This project, compared to other projects, is one that explicitly uses observational studies and communicative skills as a primary source of information rather than factual and research studies. The group's goal for the project is to see some cultural connections or integration, if any, between the mariachi culture and other cultures that are not related. Los Angeles, being as diverse as it is, has led Andrea and Damian to suggest that a genre of music, specifically mariachi music, can break down the barriers of belonging to one culture and integrate itself among other cultures.

Let us now review Andrea's and Damian's observations at Mariachi Plaza.

Mariachis of different national backgrounds come dressed up with their traditional uniform known as "charro suits". Slim-straight pants (typically black) with a traditional Spanish design on both sides, thick machine embroidered belts, long sleeved collared shirts, embroidered jackets, long bow ties, boots, and––although not always necessary––wide machine embroidered hats (in Spanish, known as sombreros). 

These musicians walk around the plaza, sit with other mariachis, and walk on the sidewalks surrounding the kiosk indulging in conversations that are primarily spoken in Spanish. These musicians wait for customers to stop by and ask about their music, their availability to perform in certain places, and the cost for their work.

Space: Before Mariachi Plaza became known as "Mariachi Plaza", the block belonged to a couple named George Cummings and Sacramenta Lopez de Cummings in 1889. At this time, Boyle Heights was an "up-and-coming" suburb, trying to attract new and fresh faces. In order to create a friendly neighborhood, George and Sacramenta commissioned architect William R. Norton to create a four-story business block and hotel (now known as the "Mariachi Hotel"). This space was not intentionally created for mariachi groups to work there, but as time went by and immigration increased many Hispanics and Latinos decided to make this block their new home.

As Andrea and Damian observed the plaza, it was noted that the plaza is used by both the musicians and the Boyle Heights community members. Musicians walk along the sidewalks and through the plaza in curiosity of new visitors, much like when Andrea and Damian interviewed the mariachis. There seems to be a sense of friendship amongst the mariachis in the plaza, and a sense of belonging amongst the residents of the neighborhood. Observing non-mariachi visitors around the plaza, there also seemed to be some familiarity and kinship among the mariachi musicians and visitors.

Place: The mariachi's uniform, the instruments they carry with them throughout the plaza, the colors that stand out in the murals and the restaurants around the plaza (red, green, orange, blue and white), the conversations the musicians and the community members have with one another, and the smell of fried chicken, tomato sauce and hot green sauce is what makes the plaza a place. From hearing stories about the musicians' childhoods and family struggles, to watching them interact with the visitors passing by, each individual present makes this plaza be a simple yet beautiful one. More than a community, the plaza represents family and flourishing Hispanic culture.

How these musicians use the space in Mariachi Plaza is a way of living,
an environment where men come together with a shared passion for music.
While visiting, Andrea and Damian could see how these men interacted
with one another in a way that outside the plaza could not be possible.
Compared to tourists just visiting the plaza and wanting to take a look
around, those residing in and around the plaza know one another.



Above is one of the most noticeable and representative mural at Mariachi Plaza: La Virgen de Guadalupe. Decorated with guitars, flowers, and painted with the Mexican Flag colors, the virgin is a symbol of the Hispanic culture. Thus, the intention of the mural is to create a connection between the Mariachi culture and the Hispanic culture. However, there is no representation of other cultural artifacts or murals displayed at Mariachi Plaza. Only those related to Hispanic culture. Is Mariachi Plaza representing itself as a Hispanic-only location?



Here is a display of a mariachi musicians walking on the sidewalk in search of work. Dressed in his charro suit, he talks on the phone and later converses with other musicians. Musicians at the plaza are always dressed as if they are ready to perform at any time. If a man is trying to find work as a mariachi musician, but does not have his uniform on, it would be difficult to make clients if you do not look professional. These charro suits have layers, upon layers of clothing. Imagine how hot these musicians must be when walking around the plaza during 90 degree weather.


The image above shows how mariachi groups prepare for special events at Mariachi Plaza. Packing their instruments, organizing musical numbers, and making sure their suits are pressed and clean are just a few of the preparations mariachi musicians make when performing an event.



There was a lot of interaction between the musicians and community members. The image above demonstrates the involvement of the people in the neighborhood offering company, conversation and support for what these mariachis do on a regular basis.

For the majority of the visit, Andrea and Damian realized that all the conversations taking place at Mariach Plaza are in Spanish. Living in the United States, English is usually the most preferred language to speak. However, with increasing populations of Hispanics, is it unfair to say that the reason this heritage of mariachi music cannot be integrated to other cultures is due to language barriers between the music and the non-Spanish speaker? Should mariachi music be in multiple languages instead of just one?

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