Kathryn E. O’Rourke
Architecture in Mexico City in the mid-20th century was shaped by rapid economic and urban growth, demographic change, new construction technologies, and politics. Architects adapted modernist idioms and those that evoked historical precedents for new purposes. Key figures who had begun practice earlier in the century, including Mario Pani, Juan O’Gorman, José Villagrán García, and Luis Barragán, designed major new works and strongly influenced the profession, even as a new generation led by Pedro Ramírez Vázquez, Ricardo Legorreta, and Teodoro González de Léon came of age. As they had been since the 1920s, public patrons were the most important clients of modern buildings, which often addressed needs for better housing, education, and health care. The period also saw the rise of modern suburbs and the evolution of the single-family house, as well as the creation of major buildings for increasingly important cultural institutions, especially museums.
As they had in preceding decades, architects used the non-architectural arts, particularly painting, to distinguish their works. The legacy of the Mexican muralist movement was most evident on the facades of major buildings in the new University City, where the influence of international modernist planning principles was also striking. In 1968 Mexico City hosted the Olympics, for which architects, planners, and designers created a network of buildings and images that functioned interdependently to present Mexico as cosmopolitan and historically rooted in its indigenous history. Sprawl and pollution worsened in the 1970s, as the capital came to be dominated by buildings that were not designed by architects. While some observers questioned the relevance of architecture in the face of seemingly unstoppable and uncontrollable growth, talented young architects responded with buildings notable for their monumentality, mass, and sophisticated engagement with historical types.
Ana Laura de la Torre
The Autonomous Department of Press and Publicity (DAPP) created by Lazaro Cardenas’s administration responded to the need for a fixed ideological framework that would allow for the construction of a modern, prosperous, and politically unified nation based on the Six-Year Plan. The materials produced by the DAPP designated collective identities; defined relations between the government and its enemies, rivals and allies; preserved and molded past memories, and sought to project fears and hopes into the future. The department used a variety of mass media technology to produce messages with the aim of controlling criticism of the regime, shaping public attitudes, generating a collective “us,” and effecting change in the thoughts and actions of the public. The continuous use of the media was a response of the Cardenista administration to the constant rejection that its public policies generated, either because they affected particular economic interests or because they were considered as an affront to the way of thinking of various social sectors, particularly those identified with Catholicism. President Cárdenas and his associates perceived that they were a besieged and criticized administration, both inside and outside the country. Hence, they deemed it essential to start up a strong propaganda apparatus in order to reverse the opposition and generate supporters. Its creation is framed by the efforts taken by various governments during the 1930s that viewed propaganda as an effective tool for producing political consensus, generating feelings of national unity, and changing public habits.
The Mexican government’s civil aviation program implemented elite development strategies during a period of national reconstruction. In the decades following the revolution, political leaders and industrialists attempted to strike a balance between preserving a unique national identity and asserting their country’s place in global affairs as a competitive, modern nation. Nation builders were primarily concerned with improving the nation’s communication and transportation capabilities, although they quickly learned to exploit the spectacle of aviation through the mass media and in public ceremonies, as well. The symbolic figure of the pilot proved an adept vessel for disseminating the values championed by the country’s ruling party. Aviators validated the technological determinism underpinning the government’s development philosophy, while projecting an image of strength abroad.
This article traces the trajectory of aviation development from 1920s through the 1950s. In the process it demonstrates how the social and cultural significance of technology in Mexico changed over time. The establishment of the Department of Civil Aeronautics under the Secretariat of Communications and Public Works (SCOP), in 1928, reflected the ambitions of reform-minded officials who were intent on modernizing the country. Although the onset of the Great Depression slowed aviation development for about a decade, policymakers recommitted to the technology during World War II. President Manuel Ávila Camacho (1940–1946) used it to achieve two of his primary goals: securing the country from the threat of international fascism and shifting the nation from an agrarian to an industrial economy. Wartime aid alleviated material obstacles hamstringing national aviation development, and the rapid growth of tourism to the country in 1940s and 1950s benefited commercial airlines. Presidents Miguel Aléman (1946–1952) and Adolfo Ruiz Cortines (1952–1958) touted the success of the aviation industry as a consequence of their development policies. The near financial collapse of the country’s largest airline, Compañía Mexicana de Aviación (CMA), at the end of the decade nevertheless hinted that the country’s sustained economic growth was less miraculous than officials and foreign observers liked to believe.
María Rosa Gudiño Cejudo
In August 1940, President Franklin D. Roosevelt, concerned with Nazi infiltration in the Americas and continental defense, created the Office of Inter-American Affairs (OIAA) and appointed Nelson Rockefeller coordinator. To strengthen ties between the United States and Latin America, including Mexico, Rockefeller implemented cultural programs that included Health for the Americas and Literacy for the Americas to teach illiterate rural inhabitants to read and write in Spanish, and to inform them about health, prevention, and hygiene. Both programs used educational cinema as their main teaching tool, and the OIAA hired filmmaker Walt Disney to produce the films. The health series included thirteen animated cartoons with an average duration of ten minutes, dubbed in Spanish and Portuguese. The themes were drawn in part from the guidelines set out at the XI Conferencia Sanitaria Panamericana (Eleventh Pan-American Health Organization Conference; Rio de Janeiro, Brazil, 1942) to address health care and sanitation. A group of psychologists, cartoonists, health authorities, teachers, and OIAA representatives carried out surveys and field work in various countries before production and test screening began. In this process, Mexico differed from the other countries involved because of Walt Disney’s connections with Mexican schools. Eulalia Guzmán, representative of the Secretaría de Educación Pública (Secretary of Public Education), led in reviewing the educational films, and Disney attended classes with local teachers to discuss the use of film as a teaching tool. In 1943, through the Programa Cooperativo de Salubridad y Saneamiento (Health and Sanitation Cooperative Program) of the Secretaría de Salubridad y Asistencia (Ministry of Health and Assistance, the films were shown in health campaigns throughout Mexico.
The Mexican economy consisted of activities at the international, national, and local levels, including the export of minerals and agricultural commodities, manufactures and agriculture for domestic markets, and production of goods for everyday consumption, respectively. The impact of a decade of civil wars between 1910 and 1920, which comprised the Mexican Revolution, on the economy varied according to which level, the time period, and the geographical region. The crucial aspects of the economy consisted of transportation and communications, banking, mining, export agriculture, and government policies and actions. The important factors were the intensity of the violence, inflation, and the availability of capital.
Chronologically, there were several stages to the economic history of the Revolution. The first consisted of the years of the Madero rebellion and presidency, 1910–1913, when there was little damage done and growth continued. The second and worst period was during 1914, 1915, and 1916, when the counterrevolutionary Huerta regime battled the rebel Constitutionalists and after the latter’s victory the ensuing civil war between the divided winners. The third stage occurred with the defeat of the radical factions of the Revolution led by Zapata and Villa and the restoration of a semblance of order in 1917. The fourth included the establishment of the Sonoran dynasty of de la Huerta, Obregón, and Calles and the slow reconstruction of the economy.
Emiliano Zapata led the Liberating Army of the South during the Mexican Revolution. Zapata’s movement began with a demand for land reform, and his beliefs are most often captured by reference to the Plan de Ayala, which he promulgated in 1911. It was largely because of the Zapatistas (Zapata and his adherents) that land reform was written into the Mexican Constitution of 1917. Later, especially under President Lázaro Cárdenas, (1934–1940), the Mexican government carried out major land redistribution, which helped earn the post-revolutionary state legitimacy in the countryside. Over the course of nearly a decade fighting in the revolution, Zapata’s vision for remaking Mexico extended far beyond the Plan de Ayala and land reform to include judicial reform, decentralization of power, political democracy, the redistribution of wealth, and the promotion of the interests of rural workers and small agricultural producers while protecting Mexican sovereignty against powerful foreign interests. Zapata, however, led the most poorly armed of the main factions in the revolution and was unable to realize his goals. His enemies received large amounts of foreign military supplies, while he received no assistance from abroad. The inability of his poorly equipped volunteer army, mostly peasants and hacienda workers, to carry out large pitched battles dictated that they had to fight a grueling guerilla war. Zapata was unable to win on the battlefield, but was never totally defeated. He was assassinated in 1919. Although his larger vision for the future of Mexico did not prevail, his fight for land reform helped shape modern Mexico.
Friedrich E. Schuler
General Victoriano Huerta (1850–1916) stands out as the bête noire of twentieth-century Mexico. He was a career army officer who had attained the rank of general. Other generals and the old economic and social hierarchy supported him as a transitional national leader who could restore order following Francisco Madero’s revolution and presidency. Huerta has become the national bête noire because of his assumed responsibility for the assassination of Madero and his vice president, along with several governors and congressmen of the revolutionary regime. His seizure of power resulted in a new phase of the Mexican Revolution, the U.S. occupation of Veracruz, and his involvement with German Mexico and the area along the border with the United States. After going into exile, he attempted to return to power by invading Mexico. He was arrested by U.S. officials and interned at Fort Bliss, in El Paso, Texas, where he died during emergency surgery.
After decades of revolutionary upheaval and political violence that began early in the 20th century, Mexico had seemingly achieved stability and a relative level of social peace by the 1940s. The peasant revolution of 1910—beginning with its armed, insurrectionary phase (1910–1920) to the subsequent decades (1920–1940) that involved making “The Revolution” manifest in the everyday lives of Mexicans who (to borrow historian Jeffrey Pilcher’s metaphor) chose à la carte from the revolutionary menu—produced a durable political order characterized by an active level of popular participation and legitimacy. The peace was durable, yet potentially fragile since postrevolutionary rulers, contained within the confines of the Partido Revolucionario Institucional (PRI) and its previous incarnations, could not take the peasant masses for granted. Revolution had taught these masses something about their power, both its limitations and potential, to shape the content and form of the Mexican state.
After 1940, as the PRI gradually exhibited its preference for political authoritarianism and an economic project that rapidly industrialized and urbanized the country while pauperizing the countryside, a series of disparate popular protest movements continually emerged. Usually peaceful and basing their alternative modernizing visions on the 1917 Constitution and the radical policies of President Lázaro Cárdenas during the 1930s, these movements—peasant, organized labor, and student movements—often faced repression and violence at the hands of state agents and/or local-regional caciques when demanding political democracy and economic justice. The spectacular massacre of protestors in public spaces and the selective assassination of dissident movement leaders represent two of the tactics employed by the PRI to quell popular resistance in the post–1940 era. Yet, such instances of state violence also stimulated political and tactical radicalization as some protestors organized revolutionary expressions of armed struggle and guerrilla warfare. From 1940 to 1982, more than three dozen armed organizations emerged in almost every region, in both urban and rural settings, displaying a wide variety of revolutionary ideologies and practices. Beginning with Rubén Jaramillo’s 1943 armed resistance in Morelos and ending with the formal dissolution of the urban Liga Comunista 23 de Septiembre in 1982, these armed struggles generally shared the goal of overthrowing the PRI regime, seizing state power, and articulating a socialist vision for a post-PRI Mexico.
That the Mexican mural renaissance is understudied is clear from the fact than not one of its artists has been the subject of a scholarly biography. Moreover, the movement as a whole has usually been viewed through nationalist prejudices and partisan interpretations. A current reevaluation uses the wedge of several hitherto marginalized artists who figure more prominently in documents and chronology than in popular history. Among them, Jean Charlot can be placed securely at the beginning of several major developments, which were continuations of his work in France. At the open air art school of Coyoacán, he helped the young teachers move from impressionism to a geometry-based postimpressionism more appropriate for mural composition. He introduced woodcut, which he had practiced in France and which became the print medium of choice for generations of Mexican artists. His first mural, The Massacre in the Main Temple, was important for its successful use of fresco—immediately adopted as the preferred medium by other muralists—and its dynamic geometric composition, an alternative to Diego Rivera’s static classicism in Creation. Charlot further broadened the thematic and stylistic options of the movement in a series of small oils and in the first studies of the indigenous nude. He continued to nourish his colleagues with the results of his work as an archeological draughtsman at the Chichen Itza expedition of the Carnegie Institution of Washington, DC.
Charlot also participated in the notable collaboration between artists and writers in 1920s Mexico. Along with Manuel Maples Arce, he was on the two-man Direction Committee of the estridentista movement, illustrating books of poetry and joining group exhibitions. His writings are among the earliest discussions of contemporary Mexican art—publicizing the movement in Europe and the United States—and continue to influence interpretation today. His collections of documents and interviews, as well as his personal experience, became the invaluable basis of books like his The Mexican Mural Renaissance, 1920–1925 and numerous articles in several languages. His latest bibliography is 173 pages long. Charlot fulfilled the unique role of insider-outsider, participant-observer, in the Mexican mural renaissance.
Natasha S. Varner
The India Bonita Pageant of 1921 marked a critical moment in Mexico’s revolutionary identity formation. This serialized pageant hosted by the Mexico City newspaper, El Universal, also played a major role in the formulation of indigenous “authenticity,” as defined by race, material culture, gender, and sexuality. The aims of the pageant were at least superficially focused on celebrating indigenous peoples, but it ultimately narrowed popular understandings of what it meant to be indigenous through its focus on select visual markers of indigeneity. It thereby discursively erased portions of the indigenous population that did not conform to these parameters. The pageant also played into broader efforts to solve the so-called Indian Problem by situating ideal indigeneity in the rural past, favoring Aztec heritage over other indigenous identities, and positioning Mestizos as the race of the future. Ultimately, this attempt at indigenous inclusion was part of broader revolutionary identity projects that sought to isolate and erase one problematic part of the population under the guise of celebrating it.