Chin Chun Chan premiered at the Teatro Principal in Mexico City on April 9, 1904, to an enthusiastic audience. The first Mexican zarzuela written by José F. Elizondo and Rafael Medina with music by Luis G. Jordá initiated a new current in Mexican lyric theater that moved away from the Spanish zarzuelas and the operas popular during the Porfiriato: the teatro de revistas, or revistas. With the subtitle of “A Chinese Conflict in One Act and Three Scenes,” Chin Chun Chan is a story about mistaken identity in which a fed-up man attempts to escape his jealous partner by disguising himself as a Chinese dignitary at a grand hotel in Mexico City. Chin Chun Chan was a significant move away from Spanish productions, attempting to create a local entertainment that could be defined as Mexican through popular characters, dialogues, music, and colloquialisms. This formula set the stage for later revistas particularly during the armed struggle of the Revolution (1910–1920). Through a closer examination of the music numbers and the dialogue, Chin Chun Chan offers new readings on the position of ethnicity, nationalism, and sexuality during this contemporary period of political and social instability and initiates an important period in Mexican theatrical history.
In the 1850s, Juana Catarina Romero, known popularly as Juana Cata, peddled her cigarettes on the streets of Tehuantepec in the state of Oaxaca, Mexico, an activity that enabled her to serve as a spy for the liberals under the command of Captain Porfirio Díaz during the War of the Reform (1858–1860). By 1890, Romero (1837–1915) had emerged as an international merchant, sugar cane producer and refiner, philanthropist, and “modernizing” cacica of the city of Tehuantepec. As powerful women rarely receive credit for their achievements, popular myth attributes her success to the men in her life, a supposed youthful love affair with Díaz or a later lover, Colonel Remigio Toledo. In contrast, a study of her career helps to shed light on how women could attain and exercise power in the 19th century and the ways in which they participated in the construction of the nation-state and a capitalist economy. Her trajectory shows that when allied with these forces of modernization, women could take on a more public role in society. It also reveals that it is through the lens of local and regional history that women’s contributions and accomplishments, so often erased in national histories, can be made visible.
Robert M. Buffington
The Porfirian era (1876–1911) marked a watershed in social understandings of manhood. New ideas about what it meant to be a man had appeared in Mexico by the middle of the 19th century in the form of self-help manuals intended primarily for middle-class and bourgeois men who sought to distinguish themselves in a post-independence society that had done away with legal distinctions, including aristocratic titles. Marks of distinction included cleanliness, good grooming, moderation, affability, respectability, love of country, and careful attentiveness to the needs and opinions of others, including women, children, and social “inferiors”—an approach that artfully combined longstanding notions of masculine responsibility and authority with modern ideas about self-mastery and citizenship, especially the sublimation of volatile “passions” in all domains of social life. Modern qualities also mapped onto traditional concerns about male honor predicated on the fulfillment of patriarchal duties, especially the control of female dependents. The socially validated, “hegemonic” masculinity produced by this amalgamation of modern and traditional ideas proved burdensome for many middle-class men, who struggled to maintain an always precarious sense of honor or who rejected the constraints it sought to impose on their behavior. For men from less privileged classes, it represented an impossible ideal that they sometimes rejected through the adoption of antisocial “protest” masculinities and often satirized as delusional or unmanly, even as they too came to define their masculinity in relation to a modern/traditional binary. The modern/traditional binary that characterized ideas about masculinity for all sectors of Porfirian society has persisted until the present day, despite the epochal 1910 social revolution that inaugurated a new era in Mexican social relations.
Susie S. Porter
From la Adelita to the suffragette, from la chica moderna to the factory girl dressed in red shirt and black skirt—the colors of the anarchist—women’s mobilization in the midst of Mexican Revolution was, to a large degree, rooted in their workforce participation. The evolution of gendered occupational segregation of the workforce, sex-typing of occupations, and gendered wage differentials marked women’s experiences and the way they organized to take control of their lives and to shape working conditions and politics. While women’s employment nationwide contracted during the period 1890–1930, it was nevertheless a moment of significant cultural change in the recognition of women’s work outside of the home. Women shifted public debates over their right to work and mobilized around the issues of maternity leave, equal pay for equal work, and respect for seniority. Across the workforce, women fought for the application of the rights afforded by the Mexican Constitution (1917) and then, in the 1930s, by federal labor law. By the fact of their work and because of their activism, women shifted the conversation on the rights of women—single or married, mothers or not, and regardless of personal beliefs or sexual morality—to dignity at work and the right to combine a life of work with other activities that informed their lives and fulfilled their passions.