David Carey Jr.
Dating from the earliest times in Latin America, alcohol has played a crucial social, economic, political, and cultural role. Often reserved for politico-religious leaders, alcohol was a conduit through which power flowed in many pre-contact indigenous societies; indigenous drinkways (production, commerce, and consumption habits) were associated with communal ritual events and social prestige. Introduced to the Americas by Europeans, distillation profoundly altered the potency of alcoholic drinks for people who were accustomed to fermentation. Even as the social and cultural practices of alcohol consumption changed over time, alcohol continued to have political and economic implications in the colonial and national periods in Latin America. Fearing that inebriation bred disorder and recognizing that moonshining undercut their own revenues, colonial and national governments alike sought to regulate, if not control, the production, sale, and consumption of alcohol. In nations as diverse as Mexico, Bolivia, Peru, and Guatemala, indigenous women came to play integral roles in the (oftentimes illicit) sale and production of alcohol. A cash nexus for moving labor and land and a crucial component of the economic system by which (often unscrupulous) labor brokers recruited workers, alcohol was a currency of local economies. As a commodity of local, national, and international significance, alcohol shaped the fate of nation-states.
People’s class, ethnic, race, and gender identities all played into their access to alcohol. Although a person’s choice of libation could define their position, some of the more fascinating histories of alcohol are punctuated with women and men who used alcohol to disrupt social conventions. Through the consumption of alcohol, rituals and ceremonies created and reconstituted community both within and across ethnic groups. Imbibing could also divide people. Even while they sipped their cognacs and brandies, elites portrayed indigenous people, the poor, and other marginalized people getting drunk on moonshine to discount and denigrate them. Often associated with (particularly violent) crime, alcohol was seen as a vice by many and excoriated during temperance movements. Yet defendants across Latin America took advantage of judicial systems that considered alcohol a mitigating circumstance in many crimes. As 20th-century evangelical sects that preached abstinence as the route to wealth and marital bliss grew to unprecedented numbers, traditional healers and biomedical practitioners continued to tout alcohol’s medicinal value. In short, alcohol was a marker of social position and cultural identity, a crucial component in community and state building, and a commodity around which different cultural traditions, healing practices, and policing policies developed and evolved.
Fernando Ortiz is recognized today as one of the most influential Latin American authors of the 20th century. Amazingly prolific, his publications written between the 1890s and the mid-1950s engage with a vast array of subjects and disciplines. Perhaps Ortiz’s most significant accomplishments were the creation of the field of Afro-Cuban studies and major early contributions to the emergent field of Afro-diasporic studies. Almost everyone else associated with similar research began their investigations decades after Ortiz and in dialogue with his work. Ortiz was one of the first to seriously examine slave and post-abolition black cultures in Cuba. His studies became central to new and more positive discourses surrounding African-derived expression in the mid-20th century that embraced it as national expression for the first time in Latin America.
This essay considers Ortiz’s academic career and legacy as regards Afro-Cuban musical study beginning in the early 20th century (when his views were quite dated, even racist) and gradual, progressive changes in his attitudes. Ortiz’s work on music and dance have been underrepresented in existing academic literature, despite the fact that most of his late publications focus on such topics and are considered among his most valuable works. His writings on black heritage provide insight into the struggles within New World societies to overcome the racial/evolutionist ideologies that justified colonial subjugation. His scholarship resonates with broader debates throughout the Americas over the meanings of racial pluralism and the legacy of slavery. And his changing views over the years outline the trajectory of modern Western thought as regards Africa and race, specifically the contributions of Afro-diasporic peoples, histories, and cultures to New World societies.
Football and media have become associated to such an extent that it would be difficult to discuss the history of sports in Chile without acknowledging its relationship with the media. Since the early 1900s, the media coverage of football—arguably the most significant mass spectacle in Chile—has become a unique place to evoke political sympathy and national pride. Before the gradual introduction of television in the 1960s, print journalism and radio were the technological tools that defined the ways in which Chileans experienced football. As narrative devices, sports media represented football for much larger audiences than those sitting in the stadium. In the 1940s, football chronicles may have been read aloud, and photographs of famous footballers were usually posted in public places for semiliterate workers too poor to buy sports magazines. Similarly, the pitch of a radio announcer’s voice and the quick summations he gave to different plays generated their own visual spectacle and moral evaluations for listeners. Although sports magazines and radio broadcasts were mostly consumed in urban areas, they created new ways of experiencing football that enabled participation from larger parts of the nation.
The importance of these sources lies in their central role of making football a much more understandable sport to mass audiences, many of whom were illiterate. Most importantly, sports media became a public terrain for making claims about Chilean citizenship, including affirmations of appropriate masculinity, racial belonging, and class relations.
Although on a lesser scale than the United States, southern South America became a major receiving region during the period of mass transatlantic migration in the late 19th and early 20th centuries. Even as the white elites of most Latin American countries favored European immigration in the late 19th century, since in their eyes it would “civilize” their countries, it was the temperate areas closely tied into the Atlantic economy as exporters of primary products that received the bulk of European laborers. Previously scarcely populated lands like Argentina, Uruguay, and southern Brazil thus witnessed massive population growth and in some ways turned into societies resembling those of other immigration countries, such as the United States and Canada. This article concentrates on lands where the overwhelming majority of migrants headed, although it also briefly deals with Latin American nations that received significantly fewer newcomers, such as Mexico.
This mass migration lastingly modified identity narratives within Latin America. First, as the majority of Europeans headed to sparsely populated former colonial peripheries that promised economic betterment, migration shifted prevalent notions about the region’s racial composition. The former colonial heartlands of Mexico, Peru, and northeastern Brazil were increasingly regarded as nonwhite, poor, and “backward,” whereas coastal Argentina, São Paulo, and Costa Rica were associated with whiteness, wealth, and “progress.” Second, mass migration was capable of both solidifying and challenging notions of national identity. Rather than crossing over well-established and undisputed boundaries of national identities and territories, migration thus contributed decisively to making them.
In Brazil between 1920 and 1945, the potential for professional advancement increased significantly among literate individuals in three main areas: the intellectual and academic field in São Paulo and the emergence of a university-based intelligentsia; the boom in the publishing industry and the rise of professional novelists; and the Vargas regime’s widespread and deliberate co-optation of intellectuals. The interpretation presented in this article links class dynamics to changes within the activities of intellectuals, some of whom are analyzed here in the context of political and institutional tensions produced by the collapse of the oligarchic Old Republic (1889–1930).
That the Mexican mural renaissance is understudied is clear from the fact than not one of its artists has been the subject of a scholarly biography. Moreover, the movement as a whole has usually been viewed through nationalist prejudices and partisan interpretations. A current reevaluation uses the wedge of several hitherto marginalized artists who figure more prominently in documents and chronology than in popular history. Among them, Jean Charlot can be placed securely at the beginning of several major developments, which were continuations of his work in France. At the open air art school of Coyoacán, he helped the young teachers move from impressionism to a geometry-based postimpressionism more appropriate for mural composition. He introduced woodcut, which he had practiced in France and which became the print medium of choice for generations of Mexican artists. His first mural, The Massacre in the Main Temple, was important for its successful use of fresco—immediately adopted as the preferred medium by other muralists—and its dynamic geometric composition, an alternative to Diego Rivera’s static classicism in Creation. Charlot further broadened the thematic and stylistic options of the movement in a series of small oils and in the first studies of the indigenous nude. He continued to nourish his colleagues with the results of his work as an archeological draughtsman at the Chichen Itza expedition of the Carnegie Institution of Washington, DC.
Charlot also participated in the notable collaboration between artists and writers in 1920s Mexico. Along with Manuel Maples Arce, he was on the two-man Direction Committee of the estridentista movement, illustrating books of poetry and joining group exhibitions. His writings are among the earliest discussions of contemporary Mexican art—publicizing the movement in Europe and the United States—and continue to influence interpretation today. His collections of documents and interviews, as well as his personal experience, became the invaluable basis of books like his The Mexican Mural Renaissance, 1920–1925 and numerous articles in several languages. His latest bibliography is 173 pages long. Charlot fulfilled the unique role of insider-outsider, participant-observer, in the Mexican mural renaissance.
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.
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.
The major art form produced in Mexico during the years following the Mexican Revolution of 1910, especially during 1920–1940, was mural painting, mostly in the technique of fresco. Three artists dominated this period: Diego Rivera, José Clemente Orozco, and David Alfaro Siqueiros, known collectively as the Big Three. Rufino Tamayo, younger and less ideologically aligned to those three, followed his own path of a more modernist style. An important easel painter of this period was Frida Kahlo, who traveled in the cultural and political circles of the muralists but who produced strongly personal images, especially of herself.
In addition, examples of mural paintings by the Big Three in the United States receive their due attention, as does the more independent mural production in Mexico of the late 20th and early 21st centuries.
The paintings are analyzed in terms of context, meaning brief references to biographical details, more expansive on the general sociohistorical setting, with accounts of the patronage where highly relevant, and relations between the artists themselves. Discussions of the style of the images, in the most comprehensive and general sense, are dedicated to revealing the ideological content of the style as it serves the more straightforward subjects of the paintings.
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.