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Robert M. Buffington
The Porfirian era (1876–1911) marked a watershed in social understandings of manhood. New ideas about what it meant to be a man had appeared in Mexico by the middle of the 19th century in the form of self-help manuals intended primarily for middle-class and bourgeois men who sought to distinguish themselves in a post-independence society that had done away with legal distinctions, including aristocratic titles. Marks of distinction included cleanliness, good grooming, moderation, affability, respectability, love of country, and careful attentiveness to the needs and opinions of others, including women, children, and social “inferiors”—an approach that artfully combined longstanding notions of masculine responsibility and authority with modern ideas about self-mastery and citizenship, especially the sublimation of volatile “passions” in all domains of social life. Modern qualities also mapped onto traditional concerns about male honor predicated on the fulfillment of patriarchal duties, especially the control of female dependents. The socially validated, “hegemonic” masculinity produced by this amalgamation of modern and traditional ideas proved burdensome for many middle-class men, who struggled to maintain an always precarious sense of honor or who rejected the constraints it sought to impose on their behavior. For men from less privileged classes, it represented an impossible ideal that they sometimes rejected through the adoption of antisocial “protest” masculinities and often satirized as delusional or unmanly, even as they too came to define their masculinity in relation to a modern/traditional binary. The modern/traditional binary that characterized ideas about masculinity for all sectors of Porfirian society has persisted until the present day, despite the epochal 1910 social revolution that inaugurated a new era in Mexican social relations.
From the time that Columbus arrived in the Caribbean until Spain surrendered power over its mainland American colonies in the early 19th century, Spanish and Portuguese colonial mines poured forth vast amounts of bullion, including some gold and a far greater quantity of silver, both in terms of weight and its overall value relative to gold. Fiscal records indicate that Spanish Americans officially refined gold worth approximately 374,000,000 pesos, each consisting of 272 maravedís, whereas the amount of silver produced reached a value of 3,432,000,000 pesos (to these figures need to be added contraband output, estimated to have been around 17–20 percent). In other words, the colonies refined nine times more silver than gold. While Columbus, Cortés, and other earlier explorers may have fantasized primarily about gold, it was the flood of American silver that touched off the price revolution in Europe and monetarized the emerging world economy, especially because China had a voracious appetite for silver, not gold. At the same time in the American colonies, mining distorted economic life because of the incentives the industry received from a silver-hungry monarchy. Mining also had profound consequences for indigenous society, severely exploited to provide workers for the mines and refining mills.
Colonial refiners used two methods to beneficiate their silver ores, smelting and amalgamation. Smelting was suitable for all types of American silver ores but required large amounts of fuel to heat the ovens. It remained widely used throughout Mexico during the entire colonial period. Amalgamation was a newer technology, adapted to American ores during the mid-16th century. Although it did not require large quantities of charcoal and other fuels, as smelting did, amalgamation depended on the availability of mercury. Nearly all quicksilver used in colonial Spanish American silver mining came from either Huancavelica (Peru) or Almadén (Spain), with occasional supplements from Idria (Slovenia). Whereas both smelting and amalgamation were used widely in Mexico, Andean mines relied on amalgamation.
Irving W. Levinson
The Mexican-American War ranks among the most consequential events in the history of both nations. Although the casus belli for the United States’s May 12, 1846, declaration of war was the Mexican ambush of a U.S. Army patrol in the disputed Nueces Strip on April 25 of that year, two underlying causes rendered conflict inevitable. The dispute over Texas was the first, and the desire of both nations to control the Mexican provinces of Nuevo Mexico and California was the second. President James Knox Polk identified the acquisition of that territory as the principal objective of his administration.
The conflict also remains noteworthy for the extent to which the political milieu in both countries proved as important as events on the battlefields. In México, a devastating war of independence (1810–1821), multiple violent overthrows of the federal government, the failure of two constitutions to produce a structure acceptable to both conservatives and liberals, and enmities generated by the socioeconomic structure severely limited México’s growth, tranquility, and potential for armed resistance to an invader. In the United States, the national unity evident at the outbreak of the war faded in the face of sectional rivalries, unexpectedly high casualties, and declining relations between the executive and legislative branches.
The military phases of the war fall into two segments. In the first, forces considerably smaller than those deployed in later phases of the war fought in Texas and in the Mexican provinces of Nuevo Mexico, California, Tamaulipas, and Nuevo Leon. When United States victories in northern Mexico failed to produce the anticipated Mexican surrender, the second phase of the conflict began on March 9, 1847, with General Winfield Scott’s invasion of central Mexico and ended with his entrance in Mexico City on September 14, 1847.
In the following seven months, both governments sought to obtain the best terms. A rising tide of violent rural rebellion in Mexico and a rising tide of Whig opposition to the Polk administration in Washington served as catalysts during the negotiations. Two agreements, the February 2, 1848, Treaty of Guadalupe-Hidalgo and the March 6, 1848, Truce Agreement brought hostilities a close.
Consequences of the conflict included the Mexico’s loss of 525,000 square miles of territory, the emergence of the United States as the dominant continental power, the dispossession of many Mexican citizens living in what had become U.S. territory, and the reestablishment of Mexican sovereignty over territories in rebellion.
Mexican comic books are a cultural product whose development is tied to the history of the modern Mexican state. The consolidation of the state in the aftermath of the armed conflict period of the Mexican Revolution (1910–1920) shaped the conditions for the emergence of a domestic industry and market for comics, and in particular for comic books, alongside other important cultural industries such as radio, film, and television, through state supports for and controls over the nation’s culture industries. In the late 20th century, the neoliberal character of the Mexican state—for which official policy has centered on privatization of state economic enterprises, the reduction of public subsidies for goods and services, and the elimination of import tariffs—subsequently reshaped the conditions for production and consumption of the nation’s sequential art.
The term “comics” is applied to graphic narrative generally, which in turn is defined by the sequential use of images, usually in combination with language, in order to tell some kind of story. Comics are therefore a broad category of cultural production that includes newspaper strips, comic books, graphic novels, fotonovelas (comprising photographs in series with inserted dialogue text), and, more recently, webcomics. Comics are a cultural commodity the production and distribution of which are affected by changes in public supports, as well as by governmental controls over comics content. In the period of institutional consolidation that followed the armed phased of the Mexican Revolution, government supports were provided principally through the subsidizing of newsprint and the implementation of national literacy campaigns.
The North American Free Trade Agreement (NAFTA)—a tri-national trade liberalization regime signed by Mexico, Canada, and the United States and implemented on January 1, 1994—significantly altered the circumstances of comics in Mexico, in terms of both the economic conditions for comics production and readership, and the political environment and public discourses addressed and communicated through Mexican comics art. The most direct impact on comics production came through the Mexican state’s retreat from control of the paper supply under the terms of NAFTA. Because paper is a key productive input, changes in paper cost and availability had the largest impact on the cost of long-form or sustained graphic narratives, such as comic books. As a result, the NAFTA period (1994 to present) is marked by the emergence of the Mexican graphic novel and of webcomics. Both of these cultural forms are based on a reorganization of the economics of comic-book production.
Comics production and consumption are therefore implicated in neoliberal policy constructs such as the North American Free Trade agreement, despite not being an explicit category of economic activity addressed by the treaty.
Helen Delpar and Stephanie J. Smith
Cultural nationalism characterized much of Mexico’s artistic and literary production during the 1920s, 1930s, and 1940s. Much as Mexico City’s centenary festivities in 1921 and the accompanying Exhibition of Popular Art celebrated Mexico’s resurgence from a decade of violent revolutionary struggles, the month-long event also foreshadowed an extraordinary flowering of art, music, and literature that would gain unprecedented international admiration, especially for the murals created by the three masters: Diego Rivera, José Clemente Orozco, and David Alfaro Siqueiros. During this vibrant era, contemporary intellectuals, composers, writers, and artists produced art that would serve as a nation-building tool to unite a country fractured by years of regional fighting. To many contemporaries, not only was this cultural renewal an expression of the forces and aspirations unleashed by the revolutionary process, but the various art forms also provided a bright beacon that lit the way for the creation an “authentic” Mexican national identity. In his role as the director of the Ministry of Public Education from 1921 to 1924, José Vasconcelos understood the influence of culture well. Indeed, as the initial sponsor of the mural movement, he first employed the three great muralists, as well as other artists, at the National Preparatory School. The creation of a national culture, though, went well beyond the work of Rivera, Orozco, and Siqueiros, as artists from other countries also participated in Mexico’s blossoming cultural environment. Women, too, played crucial roles in the production of Mexico’s revolutionary culture, and their striking influences continue in the early 21st century.
Amelia M. Kiddle
During the Mexican Revolution and the long period of reconstruction that followed, successive Mexican presidents navigated the stormy seas of international relations. Though forced to manage repeated cases of foreign intervention in its internal affairs, the government actually enjoyed considerable freedom of action during and after the Revolution because of the world historical context. From the First World War to the Second, heightened tensions and mounting international conflicts worldwide diverted the attention of foreign governments and enabled skillful Mexican diplomats to take advantage of world conditions to advance their own agendas for international relations and domestic reform on the international stage as they sought to establish Mexico’s place within the international states system, and world history, as the first social revolution of the 20th century.
The major art form produced in Mexico during the years following the Mexican Revolution of 1910, especially during 1920–1940, was mural painting, mostly in the technique of fresco. Three artists dominated this period: Diego Rivera, José Clemente Orozco, and David Alfaro Siqueiros, known collectively as the Big Three. Rufino Tamayo, younger and less ideologically aligned to those three, followed his own path of a more modernist style. An important easel painter of this period was Frida Kahlo, who traveled in the cultural and political circles of the muralists but who produced strongly personal images, especially of herself.
In addition, examples of mural paintings by the Big Three in the United States receive their due attention, as does the more independent mural production in Mexico of the late 20th and early 21st centuries.
The paintings are analyzed in terms of context, meaning brief references to biographical details, more expansive on the general sociohistorical setting, with accounts of the patronage where highly relevant, and relations between the artists themselves. Discussions of the style of the images, in the most comprehensive and general sense, are dedicated to revealing the ideological content of the style as it serves the more straightforward subjects of the paintings.
The years immediately following World War II constituted a watershed in Mexico’s political development: the national government, controlled by the recently renamed Institutional Revolutionary Party (PRI) and led by a new generation of civilian professional politicians, made rapid industrialization its top priority. In a matter of decades, the nation transformed from a predominantly rural to an ever more urbanized society. Significant social and cultural changes followed. The middle classes became the dominant voice in national politics and the beneficiaries of the government’s economic policies, while earlier efforts designed to ameliorate the suffering of the majority were suspended or even reversed, leaving urban workers and the rural poor to wonder what had happened to their revolution. Gradually, a consumerist culture eclipsed the cultural revolution of the 1920s and 1930s. Despite official claims to the contrary, Mexico in this era shed its revolutionary identity and replaced it with a modernizing zeal.
Through the 1960s, scholarly assessments regarded the nation as a model of Third World development. In the estimation of foreign and domestic observers alike, the combination of aggressive capitalist development, state protectionism, and foreign investment had created an economic miracle, while the 1910 Revolution had produced a relatively benign, paternalistic form of “soft” authoritarianism. But in the years following the devastating massacre of students in 1968 at the Plaza de Tlatelolco just days before the Mexico City Summer Olympics, scholarly assessments soured. In the coming decades, more and more evidence of political violence, media manipulation, and official corruption would surface, leading to a crisis of political legitimacy that would be severely aggravated by economic crisis in 1982. For these reasons, the period from 1946 to 1982 is a distinct and important chapter in the nation’s 20th-century development.
The Mexican Revolution was the first major social revolution of the 20th century. Its causes included, among others, the authoritarian rule of dictator Porfirio Díaz, the seizure of millions of acres of indigenous village lands by wealthy hacendados and foreign investors, and the growing divide between the rich and the poor. As a result of these varied causes and Mexico’s strong social and regional divisions, the revolution against Díaz lacked ideological focus. The revolutionaries ousted Díaz within six months but could not agree on the new social and political order and—after a failed attempt at democracy—ended up fighting among themselves in a bitter civil war. In 1917, the victorious Constitutionalist faction crafted a landmark constitution, the first in the world to enshrine social rights and limit the rights of private, and particularly foreign capital. Although never fully implemented and partially repealed in the 1990s, the document remains the most significant achievement of the revolution. After 1920, a succession of revolutionary generals gradually centralized political power until the election of a civilian presidential candidate in 1946. This effort at state building confronted significant resistance from popular groups, regional warlords, and disaffected leaders who had lost out in the political realignment. In the end, the symbolic significance of the revolution exceeded its political and social outcomes.
While fundamentally agrarian in nature, the revolution thus ultimately produced a new national elite that gradually restored a strong central state. One can easily divide the revolution into a military (1910–1917) and a reconstructive phase (1917–1946). However, the latter phase witnessed an important generational shift that transferred political power from the leaders of the military phase to their subordinates as well as civilian representatives, with the formation of a revolutionary ruling party in 1929 serving as the most important watershed moment in this process. Therefore, this essay distinguishes among three separate phases: insurrection and civil war (1910–1917); reconstruction (1917–1929); and institutionalization (1929–1946).
Raquel G. Paraíso
Among the many musical traditions of Mexico, the son is one of the most representative of the richness and diversity of Mexican culture. Son (or sones) is a generic term that describes both a complex of genres and the various regional subgenres that make up that complex. Son is a type of traditional music performed by small ensembles, with or without singing, and danced. It serves to entertain, but is also performed at celebratory occasions and festivals as well as in rituals. Although sones appear throughout Mexico marked by regional differences in both instrumentation and performance styles, they share common characteristics that define the genre as a whole, musically (i.e., their rhythmic, melodic, and harmonic structures), lyrically, and choreographically. Because of the particular cultural traits and sociocultural contexts that each son subgenre encompasses, it can be argued that regional sones are a powerful expression of Mexican regional musics, cultures, and social identities.
Born as a hybrid genre out of the intermixing of European, American Indian, African, and Afro-Caribbean musical elements and contexts, Mexican sones have moved through time defined by many as a symbol of Mexican identity, even if the very concept of that “Mexican identity” has changed over time. What might be called the son’s “Golden Age” lasted from the 1890s until the middle of the 20th century. By the 1960s, sones were in serious decline all around Mexico: they had lost the favor of their audiences, old performers had passed away, and new generations did not engage with these musical traditions. Cultural politics contributed to selective processes through which some son subgenres faded away. Sociopolitical processes from the 1930s to the 1980s contributed to the re-contextualization of the Mexican son through modified versions of sones staged and broadcast in theatres, radio stations, and film productions. Post-revolutionary nationalism, the music industry, and folkloric ballets created these new versions and exercised an ideological control that both affected popular musical expressions and shaped musical tastes. Changes in urbanization and life conditions transformed social relationships and furthered this intense transformation.
With fewer performance occasions and little support from either the government or private patrons, several regional son subgenres became thin and isolated, with minimal projection outside their regions. In the 1980s, some of the son subgenres underwent a renaissance owing to various private and official initiatives that infused new life to the music. This article provides an overview of the son, past and present, connecting the relevance of this musical style with the social history of the country.
O. Hugo Benavides
Telenovelas have a very recent history, yet from their impact and pervasiveness it would seem that they have always been part of the Mexican culture. Telenovelas did not make their appearance until the late 1950s, when televisions entered the Latin American market. This market explosion, however, was prefigured in radio-novelas (radio soap operas) and folletines (pamphletlike novels) from several decades before. Thus, telenovelas inherited the structure of the melodrama from both visual and aural media and fused them into one incredibly powerful medium of popular cultural representation. Since their development, telenovelas have had an important impact on people’s daily life, as they dramatically portray such controversial issues as illegitimate children, misplaced identity, the burden of social conventions, amorous rejection, and the ever-productive notion of forbidden desires, sexual and otherwise. Telenovelas and, more recently, narco-novelas, have been, and are, excellent vehicles for differing cultural and political embodiments, both in terms of hegemonizing constructs and resistance-filled agency within the country’s historical development. Moreover, telenovelas express the ongoing reconfiguration of social identities, hegemonic constraints, and popular culture in Latin America today.
Since the early 1960s, Mexican women writers have relentlessly fought to become recognized within a traditionally male-dominated literary canon.
In the 20th century, women’s writing began to flourish, in many cases emerging as a counternarrative to the patriarchal discourse that had dominated the literary scene for decades after the Mexican Revolution (1910–1920). The work of women writers can be examined according to three different phases: from 1960 to the 1970s, 1980 to the 1990s, and 2000 to the present, and by highlighting in particular a group of women writers from the northern border region, who have faced additional obstacles in their path to becoming published writers. All in all, each of the writers discussed here contributes to a snapshot of the literature written by women from the 1960s to today. The chronological trajectory of their literary voices underscores Mexico’s rich cultural and historical past through the eyes and voices of those traditionally silenced and marginalized in the patriarchal and hierarchical spaces of power.
Michael J. Gonzales
Porfirio Díaz’s liberal dictatorship used the centenary of independence to promote material progress, political stability, and the mestizo nation, all of which have remained important characteristics of the Mexican state. The centennial program lionized José Maria Morelos as a mestizo hero of independence and Benito Juárez as an architect of La Reforma and savior of the nation. Besides his remarkable political career, Juárez symbolized the cultural transformation of an Indian into a mestizo through education and secularization, a process advocated by Porfirian social engineers as essential to Mexico’s modernization.
Porfirians also viewed Mexico’s pre-Columbian heritage as a source of national pride and identity. For the Centenary, the government expanded the national ethnographic museum, reconstructed Teotihuacán, and sponsored the International Congress of Americanists where scholars presented papers on precolonial cultures. Porfirians’ appreciation for the pre-Columbians, however, did not extend to contemporary Indians, who were considered to be a drag on modernization and an embarrassment.
Mexico’s modernization was symbolized by the transformation of Mexico City, the principal venue for the Centennial programs. The capital had been remodeled along Parisian lines with grand boulevards, roundabouts (glorietas), and green space. Electric tramways also connected neighborhoods with downtown, new fashionable suburbs displayed mansions with modern conveniences, and high-end department stores sold merchandise imported from Paris and London.
During the Centenary, the Paseo de la Reforma and downtown avenues accommodated parades with patriotic and commercial themes, and central plazas provided space for industrial and cultural exhibitions similar to those found at international fairs. The Desfile Histórico depicted scenes from the conquest, colonial, and independence periods that outlined a liberal version of Mexican history. The program also featured openings of primary schools, a public university, an insane asylum, and water works, all indicative of Porfirian notions of modernization.
The Centennial’s audience included Mexico City residents, visitors from the provinces, and delegates from the United States, Europe, and Asia. International and liberal newspapers characterized events as festive and patriotic, while the conservative press protested the lack of attention given to Agustín de Iturbide, the conservative independence leader, and to the Catholic Church. During the celebration, supporters of Francisco I. Madero, the reformer imprisoned by Díaz, organized two protests that interrupted events and foreshadowed troubles ahead. Following Madero’s escape from prison, his call to revolution was answered by peasants, provincial elites, and local strongmen whose movements forced Díaz to resign the following year. Revolutionary governments subsequently used Independence Day celebrations, including another centennial in 1921, to promote their political and cultural agendas, including anti-clericalism and indigenous culture as national culture.
During the Spanish conquest of Mexico (1519–1521), gastronomic literature was already prevalent in Europe, yet not so in Mexico. The use of the printing press in Mexico was limited to print and disseminate ecclesiastical and legal documents; it was not used for subjects as seemingly superfluous as recipes and food. This is not to say that food was not a source of fascination, or a means of social control.
Kitchen manuscripts written before Mexico became independent of Spain (between 1810 and 1821) show that there was an abundance of food writing before Independence, especially by nuns in colonial convent kitchens. However, the earliest printed cookbooks did not make their debut in Mexico until 1831, a decade after Independence.
Mexican cuisine can be examined beginning from the diaries of conquistadors and missionaries to colonial kitchen manuscripts to the cookbooks published after Independence through the Porfiriato (1876–1910) and Revolution (1910–1920). Reading between the lines of the recipes in these sources, one sees the shifting attitudes toward food, as it ceases to be a status marker and a divider of classes and becomes a tool for unifying the country.
Kathleen C. Schwartzman
Neoliberalism swept over Mexico like a tsunami. It swept away the country’s edifice of economic nationalism and left in its place an economy based on principles of neoliberalism. These neoliberal practices go by the names of the structural adjustment programs (SAPs), or the Washington Consensus. In 1982, when Mexico declared its lack of adequate resources to meet external debt service payments, it (like other Latin American countries) entered into debt renegotiations. These renegotiations required Mexico to implement reforms such as the privatization of state-owned enterprises, currency devaluation, and state budget reductions. Later agreements expanded upon the neoliberal reforms (the 1986 adherence to GATT; the 1992 revision of Article 27 of the Constitution, the 1993 signing of NAFTA, and the 1994 peso devaluation). Multiple iterations of the Foreign Investment Laws opened up Mexico to foreign investors. The goal of the neoliberal adjustments was to stabilize the economy and make it attractive for foreign direct investment. FDI, as well as open trade, promised to bring economic well-being and political stability to Mexico. The evaluations of the post-1982 reforms are mixed, but by the 21st century, tend toward “disappointing.” Increasing globalization has further marginalized Mexico. Neoliberal globalization is essentially about Mexico’s integration into the current global economy and the interaction of the global and the local. Mexico has been integrated into the global economy since Cortez, but the tsunami of neoliberalism has left Mexico with fewer armaments for successful development.
Friedrich E. Schuler
Mexican elites emerging out of the political civil wars of the 19th century threw their support behind French positivism and its theory that a nation could thrive through economic, industrial, and foreign-financed development. The strategy’s very success created the profound economic dislocations that triggered regional revolutions in Mexico’s center and north. Foreign observers misread these events as small rebellions and acted accordingly.
In this environment Francisco Madero became Mexico’s first democratic president. Even though he leaned toward the United States, he pleased no foreign and domestic faction and was deposed and murdered by a domestic-foreign element. Emerging dictator Victoriano Huerta perplexed all foreign observers. As US president Woodrow Wilson made fighting against Huerta’s tenure a symbol of an idealistic new policy, Canadian, European, and Latin American governments picked Venustiano Carranza at the Conference of Niagara Falls to be his successor.
The new context of World War I interrupted all of Mexico’s bilateral economic relations. The country’s national revolutions became side theaters of the global war. By 1918 the collapse of empires had changed all politicians’ outlooks.
The 1920s were dominated by strife with the Vatican and US laissez-faire policy but also pragmatic US-Mexican border relations steered by President Abelardo Rodriguez.
During the Great Depression, Mexico attempted to avoid importing food. US artists, tourists, and Europeans were inspired by Mexico’s murals and social justice movements for peasants. After 1934 Lazaro Cardenas steered these policies to the left; in 1938 he expropriated US, British, and Dutch-owned oil companies as well as US agrarian property.
After 1940 government technocrats under Ávila Camacho turned the country toward exploiting the Allies’ economic war needs. World War II found Mexico on the side of the Allies, as expressed in unprecedented security, economic, and military cooperation. The Mexican air force flew missions in the Philippines. This US-Mexican rapprochement and its architects were replaced after 1943, and the rise of the Cold War changed international linkages once again.
Edward R. Slack
Called “Mar del Sur” [South Sea] when first spotted by Balboa in 1513 and dubbed “Mar Pacifíco” [Peaceful Calm Sea] by Ferdinand Magellan in 1520, the historical relationship between the Pacific Ocean and the people of Mexico is multilayered and dynamic. During the Spanish colonial era (1521–1821), the viceroyalty of New Spain (Nueva España) supervised the Asian and Polynesian colonies of the Philippines and Guam (and briefly Taiwan and the Spice island of Ternate) across the Pacific. Acapulco became a mythical emporium of exotic luxury supplied by the galleons from Manila that for 250 years tied Asia to the Iberian New World. Beyond this famous port, littoral native communities dotting the Pacific coast, from Oaxaca in the south to the forty-second parallel of Alta California in the north, gradually fell under Spanish secular and religious control. The enormous coastline measured approximately 5,400 miles, more than double the length of seaside territory facing the Gulf of Mexico. Following the War of Mexican Independence (1810–1821), the United Mexican States (Estados Unidos Mexicanos) emerged. For the next fifty years, Mexico experienced domestic political instability exacerbated by wars against the United States (Mexican-American War, 1846–1848) and France (1862–1867). When political order was finally established under the regime of Porfirio Díaz (1876–1910), regionalism was confronted by the centrifugal power of a modernizing, technocratic state. Despite losing 840 miles of California coastline, and a lucrative trade route with Manila, in the Mexican-American War, Mexico’s Pacific littoral in the south grew to incorporate the formerly Guatemalan territory of Chiapas, and a new shipping network evolved. Traditional research on pueblos, cities, or states along the Pacific coast emphasizes purely local or regional contexts within the colonial or independent Mexican state; or it is grouped thematically into studies about the galleon trade or California mission settlements. Recent scholarship is encouraging a more balanced approach, accentuating the many threads that wove a rich tapestry of Mexico’s unique relationship with the “Pacific World” (as opposed to the more popular “Atlantic World”); not only in a nationalist framework, but with inter-American and trans-Pacific or global dimensions.
Amanda M. López
Mexico City’s subway, commonly known as “el Metro,” opened its first line of service on September 4, 1969. Since then, the mass transit system, operated by the Sistema de Transporte Colectivo (STC), has expanded to include 195 stations across twelve lines that serve an estimated five and a half million riders per day. The metro was constructed not only to alleviate severe traffic congestion in the city’s center due to population growth and private car use, but also it was envisioned as part of a plan to modernize the city and raise Mexico to the status of world cities such as Paris and Montreal. The low fare has made it one of the primary modes of transportation for the city’s working class, who use it in combination with other forms of public transportation to reach jobs in distant parts of the metropolis. Some studies have shown that the Metro has exacerbated geographic segregation between rich and poor as well as perpetuated low wages. Beyond its function as a mass transit system, the Metro was envisioned as and still serves as an important cultural space. The graphic designers and architects who led the project integrated modern architectural elements with graphic embellishments and signage that incorporated national culture and history to present a modernity uniquely Mexican. In its almost fifty years of service, the Metro has become an important symbol of the capital’s cultural life that everyday Mexicans have used for their own political, economic, and cultural purposes.
On August 13, 1521, the Spanish conquistadors and their native allies seized Tenochtitlan, the capital of the Aztec empire. The Spaniards succeeded because they had forged alliances with the Tlaxcalans and other indigenous self-governing communities (altepetl) to fight the Aztecs. After the conquest these communities continued their traditions, and the Spaniards largely replaced Aztec leadership with their own. In addition, the friars and the secular church converted the natives to an extent, and together with the crown they foiled the conquistadors’ attempts to become liege lords with jurisdiction. The process culminated in the New Laws of 1542, which curbed the encomienda, a grant to Spaniards that comprised several Indian towns paying tribute. A society of social bodies evolved, composed of municipal councils, lay brotherhoods of churches, and others, complete with their own laws and jurisdictions. Then a series of silver strikes beginning at Zacatecas in 1546 drew settlers into the Bajío north of the former Aztec and Tarascan empires. The local natives resisted initially, and when peace came, they and the settlers created a dynamic early capitalist economy that invigorated other regions. The frontier expanded when animal herds moved further north beyond the mines, and the zone of Spanish influence grew to the south as well.
In 1540 Spanish conquistadors and their indigenous allies began occupying the northwestern Yucatan Peninsula, and they took Tiho/Mérida in 1542. The Yucatan, the Bajío, and the other regions that composed colonial Mexico successively integrated into a global commercial network spanning Europe, Africa, and Asia. The crown and the merchant guild (consulado) in Seville sought to capture the burgeoning Atlantic commerce within the fleet shuttling between Seville/Cadiz and Veracruz and restrict the silver flowing from Acapulco to Asia via the Philippines. Yet market forces defied most of the rules they put in place. Merchants from Asia settled in Manila; Peruvians docked in Acapulco; and the Dutch, French, and English competed with fleet merchants or operated contraband trade from the Caribbean islands to New Spain. In the 18th century, the crown loosened trade regulations within the empire and continue curbing the autonomies of social bodies. A series of investigations (visitas) shook New Spain, and more compliant viceroys and officials appeared, while the friars lost over one hundred parishes (doctrinas) during the mid-century. The king expelled the Jesuits in 1767; registered ships sailing individually replaced the fleet in 1778; and in 1786 José de Gálvez introduced the intendants in New Spain. As the empire transitioned toward a territorial state, Napoleon imprisoned the Spanish king (1808). In 1810 Miguel Hidalgo and a popular following unleashed the War of Independence. As the conflict unfolded, the legitimacy of the old order crumbled, and the empire dissolved in 1821.
Mexico’s involvement in world’s fairs and other international expositions is examined. From 1867 to 1929, governments promoted nationalism and industrialization through world’s fairs in Europe and international expositions in America. Mexico, which had recently achieved independence from Spain, became involved in these fairs to bolster its economy and image, competing with other nations to sell local goods and offer investment opportunities to foreigners. Since 1850, Mexicans have encouraged commerce and industry while enthusiastically marketing their country as a tourist “wonderland.” Accounts of Mexico’s participation in world’s fairs draw attention to the imperialism embedded in such events, suggesting that they were deeply problematic. Defined as cultural palaces and trade shows, fairs have chronicled changing ideas about nationalism, modernity, and, more recently, branding. In the wake of the Mexican Revolution, Mexicans have recognized their strategic importance, although a persistent theme in the literature is that these are inherently tiresome and expensive undertakings and a significant drain on economic and political life.