Ricardo Pérez Montfort
From the late 19th century to the mid-20th century, Mexican popular music underwent a significant transformation, thanks to the growth of Mexico City as an urban center and to the influence of both regional and international music genres. At the same time, the Mexican public experienced a profound shift in the way music was consumed. Over the course of five generations, traditional modes of encountering music gave way to a more cosmopolitan enjoyment of new and old musical styles.
Before there was Mexico, there was oil. Millennia of organic matter that collapsed and liquefied into fossil fuel rested deep underground and underwater along the half-moon territorial formation that 19th-century geographers named the Mexican Gulf. Hidden by the lush tropical rainforests, marshes, and mangroves that occupied the landscape from the Pánuco River on the border between modern day Tamaulipas and Veracruz and the Bay of Campeche on the South, the oil seeped to the surface in small ponds, sometimes blackening the waters of streams and lagoons from Tabasco to the Huasteca. The human communities who inhabited that part of the globe thousands of years later knew about and utilized nature’s oozing sticky black tar.
The Olmec, who flourished in southern Veracruz from 1200 to 400
Roderic Ai Camp
The evolution of the importance of public opinion in Mexico is intertwined with the emphasis of scholars, both foreign and Mexican, introducing survey research techniques. These efforts became more common in the 1960s and 1970s, but became increasingly significant in the 1980s, when major newspapers and other publications begin to sponsor wide-ranging public opinion polls. Public opinion polls played a critical role in Mexico’s democratic political transition during the 1980s and 1990s, informing ordinary Mexicans about how their peers viewed candidates and important policy issues, while simultaneously allowing citizens, for the first time, to assess a potential candidate’s likelihood of winning an election before the vote, while also confirming actual election outcomes through exit polls. Polling data reveal changing social, religious, economic, and political attitudes among Mexicans over time, revealing the importance of both traditional and contemporary values in explaining citizen behavior.
Photography, film, and other forms of technical imagery were incorporated quickly into Mexican society upon their respective arrivals, joining other visual expressions such as murals and folk art, demonstrating the primacy of the ocular in this culture. Photojournalism began around 1900, and has formed a pillar of Mexican photography, appearing in illustrated magazines and the numerous picture histories that have been produced. A central bifurcation in the photography of Mexico (by both Mexicans and foreigners) has been that of the picturesque and the anti-picturesque. Followers of the former tendency, such as Hugo Brehme, depict Mexicans as a product of nature, an expression of the vestiges left by pre-Columbian civilizations, the colony, and underdevelopment; for them, Mexico is an essence that has been made once and for all time. Those that are opposed to such essentialism, such as Manuel Álvarez Bravo, choose instead to posit that Mexicans are a product of historical experiences.
The Mexican Revolution has been a central figure in both photography and cinema. The revolution was much photographed and filmed when it occurred, and that material has formed the base of many picture histories, often formed with the archive of Agustín Víctor Casasola, as well as with documentary films. Moreover, the revolution has been the subject of feature films. With the institutionalization of the revolution, governments became increasingly conservative, and the celebrity stars of “Golden Age” cinema provided models for citizenship; these films circulated widely throughout the Spanish speaking world. Although the great majority of photojournalists followed the line of the party dictatorship, there were several critical photographers who questioned the government, among them Nacho López, Héctor García, and the Hermanos Mayo.
The Tlaltelolco massacre of 1968 was a watershed, from which was born a different journalism that offered space for the critical imagery of daily life by the New Photojounalists. Moreover, the representation of the massacre in cinema offered sharply contrasting viewpoints. Mexican cineastes have received much recognition in recent years, although they do not appear to be making Mexican films. Television in Mexico is controlled by a duopoly, but some programs have reached an international audience comparable to that of the Golden Age cinema.
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.
The success of the Diaz regime was based on a modus vivendi between prominent political cultures that emerged after Mexico’s War of Independence. On the one hand, was a culture that Octavio Paz described as “de la ciudadanía,” or “of the citizenry”: in short, a culture of liberalism and constitutionalism in all their variations. On the other hand, were the complex networks of patronage that supported the Caudillo, which Paz called the culture “de la pirámide”—the exercise of personal power through hierarchical authority rather than the institutions of the state, which was (and still is) so common in the Hispanic world.
The prevention of communicable diseases, the containment of epidemic disorders, and the design of programs and the implementation of public health policies went through important transformations in Mexico, as in other Latin American nations, between the final decades of the 19th century and first half of the 20th century. During that period not only did the advances in medical science make possible the identification and containment of numerous contagious diseases; it was also a time when the consolidation of formal medical institutions and their interaction with both national and international actors contributed to shape the definitions and solutions of public health problems. Disease prevention strategies were influenced by medical, scientific, and technical innovations and by the political values and commitments of the period, and Mexico experienced profound and far-reaching political, economic, and social transformations: the apogee, crisis, and downfall of the long Porfirio Díaz regime (1876–1910), the armed phase of the Mexican Revolution (1910–1920), and the period of national reconstruction (1920–1940). Thus, during the period under consideration, and alongside the consolidation of an official medical apparatus as an integral part of public power, the promotion of public health became a crucial element to reinforce the political unification and the social and economic strength of the country.
Pablo A. Piccato
Free speech was a greater concern for Mexican politicians, legislators, and intellectuals during the 19th century than electoral democracy. This can be easily verified by looking at the large number of laws, decrees, trials, appeals, and polemics provoked by contradictory efforts to guarantee the right to express reasonable opinions, formulated since the 1812 Cádiz Constitution, and the concern to limit that freedom for the preservation of stability, morality, religion, and honor. Mexican public men spent considerably more energy reading and arguing about written words than counting votes. Yet the historiography of Mexican liberalism has, for the most part, stressed the history of frustrated attempts to expand representation and thus consolidate sovereignty. This article looks at the public sphere as a space for but also of contention. Politics, as was understood by most political agents of the time, took place in that virtual space, and a good part of political conflict revolved around the right to speak on behalf of public opinion. The broader arc to be described here starts with the contentious and romantic decades since the 1857 Constitution consecrated free speech and press juries and moves through the taming of the press using legal reforms and politically motivated prosecutions under Porfirio Díaz, to the consolidation of a new order in which a diverse and prosperous press struck an understanding with the post revolutionary regime to constrain the possibilities of political debate, around 1930.
Pulque, the alcoholic beverage of pre-Columbian highland Mesoamerica is the fermented derivative of aguamiel, the juice or sap of the agave known as agave pulquero—principally Agave salmiana. Aguamiel is a sweet, somewhat heavy juice that collects in a scraped out basin in the heart of the agave pulquero and, unless refrigerated, rapidly ferments into the alcoholic pulque. The agents of fermentation are ambient and plant-colonizing bacteria and yeasts. Fresh pulque is a frothy, cloudy brew with a slightly sour taste, usually containing around 2 percent alcohol or somewhat higher, meaning it can be drunk in large quantities without intoxicating the imbiber. Although it is a nutritious drink, consumption was condemned by Spaniards in varying degrees during the Colonial Period. Its popularity in contemporary southern Mexico is increasing after more than a century of persecution and public disparagement. Pulque figures prominently in pre- and post-Columbian Mesoamerican history.
Production of tequila and mezcal is completely different from production of pulque. The former are distilled from the pressed juice (tepache) of macerated and roasted hearts of certain agaves. The juice is fermented in vats for several days, then heated in a still, evaporated, and condensed. Tequila, by law is made from A. tequilana, and mezcal by custom is made primarily from A. angustifolia. Both these distillates contain about 40 percent alcohol. Pulque is a naturally occurring product consumed by native peoples for at least two millennia. Tequila and mezcal are industrial products derived from processes introduced into the Americas by Europeans.
Throughout the 19th and early 20th century, the Mexican populace demonstrated a fascination with the nation’s railroads. Newspapers, literature, poetry, music, and art focused their attention on the symbolic power of the locomotive, revealing its capacity to reshape people’s social and cultural worlds. As the most potent symbol of progress and civilization, the arrival of the iron horse offered both powerholders and ordinary individuals the opportunity to imagine new possibilities for their nation and themselves, musings that could be highly optimistic or dreadfully distrustful. The locomotive emerged as a ubiquitous symbol throughout the restored republic (1867–1876), the Porfiriato (1876–1911), and the Mexican Revolution (1910–1920) that inspired individuals to reflect on the meaning of an array of issues: modernization, cosmopolitanism, citizenship, sovereignty, and national identity. During the restored republic and Porfiriato, government officials and the press celebrated the railway as the dawning of new age of peace and prosperity, discourses that often sought to legitimize and justify sitting presidents and their policymaking. At the same time, popular and opposition groups used the symbolic power of the railway to question the decision-making of the elite that had resulted in extreme social inequality and foreign economic domination. These divisions were a portent of the conflicts that would spark the 1910 Revolution, a popular struggle where railroads and railway workers played principal protagonists. As such, the railroad emerged in a new context as a symbol to represent the heroism, violence, and disorder of those years.
Rediscovering the Aztecs and Mayas: Field Exploration, Archaeological Exhibits, and National Museums
Kevin M. Gosner
In the last decades of the 18th century, with the visit in 1784 of José Antonio Calderón to the Maya ruins at Palenque and the discovery in 1790 of the statue of Coatlicue and the Stone of the Sun in the central plaza of Mexico City, the study of ancient Mexico entered a new era. In the century that followed, teams of field surveyors, mapmakers, graphic artists, and artifact collectors worked across central and southern Mexico as well as in Guatemala. Some were commissioned by the Spanish Crown or later by national governments; many arrived from England, France, Germany, and eventually the United States. Early on they worked side by side with geologists, geographers, and field biologists as part of natural history expeditions, accumulating collections of artifacts that would be displayed in curiosity cabinets and early museums alongside trays of colorful butterflies and stuffed tropical birds. And then, as foreign travel books won popular audiences in Europe and the United States, and as international investors arrived in Mexico and Central America, archaeology also was taken up by enthusiastic amateurs looking to sell books, build private collections, or organize international trade fairs.
For serious students of ancient history, field exploration and advances in archaeological record-keeping transformed a body of research and scientific speculation that since the 16th century had been dominated by theologians, historians, and philologists, who studied Spanish chronicles and native language annals but paid scant attention to the remnants of material culture. In the process, Aztecs and Maya were rediscovered as historical subjects, their histories disconnected from that of contemporary Indian peasants and recast as rivals to the great civilizations of the Old World. Ruins of monumental architecture, recovered artifacts in sculptured stone or finely crafted metals, and ancient texts inscribed on wooden lintels and bark cloth were reclaimed as part of national patrimonies to be protected by new state agencies and displayed in modern museums. On January 20, 1911, the International School for American Archaeology and Ethnology formally opened in Mexico City, and this formative period in the archaeological study of ancient peoples ended. Manuel Gamio introduced the study of stratigraphy to fieldwork practices in Mexico and the discipline was transformed once again.