David M. K. Sheinin
During the Cold War, there were thousands of Unidentified Flying Object (UFO) sightings in Argentina (in Spanish, Objeto volador no identificado or OVNI). The mainstream media reported on many of them. In a field termed ufología, some events were explained scientifically or somewhat scientifically; most were not. These sightings and their stories lived on in a culture of thousands of OVNI aficionados and their literatures, frequently spilling into larger popular cultures.
OVNI culture disrupts chronologies. It offers a picture of Cold War Argentina that breaks with longstanding popular and academic chronologies that stress a dictatorship-versus-democracy binary. That binary is real. However, OVNI culture superimposes an often-neglected Cold War chronology on the mid- to late 20th century. OVNI stories and their cultural consumption evolve and vary not with reference to violent Argentine political and historical change, but in the context of a larger transnational Cold War culture in an Argentine context. Hallmarks of OVNI culture in Argentina include the enormous influence of U.S. popular culture, as well as references to apocalyptic nuclear weapons, and unscientific notions of psychoses in explaining late-night sightings of spacecraft and extraterrestrials.
In the late 19th and early 20th centuries, the global trade in commodities forged new economic interconnections and contributed to the emergence of modern ways of life. As one of the leading exporters of temperate goods such as wool, beef, and wheat, Argentina was at the forefront of these trends, and the country underwent remarkable expansion between 1875 and 1913. Although export goods linked Argentina to consumers in Europe and elsewhere, these vital relationships were often obscured by the malleable nature of commodities, the far-flung scope of overseas trade, and the perceived divergence between rural and urban worlds. Within Argentina, similar dynamics were also at work, but commodities became referents in disputes over economic distribution, social inequality, and national development. The tensions between the export sector and an increasingly industrialized and urbanized society geared toward mass consumption raised questions as to how to manage the nation’s wealth—conflicts involving commodities that parallel those of other Latin American societies. By placing the economic history of commodities into conversation with recent research on the social, cultural, and political history of consumption, this article reconsiders Argentina’s “Golden Age” of expansion and its aftermath. The connecting and distancing power of commodities reveals how populations in Argentina and abroad experienced modern capitalism, including its signature transformations of the natural world and everyday life.
William G. Acree Jr.
Theater in Argentina and Uruguay, which together compose the Plata river region of Latin America, has been a predominant form of entertainment since the 19th century. Theaters abound in Montevideo, while its sister city. Buenos Aires, has its own Broadway in the famed Corrientes Street. In the age of digital culture, the theater remains a mainstay of cultural life for Argentines and Uruguayans. The success of theater and the making of a theatergoing public in the region have their roots first in the variety of entertainment offered by hemispheric travelers to the region from the 1820s through the 1880s and then, most significantly, in shows put on by itinerant circus troupes in the countryside that only later filled urban theaters. From the mid-1880s through 1900 these circus troupes performed plays known as dramas criollos that dealt with rural traditions and explored issues of migration, social stratification, and tensions of economic modernization. These Creole dramas, like the narrative and poetic tales of gaucho heroes that informed them, became wildly successful, attracting spectators in the countryside and city alike, in venues ranging from makeshift tents to the most opulent theaters. They also became the namesake of the circo criollo, which referred as much to types of performers staging the tales as to the circus event where people flocked to see the new main attraction—the dramas. In effect, the Creole drama phenomenon expanded the presence of popular entertainment across the region and consolidated a theatergoing public. It also gave way to a new strand of modern popular culture in which storylines and characters reappeared in other media, and the impact of the Creole drama experience long outlived the spectacle itself.
The 1960s in Argentina was a time convulsed by profound social, cultural, and political changes. Reflecting on the effect these processes had on the everyday, conceived as the spaces and routines involved in the reproduction of life that vary according to social class, generation, and gender, provides a valuable perspective for studying historical phenomena. It gives substance to and evidences the social nature of personal experience. Through that prism, the study of everyday life will be the gateway to understanding the turbulence produced by cultural effervescence, growing consumerism, the expansion of the media, the problems triggered by economic instability and escalating inflation, and the ruptures caused by political and social radicalization and the rise of repressive violence.
Folk Festivals, Community Development, and the Sugar Industry Crisis in Tucumán, Argentina, 1966–1973
In the late 1960s, the sugar-growing province of Tucumán, Argentina, was undergoing the deepest economic crisis of its history. In 1966, eleven large sugar mills closed by order of the national government, then ruled by military dictator Juan Carlos Onganía. The mills closure left a quarter of the province’s labor force unemployed, which, in turns, prompted a massive rural exodus and a permanent state of social unrest. Paradoxically, at the same time, the suddenly impoverished region was experiencing a boom of folk music festivals organized by small cities and rural towns, including those severely hit by the sugar industry crisis. This essay explores the context of the folk festival phenomenon, analyzing the role of town notables and local civic organizations in responding to the crisis brought about by the closure of the mills. The festivals were, in fact, part of a wider effort of local towns to develop their infrastructure and social services. By organizing festivals and fostering community development, local notables acted as a counterweight to the activism of the working class, generating spaces of consent that aided the military government’s plans to reorder the provincial economy.
Football and media have become associated to such an extent that it would be difficult to discuss the history of sports in Chile without acknowledging its relationship with the media. Since the early 1900s, the media coverage of football—arguably the most significant mass spectacle in Chile—has become a unique place to evoke political sympathy and national pride. Before the gradual introduction of television in the 1960s, print journalism and radio were the technological tools that defined the ways in which Chileans experienced football. As narrative devices, sports media represented football for much larger audiences than those sitting in the stadium. In the 1940s, football chronicles may have been read aloud, and photographs of famous footballers were usually posted in public places for semiliterate workers too poor to buy sports magazines. Similarly, the pitch of a radio announcer’s voice and the quick summations he gave to different plays generated their own visual spectacle and moral evaluations for listeners. Although sports magazines and radio broadcasts were mostly consumed in urban areas, they created new ways of experiencing football that enabled participation from larger parts of the nation.
The importance of these sources lies in their central role of making football a much more understandable sport to mass audiences, many of whom were illiterate. Most importantly, sports media became a public terrain for making claims about Chilean citizenship, including affirmations of appropriate masculinity, racial belonging, and class relations.
Chiara Sáez and Jorge Iturriaga
With the surge of social struggles tied to the implementation of capitalist modernization at the end of the 19th century, diverse forms of technology-based mass communication in Chile arose to represent the emergence of social sectors that didn’t participate in the dominant culture and sought to disseminate an alternative. Working-class and feminist newspapers, neighborhood theaters, and Cordel literature broke away from the traditional elitist and pedagogical nature that had defined the media until that time. Since then, with cycles that have ebbed and flowed, numerous communicative experiences were related to mass culture in controversial ways: they opposed it, converged with it, et cetera. Even though it is possible to trace the continuity between the cases described, this continuity is not clear upon first glance, due to its underground and nascent character. In general terms, these experiences were not established as an autonomous space for technical or aesthetic experiments; when there was a strategy, it tended to be political in nature, whereas communicative material remained conditional. Finally, the study of these cases implies a paradox: the 20th century began with a vast number of alternative communication projects that became institutionalized over the years, but they re-emerged more autonomously during Augusto Pinochet’s dictatorship and the era that followed. This process of institutionalization alludes to an inversely proportional relationship between the process of incorporating the masses into positions of power (in the period between 1925 and 1973) and the development of alternative communication: these experiences are plentiful in the less institutionalized contexts of the enlightened working-class culture (that is, preceding the founding of the Communist Party in 1922 and after the anti-working-class culture that has accompanied the neoliberalism imposed since the dictatorship).
David S. Parker
In Montevideo in 1923, streetcar company executive Juan Cat shot at journalist and Communist parliamentarian Celestino Mibelli in the atrium of the Uruguayan Congress. Despite this premeditated assassination attempt in front of numerous witnesses, Cat was released, the judge accepting the possibility that his actions were in legitimate self-defense. The logic that led police, prosecutor, and judge to arrive at conclusions that seemed to contradict both the evidence and the law hinged upon, and in the process reveals, deeply conflicting ideas of honor, family, the public versus the private sphere, and the unwritten laws that governed journalism in 1920s Uruguay. Mibelli had published a series of scandalous newspaper stories, one involving Cat’s young daughter, and many Uruguayans identified with the aggrieved father, arguing that an attack on family honor was no different from a physical assault. The only legally and socially acceptable remedy for Cat was to challenge his slanderer to a duel, but Mibelli refused to accept challenges because he considered dueling elitist. In the end, the police report, the prosecutor’s brief, and the judge’s ruling each subtly distorted the details of the encounter to construct Cat’s attack as a quasi-duel, a frustrated attempt to “demand explanations” from Mibelli, following a ritualized script set down in the dueling codes of the era. Factually, Cat’s actions were no such thing, but by crafting the narrative of an “affair of honor” gone wrong, official lies reflected deeper cultural truths.
Grit Kirstin Koeltzsch
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 cultural movement known as Hallyu (or Korean Wave) and the transnational popularity of K-pop music and dance have long been established as a relevant phenomenon in the global world, including Latin America. This form of South Korean contemporary popular culture also has a major impact in Argentina, especially among the young population. Despite the cultural and geographical distance, the young Argentine incorporate aspects of K-pop culture in their daily lives, which includes music, dance, K-drama, and food, and some of them even try to learn the Korean language. Thanks to technology, almost in real time they perceive what happens on the Asian continent and connect with fans and fandoms, not only in Korea but also in other parts of the world. This shows that globalization is not a process of homogenization, as these young Latin American people also take the Korean Wave as motivation to learn about transpacific history and cultures.
Furthermore, K-pop is quite a visual phenomenon, and dance plays an important role. The choreographies are complex, emphasize the music, and dance definitely transcends language barriers. Thus, the young Argentine explore new aspects of corporality through dance performances. In their spare time, they organize numerous dance contests and activities, and so generate spaces of their own articulation. Particularly interesting is to draw attention to the gender role performance and how the local youth react to the influence of a transgressive gender identity performed by Koreans, in the context of a strongly patriarchal and heteronormative Argentine society. It shows that body/dance articulation is not just a tool for creativity but also for disputing gender norms and stereotypical gender images in our society.
Paraguay is a pluriethnic, plurilingual, and multicultural society, influenced by migration from the Americas, Europe, Asia, and Africa, which contains many conflicting identities. Despite its heterogeneity, there are certain characteristics which have been seen by Paraguayan and foreign writers as having significant influence on national identity. These are primarily related to three factors: Paraguay’s geographical position as a landlocked country, between two regional superpowers, and the resulting historical isolation; the prevalence of Guarani as the favored language of the vast majority of Paraguayans, and its relationship with Spanish; and the impact of international war and defense of its frontiers, primarily the Triple Alliance War (1864–1870), on Paraguay’s economic, cultural, and political development, as well as on its self-perception.
However, Paraguay is also unusual in that following the catastrophe of the Triple Alliance War, there was a concerted effort by a group of intellectuals to challenge the liberal consensus and reinterpret the past to create a national history. This revisionist approach became increasingly influential until, after the Chaco War (1932–1936) and the end of the liberal period, it became the dominant “official” version. Here it subsequently remained through civil war, dictatorship, and finally transition to democracy. While many observers believed this hegemonic revisionist version would disappear with the end of the Stroessner regime in 1989, it has proved more resilient, flexible, and durable than expected, reflecting a high level of internalization of national identity. This in turn suggests that the official discourse was not purely an invention of tradition but was constructed on deeply held ideas of geographical, cultural, historical, and linguistic difference.