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.
From the 15th century onward, the Caribbean has been populated with different ethnic groups, cultures, flora, and fauna in a way that is constantly changing the visual sensibilities of the space. The mixture of ethnic and nation groups that had settled by the 20th century produced a range of iconographic symbols, use of colors and forms that would signify the Caribbean aesthetic. This included a style of Caribbean painting which is referred to as Caribbean expressionism, the latter which included the group of artists known as intuitives or primitives. With few formal schools or institutions for instruction or opportunities for critical review, the Caribbean visual palette was established largely through the creativity of those involved in various festivals or ritual practices. Artistic expressions resemble performance or installation art rather than the classic forms of painting or sculpture. This work is somewhat iconoclastic in the interpretation of a Caribbean aesthetic and focuses on the homegrown artistic expressions that merge, collide, contradict, and emerge to create originality in this cultural space.
Edward D. Melillo
Since the early 1800s, Chileans have imagined their nation’s history and destiny through an ever-changing array of transoceanic connections with the rest of the planet. At a deeper level, Chile’s relationship with the Pacific Ocean is built upon myriad collective memories and aspirational identities. The long arc of Chile’s linkages with the Pacific World—or the peoples and ecosystems in and around the Pacific Ocean—has yet to be fully explored by historians. This article fills this lacuna by analyzing five diverse historical episodes that span more than two centuries: first, Valparaíso’s growth into a Pacific commercial hub during the early 1800s; second, Chile’s role in the Californian and Australian gold rushes of the mid-1800s; third, the Chilean victory in the late-19th-century War of the Pacific; fourth, Chile’s burgeoning commercial relationship with China, which began in the years following the Second World War; and, finally, the emergence of a Chilean-Pacific variant of neoliberal ideology in the final decades of the 20th century. These five developments reveal a litany of ambiguities and antagonisms in Chile’s complicated, ongoing association with its western ocean.
Anita Casavantes Bradford and Raúl Fernandez
The years between 1989 and 2005 were a period of exceptional musical productivity and creativity, a “second golden age” of Cuban popular music—the first golden age referring to the 1950s explosion of the mambo and the cha-cha-chá. During this more recent golden age multiple and diverse forms of musical expression gained traction, and island artists enjoyed a dramatic increase in international visibility. The exciting new sounds of timba and Latin jazz, the Buena Vista Social Club–styled reinvention of the son cubano, and the reemergence of música guajira during the 1990s all reflected the dynamic tensions between tradition and innovation, the local and global, and between an imaginary “authentic” and the much denigrated “commercial” that have long animated the island’s extraordinary musical culture. Despite the seeming newness and singularity of much of the music produced during this period, this second golden age was in fact characterized as much by cross-genre collaboration and continuities with earlier trends in Cuban music and musical culture as by the impact on musical production of unprecedented circumstances of economic deprivation of those years known as the Special Period. A closer look at this second golden age of popular music reveals a cosmopolitan Cuban musical landscape in which styles from different periods coexisted with ease and remained relevant, both as distinct sounds and in dialogue with one another, bringing together a dynamic community of musicians of all levels and styles, old and young, on and off the island. Dynamically poised between the forces of tradition and innovation, and beloved by both local and global audiences, the artists who rose to prominence or were rediscovered during these years each spoke, in their own unique ways, to the innovation, the cross genre collaborations, and above all to the profound historical continuities that have long animated the island’s extraordinary musical culture.
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.
Alexandra Minna Stern
Eugenics emerged in Latin America in the early 20th century on the intellectual foundations of 19th-century social Darwinism and positivism, and expanded in contexts influenced by Catholicism, nationalism, and transnational scientific exchange. Although the extent and objectives of eugenic policies, practices, and organizations varied across the region, Latin American eugenicists tended to subscribe to neo-Lamarckian principles of environmental modification, foreground puericulture or infant and maternal care, and support new techniques of human measurement associated with biotypology. Overall, eugenics in Latin America was less extreme than in Anglo and Nordic countries, rarely resulting in sanctioned policies of compulsory sterilization or euthanasia. It was an integral component of programs designed to combat infectious ailments, especially sexually transmitted diseases, and to ameliorate national health indicators. This overlap meant that eugenics sometimes was less visible as a stand-alone movement, and that its tenets were absorbed with little friction into public health and social welfare infrastructures and campaigns. At the same time, eugenic racism was expressed in calls for immigration restriction that reverberated across Latin America, most notably in the 1910s and 1920s. In retrospect, eugenics in Latin America contributed both to exclusionary policies that stigmatized certain social groups and to overarching campaigns for health and wellness that were backed by a diverse political spectrum that could include feminists, Socialists, and military leaders.
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.
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.