The 1960s in Argentina was a time convulsed by profound social, cultural, and political changes. Reflecting on the effect these processes had on the everyday, conceived as the spaces and routines involved in the reproduction of life that vary according to social class, generation, and gender, provides a valuable perspective for studying historical phenomena. It gives substance to and evidences the social nature of personal experience. Through that prism, the study of everyday life will be the gateway to understanding the turbulence produced by cultural effervescence, growing consumerism, the expansion of the media, the problems triggered by economic instability and escalating inflation, and the ruptures caused by political and social radicalization and the rise of repressive violence.
Jadwiga E. Pieper Mooney
The official histories of family planning and reproductive rights in Chile started in the 1960s, with initiatives by Chilean doctors to reduce maternal mortality due to self-induced abortions; Chilean women’s mobilization for rights surged in the 1970s, and the concept of reproductive rights became the focus within health policy debates only by the 1990s. Specific Chilean political developments shaped these trajectories, as did global paradigm changes, including the politicization of fertility regulation as a subject of the Cold War. These same trajectories also generated new understandings of reproductive rights and women’s rights. The goals of preventing abortions and maternal mortality, of controlling population size, and of protecting families all contributed to the public endorsement of family planning programs in the 1960s. Medical doctors and health officials in Chile collaborated with the International Planned Parenthood Federation (IPPF) and founded the first Chilean family planning institution, the Association for the Protection of the Family (APROFA). Since 1965, APROFA, affiliated with the IPPF, has remained the primary institution that makes family planning available to Chilean women and couples.
The concept of “reproductive rights” is relatively new, globally, and in its specific national representation in Chile; questions of women’s rights gained unprecedented international prominence after the United Nation’s designation of the International Women’s Year (IWY) in 1975. International conferences, and the extension of IWY to a Decade for Women between 1975 and 1985, stimulated debates about policy norms that linked human rights, women’s rights, and the right to health to nascent definitions of reproductive rights. Just as international gatherings provided platforms for debates about rights, unparalleled human rights violations under military rule (1973–1990) interrupted the lives of Chilean citizens. Women in Chile protested the dictatorship, mobilized for democracy in their country and their homes, and added reproductive rights to the list of demands for democratic restructuring after the end of dictatorship. While family planning programs largely survived the changes of political leadership in Chile, the dictatorship dealt a lasting blow to quests for reproductive rights. The military’s re-drafted Constitution of 1980 not only compromised effective political re-democratization, but also imposed such changes as the end of therapeutic abortions, which have remained at the center of political activism against reproductive rights violations in the 21st century.
The Motherland and the Welfare State in Mexico: Government Symbols, Programs, and Visions, 1943–1970
Alicia Azuela de la Cueva
The image of the Mexican Motherland protected by the national eagle was one of the most circulated civic symbols during the period of the welfare state (1940–1973). Between 1962 and 1977, it illustrated the covers of the free texts created and given by the Ministry of Public Education to all students. The image gained circulation again in 2008, on the textbook History and Citizenship. It was also employed as the logo for the Instituto Mexicano del Seguro Social [Mexican Institute of Social Security], an organization to which the government devoted an important part of its budget.
Welfare state programs developed in several countries. In Mexico, the ideals were promoted by the official party that ruled the nation for nearly seventy years. During the presidency of Adolfo López Mateos (1958–1964), when the country experienced its best moment of economic welfare, political stability, and consolidated this patriotic—and propagandistic—symbol, it became a significant component of the civic collective imaginary.
By this time, a solid symbolic apparatus already existed and marked “memory spaces”—with its expressions of public art, like the ones in the visual vocabularies of free textbooks. It formed one of the tools for the exercise of symbolic power needed for governability. The image of Motherland protected by the national eagle (with its gender connotations) can be described as: Motherland is a woman and government is a man; this allows the citizens to relate the civic realm to the private one and to the functions and divisions of the social order and in the family environment.
The example of the Motherland as a source of life and provider of social services for citizenship and that of the government as the provider, onlooker, and president of homeland functions, sublimated and reinforced these values in familiar and social arenas—a role previously assigned to the woman. Reverence to the nation obscured the predetermination of her reproductive duties to the care of its offspring and of its home to the man as head of family in his functions as a provider. Therefore, the visual arts and textbook writing in particular, as well as the visual-spatial language, led to the establishment, internalization, and preservation of the status quo in the social structures and civic norms reinforced by the uses and habits, operating to promote controlling groups, either the paternalist government or the conservative family man.
The welfare state opened a connection to art not only because of the economic boom and the investments in public works and projects, which included public works of art, but also because of the interest of political leaders in education, patronage, and artistic diffusion. Public art played a fundamental role both in the symbolic government apparatus and in the artistic world itself. Possibilities of participation in constructive projects subisidized by the government increased, consisting of both facilities for health-care and housing services, as well as museum spaces. Among these projects was the first museum of modern art, opened in 1964. In addition, the art market strengthened with the opening of galleries accesible to both the middle class and the elite. Consequently, struggles for power between different artistic trends and groups and the Mexican School of Painting that, since 1921, with its budgetary ups and downs and the downfall of its sponsor, relied on an official subsidy to make public art. Although two of the three masters of muralism, Diego Rivera and José Clemente Orozco, had died, David Alfaro Siqueiros remained active, and mural production continued with artists of younger generations, new trends, and uneven artistic quality. In the realm of public art, the Plastic Integration started by the painter Carlos Mérida and the architect Mario Pani, promoted contributions in its pursuit of a total oeuvre derived from the harmonic encounter of painting, sculpture, and architecture in addition to the geometric pictorial language of pre-Hispanic inspiration and to the simplicity of prismatic forms from international architecture. Within the modern spirit and its “tradition of permanent rupture with tradition,” the second and third group of muralists, largely led by Siqueiros, confronted the “ruputura” generation, then a group of young artists who lacked a particular stylistic approach, and likened the foreign nonrealism to the didactic and propaganda-oriented character of their rivals. This trend emerged in the 1950s and consolidated in the 1960s. It comprised José Luis Cuevas, Alberto Guironella, and Cordelia Urueta, who were linked to neo-figurative art and to abstract art in several modalities with Vlady, Manuel Felgueres, Lilia Carrillo, Juán García Ponce, Pedro Coronel, Kasuya Sakai, and Vicente Rojo, among others. Overall, these trends and conflicts between political realism and nonrealism shared characteristics on the international level during the Cold War.
Joshua K. Salyers
Revolutionary leaders favored depictions of Mexico City in the mid-20th century that highlighted the progress and orderly growth of a modern industrial city. The ruling party made Mexico City the focus of post–World War II development policies and the showcase for the success of those policies in achieving the new goals of the Mexican Revolution during a period of sustained economic growth known as the “Mexican miracle.” When, in the early 1960s, the American anthropologist Oscar Lewis published The Children of Sánchez, his popular study of urban poverty, and turned the public’s attention away from the sites that underscored the official narrative of orderly industrial growth, it incited a heated public debate in Mexico City. The book contained the oral histories of a family living in the low-income neighborhood of Tepito, in the center of the capital, and was a shocking account, told in their own words, of a family’s attempt to survive urban life. Supporters of the modernizing policies of federal officials and the capital’s mayor, Ernesto Uruchurtu, attacked the book in the press and even filed formal complaints with Mexico’s attorney general demanding that the book and its author be banned from the country and the publisher reprimanded. They claimed that the book was too vulgar for public consumption and called it a foreigner’s attack on the reputation of the country and the city. Critics of the Institutional Revolutionary Party used the publicity generated by the attacks to open up a dialog about the marginalized people left behind by urban development and engaged in the debates as a safe way to express its own concerns about Uruchurtu’s inhumane development policies and the government’s insistence on hiding reality to present the city to the international community as a modern showcase.
Susan Elizabeth Ramirez
This essay focuses on the principal Pizarro family members who played active roles in the exploration, invasion, and colonization of the Andes. Francisco Pizarro served as leader until his assassination by Diego de Almagro partisans in 1541. Juan fought against stout native resistance until he was fatally injured during the siege of Cuzco. Gonzalo led the forces against the New Laws and their implementation by the first viceroy, Blasco Núñez Vela. After the viceroy and his forces were defeated and he was executed, Gonzalo ruled the Andes until Licenciado Pedro de la Gasca arrived to reestablish crown hegemony. Royalist and Gonzalo’s rebel forces clashed. Gonzalo’s defeat cost him his life. Hernando, long the de facto patriarch of the family, emerged as the defender of family interests. He married his niece, the mestiza daughter of Francisco; consolidated their holdings, selling assets at risk of confiscation in Peru; and reinvested the proceeds in safer products in Spain. His manipulations and planning allowed him to establish an endowment that assured the survival of the family into the 20th century.