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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).
The history of emotion is one of the strongest currents in contemporary historiography. Historians and the public have always considered emotion important, but it has become a topic in itself only in recent decades. The history of emotion now has its own lexicon and key concepts, including emotionology (emotional standards of a community) and emotional communities (the multiple and shifting communities, each with its own standards and practices, within a society). The historiography of emotion in colonial Latin America can trace its origins to colonial works that framed Iberians as emotionally pathological. While this derogatory stereotype is clearly invalid, the notion of a distinct colonial emotional regime is worth investigating. Distinct indigenous emotional standards and understandings, the emotional performances and practices associated with colonial domination, and the relationship between emotion and honor may all be key features of a uniquely Latin American, and uniquely colonial, emotional regime. Similarly, the manifestations of more recognizably “interpersonal” emotion had a distinctively Latin American character. To a great degree, the Catholic Church exercised hegemony over the definition and regulation of emotion, though medical and humoral understandings of emotion were common both to colonial clerics and to the laity; at the same time, however, the emotions associated with sexuality—love, desire, jealousy, and hatred—are testament to the limits of the Church’s control. Moreover, 18th-century cultural and social changes further altered the balance of the colonial emotional regime; reformers criticized what they viewed as the extreme, inauthentic, or violent emotions of the Latin American population, while the authority of psychological and medical explanations of emotion grew, producing “hybridized” understandings.
The first Bienal de São Paulo occurred in 1951 as an event organized by the Museum of Modern Art of São Paulo. At that moment, the principal objectives of the exhibition were to win a place for São Paulo city in the international artistic circuit and present Brazilian modern art to the world. Due to the artistic direction of intellectuals such as Lourival Gomes Machado, Sérgio Milliet, and Mário Pedrosa, the São Paulo Biennales played a central role in the process of the institutionalization of modern art in Brazil, whether through the organization of special exhibitions dedicated to historical vanguards or expanding the museum’s collection through acquisition prizes. Since 1957, the exhibition has occupied the Ciccillo Matarazzo Pavilion, one of the iconic modernist buildings designed by Oscar Niemeyer for Ibirapuera Park.
In 1962, the exhibition was separated from the museum, following the creation that year of the Fundação Bienal de São Paulo, a private nonprofit institution, which since then has been responsible for the organization of the Biennales. During the following decades the history of the Biennales has been a constant effort to survive numerous crises, maintaining a contemporary identity for the exhibition through experimentation with different organizational structures. The exhibition followed the model of the Venice Biennale, based on the geopolitical logic of national representation until 2006, when the Fundação Bienal decided to implement the current organizational system in which an appointed general curator is entirely responsible for the choice of artists for the exhibition. The capacity to reinvent itself from time to time, to adapt to changes in artistic practices and the global artistic scene, is what still makes the São Paulo Biennale the oldest and most important contemporary international art exhibition in Latin America.
Historians have extensively explored the topic of architecture in Mexico City in the 20th century. From the relationships between politics, public patrons, new construction technologies, and new idioms of modernism, the impressive story of architecture in this megalopolis continues to astound and captivate people’s imaginations. Architecture was a channel that politicians used to address housing, education, and health care needs in a rapidly growing city. Yet scholars have not been especially concerned with private construction projects and their influence on the process of shaping and being shaped by the visual representation of Mexico City. Private building projects reveal an alternative reality of the city—one not envisioned by politicians and public institutions. Private construction projects in the historic city center are particularly interesting due to their location. These buildings are built on ancient clay lakebeds and volcanic soil on which the Aztecs first built the city. Not only are these buildings located in the heart of the city, the buildings in the rest of the historic district are also sinking. Any building in a historic district that has withstood the test of time should be an object of interest to scholars. The Torre Latinoamericana is perhaps the only building in the historic district and the entire city that ceases to sink, and instead floats! Located on the corner of Madero and San Juan de Letrán, the building sits at the heart of history, culture, and ancient Aztec clay lakebeds. The Torre Latinoamericana was built between 1948 and 1956 and is one of the most important visual symbols of resilience and modernity in Mexico City today.
Fernando Purcell and Camila Gatica
Hollywood, and Disney in particular, played a key role in inter-American relations during the mid-20th century. Hollywood cinema became an important weapon of cultural diplomacy in the context of the Good Neighbor Policy and later during World War II, and it aligned itself with the main diplomatic guidelines issued by Washington. Cinema was widely disseminated throughout Latin America, which helped to consolidate the US message in the region. Thus the close ties between the Hollywood film industry and the State Department is made clear, which became particularly close with regard to Latin America thanks to the creation of the Office of the Coordinator of Inter-American Affairs during the conflict. In this context, the Office of the Coordinator of Inter-American Affairs played a key role in creating a two-way street between Latin American culture and US audiences, as well as presenting the United States as an ally to trust.
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.
Housing has been a central feature of Latin America’s dramatic transformation into the most urbanized region of the world. Between 1940 and 1970, the portion of people who lived in urban areas rose from 33 percent to 64 percent; a seismic shift that caused severe housing deficits, overcrowding, and sprawl in Latin America’s major cities. After the Second World War, these urban slums became a symbol of underdevelopment and a target for state-led modernization projects. At a time when Cold War tensions were escalating throughout the world, the region’s housing problems also became more politicized through a network of foreign aid agencies. These overlapping factors illustrate how the history of local housing programs were bound up with broader hemispheric debates over economic development and the role of the nation-state in social affairs.
The history of urban housing in 20th-century Latin America can be divided into three distinct periods. The first encompasses the beginning of the 20th century, when issues of housing in the central-city districts were primarily viewed through the lens of public health. Leading scientists, city planners, psychiatrists, and political figures drew strong connections between the sanitary conditions of private domiciles and the social behavior of their residents in public spaces. After the Second World War, urban housing became a proving ground for popular ideas in the social sciences that stressed industrialization and technological modernization as the way forward for the developing world. In this second period, mass housing was defined by a central tension: the promotion of modernist housing complexes versus self-help housing—a process in which residents build their own homes with limited assistance from the state. By the 1970s, the balance had shifted from modernist projects to self-help housing, a development powerfully demonstrated by the 1976 United Nations (UN) Conference on Human Settlements (Habitat I). This seminal UN forum marked a transitional moment when the concepts of self-help community development were formally adopted by emergent, neo-liberal economists and international aid agencies.
Bryan A. Banks
Huguenots refer to the group of French Calvinists in France, those expelled from France into the wider European, Atlantic, and global diaspora, and those descendant from either of the first two groups. Driven by faith, religious factionalism, and dynastic rivalries, Huguenots enflamed the French Wars of Religion (1562–1598). Henri IV ended the war by extending a degree of toleration to the Huguenots in 1598 with the Edict of Toleration. Despite the king’s royal edict, the first wave of Huguenots (1530s–1660s) continued to leave France well into the 17th century. The second wave (1670s–1710s) occurred in the second half of the 17th century, when Louis XIV’s persecutory policies began to limit Huguenot communal activities, meeting spaces, available professions, and then with the Revocation of the Edict of Nantes (1685), the ability to be Calvinist legally at all. Following 1685, those who remained in France entered into what is often called the Désert period, when French Calvinists continued to practice their faith in clandestine settings, away from the French dragonnades. Those who rode the two waves out of France, settled in the Netherlands, Switzerland, Great Britain, Ireland, and many of the German states. Some used other European states to ride successive waves of diaspora movement out further into Europe and the Atlantic World, relocating to North America, the Caribbean, Suriname, Brazil, South Africa, and then later on into the Indian and Pacific oceanic worlds. Huguenots took advantage of Atlantic spaces in order to prove their value to the French state, but when France no longer proved safe for Huguenots, the Atlantic offered them a refuge, wherein a complex diaspora community emerged in the early modern period.
The 1968 Mexican student movement remains essential to the formation of the modern Mexican human rights movement. Mexico has had a long tradition of revolutionary activity, rural social movements, and an active labor movement that sought to gain basic human rights such as education, adequate housing, decent wages, and access to land. In 1968, students drew inspiration from leaders of the revolution, labor movements, and rural social activists. They echoed their demands, they used their images, and they insisted that the government respect the 1917 constitution. Despite their efforts to build a nonviolent social movement, they met violence at the hands of the government, which brutally suppressed the movement on October 2, 1968.
Following the massacre and into 1970, the government imprisoned students while others fled into exile to avoid prison. By the 1970s, the government initiated a “democratic opening” in which former activists were released from prison and others returned from exiles. While some former leaders entered government service, others questioned the impunity of the government and demanded answers. In their writings, films, and public presentations, they made connections to the struggles of the past. Like their counterparts in Europe and the United States, their struggles matured and evolved, and they became the leaders of the feminist, LGBTQ, and the modern human rights movements.
During his breathtaking 19th-century scientific explorations of New Spain (as Mexico was known under Spanish rule), illustrious German scientific traveler Alexander von Humboldt crammed a lifetime of scientific studies into one extraordinary year: exhausting inspections of three major colonial silver mines, prodigious hikes to the summits of most of Mexico’s major volcanoes while taking scientific measurements and botanical samples, careful study of hitherto secret Spanish colonial archives in Mexico City, and visits to recently uncovered archaeological sites of pre-Hispanic cultures. Humboldt wrote voluminously about his Mexican experiences and is an indispensable source of insights into the colony of New Spain on the eve of its troubled birth as independent Mexico a decade later.
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.
Susan Elizabeth Ramirez
The Inca (also Inka) Empire, called by the Andeans themselves “Tawantinsuyu,” referred to its four parts: the Chinchaysuyu, the Antisuyu, the Collasuyu, and the Cuntisuyu. Inter-disciplinary research pictures an assemblage of ethnic groups under a dynasty of rulers, believed to have supernatural origins. This multi-cultural state, overseen by a decimally-defined administrative system, was united by kinship ties; the worship of the sun, the moon and ethnic ancestors; negotiation; reciprocity; and force. At its height, it spread from Northwestern Argentina, through Bolivia, Peru, and Ecuador, and included about half of Chile and the southern frontier of Colombia. Troubles began in the 1520s as a strange disease decimated the native population, claiming the emperor himself. Yet, the Inca’s jurisdiction continued to expand until circa 1532, the date when Francisco Pizarro and his followers and allies marched across the Andes and confronted the Andean emperor Atahualpa in the plaza of the highland ceremonial center of Cajamarca.
Jaime E. Rodríguez O.
The independence of New Spain was not the result of an anti-colonial struggle. Rather, it was a consequence of a great political revolution that culminated in the dissolution of the Spanish Monarchy, a world-wide political system. The movement was an integral part of the broader process that was transforming antiguo régimen societies into modern liberal nation states. The new country of Mexico that emerged from the break up of the Spanish Monarchy retained many of the shared institutions, traditions, and practices of the past. Although political ideas, structures and practices evolved rapidly after 1808, antiguo régimen social, economic, and institutional relationships changed slowly. Throughout this period of transformation, new political processes and liberal institutions merged with established traditions and practices.
Two broad movements emerged in the Spanish World, a great political revolution that sought to transform the Spanish Monarchy into a modern nation state with the most radical constitution of the 19th century, and a fragmented insurgency that relied on force to secure local autonomy or home rule. These two overlapping processes influenced in a variety of ways. Neither can be understood in isolation.
Indigenismo is a term that refers to a broad grouping of discourses—in politics, the social sciences, literature, and the arts—concerned with the status of “the Indian” in Latin American societies. The term derives from the word “indígena,” often the preferred term over “indio” because of the pejorative connotations that have accrued to the latter in some contexts, and is not to be confused with the English word “indigenism.” The origins of modern indigenismo date to the 16th century and to the humanist work of Bartolomé de las Casas, dubbed “Defender of the Indians” for his efforts to expose the violence committed against native populations by Spanish colonizers. Indeed indigenismo generally connotes a stance of defense of Indians against abuse by non-Indians, such as criollos and mestizos, and although this defense can take a variety of often-contradictory forms, it stems from a recognition that indigenous peoples in colonial and modern Latin America have suffered injustice. Another important precursor to modern indigenismo is 19th-century “Indianismo.” In the wake of Independence, creole elites made the figure of “the Indian” a recurring feature of Latin American republican and nationalist thought as the region sought to secure an identity distinct from the colonial powers.
The period 1910–1970 marks the heyday of modern indigenismo. Marked by Las Casas’s stance of defense toward indigenous people and by creole nationalists’ “Indianization” of national identity, the modernizing indigenismo of the 20th century contains three important additional dimensions: it places the so-called “problem of the Indian” at the center of national modernization efforts and of national revolution and renewal; it is, or seeks to become, a matter of state policy; and it draws on contemporary social theories—positivist, eugenicist, relativist, Marxist—to make its claims about how best to solve the “Indian problem.” Though its presence can be found in many Latin American countries, indigenismo reached its most substantive and influential forms in Mexico and Peru; Bolivia and Brazil also saw significant indigenista activity. Anthropologists played a central role in the development of modern indigenismo, and indigenismo flourished in literature and the performing and visual arts. In the late 20th century, indigenous social movements as well as scholars from across the disciplines criticized indigenismo for its paternalist attitude toward Indians and for promoting Indians’ cultural assimilation; the state-centric integrationist ideology of indigenismo has largely given way to pluri-culturalism.
The epistemic assumptions, methods, and rhetoric employed by colonial indigenous intellectuals in Latin America were based on preconquest intellectual labor and literacy systems. These practices were deeply impacted by collaborative projects and historical scholarship undertaken in the 16th century, as indigenous elites embraced European literacy and scholarly models. This merging of diverse traditions led to a “golden age” of indigenous intellectual achievements in the 17th century, and to a diversity of genres cultivated by native scholars in late colonial times. Indigenous historical actors were intellectuals not only because they recorded and disseminated historical, religious, or political knowledge, but also because they were inserted in culturally hybrid social networks through which collective knowledge circulated. While the works of Chimalpahin, Guaman Poma, Garcilaso de la Vega, and don Fernando de Alva Ixtlilxochitl are relatively well known, this small sample of native and mestizo intellectuals must be expanded considerably to examine works produced through co-authorship arrangements with friars and priests, and to address clandestine works composed exclusively for native audiences by less known, or even anonymous, indigenous scholars.
In Argentina, tensions between the military and Indigenous People have been present since the formation of the nation-state in the late 19th century. During the so-called “Campañas al desierto” (Desert Campaigns), when the Argentine military occupied the northern and southern sovereign Indigenous territories, Indigenous Nations were seen as the main opponents to the military project of building a civilized nation. The confrontation between the military and Indigenous nations were seen as the main opponents to a civilized nation. Against analysis that regards relations between the military and Indigenous People as inherently violent, a new line in historiographical studies traces too the trajectories of Indigenous troops joining the military. The 19th-century relations between the military and Indigenous People were therefore more complex than an opposition between contrary nations. During the colonization of Indigenous lands in Pampa and Patagonia region to the south and in the Chaco region to the north west, Indigenous groups were both enemies and allies and necessary for the success of the nation-state’s advance. Within these alliances and relations of proximity, military officers produced a specific racialization of Indigenous bodies related to positive perceptions of them as strong and skillful soldiers. These sets of ideas, present in military memoirs in the 19th century, re-emerge in how Toba Indigenous men experience being racialized during the Mandatory Military Service in the mid- and late 20th century.
María L. O. Muñoz
The political history of indigenous peoples in Mexico during the 20th century is complex, particularly because it intersects with changing local, state, and federal government projects aimed at exclusion, inclusion, assimilation, integration, homogenization, and multiculturalism. Focusing only on such government initiatives, however, muddies the analytical waters, as doing so tends to silence forms of resistance, accommodation, reaction, adaptation, and the agency of first peoples and communities. Oftentimes this approach assumes a complacent population at the mercy of a predatory state or a subject people in the care of a paternalistic state. In recognition of the danger of accepting state-driven indigenismo projects as the defining criteria of native people’s histories during the 20th century, this article parallels glimpses of state-driven indigenismos with indigenous forms of regional and national organization in defense of individual and collective interests, as expressed in works that have emerged over the last twenty-five years. By no means are the themes covered in this article indicative of the breadth of the concerns, ideas or political, social, and economic interests of native peoples. Rather, its intent is to juxtapose histories of indigenismos and indígena mobilizations and organization after 1940 to illustrate how the government attempted to shape its “revolutionary” vision after 1920 and the ways in which indigenous communities themselves also engaged, or did not, in this process for a number of reasons, collective and individual.
Dana Leibsohn and Meha Priyadarshini
For historians of the Spanish Americas indigenous portraits and casta paintings offer two distinctive lenses for understanding the relationships between indigeneity and colonialism. Both genres of painting anchor indigenous bodies and subjectivities in the racialized practices that were constitutive of, and crucial to, colonialism in the Americas. Indigenous portraits record individual biographies and family histories, offering scholars of the present insights into the lives of people whose desires rarely surface in prose sources. Indigenous portraits also document the economic and material investments people were willing to make in preserving images of lives well lived. In the colonial past, as in the present, indigenous portraits therefore speak to the ways social ambitions fueled identity formation. Cuadros de castas, or casta paintings, are a genre of painting invented and painted in the Spanish Americas in the late 17th and 18th centuries. Casta paintings, like indigenous portraits, describe status and economic wealth; their main aim, however, was to portray the ethnic mixing and concomitant racialized thinking in colonial society. According to the iconography and composition of casta paintings, the mixing of people from Europe, Africa, and the Americas could be ordered and organized such that everyone seemed to have a place and appropriate ethnic designation. Today, casta paintings are understood as persuasive works of art that presented an idealized, hierarchical view of urban life. The painters and patrons of indigenous portraits and casta paintings participated in networks formed by habits of material exchange, patterns of urban mobility, and practices linked to Catholic religious beliefs. Some of these networks stretched across the Americas; others were bound to trade and travel across the Atlantic and Pacific oceans. The histories referenced in indigenous portraits and casta paintings should be understood, then, as tethered to local concerns, global economies, and cosmopolitan ambitions.
Denise Maria Cavalcante Gomes
Before the Portuguese arrived in Brazil at the beginning of the 16th century, the vast area that today constitutes the national territory was occupied by different indigenous groups, the native peoples of the land. The origins of human settlement in Brazil have been the subject of heated debates. Brazilian archaeology has long been dedicated to the issue, in conjunction with researchers from several countries, because the question holds implications for charting early human life across the Americas. Their findings have made it possible to better understand the long history of indigenous societies in what is today Brazil based on their material remains, because it is rarely possible to establish a correlation between one group or another based solely on ethno-historical sources. The archaeological research has also made meaningful progress on cultural history, addressing questions related to the way of life of hunter gathers and ceramist groups. The latter were numerous and diversified in the past, but the importance and wide distribution of the Tupi, the first indigenous group with whom Europeans came into contact, should be highlighted. Another issue of interest is the sociopolitical complexity and the material sophistication of late precolonial Amazon societies.
Around 1560, indigo-yielding plants were identified in the New World. Settlers turned with enthusiasm to the industry, cultivating the native Indigofera species on large-scale plantations from the Isthmus of Tehuantepec to the Gulf of Fonseca. Production surged, and by 1600 indigo had become the third most valuable export from the Spanish Indies (behind silver and cochineal). After an initial, explosive start, the industry declined toward 1630, crippled by the onslaught of crop plagues, an insufficient supply of labor, and a collapsing transport system.
A second boom came only in the second half of the 18th century, following the Bourbon reforms, and with the recovery of trade through the Central American ports. By this time, a steady increase in European demand for indigo had encouraged the spread of colonial production to Dutch Java, French Saint-Domingue, British Jamaica, and South Carolina. Yet the Central American product had a longstanding, elevated reputation on its sid, and fared well against its rivals with the rare flor tizate, the region’s finest, ranked highest in European markets.
In the three centuries between the emergence of colonial production and the commercialization of a synthetic alternative at the close of the 19th century, indigo transformed lives and landscapes on both sides of the Atlantic. The industry formed an integral part of the Central American economy, with important social and environmental consequences for the region.