Chile was one of the first countries in the world to undergo a transition to neoliberalism. Neoliberalism became official state policy in 1975, during the Pinochet dictatorship (1973–1990), during which time it generated two deep economic crises and historicall high unemployment. Since 1990, civilian administrations have continued to administer the neoliberal model, popularly referred to as el modelo, with selective reforms. Despite economic growth and reductions in poverty rates since 1990, el modelo has become ever more controversial. In the 21st century, public protest has increased as broad sectors of society negatively affected by the privatization of education, healthcare, and pension systems, among other ills, have organized collectively to express their discontent.
Article
Debbie Sharnak
Uruguay passed the Ley de Caducidad de la Pretensión Punitiva del Estado (Law on the Expiration of the Punitive Claims of the States or Law of Expiry) in December 1986, which provided amnesty for all members of the military and security personnel involved in crimes during the nation’s military rule (1973–1985). A referendum in 1989 democratically affirmed the law, producing a silencing about accountability efforts in Uruguay in subsequent years. As such, much of the literature that emerged in the 1990s about the field of transitional justice excluded Uruguay, considering it a failure to engage with justice initiatives. Since 2000, however, Uruguay has followed a winding path toward employing accountability measures. This has included a difficult process of overturning its amnesty law, some selected domestic court cases, as well as some truth-telling initiatives, reparations, and memorialization. Overall, Uruguay’s experience and evolution toward engaging transitional justice initiatives represent a nonlinear progress of accountability that depended on a combination of domestic political will, friendly courts or judges, international legal and norm shifts, and sustained civil society activism.1 Both Uruguay’s eventual engagement with justice initiatives and expanding ideas about what constitutes transitional justice have driven the country’s re-emergence in scholarship within the field of transitional justice. Uruguay’s thirty-five-year battle Offers an example of a non-teleological path of transitional justice. Additionally, the case of Uruguay urges consideration of understanding the longer timeframes that justice might take to achieve, even in stable democracies.
Article
The province of Tucumán, Argentina, has been used as a test case for the fallacious “theory of the two demons” because it is both where a guerrilla movement formed in 1974 and where the country’s first clandestine detention center was established in the “escuelita” of Famaillá during “Operativo Independencia” in 1975. This “theory” reduces the conflict in the province to a confrontation in the Tucumán hills between no more than 150 combatants of the People’s Revolutionary Army (Ejército Revolucionario del Pueblo, ERP) and 5,000 soldiers of the Argentine Army. This, however, largely conceals the social catastrophe suffered by Tucumán and the high levels of conflict that had already been taking place for more than a decade.
Previously, in August 1966, the provincial territory had been militarized by the new dictatorial government led by Juan Carlos Onganía. On that occasion, militarization sought to guarantee the closure of sugar mills. This generated an unprecedented economic and social crisis. Between 1966 and 1968, eleven mills were closed out of a total of twenty-seven, more than 50,000 jobs were eliminated in the sugar agro-industry alone, medium and small sugarcane producers were severely affected, and more than a quarter of the total population of the province was forced to emigrate in search of new sources of work. Such were the root causes of social conflict, led mainly by the sugar working class assembled in the Tucumán Workers Federation of the Sugar Industry (Federación Obrera Tucumana de la Industria Azucarera, FOTIA), which the 1976 dictatorship was intent on reining in.
Article
Ángeles Donoso Macaya
An array of documentary photographic practices that emerged during the dictatorship in Chile (1973–1990) remain understudied, despite their political, aesthetical, and historical import. From the mid-1970s onward, these different practices served different purposes: some made visible the crime of disappearance and its disavowal by the repressive state; others stood as supplementary evidence that confirmed the legal existence of the detained-disappeared; some were a crucial force in denouncing state repression and demanding justice for victims; and some made it possible for independent media to simultaneously comply with and ridicule the censorship of images imposed by the dictatorship in 1984. These practices also helped to consolidate the expanding photographic field under dictatorship. They include the public display of ID photos and portraits torn from family albums; documentary images that relatives of the victims of repression pinned to their chests; the reproduction, compilation, and incorporation of these portraits into legal files and habeas corpus claims; the publication of countless photos of popular protests in independent media; and different photographic initiatives put forward by a group of photographers who established the Independent Photographers Association in 1981. Notably, the expanding photographic field under dictatorship engaged not only individuals and groups directly involved with photography but also ad-hoc human rights collectives and organizations (especially the Group of Family Members of the Detained-Disappeared and the Vicariate of Solidarity), as well as lawyers, judges, journalists, and everyday users of photography. Given the different arenas in which documentary images circulated, the transformations they underwent to resist repression and censorship, and the array of individuals involved in their (re)production and dissemination, a study of documentary photography under dictatorship in Chile cannot content itself, as has been the case, with surveying the practices that emerged within the artistic field. A study of the visual culture under dictatorship instead reveals both the different uses of photography in the public space and the transformations of documentary images in their successive circulations and disseminations.
Article
Timothy Wilson and Mara Favoretto
In the 20th century Argentina experienced a series of dictatorial regimes of varying intensity, but the last dictatorship stands apart. The Process of National Reorganization or Proceso (1976–1983) was not only the most brutally repressive, “disappearing” 30,000 of its own citizens into concentration camps, but also the most ambitious in terms of ideological mission. Its campaign, officially called “the war against subversion,” was committed to the total eradication of leftist ideas from the political landscape of the country by any means necessary. This radical transformation was to be brought about not only in the torture chamber, but in the media as well. The regime planned an Orwellian redefinition of words: the systematic creation of a national vocabulary that would exclude certain ideas and parties. In order to achieve its overt project of the appropriation of language, the junta maintained obsessive control over the media, instituted strict censorship reinforced by terror, and bombarded the airwaves and newspapers with official communiqués. In the face of this repression, most journalists and writers and many artists could not express dissent of any kind. Yet singers of a new Argentine music genre that came to be known as rock nacional developed codified and oblique metaphorical expression in their lyrics that allowed them to evade censorship and to continue to criticize the military regime with relative impunity. Moreover, many Argentine youths found solace in the music and used it to create communities in which they could meet and express themselves. The regime had sought to deny young Argentines a forum for public speech; however, together artists and listeners created a rock nacional culture that provided community for the isolated and lent a voice to the silenced.
