The success and longevity of the presidency of Porfirio Díaz (1876–1880, 1884–1911) was based on a modus vivendi between the two most prominent political cultures that emerged in Mexico following the struggle for independence at the beginning of the 19th century. On the one hand were the complex networks of patriarchal authority and patronage, and the exercise of power through personal rather than institutional authority, which have always been (and still are) a structural feature of political life in the Hispanic world. These informal and hierarchical networks were described by Octavio Paz as the “Culture of the Pyramid,” alluding to their precolonial and pre-Columbian origins; they an essential feature of caudillismo (authoritarian politics or “boss rule”). On the other hand was what Octavio Paz described as the “Culture of Citizenship,” composed of liberalism, constitutionalism, and the rule of law, which were products themselves of the long and painful struggle to build the state and the nation over the course of the 19th century. The hypothesis presented here is that Porfirio Díaz not only understood but was able to combine these contradictory political cultures and to create a hybrid authoritarian/liberal regime which dominated Mexican political life for over three decades and provided an unprecedented period of political stability in stark contrast to the first 50 years of independence.
Raquel G. Paraíso
Among the many musical traditions of Mexico, the son is one of the most representative of the richness and diversity of Mexican culture. Son (or sones) is a generic term that describes both a complex of genres and the various regional subgenres that make up that complex. Son is a type of traditional music performed by small ensembles, with or without singing, and danced. It serves to entertain, but is also performed at celebratory occasions and festivals as well as in rituals. Although sones appear throughout Mexico marked by regional differences in both instrumentation and performance styles, they share common characteristics that define the genre as a whole, musically (i.e., their rhythmic, melodic, and harmonic structures), lyrically, and choreographically. Because of the particular cultural traits and sociocultural contexts that each son subgenre encompasses, it can be argued that regional sones are a powerful expression of Mexican regional musics, cultures, and social identities.
Born as a hybrid genre out of the intermixing of European, American Indian, African, and Afro-Caribbean musical elements and contexts, Mexican sones have moved through time defined by many as a symbol of Mexican identity, even if the very concept of that “Mexican identity” has changed over time. What might be called the son’s “Golden Age” lasted from the 1890s until the middle of the 20th century. By the 1960s, sones were in serious decline all around Mexico: they had lost the favor of their audiences, old performers had passed away, and new generations did not engage with these musical traditions. Cultural politics contributed to selective processes through which some son subgenres faded away. Sociopolitical processes from the 1930s to the 1980s contributed to the re-contextualization of the Mexican son through modified versions of sones staged and broadcast in theatres, radio stations, and film productions. Post-revolutionary nationalism, the music industry, and folkloric ballets created these new versions and exercised an ideological control that both affected popular musical expressions and shaped musical tastes. Changes in urbanization and life conditions transformed social relationships and furthered this intense transformation.
With fewer performance occasions and little support from either the government or private patrons, several regional son subgenres became thin and isolated, with minimal projection outside their regions. In the 1980s, some of the son subgenres underwent a renaissance owing to various private and official initiatives that infused new life to the music. This article provides an overview of the son, past and present, connecting the relevance of this musical style with the social history of the country.
Romana Gloria Falcón Vega
During the formation of the Mexican nation, jefaturas políticas, or prefectures, as they will be called generically in this article, were basic institutions (1812–1917) for centralizing and organizing power and assuring governance. This was a vital task given the civil and international wars the country would endure. These powerful institutions were the mediators between the upper and lower political echelons and social classes. In the prefectures were vested an impressive range of diverse responsibilities—agrarian, fiscal, preserving order, military conscriptions, educational, medical and sanitary services, promoting the economy, elaborating statistics, mapmaking—which made modernization and administrative functionality very difficult. At the turn of the 20th century, this was an obstacle to the modernization and efficacy of the regime.
Even though prefectures had responsibilities for all of Mexico, they also had an important degree of flexibility to attend to local needs. Therefore, laws and practices were adapted to the peculiarities of the different states, for example, regulating labor or conciliating rivalries that sprang from the application of liberal agrarian policies.
Prefects governed specific political districts in which the states were divided and were generally appointed and removed freely by the governors as their personal representatives to enforce laws and policies and to control any opposition. They were remembered in popular imaginary, literary, and revolutionary historiography as brutal and corrupt functionaries loyal only to the upper classes and their clientelist networks. Contemporary studies have proved that these modalities—brutality and corruption—have a place in the prefect’s box of tools, but new research has widened the historiographic perspective and showed how differently these functionaries could act. In fact, they used most of their energy trying to negotiate with the whole range of social classes and political factions. But their repressive character led to its elimination: they fought the revolution of 1910, and when they lost they were suppressed in 1917.
Chin Chun Chan premiered at the Teatro Principal in Mexico City on April 9, 1904, to an enthusiastic audience. The first Mexican zarzuela written by José F. Elizondo and Rafael Medina with music by Luis G. Jordá initiated a new current in Mexican lyric theater that moved away from the Spanish zarzuelas and the operas popular during the Porfiriato: the teatro de revistas, or revistas. With the subtitle of “A Chinese Conflict in One Act and Three Scenes,” Chin Chun Chan is a story about mistaken identity in which a fed-up man attempts to escape his jealous partner by disguising himself as a Chinese dignitary at a grand hotel in Mexico City. Chin Chun Chan was a significant move away from Spanish productions, attempting to create a local entertainment that could be defined as Mexican through popular characters, dialogues, music, and colloquialisms. This formula set the stage for later revistas particularly during the armed struggle of the Revolution (1910–1920). Through a closer examination of the music numbers and the dialogue, Chin Chun Chan offers new readings on the position of ethnicity, nationalism, and sexuality during this contemporary period of political and social instability and initiates an important period in Mexican theatrical history.
Sueann Caulfield and Cristiana Schettini
Over the past forty years, increasing attention to gender and sexuality in Brazilian historiography has given us a nuanced understanding of diverse ways in which women and men in Brazil’s past experienced patriarchy, racism, and other forms of oppression. As gender historians have shed light on how racialized and patriarchal gender and sexual roles have been reconstituted in different historical contexts, empirical studies in the field of social history have focused primarily on the historical agency of women, particularly non-elite women, who lived within or pushed against the confines of prescribed gender roles. Pioneering histories of sexual minorities have accompanied this trajectory since the 1980s, although this subfield has grown more slowly.
A few nodal themes help to explain transformations in gender relations during each of the major periods of Brazil’s social and political history. Under the empire (1822–1889), honor is the entryway for analysis of gender and sexuality. Gendered standards of honor were critical tools used to mark class and racial boundaries, and to traverse them. Historians of the imperial period also stress the centrality of gender to the social, cultural, and economic networks built by members of various occupational, familial, and kinship groups. During the First Republic (1889–1930), the focus shifts to state vigilance and social control, together with debates over modernization of sexual and gender norms, particularly regarding urban space and prostitution. In the Vargas era (1930–1945), patriarchy and racialized sexuality formed the core of intellectual constructions of the nation’s history and identity, at the same time that homosexuality and women’s and worker’s rights generated intense debate. A new emphasis on domesticity emerged in the context of developmentalism in the 1950s, helping to spur a reaction in the form of the counterculture and sexual revolution of the 1960s and 1970s. The dictatorship (1964–1985) went to great lengths to suppress challenges to gender and sexual norms as part of its broader strategy to demobilize society and repress oppositional political movements. These challenges reemerged in the 1970s, when feminists and sexual minorities gained much greater visibility within a new wave of social movements.
The 1988 constitution articulated these movements’ aspirations for social justice and equality through its foundational principal of human dignity. Significant legal changes followed over subsequent decades, including recognition of equal labor rights for domestic and sex workers, affirmative-action policies, and the legalization of same-sex marriage, in 2011. Despite notable setbacks, the momentum toward gender and sexual equality at the start of the 21st century was remarkable. This momentum was halted by the political coup that ousted the first woman president in 2016. The anti-feminist mood that accompanied the impeachment process underscored an overarching theme that runs through the historiography of gender and sexuality in Brazil: the centrality of gender to the major legal and political shifts that mark the nation’s history.
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.
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.
Kevan Antonio Aguilar
The political and cultural legacy of Ricardo Flores Magón (b. San Antonio Eloxochitlán, September 16, 1873; d. U.S. Penitentiary, Leavenworth, Kansas, November 21, 1922,) has become an integral component of the histories of the Mexican Revolution, Mexicans and Chicanos in the United States, and global social revolutions. Despite being deemed by historians and the Mexican state as a “precursor” of the national revolution, Flores Magón’s political activities preceded and surpassed the accepted chronology of the Revolution (1910–1920), as well as the borders of Mexico. While historical literature on the Revolution is extensive, the global and radical implications of the event as a social revolution are often underappreciated.
Through the Partido Liberal Mexicano (PLM, Mexican Liberal Party) and the newspaper Regeneración (Regeneration), Flores Magón mobilized a transnational social movement in 1906 and continued to inspire popular revolt through his writings on anarchism and revolution until his death in 1922. Many of the members of the PLM (often inaccurately referred to as ideological adherents to Flores Magón, or magonistas) continued to participate in revolutionary activity well after the organization disbanded. Even in death, Flores Magón continues to inspire revolutionary movements in Mexico, the United States, Latin America, and Europe. The history of Ricardo Flores Magón therefore intersects with various local and global histories of resistance throughout the 20th century.
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.
Michele McArdle Stephens
The Caste Wars of the Yucatán tore apart the peninsula between 1847 and 1901. While the violence was not constant throughout the more than five decades between the start and conclusion of the war itself, the threat of rebel hostilities was ever present. Scholars have debated the origins of the war for many decades, with most recent academic treatments focusing on heavy tax burdens, poor working conditions for Yucatán’s peasantry, and the loss of land that occurred during the second half of the century. Tensions between political leaders exacerbated relations with the Mayas in particular and the peasantry more generally. The emergence of the breakaway state of Chan Santa Cruz, in the southeastern part of Yucatán, allowed rebel forces to coalesce between 1850 and the early 1870s. Here, a “Speaking Cross” oracle gave direction to the rebellious Mayas, who crushed their enemies and exacted revenge against those who would not support their cause. The emergence of Porfirio Díaz as President of Mexico in 1876 led to a gradual “reconquest” of the areas held by the cruzob, or “people of the Cross.” By 1901, the Mexican military ended the Caste Wars, though violent episodes still marred Yucatán until the early 1930s.