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.
Sergio E. Serulnikov
Led by Túpac Amaru, Túpac Katari, Tomás Katari, and others, the pan-Andean uprising from 1780 to 1782 was the largest and most radical indigenous challenge to Spanish colonial rule in the Americas since the conquest. Whole insurgent armies were organized in the heart of Peru and Alto Peru (today Bolivia) over the course of two years. Ancient and populous cities such as Cuzco, La Paz, Chuquisaca, Oruro, and Puno were besieged and occupied. Extensive rural areas in Charcas, the provinces in the high Andean plateau bordering Lake Titicaca, and the southern Peruvian sierras, fell under the complete control of the rebel forces. These forces occasionally relied on the direct support of creoles and mestizos. Although Túpac Amaru, the self-proclaimed new Inca king, would become the primary symbol of the rebellion, the insurgent uprisings combined multiple regional uprisings, each with its own history and dynamic. This article explores the similarities and differences among these uprisings in terms of ethnic ideology, social composition, leadership structure, and insistent demands for change.