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.
The 1960s in Argentina was a time convulsed by profound social, cultural, and political changes. Reflecting on the effect these processes had on the everyday, conceived as the spaces and routines involved in the reproduction of life that vary according to social class, generation, and gender, provides a valuable perspective for studying historical phenomena. It gives substance to and evidences the social nature of personal experience. Through that prism, the study of everyday life will be the gateway to understanding the turbulence produced by cultural effervescence, growing consumerism, the expansion of the media, the problems triggered by economic instability and escalating inflation, and the ruptures caused by political and social radicalization and the rise of repressive violence.
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.
One of the leading figures who pioneered and promoted changes toward modernity in Mexico City was Laura Méndez de Cuenca. Laura dared to transgress the traditional Catholic norms of her time. She was a teacher, a leader of a feminist movement, and an avant-garde writer. Above all, she dared to live a modern life. But, what was a modern life? Méndez chose an audacious path in order to live a modern life, a life of hard work, determination, and freedom––a freedom for which she paid a high price.
Lucha libre, or professional wrestling, has become a staple of urban Mexican culture over the course of the 20th century. In the past twenty years, it has gained international acclaim for its distinctive style and culture. Best known for the masks that luchadores often wear, lucha libre has become a distinctly national rendition of an imported product. Along with Japan and the United States, Mexico is one of the most influential nations in the world of professional wrestling. The sport allows fans to root for técnicos, rudos, and exóticos and it provides theater that upends societal norms in Mexico. Banned from performing on television by Federal District authorities from the 1950s to the early 1990s, wrestlers like El Santo and Blue Demon took to the silver screen to film “Mexploitation” horror and science fiction films. Although the sport has become an urban tradition, it reflects the cosmopolitan nature of working-class urban culture as well as the influence of Mexican culture on other nations.
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.
Nicole von Germeten
Female occupational and economic choices help clarify understandings of colonial historic agency, especially in the lives of Mexican women who made their income as alcahuetas or “bawds.” These women hosted and managed other women in the marketing and selling of sex acts in the Viceroyalty of New Spain. Viceregal bawds manipulated both the sex lives of their clients and the paternalism of crown justice in hopes of exoneration in court. They walked a precarious legal tightrope, negotiating the fluctuating margins of legal procuring and the transition to more stringent laws against sex for sale. The examples presented here, drawn from contemporary archival documents, show that these women’s lives span most of New Spain’s history, ranging from 1570 to the independence era in the early 19th century. In the 16th century, bawdry resembled the clandestine personal mediation that was common and familiar in medieval and early modern Spain. Bawds working in the 1st century of Spanish rule in Mexico carefully defended their social respectability to contradict evidence that they solicited for clients in the street. Reputable hospitality featured prominently in the early 17th-century procuring, while indigenous-influenced sorcery and love magic dominated the understanding of 17th- and early 18th-century alcahuetas. Lastly, in the 19th century, profitable market exchange characterized professional brothel operations, granting bawds honorable status within their economic and occupational community. Bawds recorded in the archives demonstrate communication skills, entrepreneurialism, and a concern for reputation through all of these eras. These intelligent female survivors offer compelling representations of viceregal women who exercised their personal agency to forge their own economic prosperity.
María Teresa Fernández Aceves
From the War of Independence until the recognition of female suffrage in Mexico in 1953, the women of Guadalajara witnessed different forms of activism that touched upon national and local issues, causing them to take to the streets in order to defend their families, their neighborhoods, and their communities: their political and religious ideals. Their active participation upended traditional notions of femininity within the Catholic Church and the liberal state of the 19th century, as well as the postrevolutionary state (1920–1940). The tasks they undertook over this lengthy period of time were highly diversified and encompassed welfare, education, war, politics, religion, and social endeavors.
In the first half of the 20th century, Uruguay was a relatively educated, democratic, and politically progressive South American country, and women there used old and new media for professional and political ends. Radical, Catholic, and liberal feminist women all utilized print media to promote their views and build support for their respective causes in publications aimed at both female and general audiences. Anarchist feminist María Collazo, for example, edited an important publication, La Batalla, from 1915 to approximately 1927. By the late 1920s, radio was an emerging mass medium, and women activists, journalists, and others sought to make their voices heard, literally and figuratively, on its airwaves. Starting in 1935, those airwaves included Radio Femenina, the first all-woman format radio station in the Western Hemisphere. One of the voices heard on Radio Femenina was Dra. Paulina Luisi, Uruguay’s leading feminist activist, who became a powerful voice of both the Socialist Party and the politics of the Popular Front in the late 1930s and early 1940s.