David M. K. Sheinin
During the Cold War, there were thousands of Unidentified Flying Object (UFO) sightings in Argentina (in Spanish, Objeto volador no identificado or OVNI). The mainstream media reported on many of them. In a field termed ufología, some events were explained scientifically or somewhat scientifically; most were not. These sightings and their stories lived on in a culture of thousands of OVNI aficionados and their literatures, frequently spilling into larger popular cultures.
OVNI culture disrupts chronologies. It offers a picture of Cold War Argentina that breaks with longstanding popular and academic chronologies that stress a dictatorship-versus-democracy binary. That binary is real. However, OVNI culture superimposes an often-neglected Cold War chronology on the mid- to late 20th century. OVNI stories and their cultural consumption evolve and vary not with reference to violent Argentine political and historical change, but in the context of a larger transnational Cold War culture in an Argentine context. Hallmarks of OVNI culture in Argentina include the enormous influence of U.S. popular culture, as well as references to apocalyptic nuclear weapons, and unscientific notions of psychoses in explaining late-night sightings of spacecraft and extraterrestrials.
Bernardo Buarque de Hollanda
Football appeared in Brazil in the end of the 19th century, among a favorable environment for the practice of English sports. These sports were initially practiced not professionally by English migrants and young students of Law, Engineering, and Medicine. Fluminense was the first club from Rio de Janeiro, at that time the capital of the country, to be dedicated exclusively to practice football. In the beginning, football represented nobility for the local elite. The social profile of people who attended matches at Fluminense’s field was very near to that of the players, be it for family reasons, friendship, or other motivations. Young women who went there desired to see their distinguished idols, and from this practice many relationships started. While this idyllic image of the past was produced, a historical point of view can notice a decisive enhancement in social segments interested in football. In the decade of 1910, a collective enthusiasm arose for football, mainly due to the fact that it was easy to practice and watch football in any kind of open space. This allowed it to spread out of clubs and the National Team. Far from the spatial and economic restriction of performance arts, football could be practiced and watched freely, in most diverse situations. The clubs’ lack of structure to allocate players and fans contributed in making football a popular game, since they needed to seek public spaces to practice. At this point, the club that opposed to Fluminense has been Flamengo, which until then was not more than a regatta club. When it opened a football department, it practiced in open fields near the beaches. Many passersby started to look out their training and matches, and some of them adopted Flamengo as their club even if not participating of its internal sphere. The players became idols, first in the neighborhood and then in the whole city. This encouraged the talk about football in bars and cafés, with reflections on the increasing number of people to attend matches. Historian Leonardo Pereira says that in a few years football has become a mania. The making of the first national team to dispute friendly matches against England and Argentina has also stimulated football’s repercussion. Noticing public interest over matches with teams from different cities or countries, sports press left its poor attitude about football and began to carefully pay attention to this kind of rivalry and the consequent emotions each fan is able to express for his team, especially the National Team.
Mexican national culture in the period from 1946 to 1982 can be understood by recognizing three overlapping transformations. The first was the consolidation of various national archetypes rooted in Mexican revolutionary and prerevolutionary mythologies of national identity and that were disseminated via state-sponsored cultural institutions as well as through global marketing campaigns related primarily to bolstering tourism. A second was the commodification of national popular culture through local cultural industries, namely radio, cinema, the recording industry, and television, and the competitive engagement of these industries with external cultural flows deriving, primarily though not exclusively, from the United States. The third was the invention of new forms of urban response to inflation and the cascading crises of political legitimacy that characterized the decade leading up to economic collapse in 1982. Across the body politic, one discerns a resilience of shared points of cultural reference—sonic, visual, culinary, and otherwise—derived, often in great measure, from governmental policies and discourse. At the same time, and increasingly over the course of this historical period, one finds movements characterized by an irreverent reappropriation of many of those same reference points, carried out by a diverse range of social actors in pursuit of individual and collective strategies of resistance to both state and patriarchal forms of authority. By the early 1980s Mexican national culture had become a rich and playful bricolage made up of iconic markers over which the state experienced a diminishing, though not yet exhausted, capacity to define.
Record-setting Dominican attendance at the championship game of the 1969 Amateur Baseball World Series attested to the local and international stakes in the competition between the United States and Cuba. Both teams reached the final game of the round-robin tournament, having defeated all nine of the opposing teams representing nations and government systems as varied as Nicaragua’s rightest dictatorship, the Dutch Antilles’ constitutional commonwealth, and Venezuela’s guerrilla-threatened democracy. Dominican sportswriters described the game as a competition between two opposing government systems and two conflicting sporting systems: the decentralized, largely privatized U.S. system that used amateur ball as a stepping stone to professionalism and the Cuban system that developed state amateurs who educated themselves, worked, and played ball in the service of the nation. The meeting between the U.S. and Cuban teams in the Dominican Republic suggested that the systems might coexist at a time when the Dominican government headed by President Joaquín Balaguer began to experiment with new models for political and economic development. Balaguer used the domestic openness and conciliatory attitude toward Cuba to legitimate controversial economic policies and submerge political discontent through national projects around international events like the Amateur World Series in 1969 and the XII Central American and Caribbean Games in 1974. With the international stage provided by the sporting events, Balaguer offered his Third Way as a model for Latin America. This local pluralism, though brief and perhaps disingenuous, allowed Balaguer to project himself and the Dominican Republic as leaders in a movement for Latin America solidarity built on pluralism and respect for sovereignty.
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.
Folk Festivals, Community Development, and the Sugar Industry Crisis in Tucumán, Argentina, 1966–1973
In the late 1960s, the sugar-growing province of Tucumán, Argentina, was undergoing the deepest economic crisis of its history. In 1966, eleven large sugar mills closed by order of the national government, then ruled by military dictator Juan Carlos Onganía. The mills closure left a quarter of the province’s labor force unemployed, which, in turns, prompted a massive rural exodus and a permanent state of social unrest. Paradoxically, at the same time, the suddenly impoverished region was experiencing a boom of folk music festivals organized by small cities and rural towns, including those severely hit by the sugar industry crisis. This essay explores the context of the folk festival phenomenon, analyzing the role of town notables and local civic organizations in responding to the crisis brought about by the closure of the mills. The festivals were, in fact, part of a wider effort of local towns to develop their infrastructure and social services. By organizing festivals and fostering community development, local notables acted as a counterweight to the activism of the working class, generating spaces of consent that aided the military government’s plans to reorder the provincial economy.
Football and media have become associated to such an extent that it would be difficult to discuss the history of sports in Chile without acknowledging its relationship with the media. Since the early 1900s, the media coverage of football—arguably the most significant mass spectacle in Chile—has become a unique place to evoke political sympathy and national pride. Before the gradual introduction of television in the 1960s, print journalism and radio were the technological tools that defined the ways in which Chileans experienced football. As narrative devices, sports media represented football for much larger audiences than those sitting in the stadium. In the 1940s, football chronicles may have been read aloud, and photographs of famous footballers were usually posted in public places for semiliterate workers too poor to buy sports magazines. Similarly, the pitch of a radio announcer’s voice and the quick summations he gave to different plays generated their own visual spectacle and moral evaluations for listeners. Although sports magazines and radio broadcasts were mostly consumed in urban areas, they created new ways of experiencing football that enabled participation from larger parts of the nation.
The importance of these sources lies in their central role of making football a much more understandable sport to mass audiences, many of whom were illiterate. Most importantly, sports media became a public terrain for making claims about Chilean citizenship, including affirmations of appropriate masculinity, racial belonging, and class relations.
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.
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.