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 history of Mexican Catholicism between 1910 and 2010 was one of successive conflict and compromise with the state, latterly coupled with increased concern about religious pluralism, secularization, and divisions of both style and theological and ecclesiological substance within Catholicism. The Mexican Revolution (1910–1920) represented a particular threat to the church, which was identified by many revolutionaries as an institution allied to the old regime, and hence persecuted. In the same period, and until 1929, the church was openly committed to implementing its own social and political project in competition with the state. Religious conflict reached a tragic peak in the 1920s and 1930s, as revolutionary anticlericals waged political and cultural campaigns against the church, provoking both passive and armed resistance by Catholics. With some exceptions, the period from the late 1930s to the late 1960s was one of comparative church–state conciliation, and a period of institutional collaboration that began when both institutions stood down their militant cadres in the 1930s. In subsequent decades, an over-clericalized and socially conservative church and a theoretically revolutionary but undemocratic state made common cause around the poles of civic and Catholic nationalism, economic stability, and anti-communism. From the later 1960s, however, the church grew increasingly vocal as a critical interlocutor of the state, in terms of both the Institutional Revolutionary Party’s failing socioeconomic model and, especially in the 1980s, its authoritarian political practices. In places, radical strains of Liberation Theology helped to guide indigenous and urban protests against the regime, while also posing an internal, ecclesial problem for the church itself. The rise of economic neoliberalism and qualified democracy from the 1980s onward, as well as the political reorientation of Catholicism under the papacy of John Paul II, saw the church assume a frankly intransigent position, but one that was significantly appeased by the 1992 constitutional reforms that restored the church’s legal personality. After 1992, the church gained in political prominence but lost social relevance. Should the church cleave to an unofficial corporatist relationship with a generally supportive state in the face of rising religious competition? Should Catholics assert their newfound freedoms more independently in a maturing lay regime? A cursory view of Catholicism’s religious landscape today reveals that the tension between more horizontal and vertical expressions of Catholicism remains unresolved. Catholics are to be found in the van of rural self-defense movements, leading transnational civic protests against judicial impunity, and decrying the abuses suffered by Central American migrants at the hands of border vigilantes. At the same time, the mainstream church seeks official preferment of Catholicism by the state and lends moral support to the PRI and PAN parties alike.
The 1994 Zapatista uprising in the southern Mexican state of Chiapas was the culmination of centuries of repression and exploitation of the country’s indigenous minority at the hands of its Spanish and mestizo leaders and the landed elite. The Liberal Reform initiated in 1854, followed by the “modernizing” policies of President Porfirio Díaz (1877–1880; 1884–1911), and then the revolution that ousted him, would strengthen and institutionalize a new set of institutional frameworks, discourses, and practices that lasted through the 20th century. The Ejército Zapatista de Liberación Nacional (Zapatista National Liberation Army, or EZLN) emerged from a history of complex and volatile relationships between indigenous peoples of the impoverished state and its economic and political elite, relationships that began a process of redefinition in the 1950s. Zapatismo is one of the expressions of indigenous and working-class struggles in this social and historical context. It can be distinguished from other rural and indigenous movements by its repudiation of the strategies of protest and negotiation within an institutional framework, its adoption of armed struggle, and its rejection of the conventional objectives of land and commercial agricultural production in favor of territorial autonomy and de facto self-government.
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.
Digital Resources: Power of Attorney, A Digital Spatial History of Indigenous Legal Culture in Colonial Oaxaca, Mexico
“Power of Attorney in Oaxaca, Mexico: Native People, Legal Culture, and Social Networks” is an ongoing digital research project that constructs a geography of indigenous legal culture through digital maps and visualizations. The
“Power of Attorney in Oaxaca, Mexico: Native People, Legal Culture, and Social Networks” is an ongoing digital research project that constructs a geography of indigenous legal culture through digital maps and visualizations. The Power of Attorney (
The multiscalar narrative of the Power of Attorney project speaks to multiple audiences, and the digital multimedia format allows visitors to further tailor their interactions with information. The site operates on many levels. It provides maps and visualizations based on original research, data culled from primary sources that can be used as a research tool, historical and geographical background information, information about how to read letters of attorney, and microhistorical narratives of power of attorney relationships. For undergraduates learning about the relationship between Spanish administration and pueblos de indios, the maps and visualizations provide an at-a-glance overview of the spatial and social connections among Indian towns, ecclesiastical and viceregal courts, and the court of the king in Madrid from the perspective of an indigenous region rather than a top-down perspective. Graduate students and scholars interested in the production of notarial records in native jurisdictions, social history and ethnohistorical methodology and the relationship between local and transatlantic processes can explore the maps, visualizations, and data in greater detail. An educated general audience interested in the history of Oaxaca’s native peoples can find a general introduction to the region, its history and geography, and the long-standing relationship between Mexico’s native people and the law.
Mexican History/Historia Mexicana (MH/HM) is a Facebook page dedicated to bringing together the world’s academic and popular masses in their interest of Mexican history. As of 2016, there are over 1300 members of the page, and posts garner one to three hundred views, though some posts or posted links have reached three to five thousand unique views.
The Facebook page grew out of the frustration of this author with the slow and censored listserv system that serves as the main forum for scholars of Mexican history. In addition, there was a desire to reach private scholars and members of the public who are generally excluded from the listserv systems. In December 2011, the author and another scholar joined together in creating a Facebook page that would, in the words of the page description, serve as “a forum for the free exchange of information on the history and related culture and events of Mexico.” In late 2012 a third scholar joined them as operators, managers, and editors of the page.
Material is selected in Spanish and English (and occasionally indigenous Mexican languages) related to Mexican history or events of historical importance. Generally, the goals of the page are to provide items of interest to the general public, resources to professional researchers that they may not know about, and well-known resources for new researchers. Information is provided on events or presentations related to the preservation of Mexican History, important new research works, and items of curiosity that simply pique theinterest of the operators. There is no systematic approach to content; instead, information is posted as a free-form collective, free of censorship. Members of the community are also welcome to post materials or queries and to comment and discuss topics on history and related items of culture and current events.
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.
Maira Mayola Benítez Carrillo
Gabriel Vargas Bernal created one of the greatest examples of Mexican comic strips, The Burrón Family. He had a remarkable career as a prolific cartoonist, screenwriter, historian, and journalist, with many titles published throughout decades of work. His predominant topic is social criticism and his narrative style is that of journalistic humor. Self-taught, he worked for the country’s most important–newspapers. Over the years, he wrote pieces on sports and the most popular festivals in Mexico, completed comic strips to support literacy campaigns, and designed many types of comics: historical, religious, war, detective, ecological, didactic, humor, and adventure. In 1948, he created the comic La familia Burrón, a series that tells of a poor family’s daily life in a working-class neighborhood. The author’s sense of criticism was the key to allowing readers to identify with the almost one hundred characters who appeared on its pages. Many of them came from real life and were recreated on the pages of this comic, which was published for six decades.
Vargas had a clear critical view of Mexican society. He incorporated costumbrist scenes and knew how to use idioms and popular expressions through his characters, adapting them to each decade in which the comic strip was published. His stories are full of humor and absurd situations, a mix of reality and fiction. The strip had a half-million printings per week and has been published in compilation books that are among the most sold at Mexico’s main book fairs. Vargas’s work is a necessary reference to learn and understand the idiosyncrasies of Mexicans—their customs, traditions, conflicts, and short-comings—in the urban environment.