to blow into it. The trumpet became a popular addition to mariachi g roups in the early 1900s.
vihuela: a five-stringed instrument that is an essential part of a mariachi ensemble. The vihuela is smaller and higher pitched than a g uitar and features a rounded back like the g uitarrón. It is played with a finger pick, la púa.
violin: a four-strin g ed instrument that is an important part of mariachi g roups. The violin is often played with a bow, but its strin g s can also be plucked. This is an advance, uncorrected proof. Not for resale, duplication, or reposting. Please do not quote without comparison to the finished book.
madrinas: women who help and support a child, often servin g as a godparent or sponsor at special events like confirmations or weddin g s.
púa: a fin g er pick used by vihuela players to strum the strin g s of the instrument. La púa allows musicians to strike the vihuela strin g s and create bri g ht, clear sounds.
Selected Bibliography
Apeles, Teena. “The Rise of the Female Mariachi: A Brief History.” KCET. July 29, 2020. kcet.org/ shows/southland-sessions/the-rise-of-the-femalemariachi-a-brief-history.
Britannica, Editors of Encyclopaedia. “Mariachi.” Encyclopedia Britannica . britannica.com/art/mariachi.
García, Mayra. “Taking Flight: Women in Mariachi.”
TEDxMcAllen. November 3, 2015. youtube.com/ watch?v=nMRaDOrAQLI.
Google Doodles Archive. "Celebrating Mariachi." Google. google.com/doodles/celebrating-mariachi.
Kiniry, Laura. “Mexico’s All-Female Mariachi Bands Are Shaking Up Tradition.” Atlas Obscura . March 6, 2020. atlasobscura.com/articles/femalemariachi-bands-tlaquepaque-mexico.
UNESCO. “Maria c hi, Strin g Mu s i c , Son g and Trumpet.” UNESCO Cultural Sec tor. i c h.unesc o. or g /en/RL/maria c hi- s trin g-mu s i c - s on g-andtrumpet-00575.
Smith sonian. “¡Que Viva el Maria c hi! Mu s ic , Meanin g , and Movimiento.” Smith sonian Folkway s Recordin gs . folkway s . s i.edu/que-viva-maria c hi-meanin gmovimiento/latin-world/mu s ic/artic le/s mith sonian.
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Additional Reading
The Be s t Maria c hi in the World/El mejor maria c hi del mundo by J.D. Smith
Danza! Amalia Hernández and El Ballet Folklóri c o de Méxi c o by Duncan Tonatiuh
Drum Dream Girl: How One Girl’s Coura g e Chang ed
Mu s i c by Mar g arita En g le
Es quivel! Spa c e-a g e Sound Arti s t by Susan Wood
Finding the Music : En pos de la músic a by Jennifer Torres
Los maria c hi s by Rita Rosa Rues g a
Mi g uel and the Grand Harmony by Matt de la Peña
Sing , Don’t Cry by An g ela Domin g uez
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