You are looking at 171-180 of 186 articles
Elena Jackson Albarrán
The shape, function, and social meaning of the Mexican family changed alongside its relationship to the state, the Catholic Church, and popularly held beliefs and customs over the course of the 20th century. Liberal reforms of the 19th century, and in particular the Penal Code of 1871 and the Civil Code of 1884, accelerated the intentionally political function of the family, as policymakers sought to bring the domestic sphere into the service of the state. Although domestic policies aimed to wrest influence over the private sphere from the Catholic Church, both the secularizing effects and economic impact of these efforts resulted in markedly unequal gender standards. The Mexican Revolution of 1910 wrought some dramatic demographic changes that had a long-term impact on family structure, gender roles within the family, and, perhaps most significantly, the resulting revolutionary government’s conception of the role that the family unit ought to play in nationalist development projects. The post-revolutionary decades saw the reinterpretation of late-19th-century liberalizing tendencies to align the family more consciously with a vision of a modern, collectively identified economic nationalist vision of the future. Men, women, and children saw their social roles reimagined in the rhetorical ideal, even as agrarian and educational reforms revised individuals’ relationships to the labor and socializing institutions that had come to define their identities. By the 1940s, economic growth, political stability, and technological advances in medicine and healthcare all contributed to the beginning of a surge in population growth that continued until the early 1970s. Coupled with a radical shift in population density to the urban areas, these changes contributed to transformations in family residence patterns, the division of labor, and the role of children and young people. But events in the 1970s conspired to bring a radical end to the high birth rate. These included the conscious domestic-policy reform of the Luís Echeverría administration (1970–1976); the availability of contraception and its tacit approval by the Mexican Catholic Church; the transnational feminist movement, culminating in the 1975 meeting in Mexico City of the United Nations’ Conference on Women to commemorate International Women’s Year; and, not least of these, preventive measures taken by citizens themselves to reduce the strain on the family unit. By the end of the 20th century and the beginning of the 21st, transnational migrations and remittances came to define an increasing percentage of families and kinship structures.
The Midwestern United States is home to several major public museum collections of Haitian art. These collections were established within a short period between the late 1960s and early 1970s. Similarities between the contents of these collections and their formations point to particular dynamics of visual-art production in Haiti and cross-cultural interactions in which works of Haitian art were collected abroad. This examination of particular collection histories of two Midwestern U.S. museums, both in Iowa, demonstrates shifting cultural narratives that have contributed to generalized definitions of “Haitian Art.” Considering the dearth of Haitian-American communities in the state and its far-flung geography, the fact that so many works by Haitian artists reside in the Midwest may appear to be a curious occurrence. However, these collections arose from individual bequests from local collectors who began acquiring Haitian art during the second “Golden Age” of Haitian tourism in the 1960s and 1970s. North American travelers who visited Haiti at this time sustained a market for Haiti’s artists and helped maintain international interest in Haitian visual culture. The common characteristics of these two collections—in the cities of Davenport and Waterloo—and the history of their development speak volumes about cultural intersections between Haiti and the United States, especially in relation to the effects of tourism and international travel on the production, circulation, and reception of Haitian art. More broadly, these histories exemplify wide-ranging shifts in North–South relations in the late 20th century.
In the United States, Iowa is home to two of the largest public collections of Haitian art in the country, one in Davenport at the Figge Museum of Art and the other about 130 miles away in Waterloo at the Waterloo Center for the Arts. Considering both distance and regional context, the Midwest’s relationship to Haitian art may seem incongruous. Almost 2,000 miles separate Haiti from the region, and the largest enclaves of the Haitian diaspora reside in major urban centers like Miami, New York, Boston, Montreal, and Chicago. Additionally, stereotypes of the region as provincial and culturally unsophisticated accompany the Midwest’s reputation and add to the intrigue surrounding the seemingly uncharacteristic presence of Haitian art in regional museums. In order to better understand such seemingly random cultural linkages between Haiti and Iowa, we must examine the routes and circuits through which art objects in these collections have traveled, the individuals who facilitated such movements, and the distances, both physical and conceptual, between artists’ studios in Haiti and museum context in the American Midwest.
For audiences in the United States, the word “Haiti” often accompanies news headlines focusing on one of the country’s many crises: political instability, mass migration, natural disaster, poverty. The focus on Haiti’s many challenges of the past decades obscures the fact that in several key periods in the 20th century the country attracted a steady stream of “First World” visitors. With Haiti only a short plane ride away from the United States, travelers were drawn not only to Haiti’s tropical climate and the many upscale hotel accommodations of the time, but also to the country’s cultural offerings, which included a thriving environment of visual art production. A cottage industry producing paintings, sculptures, and handicrafts greeted tourists, journalists, academics, researchers, and other visitors. Some of these souvenir-ready items could be easily dismissed as cheap, mass-produced “tourist art,” but a great many of them reflected an originality and creative quality that emerged within the supportive context of the “Haitian Renaissance.” Haitian visual arts struck many of these art-buying travelers to such a degree that they would make many return visits to Haiti, amassing enough work that would eventually make up collections of art back in the United States. The cross-cultural interactions of these traveling collectors can be framed through a study of the art objects they collected and their interactions with Haitian artists and arts institutions. Focusing on individual case studies reveals broader trends in the international reception of Haitian art and how collections in Iowa and elsewhere were established.
Beginning in Davenport, whose Figge Museum of Art is the earliest established public and permanent collection of Haitian art in the United States, this examination of collection histories will shed light on how global, regional, and individual contexts and circumstances contributed to Haitian art’s presence in Iowa and its reception abroad. In addition, these collection histories highlight connections among collectors, artists, and other active participants in the circulation of Haitian in the period of the late 1960s and early 1970s. The second example considers the origins and development of the Waterloo Center for the Arts’ Haitian collection and demonstrates one institution’s efforts to connect Haitian art objects with local audiences. Both case studies also underscore histories of engagement between the United States and Haiti, as well as issues that museums have grappled with concerning their Haitian art collections and the shifting circumstances of art production in Haiti.
Stephen W. Campbell
The Transatlantic Financial Crisis of 1837 produced a global depression that lasted until the mid-1840s. Falling cotton prices, a collapsing land bubble, and fiscal and monetary policies pursued by individual actors and financial institutions in the United States and Great Britain were all responsible. A comprehensive understanding of the panic must take into account the global movements of gold and silver that linked Mexico, China, the United States, and Great Britain in complex networks of credit and debt. In the United States, businesses, banks, and individuals declared bankruptcy; states defaulted on their debts; commodity prices dropped; credit instruments lost their value; and unemployment rose amid a general atmosphere of pessimism and an erosion of confidence. The severity of the panic prompted politicians and financial theorists to reevaluate their ideological assumptions regarding the proper role of governmental regulation in an economy. In a larger sense, the panic demonstrated how the expansion of slavery in the United States, British imperialism, financial speculation, and recurring cycles of boom and bust were emerging as defining features of modern capitalism.
The Cuban poet José María Heredia (1803–1839) spent twenty months exiled to the United States because of his involvement in pro-independence conspiracies. In that time, Heredia wrote a prodigious number of poems and letters, which are the subject of an ongoing scholarly project undertaken by Frederick Luciani of Colgate University. Luciani’s work involves more than translating these poems and letters into English—it examines Heredia’s stay in North America against the background of political and historical events, and traces the matrices of his connections with key figures, literary and otherwise, in Cuba and the United States. Questions that have surfaced through the translation process and scrutiny of this period of Heredia’s life include the relationship between Heredia’s poetry and his letters; the value of his letters as a form of travel literature; the contradictions inherent in his exilic condition; the ambiguity of his political sentiments; the nature of the networks that joined 19th-century Anglo-American and Hispanic writers, translators, and scholars; and the challenges and opportunities that Heredia’s life and work pose for readers, translators, and scholars today.
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.
Urbanization and environmental change have worked in tandem over the course of Mexican history. Hinterland production, the establishment of market economies, and the intensive transformation of nature have fueled urban growth. The concentration of capital and expertise in cities has, in turn, enabled urban elites to rework the urban environment by creating industrial centers, executing technical-heavy infrastructure, building new subdivisions, and regulating hygiene. From the beaches of Cancún and the air and water pollution of Tijuana’s industrial parks to the prolific silver mines of Zacatecas and the henequen monoculture surrounding Mérida, Yucatán, rapid urban growth and profound changes to the environment within and outside cities have depended on and intersected with each other.
Daniel Alex Richter
Cinema began in Uruguay with the exhibition of foreign films by visiting representatives of the Lumière brothers in 1896 before the first Uruguayan film was produced and shown in 1898. From the early period of Uruguayan cinema to the end of the 20th century, Uruguayan national cinema struggled to exist in the estimation of critical observers. Considering these periods of growth and stagnation, this history of Uruguayan cinema seeks to shed light on the industry’s evolution by focusing on exhibition, production, and spectatorship. This essay explores Uruguay’s national film productions, transnational businesses in shaping local film exhibition, the growth of mass publics and critical spectatorship, and the significance of political filmmaking in understanding the evolution of Latin American cinema during the 1960s. The history of Uruguayan cinema during the 20th century also provides a lens for understanding the political, social, and cultural histories of a country that has struggled to live up to its reputation as South America’s “most democratic” nation.
U.S. foreign policy toward Latin America in the 19th century initially focused on excluding or limiting the military and economic influence of European powers, territorial expansion, and encouraging American commerce. These objectives were expressed in the No Transfer Principle (1811) and the Monroe Doctrine (1823). American policy was unilateralist (not isolationist); it gradually became more aggressive and interventionist as the idea of Manifest Destiny contributed to wars and military conflicts against indigenous peoples, France, Britain, Spain, and Mexico in the Western Hemisphere. Expansionist sentiments and U.S. domestic politics inspired annexationist impulses and filibuster expeditions to Mexico, Cuba, and parts of Central America. Civil war in the United States put a temporary halt to interventionism and imperial dreams in Latin America. From the 1870s until the end of the century, U.S. policy intensified efforts to establish political and military hegemony in the Western Hemisphere, including periodic naval interventions in the Caribbean and Central America, reaching even to Brazil in the 1890s. By the end of the century Secretary of State Richard Olney added the Olney Corollary to the Monroe Doctrine (“Today the United States is practically sovereign on this continent and its fiat is law upon the subjects to which it confines its interposition . . .”), and President Theodore Roosevelt contributed his own corollary in 1904 (“in the Western Hemisphere the adherence of the United States to the Monroe Doctrine may force the United States, however reluctantly, in flagrant cases of wrongdoing or impotence, to exercise an international police power”). American policy toward Latin America, at the turn of the century, explicitly justified unilateral intervention, military occupation, and transformation of sovereign states into political and economic protectorates in order to defend U.S. economic interests and an expanding concept of national security.
Stephen J. C. Andes
Vatican foreign relations with Latin America comprise both bilateral diplomatic negotiations with states and the Holy See’s spiritual leadership of national Catholic Churches in the region. Apostolic nuncios—papal diplomatic representatives—are the principal intermediaries of Vatican foreign relations. Since the early 19th century, Vatican diplomacy has been the purview of the Papal Secretariat of State, the “foreign relations” branch of the Roman curia.
The beginning of modern Vatican foreign relations with Latin America should be dated to the Napoleonic wars in Europe and the movements for home rule in Spain’s colonies. From 1810–1820, the papacy stood unwavering in its defense of Spanish absolutist claims to the peninsula and to its colonies. Latin American Independence shattered Spanish Royal Patronage and left a legacy of regalism in the region, with which the ultramontane papacy of the 19th century would contend. The professionalization of the Vatican diplomatic corps (1889–1914) conformed papal diplomacy to the norms of the international state system, incrementally increasing the political and spiritual legitimacy of the Holy See after its loss of temporal power to the Italian state, sparking the so-called “Roman Question” (1870–1929).
During the interwar period, Vatican policy centered on concordats and Catholic Action, evincing both a pragmatic approach to diplomacy and a highly regimented and non-party political model of lay activism. Mexico’s Cristero Rebellion (1926–1929) represented the most strident conflict in the period, where Rome’s concordat/Catholic Action policy neither negotiated a durable modus vivendi nor managed to pacify radical lay Catholics until the 1940s. During the pontificate of Pius XII (1939–1958), a strident anti-communism marked the policy of the Holy See, aligning the Catholic Church in Latin America with conservatives and authoritarian leaders. After the Second Vatican Council (1962–1965), the policy of Ostpolitik guided diplomats towards rapprochement with communist and revolutionary states such as Cuba and Nicaragua.
The end of the Cold War temporized the relationship between progressive sectors in the Latin American Church, which had been influenced by Liberation Theology, and the Vatican under John Paul II (1978–2005). A “New Evangelization” campaign was heralded by Pope Benedict XVI (2005–2013). Argentine Jesuit and Cardinal Jorge Mario Bergoglio crafted many of the seminal documents for the New Evangelization. Bergoglio, elected Pope Francis in 2013, emphasized the socio-economic and the spiritual aspects of Vatican policy, bring issues of poverty, economic inequality, and justice to center stage, fostering a diplomacy of piccoli passi (small steps) and brokering improved relations between the United States and Cuba.
Maria Ligia Coelho Prado
This is an advance summary of a forthcoming article in the Oxford Research Encyclopedia of Latin American History. Please check back later for the full article.
This article presents diverse visions of the nation during Brazil’s Imperial period. These perspectives are manifested in a variety of cultural and intellectual occurrences: in the work of 19th-century historians who established long-lasting interpretations of Brazilian history; in the images of artists who were dedicated to portraying the monarchy, significant historical events, and the diversity of Brazilian social life; in the civil and religious festivals that placed a special emphasis on music and the participation of all people (women, men, slaves, the rich, and the poor); and in the writings of authors who cast their gaze upon the universe around them.