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Regina Horta Duarte
Modern zoos emerged as mass entertainment, spaces of public leisure and of culture. In the past, they served as monuments and expressions of the degree of “civilization” and progress of a city and its respective country. In Latin America, zoos date from the last quarter of the 19th century. The history of Latin American zoos is a political, cultural, and social history. The conditions of their creation and operation over the decades have conferred important specificities to these institutions. Since their inception, zoos in Latin America have reflected nationalistic aspirations, civilizational projects, and social transformation. Over the decades, the history of many zoos has blended with natural history in Latin America, as many zoo founders were important scientists. The development of new sensitivities toward animals also follows the history of zoos in Latin America from the beginning, because the first animal protection societies appeared at the same time. Today, zoos face vigorous claims from animal rights activists calling for their closure. In view of so many challenges, these institutions are reinventing themselves with an increased focus on conservation and environmental education, joining international zoological societies with high standards of quality. Among several of these societies, the Latin American Association of Zoological Parks and Aquariums (ALPZA) stands out. Founded in 1990, ALPZA organizes, reshapes, and integrates Latin American zoos, establishing global connections. Various actors play a role in the defense and contestation of zoos, such as politicians, scientists, conservationists, animal protection societies, anti-zoo activists, visitors, administrators, officials, and, of course, thousands of wild animals from all over the world who have lived in Latin American cities for decades.
Irving W. Levinson
The Mexican-American War ranks among the most consequential events in the history of both nations. Although the casus belli for the United States’s May 12, 1846, declaration of war was the Mexican ambush of a U.S. Army patrol in the disputed Nueces Strip on April 25 of that year, two underlying causes rendered conflict inevitable. The dispute over Texas was the first, and the desire of both nations to control the Mexican provinces of Nuevo Mexico and California was the second. President James Knox Polk identified the acquisition of that territory as the principal objective of his administration.
The conflict also remains noteworthy for the extent to which the political milieu in both countries proved as important as events on the battlefields. In México, a devastating war of independence (1810–1821), multiple violent overthrows of the federal government, the failure of two constitutions to produce a structure acceptable to both conservatives and liberals, and enmities generated by the socioeconomic structure severely limited México’s growth, tranquility, and potential for armed resistance to an invader. In the United States, the national unity evident at the outbreak of the war faded in the face of sectional rivalries, unexpectedly high casualties, and declining relations between the executive and legislative branches.
The military phases of the war fall into two segments. In the first, forces considerably smaller than those deployed in later phases of the war fought in Texas and in the Mexican provinces of Nuevo Mexico, California, Tamaulipas, and Nuevo Leon. When United States victories in northern Mexico failed to produce the anticipated Mexican surrender, the second phase of the conflict began on March 9, 1847, with General Winfield Scott’s invasion of central Mexico and ended with his entrance in Mexico City on September 14, 1847.
In the following seven months, both governments sought to obtain the best terms. A rising tide of violent rural rebellion in Mexico and a rising tide of Whig opposition to the Polk administration in Washington served as catalysts during the negotiations. Two agreements, the February 2, 1848, Treaty of Guadalupe-Hidalgo and the March 6, 1848, Truce Agreement brought hostilities a close.
Consequences of the conflict included the Mexico’s loss of 525,000 square miles of territory, the emergence of the United States as the dominant continental power, the dispossession of many Mexican citizens living in what had become U.S. territory, and the reestablishment of Mexican sovereignty over territories in rebellion.
Lucha libre, or professional wrestling, has become a staple of urban Mexican culture over the course of the 20th century. In the past twenty years, it has gained international acclaim for its distinctive style and culture. Best known for the masks that luchadores often wear, lucha libre has become a distinctly national rendition of an imported product. Along with Japan and the United States, Mexico is one of the most influential nations in the world of professional wrestling. The sport allows fans to root for técnicos, rudos, and exóticos and it provides theater that upends societal norms in Mexico. Banned from performing on television by Federal District authorities from the 1950s to the early 1990s, wrestlers like El Santo and Blue Demon took to the silver screen to film “Mexploitation” horror and science fiction films. Although the sport has become an urban tradition, it reflects the cosmopolitan nature of working-class urban culture as well as the influence of Mexican culture on other nations.
Japanese immigration to Brazil started in 1908 as a replacement for European immigrants to work for the state of São Paulo’s expanding coffee industry. It peaked in the late 1920s and early 1930s, in the face of growing anti-Japanese sentiment in Brazil. The Japanese migrated to Brazil in mandatory family units and formed their own agricultural settlements once they competed their colono labor contracts and became independent farmers. Under Getúlio Vargas’s nationalistic policies, a 1934 immigration law severely limited the entry of the Japanese. Strict legal restrictions were also imposed on them during Vargas’s Estado Novo (1937–1945). Japanese immigration was eventually terminated in 1942. Then the number of Japanese immigrants reached 188,986. At the end of the war, the Japanese were sharply divided among themselves over the defeat of Japan, and Sindō Renmei’s attacks on other Japanese factions terrified the nation of Brazil. Having given up their hope of returning to their homeland, the Japanese and their descendants began to migrate on a large scale to the cities, especially São Paulo City. Japanese immigration resumed in 1953 and peaked in 1959–1960. A total of 53,657 postwar immigrants, including many single adult men, arrived in Brazil before 1993. By 1980, the majority of Japanese Brazilians had joined the urban middle class, and many were already mixed racially. In the mid-1980s, Japanese Brazilians’ “return” labor migrations to Japan began on a large scale, due to Brazil’s troubled national economy. More than 310,000 Brazilian citizens were residing in Japan in June 2008, when the centenary of Japanese immigration was widely celebrated in Brazil. But the story does not end there: the global recession soon forced unemployed Brazilians and their Japanese-born children to return to Brazil.
Chiara Sáez and Jorge Iturriaga
With the surge of social struggles tied to the implementation of capitalist modernization at the end of the 19th century, diverse forms of technology-based mass communication in Chile arose to represent the emergence of social sectors that didn’t participate in the dominant culture and sought to disseminate an alternative. Working-class and feminist newspapers, neighborhood theaters, and Cordel literature broke away from the traditional elitist and pedagogical nature that had defined the media until that time. Since then, with cycles that have ebbed and flowed, numerous communicative experiences were related to mass culture in controversial ways: they opposed it, converged with it, et cetera. Even though it is possible to trace the continuity between the cases described, this continuity is not clear upon first glance, due to its underground and nascent character. In general terms, these experiences were not established as an autonomous space for technical or aesthetic experiments; when there was a strategy, it tended to be political in nature, whereas communicative material remained conditional. Finally, the study of these cases implies a paradox: the 20th century began with a vast number of alternative communication projects that became institutionalized over the years, but they re-emerged more autonomously during Augusto Pinochet’s dictatorship and the era that followed. This process of institutionalization alludes to an inversely proportional relationship between the process of incorporating the masses into positions of power (in the period between 1925 and 1973) and the development of alternative communication: these experiences are plentiful in the less institutionalized contexts of the enlightened working-class culture (that is, preceding the founding of the Communist Party in 1922 and after the anti-working-class culture that has accompanied the neoliberalism imposed since the dictatorship).
Gregory T. Cushman
Agrarian societies in Latin America and the Caribbean have accomplished some of the most important and influential innovations in agricultural knowledge and practice in world history—both ancient and modern. These enabled indigenous civilizations in Mesoamerica and the Andes to attain some of the highest population densities and levels of cultural accomplishment of the premodern world. During the colonial era, produce from the region’s haciendas, plantations, and smallholdings provided an essential ecological underpinning for the development of the world’s first truly global networks of trade. From the 18th to the early 20th century, the transnational activities of agricultural improvers helped turn the region into one of the world’s primary exporters of agricultural commodities. This was one of the most tangible outcomes of the Enlightenment and early state-building efforts in the hemisphere. During the second half of the 20th century, the region provided a prime testing ground for input-intensive farming practices associated with the Green Revolution, which developed in close relation with import-substituting industrialization and technocratic forms of governance. The ability of farmers and ranchers to intensify production from the land using new cultivars, technologies, and techniques was critical to all of these accomplishments, but often occurred at the cost of irreversible environmental transformation and violent social conflict. Manure was often central to these histories of intensification because of its importance to the cycling of nutrients. The history of the extraction and use of guano as a fertilizer profoundly shaped the globalization of input-intensive agricultural practices around the globe, and exemplifies often-overlooked connectivities reaching across regional boundaries and between terrestrial and aquatic environments.
Dora María Téllez
Throughout their history, the countries of Central America have attempted several forms of political and economic integration. After declaring independence in the 19th century, the region lacked its earlier cohesion vis-à-vis Spanish colonial governance. The former provinces aligned themselves in favor of either centralizing regional power in a federal republic or establishing complete political autonomy through the formation of new nation-states. Forces in favor of the latter eventually prevailed.
An attempt at economic integration began in the mid-20th century. It was actively backed by the United Nations Economic Commission for Latin America and the Caribbean (ECLAC) and eventually led to the creation of the Central American Common Market (CACM). Despite favorable economic conditions in the Post-World War II period, a number of complications undermined integration efforts: war, political crises, and interests that ran contrary to those of the United States. Integration was postponed until the end of the 1980s, after the Esquipulas II Accord reestablished peace in the region.
After the countries of Central America signed the Guatemala Protocol in 1993, economic integration was promoted under the banner of free trade. This was done by regional economic groups with the goal of reconnecting the region to global commerce under the most advantageous circumstances possible.
Barbara E. Mundy and Dana Leibsohn
Across the last 25 years, digital projects on the visual culture of Latin America have begun to shape, ever more fundamentally, both research and teaching environments. To be sure, books and journal essays remain the dominant mode of publishing (and significantly so), but digital projects—made possible in part because of increasingly accessible databases and less expensive editing platforms—are becoming widely recognized as key elements in the visual and intellectual landscape. The visual culture of Spanish America (also known as colonial visual culture or viceregal visual culture) extends across three centuries, dating from roughly 1520 to 1820. Yet its history, which embraces both the physical traces of everyday life and ephemeral experiences, is arguably the least familiar of Latin America’s artistic and material legacies, especially outside Latin American Studies. Nonetheless, the period has inspired a suite of projects that, considered together, highlight the current potentials (and limits) of digital work, provide useful models for future research, and open onto debates relevant across the digital humanities (as they are currently called).
If this is the basic landscape, then what are the important issues when it comes to the intersections of digital technologies and colonial visual culture? This question is considered here along three avenues. First, what can be achieved with existing software, particularly imaging software, and the inherent epistemological assumptions imbedded in software commonly used? This topic receives the most attention because future research depends so heavily upon our perceptions and understandings of present technological capabilities. The second theme considered is accessibility. Given that institution-driven projects, most often online ventures sponsored by a museum or a library, have opened certain collections to an online public, what are the implications of the accessibility they offer, and how might such databases shape the parameters of research—both in the data they provide and in the kinds of questions their technologies make it possible to pose and answer? Finally, consideration is given to the possibilities and potentials for collaboration that the online environment offers in the study of visual culture of Latin America.
To set a framework for discussion, this article begins with a broad view, “The Object(s) of Visual Culture,” and then turns to examples of scholar-driven projects currently online. Typically, these are generated by scholars working at universities and dependent upon both internal and external funding. The sections “Seeing Images, Knowing Landscapes” and “Epistemological Assumptions” not only describe examples, but also explore the modes of interpretation that digital environments enable and the habits of viewing that are produced as a result. Because scholar-driven projects do not exist in isolation, the article turns to institution-driven projects, represented primarily by digitized museum collections and archives, which have become central components of the research environment. Many projects in this vein are well-described elsewhere—our focus therefore rests on the effects on the larger research landscape, in a section called “Accessibility, Canonicity, Finance.” Lastly, issues related to collaboration are dealt with, in order to both address ideas that are being explored through digital work in other fields, but which have not yet surfaced with much force in the field of colonial visual culture, and to ask why.
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.
In the first half of the 20th century, Uruguay was a relatively educated, democratic, and politically progressive South American country, and women there used old and new media for professional and political ends. Radical, Catholic, and liberal feminist women all utilized print media to promote their views and build support for their respective causes in publications aimed at both female and general audiences. Anarchist feminist María Collazo, for example, edited an important publication, La Batalla, from 1915 to approximately 1927. By the late 1920s, radio was an emerging mass medium, and women activists, journalists, and others sought to make their voices heard, literally and figuratively, on its airwaves. Starting in 1935, those airwaves included Radio Femenina, the first all-woman format radio station in the Western Hemisphere. One of the voices heard on Radio Femenina was Dra. Paulina Luisi, Uruguay’s leading feminist activist, who became a powerful voice of both the Socialist Party and the politics of the Popular Front in the late 1930s and early 1940s.