David Carey Jr.
Dating from the earliest times in Latin America, alcohol has played a crucial social, economic, political, and cultural role. Often reserved for politico-religious leaders, alcohol was a conduit through which power flowed in many pre-contact indigenous societies; indigenous drinkways (production, commerce, and consumption habits) were associated with communal ritual events and social prestige. Introduced to the Americas by Europeans, distillation profoundly altered the potency of alcoholic drinks for people who were accustomed to fermentation. Even as the social and cultural practices of alcohol consumption changed over time, alcohol continued to have political and economic implications in the colonial and national periods in Latin America. Fearing that inebriation bred disorder and recognizing that moonshining undercut their own revenues, colonial and national governments alike sought to regulate, if not control, the production, sale, and consumption of alcohol. In nations as diverse as Mexico, Bolivia, Peru, and Guatemala, indigenous women came to play integral roles in the (oftentimes illicit) sale and production of alcohol. A cash nexus for moving labor and land and a crucial component of the economic system by which (often unscrupulous) labor brokers recruited workers, alcohol was a currency of local economies. As a commodity of local, national, and international significance, alcohol shaped the fate of nation-states.
People’s class, ethnic, race, and gender identities all played into their access to alcohol. Although a person’s choice of libation could define their position, some of the more fascinating histories of alcohol are punctuated with women and men who used alcohol to disrupt social conventions. Through the consumption of alcohol, rituals and ceremonies created and reconstituted community both within and across ethnic groups. Imbibing could also divide people. Even while they sipped their cognacs and brandies, elites portrayed indigenous people, the poor, and other marginalized people getting drunk on moonshine to discount and denigrate them. Often associated with (particularly violent) crime, alcohol was seen as a vice by many and excoriated during temperance movements. Yet defendants across Latin America took advantage of judicial systems that considered alcohol a mitigating circumstance in many crimes. As 20th-century evangelical sects that preached abstinence as the route to wealth and marital bliss grew to unprecedented numbers, traditional healers and biomedical practitioners continued to tout alcohol’s medicinal value. In short, alcohol was a marker of social position and cultural identity, a crucial component in community and state building, and a commodity around which different cultural traditions, healing practices, and policing policies developed and evolved.
Eugenia Roldán Vera
The Atlantic world has not only been a geographic space for the exchange of people and products. Since the 16th century, it has also been a cultural space for the production, exchange, diffusion, reading, and rewriting of printed objects. Historians of the independence era constructed the view that Latin America had been “closed to the outside world” during the years of the Spanish and Portuguese domination; however, later research has shown that this was not the case. Latin American countries, especially from the 18th century onward, were part of a print network through which all kinds of information was being produced, circulated, and read.
During the Spanish Enlightenment, especially at the time of the wars of independence (1808–1824), this circulation intensified. The end of the Spanish and Portuguese trade monopoly in the region, changes in the regime of print rights, technological developments that lowered the costs of publishing, and transformations of the forms of sociability that the wars of independence themselves generated gave way to an explosion of print all over the Atlantic word. Newspapers, pamphlets, and books on topics that were not only religious but also political, literary, satirical, and educational were printed and circulated in the region. This helped to change forever the way the Latin Americans viewed themselves and contributed to the formation of new nations.
Although the circulation of ideas throughout the Atlantic does not account for the development of political and social transformations that led to the independence of the Latin American countries, print culture and political culture are connected in many different ways. This article explores some of these forms of interaction.
William G. Acree Jr.
Theater in Argentina and Uruguay, which together compose the Plata river region of Latin America, has been a predominant form of entertainment since the 19th century. Theaters abound in Montevideo, while its sister city. Buenos Aires, has its own Broadway in the famed Corrientes Street. In the age of digital culture, the theater remains a mainstay of cultural life for Argentines and Uruguayans. The success of theater and the making of a theatergoing public in the region have their roots first in the variety of entertainment offered by hemispheric travelers to the region from the 1820s through the 1880s and then, most significantly, in shows put on by itinerant circus troupes in the countryside that only later filled urban theaters. From the mid-1880s through 1900 these circus troupes performed plays known as dramas criollos that dealt with rural traditions and explored issues of migration, social stratification, and tensions of economic modernization. These Creole dramas, like the narrative and poetic tales of gaucho heroes that informed them, became wildly successful, attracting spectators in the countryside and city alike, in venues ranging from makeshift tents to the most opulent theaters. They also became the namesake of the circo criollo, which referred as much to types of performers staging the tales as to the circus event where people flocked to see the new main attraction—the dramas. In effect, the Creole drama phenomenon expanded the presence of popular entertainment across the region and consolidated a theatergoing public. It also gave way to a new strand of modern popular culture in which storylines and characters reappeared in other media, and the impact of the Creole drama experience long outlived the spectacle itself.
The early 19th century was a period of intense turmoil and chaos in the Spanish-speaking world: The Napoleonic Wars and French occupation of the Peninsula in the 1800s, independence movements in the Americas, the liberal constitution of Cádiz, Napoleon’s defeat, and the reinstallation of the Bourbons in the 1810s, and finally, the second constitutional period, the iron fist of restoration, and the eventual loss of most American possessions between 1821 and 1825. The least affected areas in the midst of this turmoil were the loyalist islands of Cuba and Puerto Rico, metaphorically the “eye of the hurricane.” It is within this context that a corpus of some dozen letters, preserved in the Spanish National Archive, were written. They were produced in the circum-Caribbean region—most in Puerto Rico—and addressed mainly to relatives and business partners on the other side of the Atlantic. The letters in question were archived without accompanying documentation, probably seized by authorities loyal to the restoration of the Ancien Régime. As a central element, this digital resource—“En el Ojo del Huracán”—displays these primary sources in an online presentation.
Beyond the historiographic value of the sources, the project explores the differences between traditional and digital edition standards (TEI) for digital letter editions with the aim of showcasing the benefits of implementing the digital paradigm and for different visualizations, functionalities, analysis and incorporation in larger infrastructures.
Historians have extensively explored the topic of architecture in Mexico City in the 20th century. From the relationships between politics, public patrons, new construction technologies, and new idioms of modernism, the impressive story of architecture in this megalopolis continues to astound and captivate people’s imaginations. Architecture was a channel that politicians used to address housing, education, and health care needs in a rapidly growing city. Yet scholars have not been especially concerned with private construction projects and their influence on the process of shaping and being shaped by the visual representation of Mexico City. Private building projects reveal an alternative reality of the city—one not envisioned by politicians and public institutions. Private construction projects in the historic city center are particularly interesting due to their location. These buildings are built on ancient clay lakebeds and volcanic soil on which the Aztecs first built the city. Not only are these buildings located in the heart of the city, the buildings in the rest of the historic district are also sinking. Any building in a historic district that has withstood the test of time should be an object of interest to scholars. The Torre Latinoamericana is perhaps the only building in the historic district and the entire city that ceases to sink, and instead floats! Located on the corner of Madero and San Juan de Letrán, the building sits at the heart of history, culture, and ancient Aztec clay lakebeds. The Torre Latinoamericana was built between 1948 and 1956 and is one of the most important visual symbols of resilience and modernity in Mexico City today.
Liliana Toledo Guzmán
The Instituto Nacional de Bellas Artes (INBA; National Institute of Fine Arts) was created to replace and broaden the functions of the Departamento de Bellas Artes (DBA; Department of Fine Arts), which was created in 1921 as a branch of the Ministry of Public Education in the context of a Mexico already in upheaval due to the revolutionary armed conflict. The decades leading up to the creation of the INBA were characterized by a constant discussion of how nationalism should be expressed in art. The answer was often associated with rural life and its artistic manifestations; thus research on these expressions became the center not only of the discourse, but of many artistic projects launched by the Mexican government. These expressions were brought to many arenas in public education, from creation to distribution, so that over the course of three decades they were articulated in an organized fashion as much in the rural education project of Jose Vasconcelos as in that of Moisés Sáez, and later, in the socialist education framework of Lázaro Cárdenas.
In the 1940s, the INBA inherited not only the art collections of the DBA but also its role. The promotion of nationalist art would take on new proportions, intending to reach the entire territory. The cultural bureaucracy began to gain strength with figures such as Carlos Chávez, the first director of the INBA. Nevertheless, Mexico was a different country than it had been in the 1920s. During the government of Miguel Alemán, art was strongly associated with tourism and economic dependence on the United States worsened, to some degree affecting artistic expression. Integrationist education, the creation of the Mexican collective imagination in the 1920s, and contradictions clearly seen through social inequality compared to the mythical indigenous world—all these were factors that led to an aesthetic rupture that would seem imminent, just as development, education, and research hoped to become institutionalized through the INBA.
Robert M. Buffington and Jesus Osciel Salazar
José Guadalupe Posada (b. Aguascalientes, February 2, 1852; d. Mexico City, January 20, 1913) was a prolific printmaker of exceptional technique, range, and originality. By the time of his death, his images had become a staple of Mexico City popular culture, appearing regularly in theatrical posters, advertisements, book illustrations, broadsides, and the penny press. Despite his popularity with impresarios, advertisers, publishers, editors, and readers, Posada received scant formal recognition during his lifetime. That changed in the 1920s with his “discovery” by prominent artists and art critics including internationally renowned muralists Diego Rivera and José Clemente Orozco. By the 1940s, exhibitions of his work had begun to appear in major galleries and museums in the United States and Europe, promoted as evidence of a unique visual aesthetic rooted in traditional Mexican culture and committed to exposing the long-standing oppression of the Mexican people at the hands of corrupt politicians, greedy bourgeoisie, cruel caciques (local party bosses), and foreign interlopers. Although scholars have disputed the genealogy and political nature of Posada’s vision, the revolutionary nationalist interpretation of Rivera, Orozco, and others has provided inspiration and a sense of cultural legitimacy for succeeding generations of artists in Mexico and throughout the Mexican diaspora. Posada is best known for his striking calaveras, notably Calavera Catrina, a fashionable female skull with bows and a fancy hat; and La Calavera Oaxaqueña, a machete-wielding male skeleton dressed in a charro outfit. Published in conjunction with the annual celebrations for Day of the Dead (October 31–November 2) and accompanied by satiric verses, Posada’s calaveras poke fun at the pretentions of the living in the face of their inevitable mortality.
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.