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Nahua peoples in central Mexico in the late postclassic period (1200–1521) and the early colonial period (1521–1650) had a sophisticated and complex system of healing known as tiçiyotl. Titiçih, the practitioners of tiçiyotl, were men and women that had specialized knowledge of rocks, plants, minerals, and animals. They used these materials to treat diseases and injuries. Furthermore, titiçih used tlapohualiztli (the interpretation of objects to obtain information from nonhuman forces) to ascertain the source of a person’s ailment. For this purpose, male and female titiçih interpreted cords, water, tossed corn kernels, and they measured body parts. Titiçih could also ingest entheogenic substances (materials that released the divinity within itself) to communicate with nonhuman forces and thus diagnose and prognosticate a patient’s condition. Once a tiçitl obtained the necessary information to understand his or her patient’s affliction, he or she created and provided the necessary pahtli (a concoction used to treat an injury, illness, or condition) for the infirm person. Finally, titiçih performed important ritual offerings before, during, and after healing that insured the compliance of nonhuman forces to restore and maintain their patients’ health.
The Midwestern United States is home to several major public museum collections of Haitian art. These collections were established within a short period between the late 1960s and early 1970s. Similarities between the contents of these collections and their formations point to particular dynamics of visual-art production in Haiti and cross-cultural interactions in which works of Haitian art were collected abroad. This examination of particular collection histories of two Midwestern U.S. museums, both in Iowa, demonstrates shifting cultural narratives that have contributed to generalized definitions of “Haitian Art.” Considering the dearth of Haitian-American communities in the state and its far-flung geography, the fact that so many works by Haitian artists reside in the Midwest may appear to be a curious occurrence. However, these collections arose from individual bequests from local collectors who began acquiring Haitian art during the second “Golden Age” of Haitian tourism in the 1960s and 1970s. North American travelers who visited Haiti at this time sustained a market for Haiti’s artists and helped maintain international interest in Haitian visual culture. The common characteristics of these two collections—in the cities of Davenport and Waterloo—and the history of their development speak volumes about cultural intersections between Haiti and the United States, especially in relation to the effects of tourism and international travel on the production, circulation, and reception of Haitian art. More broadly, these histories exemplify wide-ranging shifts in North–South relations in the late 20th century.
In the United States, Iowa is home to two of the largest public collections of Haitian art in the country, one in Davenport at the Figge Museum of Art and the other about 130 miles away in Waterloo at the Waterloo Center for the Arts. Considering both distance and regional context, the Midwest’s relationship to Haitian art may seem incongruous. Almost 2,000 miles separate Haiti from the region, and the largest enclaves of the Haitian diaspora reside in major urban centers like Miami, New York, Boston, Montreal, and Chicago. Additionally, stereotypes of the region as provincial and culturally unsophisticated accompany the Midwest’s reputation and add to the intrigue surrounding the seemingly uncharacteristic presence of Haitian art in regional museums. In order to better understand such seemingly random cultural linkages between Haiti and Iowa, we must examine the routes and circuits through which art objects in these collections have traveled, the individuals who facilitated such movements, and the distances, both physical and conceptual, between artists’ studios in Haiti and museum context in the American Midwest.
For audiences in the United States, the word “Haiti” often accompanies news headlines focusing on one of the country’s many crises: political instability, mass migration, natural disaster, poverty. The focus on Haiti’s many challenges of the past decades obscures the fact that in several key periods in the 20th century the country attracted a steady stream of “First World” visitors. With Haiti only a short plane ride away from the United States, travelers were drawn not only to Haiti’s tropical climate and the many upscale hotel accommodations of the time, but also to the country’s cultural offerings, which included a thriving environment of visual art production. A cottage industry producing paintings, sculptures, and handicrafts greeted tourists, journalists, academics, researchers, and other visitors. Some of these souvenir-ready items could be easily dismissed as cheap, mass-produced “tourist art,” but a great many of them reflected an originality and creative quality that emerged within the supportive context of the “Haitian Renaissance.” Haitian visual arts struck many of these art-buying travelers to such a degree that they would make many return visits to Haiti, amassing enough work that would eventually make up collections of art back in the United States. The cross-cultural interactions of these traveling collectors can be framed through a study of the art objects they collected and their interactions with Haitian artists and arts institutions. Focusing on individual case studies reveals broader trends in the international reception of Haitian art and how collections in Iowa and elsewhere were established.
Beginning in Davenport, whose Figge Museum of Art is the earliest established public and permanent collection of Haitian art in the United States, this examination of collection histories will shed light on how global, regional, and individual contexts and circumstances contributed to Haitian art’s presence in Iowa and its reception abroad. In addition, these collection histories highlight connections among collectors, artists, and other active participants in the circulation of Haitian in the period of the late 1960s and early 1970s. The second example considers the origins and development of the Waterloo Center for the Arts’ Haitian collection and demonstrates one institution’s efforts to connect Haitian art objects with local audiences. Both case studies also underscore histories of engagement between the United States and Haiti, as well as issues that museums have grappled with concerning their Haitian art collections and the shifting circumstances of art production in Haiti.
George Felix Cabral de Souza
Mercantile groups of colonial Brazil have drawn renewed attention in recent decades as analyses of empirical data have outlined a more complex economic scenario for the Portuguese colonies in Brazil, bringing into sharper focus the range of activities undertaken by businessmen who established themselves in the conquered lands. Acting individually or through large mercantile networks, they were on the front lines of efforts to expand and maintain the colonized areas, as well providing links between the Old and New Worlds, including by trafficking in enslaved Africans. The 18th-century gold boom had a tremendous impact on colonial markets and brought both economic and social consequences for merchants. Although the model of social hierarchization continued to be set by the agrarian elite, large merchants’ access to liquidity, credit mechanisms, and reinvestment opportunities gave them ever greater political weight in the empire’s balance of power. Most merchants in colonial Brazil were natives of Portugal and had to overcome prejudices and resistance to integrate themselves into society. Commercial success was only the first step in a long path that relied on political and family strategies. From the 16th to the 18th centuries, merchants in colonial towns from the north to the south of Brazil had some features in common: they sought symbols of social distinction, they formed and carefully tended networks of family and clients, and they participated in local governance.
Forming and encouraging families in Jamaica was a struggle from the very beginning of English colonization there, making Caribbean households transatlantic in nature. The explosion of plantation slavery in the 17th century prioritized economic expansion over white family cultivation. Likewise, planters were more concerned with profits than they were with enslaved families. Constant migration from Europe and Africa was therefore needed to keep populations stable for the whole history of slavery in Jamaica. The island’s demographic and political security was always tenuous as a result of this, and officials attempted numerous strategies to encourage family growth, among both the free and enslaved communities. As the island transitioned to freedom, regulating the definition of “proper” families became a weapon from which English authorities wielded imperial power. Racist sentimental toward Caribbean households created social tension when thousands of black Jamaicans emigrated to Britain after the Second World War. Their arrival produced new British households that challenged some British conceptions of domestic family life. Throughout this whole history, migration defined the growth and character of families in the Jamaican-British Atlantic World.
Stephen W. Campbell
The Transatlantic Financial Crisis of 1837 produced a global depression that lasted until the mid-1840s. Falling cotton prices, a collapsing land bubble, and fiscal and monetary policies pursued by individual actors and financial institutions in the United States and Great Britain were all responsible. A comprehensive understanding of the panic must take into account the global movements of gold and silver that linked Mexico, China, the United States, and Great Britain in complex networks of credit and debt. In the United States, businesses, banks, and individuals declared bankruptcy; states defaulted on their debts; commodity prices dropped; credit instruments lost their value; and unemployment rose amid a general atmosphere of pessimism and an erosion of confidence. The severity of the panic prompted politicians and financial theorists to reevaluate their ideological assumptions regarding the proper role of governmental regulation in an economy. In a larger sense, the panic demonstrated how the expansion of slavery in the United States, British imperialism, financial speculation, and recurring cycles of boom and bust were emerging as defining features of modern capitalism.
Chad M. Gasta
Opera was performed in the Spanish-speaking New World colonies almost a century before what later would become the United States. The first operas staged in the Spanish colonies were wildly elaborate projects funded by the viceroys—Tomás de Torrejón y Velasco’s La púrpura de la rosa, in Lima, Peru, in 1701, and Manuel Zumaya’s Parténope, in Mexico City in 1711. These were followed by two operas written to convey religious didactic messages in the remote Jesuit Missions of South America: Domenico Zipoli’s San Ignacio (ca. 1720) and the anonymous San Xavier (ca. 1730), the latter of which was composed in the indigenous Bolivian Chiquitano language with a parallel Spanish libretto. All derived from the Italian opera tradition but were decisively shaped by Spanish musical theater, and they were indebted to the first operas in Madrid, which predated them: Félix Lope de Vega y Carpio’s fully sung La selva sin amor, from 1627, performed by the Florentine delegation, and a pair of operas from 1659 and 1660 by Pedro Calderón de la Barca, La púrpura de la rosa (whose libretto served as the basis for Torrejón’s 1701 version) and Celos aun del aire matan. These early Spanish operas were part of a process of political and ideological posturing since they were funded and produced either by nobility intent on displaying their wealth, prestige, and power, or by leaders of the Church who were seeking to impart a particular religious message to embolden its influence. These grand spectacles did not usher in a stunning opera tradition in Spain, any more than their progeny in the New World would. For a variety of financial, political, and cultural reasons, a sustained or successful opera tradition would not occur until the second half of the 19th century in Spain or the New World. Perhaps importantly, these productions reflected the movement of goods and people from the Old World to the New, and opera played an exceptional role in shaping political and social events in the metropolitan centers and in minority peripheries in both Spain and the New World.
The Cuban poet José María Heredia (1803–1839) spent twenty months exiled to the United States because of his involvement in pro-independence conspiracies. In that time, Heredia wrote a prodigious number of poems and letters, which are the subject of an ongoing scholarly project undertaken by Frederick Luciani of Colgate University. Luciani’s work involves more than translating these poems and letters into English—it examines Heredia’s stay in North America against the background of political and historical events, and traces the matrices of his connections with key figures, literary and otherwise, in Cuba and the United States. Questions that have surfaced through the translation process and scrutiny of this period of Heredia’s life include the relationship between Heredia’s poetry and his letters; the value of his letters as a form of travel literature; the contradictions inherent in his exilic condition; the ambiguity of his political sentiments; the nature of the networks that joined 19th-century Anglo-American and Hispanic writers, translators, and scholars; and the challenges and opportunities that Heredia’s life and work pose for readers, translators, and scholars today.
J. Brian Freeman and Guillermo Guajardo Soto
In his 1950 study, Mexico: The Struggle for Peace and Bread, historian Frank Tannenbaum remarked that “physical geography could not have been better designed to isolate Mexico from the world and Mexicans from one another.” He recognized, like others before him, that the difficulty of travel by foot, water, or wheel across the country’s troublesome landscape was an unavoidable element of its history. Its distinctive topography of endless mountains but few navigable rivers had functioned, in some sense, as a historical actor in the larger story of Mexico. In the mid-19th century, Lucas Alamán had recognized as much when he lamented that nature had denied the country “all means of interior communication,” while three centuries before that, conquistador Hernán Cortés reportedly apprised Emperor Charles V of the geography of his new dominion by presenting him with a crumpled piece of paper. Over the last half-millennium, however, technological innovation, use, and adaptation radically altered how humans moved in and through the Mexican landscape. New modes of movement—from railway travel to human flight—were incorporated into a mosaic of older practices of mobility. Along the way, these material transformations were entangled with changing economic, political, and cultural ideas that left their own imprint on the history of travel and transportation.
From 2001 to 2003, Peru’s Truth and Reconciliation Commission (the Comisión de la Verdad y Reconciliación del Perú, or CVR) investigated and reported on human rights abuses committed in Peru by state forces and insurgents between 1980 and 2000. That twenty-year armed internal conflict began when militants of the Peruvian Communist Party-Shining Path (Sendero Luminoso) launched an armed struggle against the Peruvian State. The smaller MRTA (Túpac Amaru Revolutionary Movement) waged a separate armed struggle from 1984 until 1997. Peru’s armed forces, police, and peasant civil defense patrols carried out a counterinsurgency that lasted until the collapse of Alberto Fujimori’s authoritarian regime in 2000.
The CVR’s official mandate was to analyze why the violence occurred, determine the scale of victimization, assess responsibility, propose reparations, and recommend preventative reforms. The CVR collected nearly seventeen thousand testimonies about the violence, including harrowing stories of massacres, disappearances, torture, and sexual abuse. The CVR also held twenty-seven public hearings, broadcast on Peruvian television and radio.
Commissioners determined that the death toll from the armed internal conflict was 69,280. This number was more than twice as high as previous estimates. The CVR established that 79 percent of the victims lived in rural areas, and 75 percent of the dead spoke Quechua or another Indigenous language as their first language. Commissioners also determined that the PCP-Shining Path was responsible for 54 percent of the reported deaths. The Final Report recommended institutional reforms including changes to Peru’s educational system, limits on military autonomy, changes to policing, and greater controls over intelligence agencies. It also made a series of recommendations regarding individual and collective reparations, as well as judicial actions. These conclusions and recommendations appear in the CVR’s Final Report, a nine-volume analysis of the violence, totaling about eight thousand pages.
Commissioners forwarded forty-five cases to the Peruvian Attorney General’s office (Ministerio Público) and two cases to the Peruvian Judiciary (Poder Judicial) for investigation and possible criminal trials. Most of these cases, however, stalled in the courts. The most significant exception to these frustrated legal efforts was the trial of former president Alberto Fujimori, who was found guilty of human rights abuses and sentenced to twenty-five years in prison.
The CVR proved highly controversial inside Peru. Many Peruvians argued that reconciliation would be tantamount to forgiving and forgetting terrorists’ crimes. Another heated controversy involved the accusation that the CVR was unduly sympathetic to the Shining Path and unfairly critical of the Peruvian military. Although the CVR’s work galvanized civil society, the return to power of political and military figures sharply criticized in the Final Report has led many observers to question the Truth Commission’s impact. There has also been significant disappointment with the CVR because it generated expectations for compensation and sociopolitical transformation that have not been met.
Sergio E. Serulnikov
Led by Túpac Amaru, Túpac Katari, Tomás Katari, and others, the pan-Andean uprising from 1780 to 1782 was the largest and most radical indigenous challenge to Spanish colonial rule in the Americas since the conquest. Whole insurgent armies were organized in the heart of Peru and Alto Peru (today Bolivia) over the course of two years. Ancient and populous cities such as Cuzco, La Paz, Chuquisaca, Oruro, and Puno were besieged and occupied. Extensive rural areas in Charcas, the provinces in the high Andean plateau bordering Lake Titicaca, and the southern Peruvian sierras, fell under the complete control of the rebel forces. These forces occasionally relied on the direct support of creoles and mestizos. Although Túpac Amaru, the self-proclaimed new Inca king, would become the primary symbol of the rebellion, the insurgent uprisings combined multiple regional uprisings, each with its own history and dynamic. This article explores the similarities and differences among these uprisings in terms of ethnic ideology, social composition, leadership structure, and insistent demands for change.
Reinaldo Funes Monzote
In the summer of 1981 the cow named Ubre Blanca (White Udder), born on Isla de la Juventud (formerly Isla de Pinos) in the southern Cuban archipelago, became headline news for her high milk production. After achieving a national record, in the following months she was the focus of the country’s attention for her fast-track to becoming a world record holder, first in four milkings and later, in January 1982, as highest producer in three milkings, collection of milk in one lactation period, and fat content. For the leader of the Cuban Revolution, Fidel Castro, and scientists from the cattle industry, it was important to emphasize that it was not only a matter of this incredible cow’s personal achievement but also the fruit of many years of effort to reach a radical transformation of the country’s cattle industry, from an emphasis on beef production toward the priority for milk production and diversification of animal protein sources.
These politics required major changes in bovine herds from a genetic perspective, starting with major cross-breeding of Holstein cattle, of Canadian origin, with the Cebú, formerly dominant in Cuba, along with the creation of new infrastructure and other changes toward an intensive model of cattle ranching. Therefore, the history of Ubre Blanca is tied to that of the politics aimed at increased production and consumption of dairy products, presented as an achievement of the socialist Cuban model and with aspirations to bring dairy development to tropical areas and Third World countries. Although the ambitious goals announced in the 1960s were never reached, there was an increase in milk production and a general modernization of cattle ranching that, nevertheless, began a prolonged decline starting with the deep economic crisis of the 1990s.
The John F. Kennedy administration took a bet on the incoming president of Brazil, João Goulart, as he took office on September 8, 1961. Goulart was not a radical socialist, but his opponents portrayed him as an unpredictable nationalist who might unadvisedly fuel the flames of social upheaval and radical revolution, turning Brazil into a second Cuba. Yet, the White House estimated that Goulart was someone they could do business with and sympathized with the idea of Reformas de Base (Goulart’s program of “basic reforms”), which included the extension of labor protections to rural workers, redistributive agrarian reform, and universal suffrage. United States support for Goulart materialized in the form of economic aid, financial assistance via the IMF, and development assistance via the Alliance for Progress partnership. Within a year, however, the tide turned as Goulart failed to comply with American demands that he ban leftists from his cabinet. In a matter of months in 1962, the White House abandoned any hopes of engagement with the Brazilian president. While the crisis that led to Goulart’s fall in March 1964 was the making of domestic political actors within Brazil—as was the military coup to unseat the president—the likelihood and success rate of the golpe grew as the United States rolled out successive rounds of targeted actions against Goulart, including diplomatic and financial pressure, threats of abandonment, support for opposition politicians, collusion with coup plotters, signaling future military support for the plotters in the eventuality of civil war, and the granting of immediate diplomatic recognition for the incoming authoritarian military leaders after the coup. After Goulart, Brazil remained under authoritarian rule for two consecutive decades.
Urbanization and environmental change have worked in tandem over the course of Mexican history. Hinterland production, the establishment of market economies, and the intensive transformation of nature have fueled urban growth. The concentration of capital and expertise in cities has, in turn, enabled urban elites to rework the urban environment by creating industrial centers, executing technical-heavy infrastructure, building new subdivisions, and regulating hygiene. From the beaches of Cancún and the air and water pollution of Tijuana’s industrial parks to the prolific silver mines of Zacatecas and the henequen monoculture surrounding Mérida, Yucatán, rapid urban growth and profound changes to the environment within and outside cities have depended on and intersected with each other.
Daniel Alex Richter
Cinema began in Uruguay with the exhibition of foreign films by visiting representatives of the Lumière brothers in 1896 before the first Uruguayan film was produced and shown in 1898. From the early period of Uruguayan cinema to the end of the 20th century, Uruguayan national cinema struggled to exist in the estimation of critical observers. Considering these periods of growth and stagnation, this history of Uruguayan cinema seeks to shed light on the industry’s evolution by focusing on exhibition, production, and spectatorship. This essay explores Uruguay’s national film productions, transnational businesses in shaping local film exhibition, the growth of mass publics and critical spectatorship, and the significance of political filmmaking in understanding the evolution of Latin American cinema during the 1960s. The history of Uruguayan cinema during the 20th century also provides a lens for understanding the political, social, and cultural histories of a country that has struggled to live up to its reputation as South America’s “most democratic” nation.
Thomas C. Field Jr.
The Cold War in Latin America had marked consequences for the region’s political and economic evolution. From the origins of US fears of Latin American Communism in the early 20th century to the collapse of the Soviet Union in the early 1990s, regional actors played central roles in the drama. Seeking to maximize economic benefit while maintaining independence with regard to foreign policy, Latin Americans employed an eclectic combination of liberal and anti-imperialist discourses, balancing frequent calls for anti-Communist hemispheric unity with periodic diplomatic entreaties to the Soviet bloc and the nonaligned Third World. Meanwhile, US Cold War policies toward the region ranged from progressive developmentalism to outright military invasions, and from psychological warfare to covert paramilitary action. Above all, the United States sought to shore up its allies and maintain the Western Hemisphere as a united front against extra-hemispheric ideologies and influence. The Cold War was a bloody, violent period for Latin America, but it was also one marked by heady idealism, courageous political action, and fresh narratives about Latin America’s role in the world, all of which continue to inform regional politics to this day.
U.S. foreign policy toward Latin America in the 19th century initially focused on excluding or limiting the military and economic influence of European powers, territorial expansion, and encouraging American commerce. These objectives were expressed in the No Transfer Principle (1811) and the Monroe Doctrine (1823). American policy was unilateralist (not isolationist); it gradually became more aggressive and interventionist as the idea of Manifest Destiny contributed to wars and military conflicts against indigenous peoples, France, Britain, Spain, and Mexico in the Western Hemisphere. Expansionist sentiments and U.S. domestic politics inspired annexationist impulses and filibuster expeditions to Mexico, Cuba, and parts of Central America. Civil war in the United States put a temporary halt to interventionism and imperial dreams in Latin America. From the 1870s until the end of the century, U.S. policy intensified efforts to establish political and military hegemony in the Western Hemisphere, including periodic naval interventions in the Caribbean and Central America, reaching even to Brazil in the 1890s. By the end of the century Secretary of State Richard Olney added the Olney Corollary to the Monroe Doctrine (“Today the United States is practically sovereign on this continent and its fiat is law upon the subjects to which it confines its interposition . . .”), and President Theodore Roosevelt contributed his own corollary in 1904 (“in the Western Hemisphere the adherence of the United States to the Monroe Doctrine may force the United States, however reluctantly, in flagrant cases of wrongdoing or impotence, to exercise an international police power”). American policy toward Latin America, at the turn of the century, explicitly justified unilateral intervention, military occupation, and transformation of sovereign states into political and economic protectorates in order to defend U.S. economic interests and an expanding concept of national security.
From 1800 to the present, US troops have intervened thousands of times in Latin America and have occupied its countries on dozens of occasions. Interventions were short-term and superficial, while occupations lasted longer and controlled local governments. The causes of these troop landings reflected the United States’ motivations as it expanded from a strong, large republic into first a continental and then an overseas empire at the expense of its smaller, weaker neighbors. Those motivations included colonial land hunger, cultural chauvinism, the exploitation of resources, the search for markets abroad, competition against other great powers, political reformism, global ideological struggle, and the perception that US domestic problems originated in Latin America. US troops undertook almost all these interventions and occupations, although private groups sometimes joined. The major periods were the expansion of the continental republic from 1811 to 1897, the war in Cuba and the apex of occupations (1898–1933), the Good Neighbor years (1934–1953), the Cold War (1954–1990), and the post-Cold War period (1991–2018 and ongoing). Scholars of these events have become increasingly critical and diverse, not only seeing them often as unnecessary brutal failures but also foregrounding extra-military aspects of these episodes, such as economics, race, and gender.
Stephen J. C. Andes
Vatican foreign relations with Latin America comprise both bilateral diplomatic negotiations with states and the Holy See’s spiritual leadership of national Catholic Churches in the region. Apostolic nuncios—papal diplomatic representatives—are the principal intermediaries of Vatican foreign relations. Since the early 19th century, Vatican diplomacy has been the purview of the Papal Secretariat of State, the “foreign relations” branch of the Roman curia.
The beginning of modern Vatican foreign relations with Latin America should be dated to the Napoleonic wars in Europe and the movements for home rule in Spain’s colonies. From 1810–1820, the papacy stood unwavering in its defense of Spanish absolutist claims to the peninsula and to its colonies. Latin American Independence shattered Spanish Royal Patronage and left a legacy of regalism in the region, with which the ultramontane papacy of the 19th century would contend. The professionalization of the Vatican diplomatic corps (1889–1914) conformed papal diplomacy to the norms of the international state system, incrementally increasing the political and spiritual legitimacy of the Holy See after its loss of temporal power to the Italian state, sparking the so-called “Roman Question” (1870–1929).
During the interwar period, Vatican policy centered on concordats and Catholic Action, evincing both a pragmatic approach to diplomacy and a highly regimented and non-party political model of lay activism. Mexico’s Cristero Rebellion (1926–1929) represented the most strident conflict in the period, where Rome’s concordat/Catholic Action policy neither negotiated a durable modus vivendi nor managed to pacify radical lay Catholics until the 1940s. During the pontificate of Pius XII (1939–1958), a strident anti-communism marked the policy of the Holy See, aligning the Catholic Church in Latin America with conservatives and authoritarian leaders. After the Second Vatican Council (1962–1965), the policy of Ostpolitik guided diplomats towards rapprochement with communist and revolutionary states such as Cuba and Nicaragua.
The end of the Cold War temporized the relationship between progressive sectors in the Latin American Church, which had been influenced by Liberation Theology, and the Vatican under John Paul II (1978–2005). A “New Evangelization” campaign was heralded by Pope Benedict XVI (2005–2013). Argentine Jesuit and Cardinal Jorge Mario Bergoglio crafted many of the seminal documents for the New Evangelization. Bergoglio, elected Pope Francis in 2013, emphasized the socio-economic and the spiritual aspects of Vatican policy, bring issues of poverty, economic inequality, and justice to center stage, fostering a diplomacy of piccoli passi (small steps) and brokering improved relations between the United States and Cuba.
Charlene Villaseñor Black
According to believers, the Virgin of Guadalupe appeared in 1531 to recent indigenous convert Juan Diego on the hill of Tepeyac, north of the Aztec capital, Tenochtitlán, an area in the environs of Mexico City. The series of apparitions culminated with the miraculous appearance of her image imprinted on his native cloak, or tilma. This painting, housed in the Basilica of the Virgin of Guadalupe in the Villa de Guadalupe in northern Mexico City, has been venerated from the 16th century. The Virgin of Guadalupe is considered the patroness of Mexico, and special protector of its native and mestizo populations. She is perhaps the best-known symbol of Mexico, and her image is very common in the fine and popular arts. She has played a number of roles over the centuries—as object of religious devotion, emblem of national pride, symbol of peace and justice, and feminist icon. Similarly, her image has transformed over time, from the original sacred icon of 1531 to controversial contemporary images from the 1970s. Her image is also frequent in the United States, where 20th- and 21st century Chicana/o (Mexican American) artists represent her in community murals, prints, photographs, sculptures, and paintings. Chicana (Mexican American) women artists have transformed her into a feminist icon, generating controversy and provoking censorship in both the United States and Mexico. Held sacred by many Mexican, Chicana/o, and Latina/o Catholics, the image of the Virgin of Guadalupe has never been neutral, but instead, represents the mutability and political potential of Catholic sacred imagery.
Maria Ligia Coelho Prado
The imperial period in Brazil (1822–1889) is central to a better understanding of the particularities of Brazilian history in the broader context of Latin America. Independence in relation to the Iberian metropolis resulted not only in the institutional establishment of the various Latin American states, but also in the elaboration and construction of new identities aimed at legitimizing the nation. In this context, Brazil kept specificities in relation to the rest of the continent, especially by its imperial monarchist regime and by the maintenance of its slave system (until 1888), which was only paralleled in the southern United States and in the Caribbean regions. At the same time, the process of forming a Brazilian national identity in the 19th century was linked to multiple civic and religious, artistic, and cultural manifestations that outlined the great diversity of the country’s social and ethnic life. The writing of the homeland history, the celebrations, official or not, and the constitution of representative images of the new nation played a fundamental role in this process. In the same way, the arts, among which music, literature, and painting stood out, sought to reflect the multifaceted elements that formed Brazilian society. Among the many themes that emerged from this complex cultural framework, one can highlight the conception of a national identity based on the mixture of “three races” (indigenous, white, and black) whose stereotypes and preconceived images established the primary place of the “white” and the subordinate status of the other racial and ethnic groups. In addition to the canonical productions of the imperial literate elite, there is no way to discuss this period without showing the presence of popular groups, blacks, natives, and women, who, even occupying subaltern positions, acted in various ways through their cultural manifestations and festivities, producing their own narratives about the new nation that was forming.