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The 1959 Cuban Revolution, the revolution’s subsequent strengthening, and the radical change that the process underwent beginning in 1961 marked a turning point in the history of Latin America. It implied the largest and most consistent regional challenge faced by the United States in an area where its influence had often been decisive. From then on, the Latin American Cold War intensified at every level. It was no longer about the “reactive” actions that took place among the conservative Latin American elite via the communism inspired by distant Moscow.
In Cuba, the culture of the “revolution” was established, and the consequences were far from mere symbolism: Cubans also launched actions of “alternative diplomacy” to lend institutional support to the Latin American guerrilla movements. However, there is no documented study on Cuba’s role in Latin America. This is explicable in large part by the secrecy with which the Caribbean isle has made archival research in the country impossible.
Although this secrecy is understandable in view of its nature as a heavily beleaguered revolution from abroad, this culture of secrecy contributed to expanding a production of journalistic and essay-based denunciation that habitually lacked rigor and interpretive frameworks. Since 2010, a certain spirit of openness has existed in the matter, an example of which is purported to be linked to the Cuban Ministry of Foreign Affairs, whose historical repository has slowly begun to receive researchers, principally from abroad.
Drawing upon the anxiety and curiosity of the international historiographic community about the images originating from Havana, an initial approach and investigation was carried out in the aforementioned tradition, with the aim of shedding light on several of the actions deployed by the Cuban Embassy in Uruguay during the initial and intense years of the Caribbean revolution.
Eric Paul Roorda
After more than a century of sporadic immigration from the island of Cuba to the United States, the trajectory of the diaspora accelerated steeply, beginning with Fidel Castro coming to power in 1959. In the ensuing years, as bilateral relations between the Communist regime in Havana and the administrations of President Dwight Eisenhower and John F. Kennedy soured and the exodus of upper-class, then middle-class, Cubans increased until Castro clamped down on it. Thereafter, the pace of departures became episodic, involving mainly working-class people, and their nature turned increasingly desperate. Three major immigration events punctuated the next 30 years: in 1965 from the port of Camarioca, in 1980 from the bay city of Mariel, and, again in 1994, a more general wave of flight that also heavily involved the port of Mariel. These bursts of seaborne migration came against a backdrop of constant, low-level, individual efforts to flee adverse circumstances in Castro’s Cuba. These include manifold political pressures, with opponents of the regime and cultural nonconformists alike facing harassment and imprisonment; as well as other severe economic challenges, with food scarcity, fuel shortages, and unreliable electric power making daily life difficult for the vast majority of Cuban citizens.
U.S. opposition to Castro has taken many forms, beginning with economic sanctions. A complete break in relations followed in early 1961, an invasion attempt at the Bay of Pigs in April 1961, and, later, a Central Intelligence Agency–sponsored campaign of terrorist attacks and assassination attempts code-named Operation Mongoose. Since the Cuban Missile Crisis of October 1962, a nearly complete embargo has prevented any sort of trade or tourism. In response to the influx of new Cuban arrivals, U.S. policy toward the immigrants themselves altered radically, facilitating their arrival and assimilation as political refugees until August 1994, then actively preventing their entry as economic refugees, until this writing.
Anita Casavantes Bradford and Raúl Fernandez
The years between 1989 and 2005 were a period of exceptional musical productivity and creativity, a “second golden age” of Cuban popular music—the first golden age referring to the 1950s explosion of the mambo and the cha-cha-chá. During this more recent golden age multiple and diverse forms of musical expression gained traction, and island artists enjoyed a dramatic increase in international visibility. The exciting new sounds of timba and Latin jazz, the Buena Vista Social Club–styled reinvention of the son cubano, and the reemergence of música guajira during the 1990s all reflected the dynamic tensions between tradition and innovation, the local and global, and between an imaginary “authentic” and the much denigrated “commercial” that have long animated the island’s extraordinary musical culture. Despite the seeming newness and singularity of much of the music produced during this period, this second golden age was in fact characterized as much by cross-genre collaboration and continuities with earlier trends in Cuban music and musical culture as by the impact on musical production of unprecedented circumstances of economic deprivation of those years known as the Special Period. A closer look at this second golden age of popular music reveals a cosmopolitan Cuban musical landscape in which styles from different periods coexisted with ease and remained relevant, both as distinct sounds and in dialogue with one another, bringing together a dynamic community of musicians of all levels and styles, old and young, on and off the island. Dynamically poised between the forces of tradition and innovation, and beloved by both local and global audiences, the artists who rose to prominence or were rediscovered during these years each spoke, in their own unique ways, to the innovation, the cross genre collaborations, and above all to the profound historical continuities that have long animated the island’s extraordinary musical culture.
Lilia Katri Moritz Schwarcz
This article provides a larger panorama of the cultural politics of the Brazilian Empire during the 19th century and following the long Second Reign of Pedro II. The central figure of the emperor—as a kind of animator of cultural, scientific, and artistic life—and the conservative profile of the national movement are key issues. The article analyzes the development of the main professional schools of the country, which taught medicine (in Rio de Janeiro and Salvador) and law (in São Paulo and Recife), and also tells the story of the Historical and Geographical Institute and the origins of the museums of art in Rio de Janeiro, the former capital of the court, and scientific museums in Rio de Janeiro, São Paulo, and Belém.
The cultural policies of the left-wing government of Hugo Chávez in Venezuela in the new millennium saw a shift back to funding and patronage of the arts after years of defunding and commodification of cultural production. However, despite leading to a renaissance of cultural activity, Chavista cultural policy also retained a modernist rationality that treated cultural production as objects to be classified and quantified. Official cultural policy in Venezuela has historically developed alongside popular-cultural formations that draw on alternative conceptions of culture that stem from everyday life. The official and the everyday have developed in tandem and, sometimes, at cross-purposes. Many scholars look to policies and states as the producers of change, but it is at the level of the everyday that we can see the emerging possibilities that define cultural movements in search of social change.
Mexican national culture in the period from 1946 to 1982 can be understood by recognizing three overlapping transformations. The first was the consolidation of various national archetypes rooted in Mexican revolutionary and prerevolutionary mythologies of national identity and that were disseminated via state-sponsored cultural institutions as well as through global marketing campaigns related primarily to bolstering tourism. A second was the commodification of national popular culture through local cultural industries, namely radio, cinema, the recording industry, and television, and the competitive engagement of these industries with external cultural flows deriving, primarily though not exclusively, from the United States. The third was the invention of new forms of urban response to inflation and the cascading crises of political legitimacy that characterized the decade leading up to economic collapse in 1982. Across the body politic, one discerns a resilience of shared points of cultural reference—sonic, visual, culinary, and otherwise—derived, often in great measure, from governmental policies and discourse. At the same time, and increasingly over the course of this historical period, one finds movements characterized by an irreverent reappropriation of many of those same reference points, carried out by a diverse range of social actors in pursuit of individual and collective strategies of resistance to both state and patriarchal forms of authority. By the early 1980s Mexican national culture had become a rich and playful bricolage made up of iconic markers over which the state experienced a diminishing, though not yet exhausted, capacity to define.
The very nature of Spanish colonization meant that New Spain brought together people from different cultures, ethnicities, religions, and attitudes. Mexico City was the meeting place of all these various populaces. Before the conquest, Tenochtitlan had neighborhoods composed of residents from various parts of the empire. Apart from the many indigenous cultures, colonization also meant the addition of Spaniards, Africans, and Asians, some of whom were enslaved and others simply migrants. The result was a culture that expressed itself both in high and popular culture with a melding of elements—a joyous cacophony that reflected its mestizo nature. This culture was played out not only in institutional settings such as the viceregal court, ceremonies, the theater, and in church but also in the streets, parks, and taverns that dotted towns and cities. Although culture, to a certain extent, reflected New Spain’s hierarchical nature, separation between high and low was never absolute. In the cathedral, as in many other institutions, popular pursuits and music infiltrated the formal singing. This pattern of cultural slippage prevailed within many areas of daily life as the colonial world of New Spain layered pastimes and pursuits from its many constituents.
Reniel Rodríguez Ramos
During the past two decades, many of the traditional conceptions about the configuration of the cultural landscape of precolonial Puerto Rico have been critically addressed from both political and disciplinary perspectives. Colonialist undercurrents embedded in the traditional models used to structure the indigenous history of the island have come into question and some of the fundamental ideas about the social and cultural makeup of the human collectivities that inhabited Puerto Rico have been drastically altered. The timing of the initial occupation of the island has been pushed back to more than five thousand years ago and the potential origin of some of these societies has also been reconsidered, including the possibility that some of groups moved across the Caribbean Sea from the Isthmo-Colombian region from where they brought phytocultural traditions that included the cultivation of a wide array of important economic plants. The cultural landscape of the island later expanded with the arrival of migrants from the surrounding continents who participated in long-distance interaction networks, as demonstrated by the trade of exotic goods mainly used for making personal adornments. The cultural plurality that existed on the island led to the development of distinct traditions that were not only forged by the diverse interactions that took place within Puerto Rico, but also by engagements that continued to take place with the inhabitants of other islands of the Antilles and surrounding continental regions. This all led to the articulation of a mosaic of cultural traditions that were diffusely united through the intersocietal negotiation of a set of codes that allowed the different collectivities to engage with one another while retaining their differences.
Roderic Ai Camp
Mexico’s democratic transition provides a revealing case study of a semi-authoritarian political model evolving incrementally into an electoral democracy over two decades. One of the special features of that transition was its slow progress compared to its peers in Latin America, especially given its proximity to the United States, the most influential democracy in the last half of the 20th century. The first attempt to introduce fair, competitive elections occurred under the leadership of Miguel de la Madrid in 1983, but he reversed direction when he was opposed by leading politicians from his own party. His successor, Carlos Salinas (1988–1994), chose to pursue economic liberalization, opening up Mexico to greater competition globally, and negotiating an agreement with Canada and the United States (North American Free Trade Agreement, or NAFTA), while maintaining an authoritarian presidency. During this era, proactive actors that fomented significant political change came from numerous sources. The following were particularly noteworthy in explaining Mexico’s shift to a democratic model: dissident elites who pushed for democracy inside the dominant Institutional Revolutionary Party (PRI); dissident elites who left PRI to form the most successful opposition parties in the 20th century, including the founding of the Party of the Democratic Revolution (PRD) in 1989; social and civic movements originating from government incompetence in addressing the results of the 1985 earthquake in Mexico City, the widespread fraud during the 1988 presidential election, and the Zapatista Army of National Liberation uprising in 1994; the altered composition of political leadership from the establishment and the opposition characterized by stronger backgrounds in local, elective offices, party leadership, and nonpolitical careers; new electoral laws reinforcing independent decision-making regarding electoral practices and outcomes in the 1990s; and the introduction of new political actors supportive of democratic change, such as the Catholic Church.
This is an advance summary of a forthcoming article in the Oxford Research Encyclopedia of Latin American History. Please check back later for the full article.
The burgeoning digital technologies of the early twenty-first century are rapidly changing and engrossing millions of people across the globe. YouTube and Facebook are but two examples of social network sites (SNSs) whose social implications are so vast they deserve concerted research. The artifacts, the media, and their implications call for study within specific social and cultural contexts, for their uses and appropriations vary considerably and can suggest different meanings.
Ethnographic research, begun in 2008, follows people connected to electronic music (e-music) in the largest urban centers of Brazil, namely São Paulo and Rio de Janeiro. This study traces the migration of this social group from Orkut (which was at that time the most popular SNS in Brazil, by far) to Facebook, which continues to increase in popularity.
The complex topic of learning how people use social media to build their identities is especially interesting. The utilization of terms such as “identity performance,” “self-presentation,” or “self-representation” may denote radically different approaches to the “phenomenon.” Moreover, a methodological concern arises: It is important to gather data concerning people’s use of Facebook, and this should be done online. Nevertheless, it is also relevant to carry out direct interviews to better understand the dynamics of individuals’ self-performance. This fuels debates about the appropriate “adaptation” of ethnographic methods and techniques to virtual environments.
This ethnographic research evaluates concepts such as “virtual ethnography” and “netnography” that have been used to differentiate off-line and online research methods. This line of research argues that although there are specific characteristics of the computer-mediated communication regarding interaction and particular languages for research “in” and “outside” the Internet, such communication takes place in environments that should no longer be treated as “non-places,” or in terms of “real” versus “virtual” as some approaches suggest; rather these spaces should be viewed as a continuum.
In 2012, in-depth, face-to-face interviews were conducted with five social actors from the e-music scenes mentioned above. The questions were informed by review of both the literature on identity construction in SNSs and that on ethnographic methods applied in digital contexts. The interviews were combined with a close observation of the Facebook profiles of these same people.
The study found that the processes of self-presentation of these social actors on Facebook are linked to the daily performance of certain aspects of their identities—mostly related to music as a way of self-expression—for specific “imagined audiences.” The interviewees carefully manage the impressions they want to create for their connections, trying to maintain or break a supposed “expressive coherence” of their online and off-line selves, hence restoring regimes of visibility and identity construction in contemporary times.
Felipe Morales Leal and Lourdes Roca
The Laboratorio Audiovisual de Investigación Social (Social Research Audiovisual Lab, or LAIS) at the Instituto Mora in Mexico has worked in both audiovisual production and the study of the visual world in which we live today. Constructing research sources from photographic images and audiovisual materials constitutes its fundamental purpose. Research methodologies that incorporate images are its plan of action and reflection, and along with the ongoing construction of alternatives, they are put into practice in diverse types of products that result in human resource training with specialized courses and workshops.
With the ultimate goal of promoting research that uses and disseminates images and audiovisual materials, LAIS has numerous research documentaries in its collection, a Website with photographic libraries, projects with an array of public interest products, publications in both digital and print format, and information technology development for the online publication of research tools, as well as specialized workshops and courses on the subject. An important reference at the Latin American level for years, the Instituto Mora’s Social Research Audiovisual Lab drives the expansion of each of these resources.
Danielle B. Barefoot
The 21st century brought with it a mass digitization of archival materials that rapidly changed preservation, research, and pedagogy practices. Chilean digital databases, archives, and humanities projects have grown steadily since the late 1990s. These resources developed with the central goals of democratizing access to sources and removing obstructive barriers including accessibility and physical distance. Remote access capabilities coupled with open access of collections encourages greater interaction with repositories including libraries, museums, and archives and materials such as historical documents, newspapers, paper ephemera, music and audio recordings, and photography.
While not exhaustive, these sites demonstrate the extensive range of digitized sources available that span from the pre-Columbian through modern periods. Researchers, teachers, and students seeking primary sources will find a multitude of themes including indigenous peoples, culture, science and technology, history, politics, environment, and human rights. Some sites, such as Memoria Chilena and the National Security Archive, feature a fully digitized collection with articles and downloadable PDF material. Others, such as Museo de la Memoria y Derechos Humanos, and the Biblioteca Nacional Digital, have non-digitized holdings that call for an in-person visit. Lastly, the Dirección de Bibliotecas Archivos y Museos and Biblioteca Digital del Patrimonio Iberoamericano serve as digital source aggregates that collect and allow users to search across affiliated sites. Aggregation is the newest step in the digital revolution. This newer process permits the archiving of entire archives, which will transform how scholars understand source collection, non-immersive “fieldwork,” and research methodologies.
Digital resources drastically improve the accessibility of sources concerning Chile. At the individual level, user skill may affect the browsing experience, especially when searching for sources. Many digital resources allow for truncated and Boolean logic queries. Users can customize their browsing experience by implementing these tools to expand or narrow the search. At the website level, these resources incorporate open access coupled with universal design practices to democratize the individual browsing experience. Open access allows users to access content free of charge. Universal design ensures access equity through coding and website design. However, in terms of accessibility, room for improvement exists. Users employing screen readers and captioning technologies will have vastly different experiences within each of these resources based on the device and software utilized. Organizations who have undertaken the digitization process must ensure they continue cultivating equitable digital spaces that all users may enjoy.
Mesoamerica is a culture zone that stretches geographically from approximately north-central Mexico into the northwestern half of Central America. Human occupation of this region dates back thousands of years. The end of the Post-Classic Period (c. 1519) is marked by the invasion of the region by Europeans, who were looking to extract goods, services, and taxes from the Mesoamerican peoples. Spanish occupation stretched into the early 19th century. Neocolonial Mesoamerica, of the 19th and 20th centuries, came to experience increasing influences from the United States, Britain, Germany, and other external powers. The past two centuries have also been marked by a continuing local control by a minority, Euro-originating elite over a majority, indigenous population, even as what we once knew as Mesoamerica faded from view. The division between these ethnicities has grown somewhat less clear as a result of the increasing mixed-heritage mestizo or ladino population across the region. Authoritarian regimes marked much of the 20th century, and civilian rule (still without much or any indigenous participation) came at the end of that century, continuing up to the present. But police and military authorities remain present, concerned with internal dissent and unrest at least as much as external threats.
For the present purposes, Digital Mesoamerica has as its focus the region’s indigenous cultures and their histories. Shared cultural traits in the pre-contact era—such as the calendars, glyphic writing, the ball court, human sacrifice, certain legends and religious beliefs, agricultural methods, art, and technologies—set off the many peoples of Mesoamerica from other parts of the Americas. The history of the culture zone is rich for exploring the rise of civilizations, social, economic, and political systems, gender ideologies and practices, religions, land tenure and agricultural systems, medicine, mathematics, astronomy, calendrics, and language diversity (among many other themes). Colonization and its dimensions—such as the impact of epidemic disease, the nature of hybrid religions, evolving tribute and labor systems, struggles over land, efforts to defend some measure of local autonomy, and more—is another arena of great scholarly interest. Contemporary studies are marked by human rights and cultural survival issues, ethnography, mining and other environmental crises, and fair trade, among many other topics.
The most popular and numerous digital resources supporting research and teaching related to Mesoamerican cultures and their histories tend to center on indigenous-authored manuscripts and maps, some of them pre-contact and most of them colonial. These sources are located primarily in Mexican, Guatemalan, U.S., and European repositories, where institutional funds are supporting the creation of open-access digital collections of such materials, along with audio demonstrating language use, videos of all kinds, educational units, and photographs of three-dimensional cultural heritage materials. We are also witnessing moves toward the aggregation of digital content across multiple repositories, such as we see with the World Digital Library, the Internet Archive, and the Getty Research Portal, among others, which increasingly represent Mesoamerica along with other regions of the world. Individuals are also submitting their full-text publications to such aggregators as Academia.edu, announcing their public talks and publications on listservs, Twitter, and Facebook pages, or creating their own robust, one-of-a-kind Web-based projects (with funding from host institutions or national endowments).
Researchers in major Mexico City archives in the early 1970s had access to very few finding aids for historical documents and record sets. Since then, archivists and researchers have worked diligently to organize record sets and create catalogues for an untold number of documents. Since the early twenty-first century, researchers in the Archivo General de la Nación, the Archivo Histórico de la Ciudad de México, the Archivo Histórico del Arzobispado de México, the Archivo Histórico de la Secretaría de la Defensa Nacional, and the Archivo General de Notarías have been able to access databases, searchable PDF catalogues, and a small array of digital collections.
Work toward inventorying and cataloguing record sets began long before the development of technologies available today. Typescript catalogues for record sets in the Archivo Histórico de la Ciudad de México date from the 1920s. Work on inventories, card catalogues, typescripts, and published catalogues for record sets in the Archivo General de la Nación and the Archivo Histórico de la Secretaría de la Defensa Nacional began during the 1930s and 1940s. Work on cataloguing the documents in the Archivo General de Notarías and the Archivo Histórico del Arzobispado de México began during the 1980s and 1990s. Since the early twenty-first century researchers have been able to access databases, searchable PDF catalogues, and a limited number of digitized documents for all these major archives.
New technologies began to make digitization possible, and thus Mexican libraries, along with archives, began to digitize primary and secondary sources. Some of those projects involve digitizing microfilm; others involve digitizing complete record sets and printed books. Still others involve transcriptions of historical documents. While the scope and quality of those projects vary from institution to institution, all create heretofore unimaginable access to historical documents.
Silvana Comba, Edgardo Toledo, Anahí Lovato, and Fernando Irigaray
In the current media ecology, audiences are constantly tempted by many types of content scattered across connected platforms. Since cultural goods consumption is a practice that now takes place in a constant flow across different platforms, news and documentary narratives must take advantage of the malleability of digital language to engage citizens. Narratives change according to the dominant intellectual technology of the time. In this way, oral narratives are different from printed media and the transmedia storytelling that digital communication promotes.
DocuMedia: Social Media Journalism is a series of interactive documentaries developed in Argentina at Rosario National University to bring users new narratives of local interest around journalistic research topics. DocuMedia is the result of crossing documentary, investigative journalism, and data journalism techniques with a focus on users’ participation and the expansion of narrative plots. DocuMedia projects are an example of location-based storytelling, that is, a narrative that stems from hyperlocal space and place and operates as a device of constant social reconstruction. In these experiences, memory is understood as the meanings that citizens share and, above all, develop as a social practice, through which identity is expressed and shaped.
The fifth DocuMedia project, Women for Sale: Human Trafficking with Sexual Exploitation in Argentina, was launched in 2015 and took on the challenge of making the leap from multimedia journalism to transmedia journalism. The transmedia framework for Women for Sale included a webdoc, or interactive multimedia documentary, a serial graphic novel of five episodes (print and digital version), posters on the street with augmented reality interaction, short videos projected on indoor and outdoor LED screens, television spots, a collaborative map, a television documentary, mobisodes, the e-book What Happens Next? Contributions and Challenges for the Reconstruction of Rights of Trafficking and Sexual Exploitation Victims, and a social media strategy designed to share information about trafficking in Argentina and to call community to action.
María C. Gaztambide
Documents of 20th-century Latin American and Latino Art: A Digital Archive and Publications Project is a multiyear initiative at the International Center for the Arts of the Americas (ICAA) of the Museum of Fine Arts, Houston that seeks to consolidate Latin American and Latino art as a field of study and to place it on equal footing with other established aesthetic traditions. It encompasses the recovery, translation into English, and publication of primary texts by Latin American and Latino artists, critics, and curators who have played a fundamental role in the development of modern and contemporary art in countries or communities throughout the Americas. The ICAA makes these essential bibliographic materials available free of charge through a digital archive and a series of fully annotated book anthologies published in English. It is facilitating new historical scholarship on 20th-century Latin American and Latino art through a framework of thirteen open-ended editorial categories that center on thematic rather than more traditional chronological guidelines. This approach broadens the discourse on the modern and contemporary art produced along this cultural axis. A discussion and contextualization of a selection of recovered documents that relate to the editorial category of “Resisting Categories: Latin American and/or Latino?” supports this central argument. These and other little-known or previously inaccessible primary source and critical materials will ultimately encourage interdisciplinary and transnational (re)readings of how aesthetics, social issues, and artistic tendencies have been contested and developed in the region.
The early 19th century was a period of intense turmoil and chaos in the Spanish-speaking world: The Napoleonic Wars and French occupation of the Peninsula in the 1800s, independence movements in the Americas, the liberal constitution of Cádiz, Napoleon’s defeat, and the reinstallation of the Bourbons in the 1810s, and finally, the second constitutional period, the iron fist of restoration, and the eventual loss of most American possessions between 1821 and 1825. The least affected areas in the midst of this turmoil were the loyalist islands of Cuba and Puerto Rico, metaphorically the “eye of the hurricane.” It is within this context that a corpus of some dozen letters, preserved in the Spanish National Archive, were written. They were produced in the circum-Caribbean region—most in Puerto Rico—and addressed mainly to relatives and business partners on the other side of the Atlantic. The letters in question were archived without accompanying documentation, probably seized by authorities loyal to the restoration of the Ancien Régime. As a central element, this digital resource—“En el Ojo del Huracán”—displays these primary sources in an online presentation.
Beyond the historiographic value of the sources, the project explores the differences between traditional and digital edition standards (TEI) for digital letter editions with the aim of showcasing the benefits of implementing the digital paradigm and for different visualizations, functionalities, analysis and incorporation in larger infrastructures.
Joanne Harwood, Valerie Fraser, and Sarah J. Demelo
This is an advance summary of a forthcoming article in the Oxford Research Encyclopedia of Latin American History. Please check back later for the full article.
The Essex Collection of Art from Latin America (ESCALA) was originally founded as the University of Essex Collection of Latin American Art (UECLAA) in 1993, but, with no permanent display space, a versatile online presence has been essential to its success as a resource for students, curators, and researchers. By about the year 2000 it comprised around 400 works from about 10 different countries.
While it is important to remember that viewing a work of art onscreen is no substitute for viewing it firsthand, the digital catalogue is an essential aspect of ESCALA’s activities. It can offer resources that a paper catalogue cannot (it can provide a record of an artist’s performance, for example), it serves as a versatile resource for teaching and research, and it generates interest in the field among those who happen upon it through random searches.
FamilySearch, which constitutes the largest genealogical archival project and database in the world, offers rich online resources for research on the history of Latin America. FamilySearch constitutes an institutional arm of the Church of Jesus Christ of Latter-day Saints, or the LDS Church, dedicated to genealogical research. It offers a wealth of resources with enormous potential for historical research on a broad range of topics and through diverse methods of investigation. The digital collection, which expands continuously, includes archival material from all the major regions of the world, including Latin America. For Latin America, the strength of the collection rests with parish and civil registers, censuses, and secondary sources on the genealogical and family history of the region.
Launched in 1997,
Between 1997 and 2006, the Website grew exponentially, but like many of its early counterparts, the site’s utility and navigability ultimately suffered as a result of the rapid development of new software and the obsolescence of existing digital platforms; searches became sluggish and unwieldy. While visitorship remained high for an academic site—over a million unique visitors a year—a 2012 survey indicated that scholars frequented only known parts of the site while novice users spent as little as a few minutes on the site. The global economic crisis of 2008 destabilized FAMSI’s funding, and in 2010 the Los Angeles County Museum of Art (LACMA) assumed stewardship of the foundation as well as the Website. The museum began to maintain and review