Integración,mestizaje y nacionalismo en el México revolucionario. Forjando Patria de Manuel Gamio: la diversidad subordinada al afán de unidad

This paper analyzes the integration program in Manuel Gamio's Forjando Patria as a national project arising in the historical context of revolutionary Mexico, where cultural diversity is conditional on the idea of unity. Firstly, we trace the relationship of the integration program with its history, the concepts of “mestizaje” and “mestizo” of the late nineteenth and early twentieth century. Secondly, we analyze the influence of some European models of nationality and socio-cultural change on Gamio's integrationism, in the context of socio-ethnic heterogeneity in Mexico during 1916. Finally, we highlight the links between the concepts of cultural diversity become visible, nation and nationalism in this author's work.     

The Lumpen and the Popular: Guillermo Cabrera Infante and Julio García Espinosa

This article deals with the post-1959 re-definitions of the concept of 'popular culture' and its relation to the cultural legacy of Havana's nightlife during the 1950s. After the 1959 Revolution, many Euro-Cuban cultural producers saw and represented the cultural expressions of the Afro-Cuban poor in the capital as being central to Cuban 'popular culture'. This article focuses mainly on two Euro-Cuban authors, writer Guillermo Cabrera Infante and filmmaker Julio García Espinosa, whose works during the first years of the 1960s were highly influenced by Havana's nightlife culture. What both authors shared was a view of the nocturnal in Havana as the heterotopical space and time—following Foucault's concept of 'heterotopia' (1998: 175-185)—where the divisions between high and low art in Cuba could be transcended through the encounters of the different cultural traditions then cohabiting in the city.     

The Legacies of ‘Race’ Science,Anti-Chinese Racism,and COVID-19 in Mexico

In Mexico, links have been made between the COVID-19 pandemic and China that point to the continuing deprecation of the Chinese and the perpetuation of anti-Chinese logics reflecting the legacies of ‘race’ science. This short article argues that these dynamics reflect a systemic and collective anti-Chinese sentiment that stems from Mexican eugenics and the modern conceptions of mestizaje. The purpose of this piece is to observe how discourses of ‘race’ link with the COVID-19 pandemic in order to explore how these ostensibly natural occurrences exacerbate pre-existing social inequalities.     

Historia patria and the construction of the mestizo nation in Porfirian Mexico: the Fiestas del Centenario, 1910

Abstract

My contribution to the Special Edition seeks to examine two key aspects of the ideological underpinnings and cultural presumptions of the liberal project of state- and nation-building as interpreted by the elective dictatorship of Porfirio Díaz in Mexico (1876–80, 1884–1911), and its specific manifestation in the commemorative Fiestas del Centenario – the official celebration of the first centenary of Mexican independence from Spain – in September 1910. The article focuses, first, on the manifestation of a triumphalist liberal version of historia patria, and, second, on the projection of a distinct mestizo identity for Mexico’s ethnically diverse citizenship as key components in the construction of Mexican national identity.     

Arte Blanco con Motivos Negros: Fernando Ortiz's Concept of Cuban National Culture and Identity

The purpose of this article is to analyze Fernando Ortiz's treatment of the poetic production of the 1920s and 30s movement of Afrocubanismo . The first section explains his belief in a process which would culminate with the consolidation of a mulatto Cuban national identity. It is argued that Ortiz conceived of this process as one which would eliminate what he assumed were pure African forms, which he viewed as primitive and inferior. The second section explores how these notions affected his evaluations of the poetry of the movement. The third section compares Ortiz's methodology in determining identities to what is known in anthropology as an etic perspective. It is argued that Ortiz ascribes mulatto identities to cultural forms without considering the perspectives of their practitioners. The article reaches three main conclusions regarding Ortiz's treatment of afrocubanista poetry. Firstly, that he used it as the confirmation of a process of formation of a mulatto Cuban national identity. Secondly, that he viewed it as a genre which could stylize and make acceptable inferior African cultural forms. Thirdly, that he used it as an instrument through which to dilute conflictive black or African identities.