Given its historical and present roles in Latin American societies, coffee has generated substantial interest and information. Documents up to the mid-20th century have been partly digitized by researchers or generated in electronic format by inter/national organizations after 1960. Digitized information at first primarily focused on time series, censuses, and other quantitative data to address economic and technological aspects, and on other primary and secondary sources for social and political ones. Historical and cultural geography and environmental and rural history of coffee-producing areas have resorted to scanned or digital maps and geographical information systems (GIS), together with aerial photography after mid-century and satellite images since the 1990s, as well as datasets on climate and diseases, and scientific or technical reports. Digital collections of audio/video recordings, paintings, and photographs expanded the range of sources and topics. Digitizing research involves critical and creative source work; it is also more than digitizing sources. Creating and linking databases containing nominal information, together with archival sources and oral history, has allowed researchers to further integrate quantitative and qualitative methods. Software for network or content analysis, genealogy, and timelines has been used increasingly. Machine-learning, exploration of big data, and historical/spatial data mining are still incipient for Latin American coffee. Digital resources—combined with other sources and methods, guided by appropriate research questions in a theoretical/epistemological framework—are key for meaningful and systematic comparative discussions of national/local processes within a regional/global context. However, many digital resources are not publicly accessible or require payment; historical datasets should be public goods. Much work is yet required to digitize documents such as accounting of coffee estates, customs records, and associations’ minutes, as well as multiple secondary sources. Digitalizing historical research on coffee is a learning process and requires additional expertise; convergent and cross-disciplinary methodological approaches are needed to comprehensively address the economic, environmental, social, political, and cultural history of coffee.
Mario Samper Kutschbach
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.
Regina Horta Duarte
Modern zoos emerged as mass entertainment, spaces of public leisure and of culture. In the past, they served as monuments and expressions of the degree of “civilization” and progress of a city and its respective country. In Latin America, zoos date from the last quarter of the 19th century. The history of Latin American zoos is a political, cultural, and social history. The conditions of their creation and operation over the decades have conferred important specificities to these institutions. Since their inception, zoos in Latin America have reflected nationalistic aspirations, civilizational projects, and social transformation. Over the decades, the history of many zoos has blended with natural history in Latin America, as many zoo founders were important scientists. The development of new sensitivities toward animals also follows the history of zoos in Latin America from the beginning, because the first animal protection societies appeared at the same time. Today, zoos face vigorous claims from animal rights activists calling for their closure. In view of so many challenges, these institutions are reinventing themselves with an increased focus on conservation and environmental education, joining international zoological societies with high standards of quality. Among several of these societies, the Latin American Association of Zoological Parks and Aquariums (ALPZA) stands out. Founded in 1990, ALPZA organizes, reshapes, and integrates Latin American zoos, establishing global connections. Various actors play a role in the defense and contestation of zoos, such as politicians, scientists, conservationists, animal protection societies, anti-zoo activists, visitors, administrators, officials, and, of course, thousands of wild animals from all over the world who have lived in Latin American cities for decades.