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The Murder of the Mirabal Sisters in the Dominican Republic  

Eric Paul Roorda

At the highest point on the winding highway over the Dominican Republic’s northern mountains, there is a place that is called what it is: La Cumbre, The Summit. In the daytime, in the sunshine, or under a soft tropical rain, it is a beautiful spot, with the impossibly green mountainsides falling away on both sides of the crest. But on the night of November 25, 1960, it was the scene of unutterable horror, witness to an automobile rolling and tumbling down the cliff, with the violated and mutilated corpses of three women inside. They were three of the four sisters of the Mirabal Reyes family, who were murdered for their political involvement: Patria Mercedes (born on February 27, Dominican Independence Day, in 1924, and accordingly named “homeland”), María Argentina Minerva (born March 12, 1926), and Antonia María Teresa (born October 15, 1935). Their driver, Rufino de la Cruz (born November 16, 1923), was murdered with them. The fourth Mirabal sister, Bélgica Adela “Dedé” (March 1, 1925–February 1, 2014) who was not directly involved in her sisters’ opposition activities, survived to be their witness. The brutal murder of the charismatic Hermanas Mirabal was the most notorious, and the most widely reviled, of the countless crimes committed by the regime of Rafael Trujillo, dictator of the Dominican Republic from 1930 until 1961. The Mirabal Sisters’ demise mobilized international censure of the Trujillo regime and contributed to its downfall, because they were the most charismatic of his victims, and because their kidnapping and murder constituted the most outrageous of the crimes committed during his lengthy dictatorship. In 1999, the United Nations designated November 25, the date of the Mirabal Sisters’ murder, to be memorialized as International Day for the Elimination of Violence against Women, which it has been ever since.

Article

Labor and Resistance to the International Monetary Fund  

Dustin Walcher

Since the immediate post–World War II era, the International Monetary Fund (IMF) has played a leading role in the political, economic, and social lives of Latin Americans. Its role has evolved from the Bretton Woods era of the postwar period, through the era of the Washington Consensus, and into the post-2008 crisis period. However, throughout those times the institution served as the enforcement instrument for orthodox economic policies within the liberal international order. It conditioned emergency lending to countries in economic distress on the implementation of austere economic policies. The region’s workers consistently bore the costs of the IMF’s prescribed policies. Such policies resulted in fewer public-sector jobs, reductions in welfare state benefits, and increased levels of foreign involvement in national economies. Consequently, the IMF became the subject of frequent labor protests. Workers understood the key role the IMF played in devising the policies that caused them pain and often took steps to resist. Although the IMF’s effects on the working class are well understood within Latin America, it has not been the subject of sustained historical analysis. To understand the dynamics of the region’s political economy, historians should focus on the IMF to a degree similar to that of economists and political scientists. More specifically, the relationship between the IMF and Latin American workers is ripe for sustained analysis across disciplinary boundaries.

Article

Rock Nacional in Argentina during the Dictatorship  

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.

Article

Digital Resource: Conflict Textiles  

Elsie Doolan

The Conflict Textiles website is a digital resource that allows users to learn more about how individuals who have experienced or been impacted by political violence have used textiles to respond to and recount their experiences. Some of the textiles on the website were made in response to the wars and conflicts in South America in the 1970s and 1980s (including the Dirty War in Argentina, the Pinochet regime in Chile, and the conflict in Peru between the government and the Shining Path), while others have emerged as a response to the Troubles in Northern Ireland. The majority of the textiles were created by women, though in some instances, men have also contributed to their creation. Conflict Textiles is the name of both the digital resource and a physical collection of textiles. Originating from the Art of Survival International and Irish Quilts in 2009 in Derry, Northern Ireland, this collection and online repository highlights the prolific use of textiles as a medium through which individuals are able to express themselves and the overarching nature of this medium as a form of expression. These two entities, the website and the physical collection, coexist, with the Conflict Textiles website documenting the textiles present in the physical collection and events that occur, or have occurred, in association with the collection. In this way, the Conflict Textiles website serves as an online repository of the physical Conflict Textiles collection and allows users internationally to learn more about a collection that includes textiles from dozens of different countries including, but not limited to, Chile, Northern Ireland, and Argentina.