# Music  
In the area of music, the corrido is perhaps the most popular musical form associated with African-Mexicans. The earliest recognition of the centrality of the corrido to African Mexican culture was made by Aguirre Beltrán in a study in the 1950s, when he explained that the corrido was generally recognized throughout Mexico as a traditional cultural form associated mainly with the people of the Costa Chica. Along the Costa Chica, the corrido is practised among Afro-Mexicans in annual celebrations and depicts local events such as disputes or assassinations, and even commemorates specific experiences related to the Mexican Revolution. In several African-Mexican communities, annual corrido competitions are held to display the corridistas' talents, as they compete with each other in ballads, mostly sung in an Afro-Mexican dialect.  
The performative and carnivalesque nature of the corrido connects it to a larger aesthetic of performance usually associated with the global African diaspora. The corridos reveal an attempt to legitimize particular identities and to project African-Mexicans, in particular males, with different identities from those witnessed in society. Some corridos suggest that Afro-Mexican males challenge
the status quo, disparage political leadership and promote themselves as competitive, capable, confident men who are concerned with promoting a culturally nationalist agenda, to privilege members, to destabilize the hegemonic masculinity of the society, and to demonstrate that the new masculinity which they are performing/promoting is essentially concerned with exhibiting power (Ramsay, 2016, p. 83).