Anne Pérotin-Dumon and Manuel Gárate
Historizar el pasado vivo en América Latina (Historicizing the living past in Latin America) is an edited digital publication composed of thirty-four studies. Available online since 2006, it was the first extensive effort to examine the region’s new contemporary history after the return to democratic rule following dictatorships or internal armed conflicts. Historizar el pasado vivo en América Latina remains to this day the most systematic undertaking in Spanish and digital format to explore this historia reciente (or historia del tiempo presente)—“addressing recent events that remain in the memories of many, by historians that lived through them, in a time in which their dramatic character has made them an enduring moral problem for the national conscience.” More broadly, the publication aims to convey to professional historians and Latin Americanists in other disciplines the breadth and quality of this exciting intellectual development.
The editor’s substantial introduction, “Verdad y memoria: escribir la historia de nuestro tiempo,” analyzes the central issue of Latin America’s historia reciente (viz., to develop a historical critique close to events that have often affected historians themselves); its distinctively Latin American character (viz., as history written in an age framed by a culture of human rights); and how this work compares to European precedents (viz., as an interdisciplinary field drawing from the testimony of witnesses—oral history—but with more problematic access to archival collections).
This digital publication has a geographic focus on Argentina, Chile, and Peru but also presents various genres of history writing and retains a balance between case studies, more conceptual pieces, review essays, etc. A digital format is particularly apt for the publication’s most likely users—Latin American and Spanish faculty, teachers, and students drawn to the field of recent history or already working in it. A final section of the article assesses the contribution of Historizar el pasado vivo en América Latina to the field and surveys related online materials that have appeared since 2006.
Beginning in the 1880s, the modern foundations for architecture as a profession and academic discipline were established in Latin America’s major cities. Soon thereafter, urban planning (urbanismo) began to emerge as a distinct discipline in a period of scientific and technological innovation. This rich history has been compiled, digitized, and made available to the public by two key institutions: the Facultad de Arquitectura of the Universidad Nacional Autónoma de México (FA-UNAM) in Mexico and the Facultad de Arquitectura, Diseño y Urbanismo of the Universidad de Buenos Aires in Argentina (FADU). Collectively, these two digital projects contain a wealth of information for scholars to research the cultural and intellectual histories of cities in both Argentina and Mexico. The primary resources available on both platforms provide valuable insights into how Latin America’s leading architects and planners analyzed, debated, and envisioned urban life in the 20th century.
Ana Maria Mauad
This is an advance summary of a forthcoming article in the Oxford Research Encyclopedia of Latin American History. Please check back later for the full article.
Since its creation in 1982, the Laboratory of Oral History and Image (LABHOI), a division of the History Department of Universidade Federal Fluminense (UFF), Brazil, has been developing projects on the history of memory of different Brazilian communities, based on both oral and visual sources and the relationship between them.
The main purpose of LABHOI’s projects, despite its academic origin, is to engage communities in the production of their own history through visual and oral records. One of the results of this work is the organization of a digital database, accessible for a large public, that covers three fields of interest: Memory, Africa, and Slavery; Memory, Art, and Media; and Memory, City, and Communities.
LABHOI has become an important source for theoretical and methodological debates about the uses of visual representations of the past, and its members have published books and articles in this field. Recently LABHOI turned to the production of experimental videos based on the idea of the “videographic writing” of history, a modality of historical text that can perfectly mix sounds and images of recollections.
The video productions of LABHOI include the DVD box set Passados Presentes (Present Pasts) with four documentaries built upon our audiovisual archive Memórias da Escravidão (Memories of Slavery), launched in 2012. This audiovisual collection has been developed since 1994 and is composed of more than 300 hours of interviews with the descendants of slaves of the old plantation coffee areas of Rio de Janeiro.
Other projects developed during the last ten years include: Sons e Imagens da Rememoração: Narrativas e Registros das Identidades e Alteridades Afro-Brasileiras dos séculos XIX ao XXI (Sounds and Images of Recollections: Narratives and Records of Afro-Brazilian Identity and Otherness from the 19th to the 21st Centuries) (2010–2013), sponsored by the Brazilian Research Council (CNPq), in which an international network of researchers worked on issues concerning the memory of slavery. História e Memória da Prática Fotográfica no Brasil Contemporâneo (History and Memory of Photographic Practice in Contemporary Brazil), started in 2003, which is organizing a database of interviews with different professionals who have worked before, during, and after the Brazilian dictatorship in order to understand the political role played by photography in producing historical meaning about the present time and the organization of photojournalism as a field for public photography.
Since 2013 LABHOI officially included public history as one of its fields of debate and research with the approval of two new projects: História Pública, Memória a Escravidão Atlântica no Rio de Janeiro (Public History, Memory, and Atlantic Slavery in Rio de Janeiro), sponsored by the Carlos Chagas Foundation, Rio de Janeiro (FAPERJ), which is developing a new approach to the study of the Atlantic diaspora in Rio de Janeiro, a city that has one of the major populations of Afro-descendants in Brazil; and Expanding the Global Feminisms Archive: Brazil and the “BRICS” Five, which is being compiled together with a team of scholars from the University of Michigan.
Gallica, the digital library of the Bibliothèque Nationale de France, was launched in 1997. The library contains almost five million documents (manuscripts, books, journals, newspapers, maps, iconographic documents, and recordings), many of which are connected to Latin America, offering rich perspectives on the relationships between France and Latin American countries across the centuries. The many travel narratives, testimonies, essays, photographs, and maps available provide rich insight into French perception of Latin America from the early 16th century to the mid-20th century. Although Gallica’s collection of manuscripts on Latin America is not plentiful, one of its main goals is to provide easy access to rare French books printed centuries ago, of which not many copies are available today and which are rarely present in other digital libraries. The richest collection is probably on Brazil, since Gallica has organized a special collection titled “France-Brésil” which provides access to the rich personal collection of books and manuscripts of the first French historian of Brazil, Ferdinand Denis (1798–1890), among other treasures. Gallica has undeniable value for researchers specialized in Latin American history, although working on its collections requires at least reading proficiency in French as the vast majority of the accessible resources are in French.
Rebekah E. Pite and Ana Ramirez Luhrs
James N. Green
The Latin American Travelogues Digital Collection is composed of 327 travel accounts, most written in English but some in Spanish, French, Portuguese, Dutch, and Italian. All were produced between the 16th and the early 20th centuries. The digital collection, organized beginning in 2006 under the direction of James N. Green, the Carlos Manuel de Céspedes Professor of Latin American History at Brown University, and Patricia Figueroa, the Curator of the Iberian and Latin American Collection, is a project of the Brown University Center for Digital Scholarship. The site is an open-access visual and research tool for students and scholars alike. The Latin American Travelogues Digital Collection was created to encourage students to use primary sources about Latin America and the Caribbean for research projects and essay assignments and to facilitate access to rare books through the Internet. It has proven successful in integrating Brown’s Latin American Special Collections into classroom pedagogy and promoting these works as a research tool for both undergraduate and graduate students. The project is also designed to make these travelogues freely available to researchers worldwide and to preserve these works for future generations of scholars.
Digital Resources: LLILAS Benson Latin American Studies and Collections, University of Texas at Austin
LLILAS Benson maintains one of the world’s largest collections of digital assets designed to support Latin American studies. These vast digital holdings, all of which reside on open-source platforms and are freely available to a global audience via the Internet, trace their roots back to the early 1990s, before the advent of the World Wide Web. Since that time, LLILAS Benson has forged partnerships with a broad array of researchers and content producers throughout the Americas in order to bring vital Latin American studies content online while at the same time helping to build local capacity in areas such as digitization, metadata, and preservation throughout the region. These digital collections include materials useful to scholars in a broad array of disciplines, particularly in the humanities and social sciences.
One of the main strengths of the collections is in the area of archival and historical sources, with extensive digitized materials spanning more than five centuries and all countries in Latin America and the Caribbean. The digital collections are particularly strong in terms of Mexican history. Major holdings in the digital collections that include material of interest to those conducting historical research are the following:
• PLA—The Primeros Libros de las Américas project brings together twenty-one libraries and archives in a collaborative initiative that seeks to digitize all surviving copies of books printed in the New World prior to 1601.
• AHPN—The Archivo Histórico de la Policía Nacional contains more than twelve million pages of digitized Guatemalan police records from the late 19th century through 1996.
• AILLA—The Archive of the Indigenous Languages of Latin America is a digital archive of recordings and texts in and about the indigenous languages of Latin America.
• Archivo de Lucas Alamán is a digital archive of more than 350 manuscripts from the personal papers of this influential Mexican statesman. The papers cover the period 1589–1853.
• Archivo de José María Luis Mora—This digital archive contains scanned copies of more than 600 documents, both manuscripts and printed works from the first half of the 19th century, as well as an exhaustive guide describing the collections.
• LANIC—The Latin American Network Information Center is a collection of subject- and country-based resource guides containing more than ten thousand links to Web-based Latin American studies content.
• HRDI—The Human Rights Documentation Initiative is committed to the long-term preservation of fragile and vulnerable records of human rights struggles worldwide and includes important partnerships in Latin America.
• Web archives that are of use to historians include the Latin American Government Documents Archive, or LAGDA, which contains copies of the Websites of more than 250 governmental ministries since 2005, and a collection of human rights–related Websites curated under the auspices of the HRDI, among others.
Collectively, the LLILAS Benson portfolio of digital initiatives includes more than ten million pages of digitized archival records; several hundred thousand pages of digitized full text and images, including monographs, journals, scholarly papers, manuscripts, ephemera, and so on; thousands of hours of digital audio and video recordings; and more than a hundred million Web-archived files. The collection of curated resource guides for Latin American studies contains more than ten thousand outbound links. Taken as a whole, the Websites holding these digital assets generate more than three million pageviews per year. The vast majority of the digital holdings consist of unique items, thus filling an important void for scholarship left by mass digitization efforts, such as Google Books and the Internet Archive’s Million Books Project.
LLILAS Benson is committed to promoting open access to scholarly resources. In contrast to the unique digitized materials hosted by database vendors and aggregators, such as Gale’s “World Scholar Archive: Latin America and the Caribbean” or EBSCO’s “Academic Search Complete,” nearly all the digital content that LLILAS Benson hosts is on the open Internet, available to any and all users regardless of location or affiliation, and without any type of registration. The one exception is AILLA, where no-cost registration is required to open or download media files.
Alvaro Liuzzi and Tomás Bergero Trpin
The Malvinas War, also known in Spanish as the South Atlantic Conflict (conflicto del Atlántico Sur), was a war between Argentina and the United Kingdom that took place in the Malvinas Islands, South Georgia, and South Sandwich between April 2 and June 14, 1982. During 2012, thirty years after the conflict, the Malvinas/30 web documentary was produced in Argentina, conceived as a transmedia production in real time. It was designed to serve as a space of collective digital memory that would involve users and recreate on social networks the hostile atmosphere of the South Atlantic Islands at the time of the skirmish.
The documentary, produced by an interdisciplinary team, was developed as a continuous interactive production for five months that, by extending its narrative through different digital platforms, sought to allow users to relive the events of the Malvinas War as they had occurred three decades before in 1982. To meet this goal, Malvinas/30 was organized along three central axes: narrative synchronization between past and present (telling the story as if it were happening today); unfolding the story on different media (social networks, traditional media, and other media); and generating interactive responses from users (a collective story as a space for historical memory).
Since 1982 there have been at least 2,000 massacres in Colombia committed by different illegal groups and by members of the Colombian army and police. The development of the conflict in Colombia has a direct relation with the causes and consequences of these crimes, perpetrated in most cases by paramilitary armies, associated to varying degrees with the cocaine trade. Paramilitary groups were a counterinsurgency force organized by the State, or independent, and supported economically by drug cartels and some landowners and businessmen.
Although guerrilla armies, insurgency, and communist groups created mostly in the 1960s perpetrated several massacres, these crimes were systematically used primarily by paramilitary groups to terrorize people in places where they had a particular interest, such as drug trafficking or vying for political power. In its book ¡Basta ya!, the Centro Nacional de Memoria Histórica has documented that 59% of the massacres were committed by paramilitary groups and 17% by guerrillas.
Rutas del Conflicto is a project created by journalists that marks the evolution of these groups through more than 30 years of war. Using mapping and timeline tools developed especially for the project, it has documented more than 700 of these crimes, displaying the degree to which the tragedy has affected the lives of millions of people in Colombia.
Liza Bakewell and Byron Ellsworth Hamann
Mesolore: Exploring Mesoamerican Culture is a variously incarnated bilingual resource for teaching and research on indigenous Mesoamerica. The project’s first iteration began in the late 20th century, when its authors developed a CD-ROM/Internet hybrid and released it on two discs in 2001. This version of the project centered on three interactive primary-source Ñudzavui documents from Oaxaca, Mexico: the prehispanic Codex Nuttall, the Codex Selden (c. 1560), and the Mixtec Vocabulario of Francisco de Alvarado (1593). Ten tutorials on Ñudzavui writing and culture, three introductory video lectures, an interdisciplinary gallery of scholarly portraits, four audio debates, and an atlas supported these core materials.
The explosion of broadband Internet at the dawn of the 21st century suddenly made it possible to deliver Mesolore’s high-resolution images and multimedia content online—and simultaneously sounded the death-knell for the CD-ROM as a medium. The second phase of the project therefore worked to gather funding for an online reincarnation and expansion of the project’s core content to include three documents from Nahua Central Mexico: the Matrícula de Tributos (c. 1519), the Lienzo de Tlaxcala (c. 1552), and the Nahua vocabulary of Alonso de Molina (1555). Like their Oaxacan predecessors, these three documents were supported by ten tutorials. Also new for the online relaunch was an archive of hundreds of primary-source alphabetic documents transcribed from physical archives in Mexico, Spain, and the United States. In addition the authors and designers redesigned Mesolore’s atlas to allow for better comparison of the geographic scope of the four core pictorial primary sources (the Nuttall, the Selden, the Matrícula, and the Lienzo). After much drama involving funding agencies, incompetent designers, and incompetent programmers, mesolore.org went live late in 2012, just in time for the non-Apocalypse on December 21.
Although Mesolore’s creators now focus on print publications delivered on paper, their efforts to offer democratically accessible, multidisciplinary pedagogical and research materials to any and all users, as well as translate three-dimensional painted manuscripts into the light of computer screens, generated productive inquiry. Furthermore the detailed interpretations of text offered from the outset insights into how those documents communicated visual information at various scales, as well as how the differing scales of their geographical representations connected to 16th-century political claims.
Digital Resources: The Mexican Digital Library, BDMx (Mexican National Council for Culture and the Arts)
Andrea Martínez Baracs
This is an advance summary of a forthcoming article in the Oxford Research Encyclopedia of Latin American History. Please check back later for the full article.
The Biblioteca Digital Mexicana (BDMx) provides access—for the average user as well as for students and scholars—to significant historical materials, "unpublished or very rare," as was said in the second half of the nineteenth century, the golden age of Mexican historiography. The BDMx is not concerned with documents that have a principally symbolic value (such as autographs or decrees about the founding of cities); rather, it deals with those with high cultural density, whose value is not diminished upon their first reading. Finally, the BDMx contains only materials that are not already easily found online, which, unfortunately, excludes a great number of very valuable works.
This initiative was founded and directed with the support of a directorial council comprised of the directors of four important Mexican institutions connected to Mexican history and culture: the Archivo General de la Nación (AGN), the Biblioteca Nacional de Antropología e Historia (BNAH), the Centro de Estudios de Historia de México (CEHM-Carso), and the Consejo Nacional para la Cultura y las Artes (Conaculta). With this institutional backing, the BDMx has been able to add eight additional archives and libraries, and it continues to grow.
The AGN houses most national historical archives; the BNAH holds the main Mesoamerican Codices collection of the country, and its Colección Antigua has long been appreciated by scholars, with holdings such as the Franciscan Archives collection; CEHM-Carso is a private library that has acquired unique archival collections; Conaculta is our Ministry of Culture and, as such, has under its wing many regional museums, important photography collections, and more. The BDMx also works closely with the Universidad Iberoamericana's Biblioteca Francisco Xavier Clavijero, a private library that holds the Porfirio Díaz Archives and much more. And the Mapoteca Manuel Orozco y Berra, founded in the nineteenth century, holds a trove of historical maps.
The BDMx chooses the documents by common agreement with the curators of these collections. It looks for variety in the types of documents and supportive materials (books, other publications, manuscripts, pictography, photography, lithography, and so on). The themes are self-selected, due to their own worth and because they might mark an important anniversary or a centennial. Up to the present, some of the principal selections have been Mesoamerican codices, the unpublished oeuvre of Guillén de Lampart, ancient maps and plans, and the work of Rodrigo de Vivero.
Each item is accompanied by a historiographical introduction that aims to be up to date and relevant. The user is distracted with nothing other than the presentation of the documents, in a clean and friendly format. And the worth of the project lies in the quality of the documents. This is an example where less is more.
The expansion of the Internet and computing technologies has transformed, heuristically, methodologically, and epistemologically, the scholarship on modern Atlantic slavery and the slave trade. An increasing number of primary and secondary sources are now available online. Archives, universities, libraries, research centers, and other institutions have digitized partially or entirely historical collections and archival records and made them public through digital portals in a variety of formats. Users can instantly access, analyze, search, share, transfer, visualize, and interact with a vast amount of historical data on slavery and the slave trade, which, in the late 20th century, was scattered across archives and libraries. The increasing Web presence of digital repositories on Latin American historical slavery and the slave trade is changing previous scholarly perceptions about broader demographic, historical, and social issues, as well as about the everyday life of enslaved Africans. Digital databases on the slave trade, for instance, are answering long-term historiographical concerns regarding the number of captives carried to the Americas, their African embarkation regions, or the nationality of the carriers. Digital repositories and databases help to better understand the African geographical origins of the slaves and their ethnicities, a key component in the formation of the Afro-Latin American culture. Digitized repositories such as baptismal, marriage, and burial archival records and databases on runaway or self-liberated slaves, plantation lists, or court cases are filling gaps in scholars’ understanding of the internal dynamics of the institution of slavery, which characterized most of Latin American history for about three centuries.
Allison Margaret Bigelow and Rafael C. Alvarado
Rosemary A. Joyce and Russell N. Sheptak
The Online Finding Aid for the Archivo General de Centro América will provide increased ways for researchers to identify documents of interest in a widely distributed microfilm copy of this primary resource for the history of Guatemala, Honduras, El Salvador, Nicaragua, Costa Rica, and Chiapas (Mexico). The original archive, located in Guatemala, houses approximately 147,000 registered document collections from the colonial period, ranging in date from the 16th century to independence from Spain in 1821. The microfilm copy, composed of almost 4,000 reels of microfilm, is organized according to basic keywords designating the original province in colonial Guatemala, a year, and a subject-matter keyword. Also associated in the basic records of the finding aid (which are already available online) are the reference number assigned each document in the original archive, and the specific reel(s) on which it is found. With funding from the National Endowment for the Humanities, enhanced records are being created for documents dating between 1700 and 1821 identified as associated with Guatemala, the administrative heart of the colony, for which there are no published indices. Enhanced records add names of people and places not recorded in the original record, opening up the microfilm collection, and through it, the original archive, to broader social history including studies of the roles of women, indigenous people, and African-descendant people.
Digital Resources: Power of Attorney, A Digital Spatial History of Indigenous Legal Culture in Colonial Oaxaca, Mexico
“Power of Attorney in Oaxaca, Mexico: Native People, Legal Culture, and Social Networks” is an ongoing digital research project that constructs a geography of indigenous legal culture through digital maps and visualizations. The
“Power of Attorney in Oaxaca, Mexico: Native People, Legal Culture, and Social Networks” is an ongoing digital research project that constructs a geography of indigenous legal culture through digital maps and visualizations. The Power of Attorney (
The multiscalar narrative of the Power of Attorney project speaks to multiple audiences, and the digital multimedia format allows visitors to further tailor their interactions with information. The site operates on many levels. It provides maps and visualizations based on original research, data culled from primary sources that can be used as a research tool, historical and geographical background information, information about how to read letters of attorney, and microhistorical narratives of power of attorney relationships. For undergraduates learning about the relationship between Spanish administration and pueblos de indios, the maps and visualizations provide an at-a-glance overview of the spatial and social connections among Indian towns, ecclesiastical and viceregal courts, and the court of the king in Madrid from the perspective of an indigenous region rather than a top-down perspective. Graduate students and scholars interested in the production of notarial records in native jurisdictions, social history and ethnohistorical methodology and the relationship between local and transatlantic processes can explore the maps, visualizations, and data in greater detail. An educated general audience interested in the history of Oaxaca’s native peoples can find a general introduction to the region, its history and geography, and the long-standing relationship between Mexico’s native people and the law.
Jacinto Barrera Bassols and Verónica Buitrón Escamilla
The Ricardo Flores Magón digital archive archivomagon (2008) is a website, constantly updated, that offers scholars and the interested public systematized information regarding Ricardo Flores Magón, the Mexican Liberal Party (Partido Liberal Mexicano, or PLM), and the magonista sociopolitical movement. The main text that make up this site include a complete run of the newspapers Regeneración (1900–1918, Mexico City, San Antonio, Saint Louis, and Los Angeles) and Revolución (1907–1908, Los Angeles), a compilation of the complete works of Ricardo Flores Magón, and a biographical dictionary of magonismo. It also offers other related tools: an interactive timeline of Ricardo Flores Magón’s life, a digital library with bibliographical and rare hemerographic material, and an image gallery of his portraits.
In addition to being the official outlets of the PLM, Regeneración and Revolución were important platforms Mexican revolutionary Ricardo Flores Magón (1876–1922) used to disseminate his writings. These weeklies are also key to understanding the political and ideological trajectory of its drafting group, headed by the members of the Organizing Board of the Mexican Liberal Party (Junta Organizadora del Partido Liberal Mexicano, JOPLM). Ricardo Flores Magón, his brother Enrique, Antonio de Pío Araujo, William C. Owen (external editor), Praxedis G. Guerrero, Rafael Romero Palacios, Teodoro M. Gaitán, Antonio I. Villarreal, Librado Rivera, and R. G. Cox (external editor), were the authors of more than 70 percent of the articles in both publications. These publications are also invaluable sources for the history of militant networks, of liberal organizations both in Mexico and in the southwestern United States, especially California, Arizona, and Texas, as well as the living and working conditions of Mexican migrants in that region. PLM is considered the first binational political organization (Mexico–United States). Finally, these publications include a systematic chronicling of the Mexican Revolution, whose value lies in both its particular focus and the sources used.
The archivomagon is being developed by the Dirección de Estudios Históricos del Instituto Nacional de Antropología e Historia (DEH-INAH, México) (Department of Historical Studies of the National Institute of Anthropology and History) under the responsibility of Dr. Jacinto Barrera Bassols (coordinator) and Verónica Buitrón Escamilla.
Michael J. Schroeder
From May 1927 to December 1932, the Nicaraguan nationalist Augusto C. Sandino waged guerrilla war against the U.S. Marines and Guardia Nacional de Nicaragua to expel the “Yankee invaders” and achieve genuine national sovereignty. The war was centered in Las Segovias, the mountainous, sparsely populated northcentral region of Nicaragua bordering Honduras. The website is envisioned as a comprehensive, interpretive, open-access digital archive on this much-discussed but still dimly understood “small war” of the interwar years. Rigorous accuracy, judicious interpretation, and the democratization of knowledge rank among the website’s most important guiding principles.
Before mid-1927 there is very little documentation on Las Segovias. Then, starting with the June 1927 Marine invasion and occupation, our documentary base explodes. For nearly six years, the US imperial spotlight—expressed in a dazzling variety of texts—illuminated the hidden corners of a society and history hitherto almost totally obscured. Alongside this explosion of imperial texts was the proliferation of texts and artifacts created by the Sandinista rebels. In January 1933 the spotlight vanished, and a month later Sandino's rebellion ended in a provisional peace treaty with the newly elected Sacasa government. The Marines went home, carting hundreds of boxes of records with them. What the U.S. imperial gaze spotlighted for those six or so years constitutes the bulk of this website’s focus. Smaller in scale but often punchier in impact are the textual fragments and social memories produced in Las Segovias that survived the brutal repression that followed Sandino’s assassination in 1934.
Inspired by social and cultural history “from the bottom up,” this project conceives of the Sandino revolt as a social and cultural process, as a local response to foreign invasion and occupation. The documents presented here reflect this focus, selected because they speak in some fashion to the agency of Nicaraguans and Segovianos in shaping their own history—including campesinos and Indians, tenants and sharecroppers, smallholders and squatters, miners and migrant workers, seasonal and day laborers, as well as townsfolk and artisans, smugglers and bootleggers, peddlers and traders, boat-drivers and mule-drivers, ranchers and coffee growers, merchants and professionals, politicians and military leaders—individuals, families, and communities caught up in a whirlwind of foreign invasion and insurgency as complex and multifaceted as any in history. What manner of revolutionary movement was this? What were its origins, characteristics, and legacies? All the documents presented here speak to these broader questions and themes.
A work in progress, the website currently houses nearly 5,000 primary documents from U.S., Nicaraguan, and other archives, including patrol and combat reports, intelligence reports, photographs, letters, diaries, maps, oral histories, propaganda fliers, and more. Comprised of 20 expansive, interlinked digital file cabinets organized by archival repository and theme, this noncommercial, easy-to-navigate website contains a goldmine of readily accessible information for students, teachers, and scholars on the period of the Sandino rebellion.
Women occupy few professional roles in electronic music scenes worldwide. In Brazil, and particularly in the city of São Paulo, female collectives have been playing an important role in raising awareness and trying to change this scenario in recent years. In order to do so, they appropriate social media as communication tools, which become relevant digital resources. Mamba Negra was founded in 2013, and was initially organized by Carolina Schutzer and Laura Diaz. They are part of a cultural movement that seeks to occupy São Paulo’s underused public spaces for festivities that embrace especially the female, queer, and black communities. Their name is that of a dangerous snake from Africa (Dendroaspis polylepis). Their considerable number of supporters is concentrated on their
Bandida Coletivo is a collective of female DJs, event and music producers, photographers, and graphic artists that was created in 2016 with the aim of building safe spaces for women within the electronic music scene, not only to experiment with their art, but also to obtain more visibility and professional participation in events. Their name can be translated as “Female Bandit Collective,” and they are especially addressed to an audience of women from the outskirts of São Paulo. Their Instagram profile,
Barbara E. Mundy and Dana Leibsohn
Across the last 25 years, digital projects on the visual culture of Latin America have begun to shape, ever more fundamentally, both research and teaching environments. To be sure, books and journal essays remain the dominant mode of publishing (and significantly so), but digital projects—made possible in part because of increasingly accessible databases and less expensive editing platforms—are becoming widely recognized as key elements in the visual and intellectual landscape. The visual culture of Spanish America (also known as colonial visual culture or viceregal visual culture) extends across three centuries, dating from roughly 1520 to 1820. Yet its history, which embraces both the physical traces of everyday life and ephemeral experiences, is arguably the least familiar of Latin America’s artistic and material legacies, especially outside Latin American Studies. Nonetheless, the period has inspired a suite of projects that, considered together, highlight the current potentials (and limits) of digital work, provide useful models for future research, and open onto debates relevant across the digital humanities (as they are currently called).
If this is the basic landscape, then what are the important issues when it comes to the intersections of digital technologies and colonial visual culture? This question is considered here along three avenues. First, what can be achieved with existing software, particularly imaging software, and the inherent epistemological assumptions imbedded in software commonly used? This topic receives the most attention because future research depends so heavily upon our perceptions and understandings of present technological capabilities. The second theme considered is accessibility. Given that institution-driven projects, most often online ventures sponsored by a museum or a library, have opened certain collections to an online public, what are the implications of the accessibility they offer, and how might such databases shape the parameters of research—both in the data they provide and in the kinds of questions their technologies make it possible to pose and answer? Finally, consideration is given to the possibilities and potentials for collaboration that the online environment offers in the study of visual culture of Latin America.
To set a framework for discussion, this article begins with a broad view, “The Object(s) of Visual Culture,” and then turns to examples of scholar-driven projects currently online. Typically, these are generated by scholars working at universities and dependent upon both internal and external funding. The sections “Seeing Images, Knowing Landscapes” and “Epistemological Assumptions” not only describe examples, but also explore the modes of interpretation that digital environments enable and the habits of viewing that are produced as a result. Because scholar-driven projects do not exist in isolation, the article turns to institution-driven projects, represented primarily by digitized museum collections and archives, which have become central components of the research environment. Many projects in this vein are well-described elsewhere—our focus therefore rests on the effects on the larger research landscape, in a section called “Accessibility, Canonicity, Finance.” Lastly, issues related to collaboration are dealt with, in order to both address ideas that are being explored through digital work in other fields, but which have not yet surfaced with much force in the field of colonial visual culture, and to ask why.