Friedrich E. Schuler
Mexican elites emerging out of the political civil wars of the 19th century threw their support behind French positivism and its theory that a nation could thrive through economic, industrial, and foreign-financed development. The strategy’s very success created the profound economic dislocations that triggered regional revolutions in Mexico’s center and north. Foreign observers misread these events as small rebellions and acted accordingly.
In this environment Francisco Madero became Mexico’s first democratic president. Even though he leaned toward the United States, he pleased no foreign and domestic faction and was deposed and murdered by a domestic-foreign element. Emerging dictator Victoriano Huerta perplexed all foreign observers. As US president Woodrow Wilson made fighting against Huerta’s tenure a symbol of an idealistic new policy, Canadian, European, and Latin American governments picked Venustiano Carranza at the Conference of Niagara Falls to be his successor.
The new context of World War I interrupted all of Mexico’s bilateral economic relations. The country’s national revolutions became side theaters of the global war. By 1918 the collapse of empires had changed all politicians’ outlooks.
The 1920s were dominated by strife with the Vatican and US laissez-faire policy but also pragmatic US-Mexican border relations steered by President Abelardo Rodriguez.
During the Great Depression, Mexico attempted to avoid importing food. US artists, tourists, and Europeans were inspired by Mexico’s murals and social justice movements for peasants. After 1934 Lazaro Cardenas steered these policies to the left; in 1938 he expropriated US, British, and Dutch-owned oil companies as well as US agrarian property.
After 1940 government technocrats under Ávila Camacho turned the country toward exploiting the Allies’ economic war needs. World War II found Mexico on the side of the Allies, as expressed in unprecedented security, economic, and military cooperation. The Mexican air force flew missions in the Philippines. This US-Mexican rapprochement and its architects were replaced after 1943, and the rise of the Cold War changed international linkages once again.
Manuel Gómez Morin was a multifaceted Mexican whose life spanned the first three quarters of the 20th century, from 1897 to 1972. He was affected personally, domestically, and generationally by the Revolution, which drastically impacted the geographic backdrops of his childhood and youth and severely affected his family’s social standing. In ideological terms, he was aware of the last (and undoubtedly most authoritarian) stages of Porfirio Díaz’s government, as well as Victoriano Huerta’s dictatorship, which had pushed the Mexican population to take up arms. Although he rejected the destructive violence inherent in the process of revolution, he also opposed the dictatorial regimes that were applauded by some for the results they produced. He spent the second half of his life as a critic of the post-revolutionary Mexican state.
Robert M. Buffington and Jesus Osciel Salazar
José Guadalupe Posada (b. Aguascalientes, February 2, 1852; d. Mexico City, January 20, 1913) was a prolific printmaker of exceptional technique, range, and originality. By the time of his death, his images had become a staple of Mexico City popular culture, appearing regularly in theatrical posters, advertisements, book illustrations, broadsides, and the penny press. Despite his popularity with impresarios, advertisers, publishers, editors, and readers, Posada received scant formal recognition during his lifetime. That changed in the 1920s with his “discovery” by prominent artists and art critics including internationally renowned muralists Diego Rivera and José Clemente Orozco. By the 1940s, exhibitions of his work had begun to appear in major galleries and museums in the United States and Europe, promoted as evidence of a unique visual aesthetic rooted in traditional Mexican culture and committed to exposing the long-standing oppression of the Mexican people at the hands of corrupt politicians, greedy bourgeoisie, cruel caciques (local party bosses), and foreign interlopers. Although scholars have disputed the genealogy and political nature of Posada’s vision, the revolutionary nationalist interpretation of Rivera, Orozco, and others has provided inspiration and a sense of cultural legitimacy for succeeding generations of artists in Mexico and throughout the Mexican diaspora. Posada is best known for his striking calaveras, notably Calavera Catrina, a fashionable female skull with bows and a fancy hat; and La Calavera Oaxaqueña, a machete-wielding male skeleton dressed in a charro outfit. Published in conjunction with the annual celebrations for Day of the Dead (October 31–November 2) and accompanied by satiric verses, Posada’s calaveras poke fun at the pretentions of the living in the face of their inevitable mortality.
Selfa A. Chew
The lives of Latin American Japanese were disrupted during World War II, when their civil and human rights were suspended. National security and continental defense were the main reasons given by the American countries consenting to their uprooting. More than 2,000 ethnic Japanese from Peru, Panama, Bolivia, Colombia, Costa Rica, Cuba, Ecuador, El Salvador, Mexico, and Nicaragua were transferred as “illegal aliens” to internment camps in the United States. Initially, US and Latin American agencies arrested and deported male ethnic Japanese, regardless of their citizenship status. During the second stage, women and children joined their relatives in the United States. Most forced migration originated in Peru. Brazil and Mexico established similar displacement programs, ordering the population of Japanese descent to leave the coastal zones, and in the case of Mexico the border areas. In both countries, ethnic Japanese were under strict monitoring and lost property, employment, and family and friend relationships, losses that affected their health and the opportunity to support themselves in many cases.
Latin American Japanese in the United States remained in camps operated by the Immigration and Naturalization Service and the army for the duration of the war and were among the last internees leaving the detention facilities, in 1946. At the conclusion of World War II, the Latin American countries that had agreed to the expulsion of ethnic Japanese limited greatly their return. Some 800 internees were deported to Japan from the United States by the closure of the camps. Those who remained in North America were allowed to leave the camps to work in a fresh produce farm in Seabrook, New Jersey, without residency or citizenship rights. In 1952, immigration restrictions for former Latin American internees were lifted. Latin American governments have not apologized for the uprooting of the ethnic Japanese, while the US government has recognized it as a mistake. In 1988, the United States offered a symbolic compensation to all surviving victims of the internment camps in the amount of $20,000. In contrast, in 1991, Latin American Japanese survivors were granted only $5,000.
The Mexican economy consisted of activities at the international, national, and local levels, including the export of minerals and agricultural commodities, manufactures and agriculture for domestic markets, and production of goods for everyday consumption, respectively. The impact of a decade of civil wars between 1910 and 1920, which comprised the Mexican Revolution, on the economy varied according to which level, the time period, and the geographical region. The crucial aspects of the economy consisted of transportation and communications, banking, mining, export agriculture, and government policies and actions. The important factors were the intensity of the violence, inflation, and the availability of capital.
Chronologically, there were several stages to the economic history of the Revolution. The first consisted of the years of the Madero rebellion and presidency, 1910–1913, when there was little damage done and growth continued. The second and worst period was during 1914, 1915, and 1916, when the counterrevolutionary Huerta regime battled the rebel Constitutionalists and after the latter’s victory the ensuing civil war between the divided winners. The third stage occurred with the defeat of the radical factions of the Revolution led by Zapata and Villa and the restoration of a semblance of order in 1917. The fourth included the establishment of the Sonoran dynasty of de la Huerta, Obregón, and Calles and the slow reconstruction of the economy.
Throughout the 20th century, the Mexican government used road building to incorporate the country’s disparate regions within the national economy and to enhance the visibility of remote populations. Since Independence, one of Mexico’s most economically and politically marginal states has been Chiapas. Yet, road building and state building efforts here have been inconsistent and contested since the 1920s. As seen in the case of Chiapas, the Mexican government made efforts to use road building as a state building tool and the limits to such work. Road-building efforts in the periods of 1924–1940 and 1990–2015 embodied the specific political, economic, and social elements of the time, and shedding light on the uneven nature of state building during each period. Roads—one promise of the 1910 Revolution—were slow to arrive in Chiapas in the 1920s and 1930s as fighting waned, due to government neglect and to the influence of local elites who were skeptical of integration with the country. It was not until the presidency of Lázaro Cárdenas (1934–1940) that the Federal Government began to invest in road building in the state. Yet, such efforts were limited, and Chiapas remained economically and politically marginalized until the 1990s. Following the 1994 Zapatista uprising, the Federal Government began to invest in infrastructure development so as to facilitate economic expansion and ensure national security. Government officials felt that, by expanding the state’s agricultural export and tourism industries, they would be able to co-opt Zapatista sympathizers to work in support of the state’s vision for the country. In 2009 and again in 2014, the government began construction on the San Cristobal-Palenque Highway project, which was designed to achieve these goals. Nevertheless, both times the project faced strong opposition leading to its cancellation and demonstrating, again, the limits of state building efforts in Chiapas.
Joseph U. Lenti
For seventy-five years the Mexican government allocated private and public land to people who needed it—and lots of it. An average of 1.3 million hectares were redistributed annually from 1917 to 1992, for a total of nearly 1 million square kilometers, or, almost exactly half of the nation’s arable area. On the other hand, serious flaws in government policy, coupled with macroeconomic, demographic, and environmental phenomena, undermined the program and turned its signature component, the ejido, into a synonym for rural backwardness and poverty. Thus, in spite of the astonishing volume of redistributed land, many assert that revolutionary land reform in Mexico failed: that it did not permanently improve the lives of rural land recipients as much as convert them into clients of the government.
Helen Delpar and Stephanie J. Smith
Cultural nationalism characterized much of Mexico’s artistic and literary production during the 1920s, 1930s, and 1940s. Much as Mexico City’s centenary festivities in 1921 and the accompanying Exhibition of Popular Art celebrated Mexico’s resurgence from a decade of violent revolutionary struggles, the month-long event also foreshadowed an extraordinary flowering of art, music, and literature that would gain unprecedented international admiration, especially for the murals created by the three masters: Diego Rivera, José Clemente Orozco, and David Alfaro Siqueiros. During this vibrant era, contemporary intellectuals, composers, writers, and artists produced art that would serve as a nation-building tool to unite a country fractured by years of regional fighting. To many contemporaries, not only was this cultural renewal an expression of the forces and aspirations unleashed by the revolutionary process, but the various art forms also provided a bright beacon that lit the way for the creation an “authentic” Mexican national identity. In his role as the director of the Ministry of Public Education from 1921 to 1924, José Vasconcelos understood the influence of culture well. Indeed, as the initial sponsor of the mural movement, he first employed the three great muralists, as well as other artists, at the National Preparatory School. The creation of a national culture, though, went well beyond the work of Rivera, Orozco, and Siqueiros, as artists from other countries also participated in Mexico’s blossoming cultural environment. Women, too, played crucial roles in the production of Mexico’s revolutionary culture, and their striking influences continue in the early 21st century.
Jennifer L. Jenkins
The visual and technical culture of the Mexican Revolution shaped and was shaped by cinematic innovation in newsreel and fiction filmmaking, which evolved simultaneously with those social changes, presenting the image of those changes for the first time to Mexican audiences. While Russian Sergei Eisenstein has been (wrongly) credited with inventing Mexican cinema, a strong tradition of family-based production units existed long before Eisenstein’s visit and persists to this day. From the earliest newsreels of the conflict to the melodramas and historical epics of the epoca de oro, the Revolution infused cinematic narrative in the first half of the 20th century. As such, distinctive visual tropes and film language evolved in response and counterdistinction to Revolutionary ideals. Moving toward midcentury, cinema developed genres and narratives that continually revisioned the Revolution, creating the epoca de oro films. In this period, the film industry developed in direct correlation to the agendas of the sitting presidents, Lázaro Cárdenas (1934–1940), Manuel Ávila Camacho (1940–1946), and Miguel Alemán Valdés (1946–1952). Influential directors Fernándo de Fuentes, Emilio Fernández, and Spanish immigrant Luis Buñuel, along with cinematographer Gabriel Figueroa, shaped the charter myths of modern Mexico though their cinematic works. At midcentury, with the advent of television and a postwar economic boom, Revolution-themed films appeared in near-continuous playback on television, while Buñuel inaugurated a cinema of realism that explored the harsher realities of the failure of Revolutionary ideals for the urban underclasses. The cultural imaginary that is cinema continued this exploration up to and after the tragedies of 1968.