David Carey Jr.
Dating from the earliest times in Latin America, alcohol has played a crucial social, economic, political, and cultural role. Often reserved for politico-religious leaders, alcohol was a conduit through which power flowed in many pre-contact indigenous societies; indigenous drinkways (production, commerce, and consumption habits) were associated with communal ritual events and social prestige. Introduced to the Americas by Europeans, distillation profoundly altered the potency of alcoholic drinks for people who were accustomed to fermentation. Even as the social and cultural practices of alcohol consumption changed over time, alcohol continued to have political and economic implications in the colonial and national periods in Latin America. Fearing that inebriation bred disorder and recognizing that moonshining undercut their own revenues, colonial and national governments alike sought to regulate, if not control, the production, sale, and consumption of alcohol. In nations as diverse as Mexico, Bolivia, Peru, and Guatemala, indigenous women came to play integral roles in the (oftentimes illicit) sale and production of alcohol. A cash nexus for moving labor and land and a crucial component of the economic system by which (often unscrupulous) labor brokers recruited workers, alcohol was a currency of local economies. As a commodity of local, national, and international significance, alcohol shaped the fate of nation-states.
People’s class, ethnic, race, and gender identities all played into their access to alcohol. Although a person’s choice of libation could define their position, some of the more fascinating histories of alcohol are punctuated with women and men who used alcohol to disrupt social conventions. Through the consumption of alcohol, rituals and ceremonies created and reconstituted community both within and across ethnic groups. Imbibing could also divide people. Even while they sipped their cognacs and brandies, elites portrayed indigenous people, the poor, and other marginalized people getting drunk on moonshine to discount and denigrate them. Often associated with (particularly violent) crime, alcohol was seen as a vice by many and excoriated during temperance movements. Yet defendants across Latin America took advantage of judicial systems that considered alcohol a mitigating circumstance in many crimes. As 20th-century evangelical sects that preached abstinence as the route to wealth and marital bliss grew to unprecedented numbers, traditional healers and biomedical practitioners continued to tout alcohol’s medicinal value. In short, alcohol was a marker of social position and cultural identity, a crucial component in community and state building, and a commodity around which different cultural traditions, healing practices, and policing policies developed and evolved.
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.
Robert M. Buffington and Jesus Osciel Salazar
José Guadalupe Posada (b. Aguascalientes, February 2, 1852; d. Mexico City, January 20, 1913) was a prolific printmaker of exceptional technique, range, and originality. By the time of his death, his images had become a staple of Mexico City popular culture, appearing regularly in theatrical posters, advertisements, book illustrations, broadsides, and the penny press. Despite his popularity with impresarios, advertisers, publishers, editors, and readers, Posada received scant formal recognition during his lifetime. That changed in the 1920s with his “discovery” by prominent artists and art critics including internationally renowned muralists Diego Rivera and José Clemente Orozco. By the 1940s, exhibitions of his work had begun to appear in major galleries and museums in the United States and Europe, promoted as evidence of a unique visual aesthetic rooted in traditional Mexican culture and committed to exposing the long-standing oppression of the Mexican people at the hands of corrupt politicians, greedy bourgeoisie, cruel caciques (local party bosses), and foreign interlopers. Although scholars have disputed the genealogy and political nature of Posada’s vision, the revolutionary nationalist interpretation of Rivera, Orozco, and others has provided inspiration and a sense of cultural legitimacy for succeeding generations of artists in Mexico and throughout the Mexican diaspora. Posada is best known for his striking calaveras, notably Calavera Catrina, a fashionable female skull with bows and a fancy hat; and La Calavera Oaxaqueña, a machete-wielding male skeleton dressed in a charro outfit. Published in conjunction with the annual celebrations for Day of the Dead (October 31–November 2) and accompanied by satiric verses, Posada’s calaveras poke fun at the pretentions of the living in the face of their inevitable mortality.
Manoel de Oliveira Lima (b. Recife, December 25, 1867–d. Washington DC, March 24, 1928) was one of the most prestigious men of letters of his generation. As a historian, diplomat, literary critic, journalist, writer, and professor, he maintained an intense intellectual activity. His strong and often controversial views galvanized public opinion and gathered as many admirers as detractors. The “Fat Don Quixote” and the “Intellectual Ambassador of Brazil” were at the same time deemed a “Diplomatic Torpedo” with an “incontinent pen.” Lima became a renowned scholar and public speaker thanks to his expertise on Latin American history, especially on the history of Brazil. He was the author of numerous books and articles published in Europe and the Americas, and a lecturer at Harvard, Stanford, and the Sorbonne. He was a founding member of the Brazilian Academy of Letters. His career as a diplomat began in 1891, the same year he married Flora de Oliveira Lima (neé Cavalcanti de Albuquerque, b. Cachoeirinha, October 26, 1863, d. August 12, 1940, Washington, DC), his lifelong companion and collaborator. Together they lived in Portugal, Germany, the United States, Great Britain, Japan, Venezuela, and Belgium until his retirement. A devoted bibliophile, Oliveira Lima donated his rich collection of rare books, artwork, manuscripts, prints, photographs, and documents from his personal archive to the Catholic University of America in 1916. In 1920, he established residence in Washington, DC to oversee the organization of the university’s library, which was inaugurated in 1924. He taught international law and acted as librarian at CUA until his death in 1928. The Oliveira Lima Library (OLL) is currently considered one of the finest collections of Luso-Brazilian materials and one of the most important Brasilianas in the world.
Mary Ann Mahony
For most of the 20th century, a narrow coastal strip of the Brazilian state of Bahia was the largest producer of Theobroma cacao in the Americas and the second largest in the world. Cacao arrived in the region from the Amazon in the first half of the 18th century, and its cultivation expanded rapidly in the 19th century due to several factors, including a favorable climate, available land, labor too limited for growing sugar, and a developing international market. Initially grown by members of the rural poor, including mission Indians, slaves and ex-slaves, by the 20th century cacao had turned southern Bahia into a plantation region dominated by large estates and exploited workers. This economic expansion came at the expense of the region’s flora and fauna, as well as of the small holders who had initiated the sector. The problems associated with this form of development became clear when the cacao disease known as Witch’s Broom arrived in the region in 1989 and cacao production collapsed. Southern Bahian planters attempting to avoid bankruptcy laid off hundreds of thousands of illiterate rural workers and sold off surviving tropical hardwoods. Historians know the region primarily through the writings of cacao-area native and Brazilian novelist Jorge Amado, but the region’s history goes much beyond the topics he covered and offers numerous opportunities for research.