Global transoceanic migration booms of the 19th century brought with them more than a quarter of a million migrants from the Arabic-speaking eastern Mediterranean destined for Latin American cities, towns, and rural outposts across the region. Over the course of the early 20th century, a near-constant mobility of circulating people, things, and ideas characterized the formation of immigrant identities and communities with roots primarily in the Levantine area of the Middle East. Over time, historians of this migration have come to interpret as central the transnational and transregional nature of the ties that many individuals, families, and institutions in Latin America carefully maintained with their counterparts across the Atlantic. As the 20th century progressed, Middle Eastern migrants and their subsequent generations of descendants consolidated institutions, financial networks, and a plethora of other life projects in their respective Latin American home places. Meanwhile, they continued to seek meaningful participation in the realities of a Middle East-North Africa region undergoing deep shifts in its geopolitical, social, and cultural landscapes from the disintegration of the Ottoman Empire and the end of World War I, through the tumultuous century that followed.
Lily Pearl Balloffet
Between the 1920s and 1940s, Mexican culture became the subject of enthusiastic interest across the Americas and several European countries. This interest was due, among other things, to transnational networks, pan-Americanism, and the development of mass communication technologies. In the late 1930s, facing a wave of negative perception abroad and domestic pressure to fulfill the promises of the revolution, the Lázaro Cárdenas government embraced all available means of communication. In addition to graphic and visual media (crafts, mural paintings, literature, cinema, etc.), radio added an audio dimension: music, reports, historical and tourist narratives, news, radio-theater, conferences, and advertising. Pan-Mexicanism refers to the convergence of the appropriation of Mexicanness abroad and the efforts of Mexican propagandists to construct a positive national image. Pan-Mexicanism by radio originated in the educational missions of the 1920s as government stations sought to strengthen public knowledge of national culture and spread what they called “good taste.” The Ministry of Foreign Affairs’ station, XECR, wielded the greatest power and international prominence. However, the demand for Mexican sounds sprang up in several countries in the Americas and Europe. Networks between diplomats, politicians, intellectuals, artists, musicians, businessmen, owners of radio stations, and independent consumers contributed to turn Mexican culture into a transnational phenomenon. The Mexicanist programs abroad varied according to their designers, technical resources, local demand, and reception. The contents and structure of these programs reflect different intentions, attitudes, tastes, and preferences, from the Hispano-American devotion to music to the exoticism, idealization, and romanticism of European and North American programs.
First utilized in Latin America in response to the mid-20th-century decline of populist economic policymaking in the region, modern neoclassical theory, or neoliberalism, can be generally defined as a market-oriented form of economy policymaking that seeks to decentralize state authority and redefine state administrative responsibilities through deregulation, privatization, and the creation of common markets. Based on principles of classical 19th-century economic liberalism, the economic and political framework of neoliberalism advocates for a dramatically limited role for the state, which should only act to maintain the integrity of contract law and private property as a means of supporting the market. In the absence of state intervention, neoliberalism in Latin America alternatively emphasized the role of multilateral organizations, such as the International Monetary Fund, the World Bank, Inter-American Development Bank, and the U.S. Agency for International Development in bringing financial stability and growth to the region through the manipulation of interest rates, the devaluation of exchange rates, and the establishment of free-market pricing of goods. Ultimately, the widespread implementation of neoliberal reforms through the 1980s and 1990s ushered in a new era of transnational economic policymaking that had long-term, mixed results for the environmental, political, and social landscape of Latin America.
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.
In their so-called “Golden Age,” from the late 1890s to the 1920s, picture postcards probably were the most prominent visual mass medium, worldwide, including South America. Many people collected postcards, which were quite affordable, and pen pals exchanged postcards from all over the world; dates were arranged via postcards, just as happens today via phone, email, text, or instant messaging. Although most South American postcards were published and sold in urban areas, the broad availability combined with their postal function brought postcards a vast social and geographical diffusion. To use a common term, they are “travelling objects.” Postcards of South America could cross the globe many times before becoming part of a private album or an archival collection. For instance, the German entrepreneur and photographer Guillermo Grüter (1871–1947), who had come to Paraguay in 1893, published some of the most popular Paraguayan postcards. The images stemmed from photographs he took there. In his early years in Paraguay, before he imported printing machines and produced postcards on his own, Grüter sent some of his photographs to a manufacturer in Europe who produced postcards. These were shipped back to Grüter in Asunción, where he sold some of them to European immigrants and travelers, who sent them back home to relatives and friends across the Atlantic. Similar stories can be told about postcards published by the German Eduardo Pollack from Lima, Peru, by Austrian Roberto Rosauer from Buenos Aires, Argentina, or by one of the many German publishers in Valparaíso, Valdivia, and other Chilean towns. Picture postcards are interesting objects of study for investigations of global cultural history in transatlantic and other transnational entanglements.
There has been a century of Haitian immigration to the neighboring Dominican Republic, initially as seasonal cane cutters. Noteworthy are the manu militari policies and ethnically discriminatory legislation adopted under the Trujillo dictatorship (1930–1961), including the legacy of these under the subsequent mainmise administration of his protégé President Balaguer. The diversification of this migrant labor in recent decades has been accompanied by the struggle between competing ideological factions to revise the obsolete migration legislation at the turn of the 21st century. The ensuing normative bias is detrimental to Haitians and constitutes unwarranted incursions into nationality matters. Understanding discrimination and anti-Haitianism in the Dominican Republic and how this has been confronted underpin an analysis of current issues. Given the reluctance of political leaders and private-sector interests to address xenophobia and racism affecting Haitians and persons with Haitian ancestry, the role of civil society practitioners has come to the fore. This contestation on the part of civil society is exemplified in the strategic litigation outside and within the country, especially as regards the threat of nationality stripping of Haitian ancestry Dominicans born in the Dominican Republic. The buildup to the crisis of 2013 stemming from the decision of the Dominican Constitutional Court (CC), La Sentencia (as it became known), which effectively rendered stateless 133,000 Dominicans of Haitian ancestry, is critical to understanding how and why this has happened. It also helps explain the nature of the palliative efforts set in motion by the Dominican authorities to mitigate the effects of the Sentence. Civil society’s response has been characterized by different but interrelated processes mandated by the Sentence and then enacted in twin but different legislation. Both the National Regularization Plan for Foreigners with an Irregular Migration Status (PNRE) and Naturalization Law 169-14 for those persons denationalized in September 2013 are examined. Finally, taking stock entails examining the prospect of lasting change toward proper integration of Haitian migrants and the recognition of the right for their descendants born in the Dominican Republic to have and to hold Dominican nationality. Heightened judicial engagement is doubtless necessary, but the cultural turn perhaps holds the key to more sustainable gains in compliance with the rights of Haitian migrants and their family members. At most immediate risk is the realization of the acquired citizenship rights of descendants born in country to Haitian immigrants.
Bárbara K. Silva
By 2020, it is expected that approximately 70 % of the world’s surface astronomical observation will be located in Chile, considering both optical and infrared telescopes, belonging to international institutions. How did this happen? Can we explain the overwhelming importance of astronomy in this southern country only because of its geography? This process began when scientists from Europe, the United States, and the Soviet Union went to Chile in the 1960s, and each one of them decided to build a massive observatory in the country. The atmospheric conditions certainly had a role in these decisions, but they were also related to Cold War politics and, indirectly, to the previous history of astronomy in Chile. The international dimension of astronomy in Chile had been preset since the mid-19th century, when the first modern astronomy initiative took place. An American expedition built the first observatory, which later became the National Astronomical Observatory. By the early 20th century, another American expedition had arrived in Chile, and this one stayed for more than twenty years. Decades later, the global dimension of astronomy took the decisive step in the southern country and set the milestone for the development in the hands of Europeans, Americans and Soviets. In the process, Chileans became involved with astronomy, trying to promote science, the country’s international relations, and to grasp the attractions of modernity.