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.
Kathryn E. O’Rourke
Architecture in Mexico City in the mid-20th century was shaped by rapid economic and urban growth, demographic change, new construction technologies, and politics. Architects adapted modernist idioms and those that evoked historical precedents for new purposes. Key figures who had begun practice earlier in the century, including Mario Pani, Juan O’Gorman, José Villagrán García, and Luis Barragán, designed major new works and strongly influenced the profession, even as a new generation led by Pedro Ramírez Vázquez, Ricardo Legorreta, and Teodoro González de Léon came of age. As they had been since the 1920s, public patrons were the most important clients of modern buildings, which often addressed needs for better housing, education, and health care. The period also saw the rise of modern suburbs and the evolution of the single-family house, as well as the creation of major buildings for increasingly important cultural institutions, especially museums.
As they had in preceding decades, architects used the non-architectural arts, particularly painting, to distinguish their works. The legacy of the Mexican muralist movement was most evident on the facades of major buildings in the new University City, where the influence of international modernist planning principles was also striking. In 1968 Mexico City hosted the Olympics, for which architects, planners, and designers created a network of buildings and images that functioned interdependently to present Mexico as cosmopolitan and historically rooted in its indigenous history. Sprawl and pollution worsened in the 1970s, as the capital came to be dominated by buildings that were not designed by architects. While some observers questioned the relevance of architecture in the face of seemingly unstoppable and uncontrollable growth, talented young architects responded with buildings notable for their monumentality, mass, and sophisticated engagement with historical types.
Beginning in the second half of the 19th century, Argentina became closely linked to the North Atlantic world, as the founding fathers of the modern state established a political order modeled on liberal principles, developed a dynamic export economy, and presided over a large immigration—mainly from Spain and Italy. These processes provided the historical framework for the impact of the European crisis of the interwar years in Argentine cultural groups and debates in the 1930s. The cosmopolitan features of Argentine society and intellectual groups, the country’s political crisis in the 1930s, and the particularly heavy influence of the Spanish Civil War explain how the European situation and ideologies such as Fascism and anti-Fascism were processed in a variety of cultural publications and institutions.
Ana Laura de la Torre
The Autonomous Department of Press and Publicity (DAPP) created by Lazaro Cardenas’s administration responded to the need for a fixed ideological framework that would allow for the construction of a modern, prosperous, and politically unified nation based on the Six-Year Plan. The materials produced by the DAPP designated collective identities; defined relations between the government and its enemies, rivals and allies; preserved and molded past memories, and sought to project fears and hopes into the future. The department used a variety of mass media technology to produce messages with the aim of controlling criticism of the regime, shaping public attitudes, generating a collective “us,” and effecting change in the thoughts and actions of the public. The continuous use of the media was a response of the Cardenista administration to the constant rejection that its public policies generated, either because they affected particular economic interests or because they were considered as an affront to the way of thinking of various social sectors, particularly those identified with Catholicism. President Cárdenas and his associates perceived that they were a besieged and criticized administration, both inside and outside the country. Hence, they deemed it essential to start up a strong propaganda apparatus in order to reverse the opposition and generate supporters. Its creation is framed by the efforts taken by various governments during the 1930s that viewed propaganda as an effective tool for producing political consensus, generating feelings of national unity, and changing public habits.
The Mexican government’s civil aviation program implemented elite development strategies during a period of national reconstruction. In the decades following the revolution, political leaders and industrialists attempted to strike a balance between preserving a unique national identity and asserting their country’s place in global affairs as a competitive, modern nation. Nation builders were primarily concerned with improving the nation’s communication and transportation capabilities, although they quickly learned to exploit the spectacle of aviation through the mass media and in public ceremonies, as well. The symbolic figure of the pilot proved an adept vessel for disseminating the values championed by the country’s ruling party. Aviators validated the technological determinism underpinning the government’s development philosophy, while projecting an image of strength abroad.
This article traces the trajectory of aviation development from 1920s through the 1950s. In the process it demonstrates how the social and cultural significance of technology in Mexico changed over time. The establishment of the Department of Civil Aeronautics under the Secretariat of Communications and Public Works (SCOP), in 1928, reflected the ambitions of reform-minded officials who were intent on modernizing the country. Although the onset of the Great Depression slowed aviation development for about a decade, policymakers recommitted to the technology during World War II. President Manuel Ávila Camacho (1940–1946) used it to achieve two of his primary goals: securing the country from the threat of international fascism and shifting the nation from an agrarian to an industrial economy. Wartime aid alleviated material obstacles hamstringing national aviation development, and the rapid growth of tourism to the country in 1940s and 1950s benefited commercial airlines. Presidents Miguel Aléman (1946–1952) and Adolfo Ruiz Cortines (1952–1958) touted the success of the aviation industry as a consequence of their development policies. The near financial collapse of the country’s largest airline, Compañía Mexicana de Aviación (CMA), at the end of the decade nevertheless hinted that the country’s sustained economic growth was less miraculous than officials and foreign observers liked to believe.
María Rosa Gudiño Cejudo
In August 1940, President Franklin D. Roosevelt, concerned with Nazi infiltration in the Americas and continental defense, created the Office of Inter-American Affairs (OIAA) and appointed Nelson Rockefeller coordinator. To strengthen ties between the United States and Latin America, including Mexico, Rockefeller implemented cultural programs that included Health for the Americas and Literacy for the Americas to teach illiterate rural inhabitants to read and write in Spanish, and to inform them about health, prevention, and hygiene. Both programs used educational cinema as their main teaching tool, and the OIAA hired filmmaker Walt Disney to produce the films. The health series included thirteen animated cartoons with an average duration of ten minutes, dubbed in Spanish and Portuguese. The themes were drawn in part from the guidelines set out at the XI Conferencia Sanitaria Panamericana (Eleventh Pan-American Health Organization Conference; Rio de Janeiro, Brazil, 1942) to address health care and sanitation. A group of psychologists, cartoonists, health authorities, teachers, and OIAA representatives carried out surveys and field work in various countries before production and test screening began. In this process, Mexico differed from the other countries involved because of Walt Disney’s connections with Mexican schools. Eulalia Guzmán, representative of the Secretaría de Educación Pública (Secretary of Public Education), led in reviewing the educational films, and Disney attended classes with local teachers to discuss the use of film as a teaching tool. In 1943, through the Programa Cooperativo de Salubridad y Saneamiento (Health and Sanitation Cooperative Program) of the Secretaría de Salubridad y Asistencia (Ministry of Health and Assistance, the films were shown in health campaigns throughout Mexico.
The Mexican economy consisted of activities at the international, national, and local levels, including the export of minerals and agricultural commodities, manufactures and agriculture for domestic markets, and production of goods for everyday consumption, respectively. The impact of a decade of civil wars between 1910 and 1920, which comprised the Mexican Revolution, on the economy varied according to which level, the time period, and the geographical region. The crucial aspects of the economy consisted of transportation and communications, banking, mining, export agriculture, and government policies and actions. The important factors were the intensity of the violence, inflation, and the availability of capital.
Chronologically, there were several stages to the economic history of the Revolution. The first consisted of the years of the Madero rebellion and presidency, 1910–1913, when there was little damage done and growth continued. The second and worst period was during 1914, 1915, and 1916, when the counterrevolutionary Huerta regime battled the rebel Constitutionalists and after the latter’s victory the ensuing civil war between the divided winners. The third stage occurred with the defeat of the radical factions of the Revolution led by Zapata and Villa and the restoration of a semblance of order in 1917. The fourth included the establishment of the Sonoran dynasty of de la Huerta, Obregón, and Calles and the slow reconstruction of the economy.
Emiliano Zapata led the Liberating Army of the South during the Mexican Revolution. Zapata’s movement began with a demand for land reform, and his beliefs are most often captured by reference to the Plan de Ayala, which he promulgated in 1911. It was largely because of the Zapatistas (Zapata and his adherents) that land reform was written into the Mexican Constitution of 1917. Later, especially under President Lázaro Cárdenas, (1934–1940), the Mexican government carried out major land redistribution, which helped earn the post-revolutionary state legitimacy in the countryside. Over the course of nearly a decade fighting in the revolution, Zapata’s vision for remaking Mexico extended far beyond the Plan de Ayala and land reform to include judicial reform, decentralization of power, political democracy, the redistribution of wealth, and the promotion of the interests of rural workers and small agricultural producers while protecting Mexican sovereignty against powerful foreign interests. Zapata, however, led the most poorly armed of the main factions in the revolution and was unable to realize his goals. His enemies received large amounts of foreign military supplies, while he received no assistance from abroad. The inability of his poorly equipped volunteer army, mostly peasants and hacienda workers, to carry out large pitched battles dictated that they had to fight a grueling guerilla war. Zapata was unable to win on the battlefield, but was never totally defeated. He was assassinated in 1919. Although his larger vision for the future of Mexico did not prevail, his fight for land reform helped shape modern Mexico.
Fernando Ortiz is recognized today as one of the most influential Latin American authors of the 20th century. Amazingly prolific, his publications written between the 1890s and the mid-1950s engage with a vast array of subjects and disciplines. Perhaps Ortiz’s most significant accomplishments were the creation of the field of Afro-Cuban studies and major early contributions to the emergent field of Afro-diasporic studies. Almost everyone else associated with similar research began their investigations decades after Ortiz and in dialogue with his work. Ortiz was one of the first to seriously examine slave and post-abolition black cultures in Cuba. His studies became central to new and more positive discourses surrounding African-derived expression in the mid-20th century that embraced it as national expression for the first time in Latin America.
This essay considers Ortiz’s academic career and legacy as regards Afro-Cuban musical study beginning in the early 20th century (when his views were quite dated, even racist) and gradual, progressive changes in his attitudes. Ortiz’s work on music and dance have been underrepresented in existing academic literature, despite the fact that most of his late publications focus on such topics and are considered among his most valuable works. His writings on black heritage provide insight into the struggles within New World societies to overcome the racial/evolutionist ideologies that justified colonial subjugation. His scholarship resonates with broader debates throughout the Americas over the meanings of racial pluralism and the legacy of slavery. And his changing views over the years outline the trajectory of modern Western thought as regards Africa and race, specifically the contributions of Afro-diasporic peoples, histories, and cultures to New World societies.
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.
Sueann Caulfield and Cristiana Schettini
Over the past forty years, increasing attention to gender and sexuality in Brazilian historiography has given us a nuanced understanding of diverse ways in which women and men in Brazil’s past experienced patriarchy, racism, and other forms of oppression. As gender historians have shed light on how racialized and patriarchal gender and sexual roles have been reconstituted in different historical contexts, empirical studies in the field of social history have focused primarily on the historical agency of women, particularly non-elite women, who lived within or pushed against the confines of prescribed gender roles. Pioneering histories of sexual minorities have accompanied this trajectory since the 1980s, although this subfield has grown more slowly.
A few nodal themes help to explain transformations in gender relations during each of the major periods of Brazil’s social and political history. Under the empire (1822–1889), honor is the entryway for analysis of gender and sexuality. Gendered standards of honor were critical tools used to mark class and racial boundaries, and to traverse them. Historians of the imperial period also stress the centrality of gender to the social, cultural, and economic networks built by members of various occupational, familial, and kinship groups. During the First Republic (1889–1930), the focus shifts to state vigilance and social control, together with debates over modernization of sexual and gender norms, particularly regarding urban space and prostitution. In the Vargas era (1930–1945), patriarchy and racialized sexuality formed the core of intellectual constructions of the nation’s history and identity, at the same time that homosexuality and women’s and worker’s rights generated intense debate. A new emphasis on domesticity emerged in the context of developmentalism in the 1950s, helping to spur a reaction in the form of the counterculture and sexual revolution of the 1960s and 1970s. The dictatorship (1964–1985) went to great lengths to suppress challenges to gender and sexual norms as part of its broader strategy to demobilize society and repress oppositional political movements. These challenges reemerged in the 1970s, when feminists and sexual minorities gained much greater visibility within a new wave of social movements.
The 1988 constitution articulated these movements’ aspirations for social justice and equality through its foundational principal of human dignity. Significant legal changes followed over subsequent decades, including recognition of equal labor rights for domestic and sex workers, affirmative-action policies, and the legalization of same-sex marriage, in 2011. Despite notable setbacks, the momentum toward gender and sexual equality at the start of the 21st century was remarkable. This momentum was halted by the political coup that ousted the first woman president in 2016. The anti-feminist mood that accompanied the impeachment process underscored an overarching theme that runs through the historiography of gender and sexuality in Brazil: the centrality of gender to the major legal and political shifts that mark the nation’s history.
Friedrich E. Schuler
General Victoriano Huerta (1850–1916) stands out as the bête noire of twentieth-century Mexico. He was a career army officer who had attained the rank of general. Other generals and the old economic and social hierarchy supported him as a transitional national leader who could restore order following Francisco Madero’s revolution and presidency. Huerta has become the national bête noire because of his assumed responsibility for the assassination of Madero and his vice president, along with several governors and congressmen of the revolutionary regime. His seizure of power resulted in a new phase of the Mexican Revolution, the U.S. occupation of Veracruz, and his involvement with German Mexico and the area along the border with the United States. After going into exile, he attempted to return to power by invading Mexico. He was arrested by U.S. officials and interned at Fort Bliss, in El Paso, Texas, where he died during emergency surgery.
After decades of revolutionary upheaval and political violence that began early in the 20th century, Mexico had seemingly achieved stability and a relative level of social peace by the 1940s. The peasant revolution of 1910—beginning with its armed, insurrectionary phase (1910–1920) to the subsequent decades (1920–1940) that involved making “The Revolution” manifest in the everyday lives of Mexicans who (to borrow historian Jeffrey Pilcher’s metaphor) chose à la carte from the revolutionary menu—produced a durable political order characterized by an active level of popular participation and legitimacy. The peace was durable, yet potentially fragile since postrevolutionary rulers, contained within the confines of the Partido Revolucionario Institucional (PRI) and its previous incarnations, could not take the peasant masses for granted. Revolution had taught these masses something about their power, both its limitations and potential, to shape the content and form of the Mexican state.
After 1940, as the PRI gradually exhibited its preference for political authoritarianism and an economic project that rapidly industrialized and urbanized the country while pauperizing the countryside, a series of disparate popular protest movements continually emerged. Usually peaceful and basing their alternative modernizing visions on the 1917 Constitution and the radical policies of President Lázaro Cárdenas during the 1930s, these movements—peasant, organized labor, and student movements—often faced repression and violence at the hands of state agents and/or local-regional caciques when demanding political democracy and economic justice. The spectacular massacre of protestors in public spaces and the selective assassination of dissident movement leaders represent two of the tactics employed by the PRI to quell popular resistance in the post–1940 era. Yet, such instances of state violence also stimulated political and tactical radicalization as some protestors organized revolutionary expressions of armed struggle and guerrilla warfare. From 1940 to 1982, more than three dozen armed organizations emerged in almost every region, in both urban and rural settings, displaying a wide variety of revolutionary ideologies and practices. Beginning with Rubén Jaramillo’s 1943 armed resistance in Morelos and ending with the formal dissolution of the urban Liga Comunista 23 de Septiembre in 1982, these armed struggles generally shared the goal of overthrowing the PRI regime, seizing state power, and articulating a socialist vision for a post-PRI Mexico.
Although on a lesser scale than the United States, southern South America became a major receiving region during the period of mass transatlantic migration in the late 19th and early 20th centuries. Even as the white elites of most Latin American countries favored European immigration in the late 19th century, since in their eyes it would “civilize” their countries, it was the temperate areas closely tied into the Atlantic economy as exporters of primary products that received the bulk of European laborers. Previously scarcely populated lands like Argentina, Uruguay, and southern Brazil thus witnessed massive population growth and in some ways turned into societies resembling those of other immigration countries, such as the United States and Canada. This article concentrates on lands where the overwhelming majority of migrants headed, although it also briefly deals with Latin American nations that received significantly fewer newcomers, such as Mexico.
This mass migration lastingly modified identity narratives within Latin America. First, as the majority of Europeans headed to sparsely populated former colonial peripheries that promised economic betterment, migration shifted prevalent notions about the region’s racial composition. The former colonial heartlands of Mexico, Peru, and northeastern Brazil were increasingly regarded as nonwhite, poor, and “backward,” whereas coastal Argentina, São Paulo, and Costa Rica were associated with whiteness, wealth, and “progress.” Second, mass migration was capable of both solidifying and challenging notions of national identity. Rather than crossing over well-established and undisputed boundaries of national identities and territories, migration thus contributed decisively to making them.
In Brazil between 1920 and 1945, the potential for professional advancement increased significantly among literate individuals in three main areas: the intellectual and academic field in São Paulo and the emergence of a university-based intelligentsia; the boom in the publishing industry and the rise of professional novelists; and the Vargas regime’s widespread and deliberate co-optation of intellectuals. The interpretation presented in this article links class dynamics to changes within the activities of intellectuals, some of whom are analyzed here in the context of political and institutional tensions produced by the collapse of the oligarchic Old Republic (1889–1930).
Selfa A. Chew
The lives of Latin American Japanese were disrupted during World War II, when their civil and human rights were suspended. National security and continental defense were the main reasons given by the American countries consenting to their uprooting. More than 2,000 ethnic Japanese from Peru, Panama, Bolivia, Colombia, Costa Rica, Cuba, Ecuador, El Salvador, Mexico, and Nicaragua were transferred as “illegal aliens” to internment camps in the United States. Initially, US and Latin American agencies arrested and deported male ethnic Japanese, regardless of their citizenship status. During the second stage, women and children joined their relatives in the United States. Most forced migration originated in Peru. Brazil and Mexico established similar displacement programs, ordering the population of Japanese descent to leave the coastal zones, and in the case of Mexico the border areas. In both countries, ethnic Japanese were under strict monitoring and lost property, employment, and family and friend relationships, losses that affected their health and the opportunity to support themselves in many cases.
Latin American Japanese in the United States remained in camps operated by the Immigration and Naturalization Service and the army for the duration of the war and were among the last internees leaving the detention facilities, in 1946. At the conclusion of World War II, the Latin American countries that had agreed to the expulsion of ethnic Japanese limited greatly their return. Some 800 internees were deported to Japan from the United States by the closure of the camps. Those who remained in North America were allowed to leave the camps to work in a fresh produce farm in Seabrook, New Jersey, without residency or citizenship rights. In 1952, immigration restrictions for former Latin American internees were lifted. Latin American governments have not apologized for the uprooting of the ethnic Japanese, while the US government has recognized it as a mistake. In 1988, the United States offered a symbolic compensation to all surviving victims of the internment camps in the amount of $20,000. In contrast, in 1991, Latin American Japanese survivors were granted only $5,000.
Japanese immigration to Brazil started in 1908 as a replacement for European immigrants to work for the state of São Paulo’s expanding coffee industry. It peaked in the late 1920s and early 1930s, in the face of growing anti-Japanese sentiment in Brazil. The Japanese migrated to Brazil in mandatory family units and formed their own agricultural settlements once they competed their colono labor contracts and became independent farmers. Under Getúlio Vargas’s nationalistic policies, a 1934 immigration law severely limited the entry of the Japanese. Strict legal restrictions were also imposed on them during Vargas’s Estado Novo (1937–1945). Japanese immigration was eventually terminated in 1942. Then the number of Japanese immigrants reached 188,986. At the end of the war, the Japanese were sharply divided among themselves over the defeat of Japan, and Sindō Renmei’s attacks on other Japanese factions terrified the nation of Brazil. Having given up their hope of returning to their homeland, the Japanese and their descendants began to migrate on a large scale to the cities, especially São Paulo City. Japanese immigration resumed in 1953 and peaked in 1959–1960. A total of 53,657 postwar immigrants, including many single adult men, arrived in Brazil before 1993. By 1980, the majority of Japanese Brazilians had joined the urban middle class, and many were already mixed racially. In the mid-1980s, Japanese Brazilians’ “return” labor migrations to Japan began on a large scale, due to Brazil’s troubled national economy. More than 310,000 Brazilian citizens were residing in Japan in June 2008, when the centenary of Japanese immigration was widely celebrated in Brazil. But the story does not end there: the global recession soon forced unemployed Brazilians and their Japanese-born children to return to Brazil.
That the Mexican mural renaissance is understudied is clear from the fact than not one of its artists has been the subject of a scholarly biography. Moreover, the movement as a whole has usually been viewed through nationalist prejudices and partisan interpretations. A current reevaluation uses the wedge of several hitherto marginalized artists who figure more prominently in documents and chronology than in popular history. Among them, Jean Charlot can be placed securely at the beginning of several major developments, which were continuations of his work in France. At the open air art school of Coyoacán, he helped the young teachers move from impressionism to a geometry-based postimpressionism more appropriate for mural composition. He introduced woodcut, which he had practiced in France and which became the print medium of choice for generations of Mexican artists. His first mural, The Massacre in the Main Temple, was important for its successful use of fresco—immediately adopted as the preferred medium by other muralists—and its dynamic geometric composition, an alternative to Diego Rivera’s static classicism in Creation. Charlot further broadened the thematic and stylistic options of the movement in a series of small oils and in the first studies of the indigenous nude. He continued to nourish his colleagues with the results of his work as an archeological draughtsman at the Chichen Itza expedition of the Carnegie Institution of Washington, DC.
Charlot also participated in the notable collaboration between artists and writers in 1920s Mexico. Along with Manuel Maples Arce, he was on the two-man Direction Committee of the estridentista movement, illustrating books of poetry and joining group exhibitions. His writings are among the earliest discussions of contemporary Mexican art—publicizing the movement in Europe and the United States—and continue to influence interpretation today. His collections of documents and interviews, as well as his personal experience, became the invaluable basis of books like his The Mexican Mural Renaissance, 1920–1925 and numerous articles in several languages. His latest bibliography is 173 pages long. Charlot fulfilled the unique role of insider-outsider, participant-observer, in the Mexican mural renaissance.
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.