cultural history Archives - Page 2 of 3

Mapping the Country of Regions: The Chorographic Commission of Nineteenth-Century Colombia, by Nancy P. Appelbaum (2016)

What occurs when elite driven narratives about national identity dramatically different differ from the realities people experienced? During the nineteenth century throughout Latin America, when national boundaries were just beginning to become coherent, the upper echelons of society constructed tales about their nations that often vastly differed from lived experiences.

Between 1850 and 1859, the Chorographic Commission traveled the territory of present day Colombia in an attempt to map the land and the people who lived there, using chorography, or detailed representations of a particular region. Sponsored by the government of New Granada (an older name for Colombia), the commission produced a wealth of maps, texts, illustrations, as well as travel journals and diaries, in order to construct the image of a unified nation. Implicit in the commission’s initial mandate was the assumption that it would justify the existing administrative order by making that order appear natural.

The visual culture it produced, however, depicted a nation that was far from cohesive, with regional individuality and diversity. Instead of portraying a unified nation, the commission presented the country as fragmented into different, and often opposing regions, inhabited by racially and culturally distinct races, that reinforced assumptions of Andean and white mestizo superiority. In this new book, Nancy Appelbaum expands our understanding of this central paradox, demonstrating that the commission’s materials reveal some of the ways that Colombian elites grappled with the challenges posed by varied topographies and diverse inhabitants.

The leaders of the Chorographic Commission included both foreign members and others who were born and bred in New Granada. Two of the key figures on the commission, whose writings play an important role throughout the book, were Agustín Codazzi and Manuel Ancízar. Born in Italy’s papal states and a Napoleonic war veteran, Codazzi was in fact first contracted to map the Venezuelan provinces, which had seceded from Gran Colombia, in 1830. The secession precipitated Gran Colombia’s dissolution into Venezuela, Ecuador, and New Granada. Manuel Ancízar, a Colombian lawyer, writer, and journalist, joined Codazzi on the Commission in 1850.

Gran Colombia and modern countries (via Wikimedia Commons).

Using personal correspondence between Codazzi and Ancízar, Appelbaum argues that although the creation of the commission reflected nationalist aspirations of the government, it was fundamentally shaped through its leaders’ own exposure to foreign culture. The geographic writings of Prussian Alexander von Humboldt, as well as Italian Adriano Balbi, strongly influenced Codazzi’s and Ancízar’s initial overviews, as they “draped themselves in the ‘mantle of Humboldtianism’ to emphasize their own scientific legitimacy.” Inspired by Humboldt, Codazzi divided the terrain of New Granada according to the differing altitudes, winds, and vegetables that he encountered. The ideological influence of Humboldt, together with Balbi’s schematic list methodology, helped the Commission create a novel and distinct approach to chorography that was more affordable than the fashionable trigonometric survey.

The detailed accounts produced by Codazzi and Ancízar on the commission’s initial expeditions to the highland region of Antioquia and the Pacific lowland, comprised not only field reports, but also included detailed watercolors created by the commission’s first illustrators in order to depict the populations they encountered. Through comparing the perceptions noted in the field reports with the pictorial representations, the tension comes out between the inclination to show these regions as homogenous when the commission clearly experienced great heterogeneity of the people and customs.

William Price, Typical Inhabitants of the Province of Medellín (via World Digital Library).

This visual culture reflected a literary and artistic current in nineteenth-century Latin America called costumbrismo, or using descriptive prose and dialogue to verbally paint a local scene, emphasizing the customs and particularities of that locale. Within these works, tipos “types” that organized the population into component parts defined by race, occupation, and place, were created to provide both a visual and discursive way to manage the heterogeneity that the commission encountered. In William Price’s Tipos de Medellin, the commission’s artists displayed idealized images of people one would encounter when visiting these places. These images of the racial types that the commission produced updated the eighteenth-century genre of casta paintings for the republican era.

As the commission moved into the tropical lowlands and the eastern plains, Appelbaum further elaborates how the illustrations were largely aimed at an external audience in order to attract immigrants and economic investment to the region. The commission’s efforts were not meant to simply represent the landscape, they were also to transform it in the service of economic advancement. Codazzi believed that these areas, rich in agriculture and livestock, could support many more people than their sparse, midcentury population. Elites defined the tropics, for instance, as being filled with disease, poverty, and backwardness, making it a desirable region for colonization and improved methods of production. The commission took on an ethnographic dimension, as studying the population became an integral part in determining the economic capabilities of the land. Reports, maps, and paintings that Codazzi, Ancízar, and others, produced provided abundant information aimed to facilitate the conquest of the regions they mapped and studied.

Manuel María Paz, Provincia del Chocó: Aspecto esterior de las casas de Nóvita (via World Digital Library).

Applebaum goes on to discuss the methods that mid-nineteenth-century intellectuals living in the highlands around Bogotá employed to rationalize their claim over the local populations. By emphasizing the glorious origins and civilization of the Andean region around Bogotá, at the expense of lower “savage” climates, intellectuals reinforced Bogotá’s claim over this topographically disparate territory. Codazzi projected national history into the ancient past by weaving geology, archeology, and history together and referencing the past as “history” rather than prehistory. They placed themselves, not the local indigenous populations, who ultimately were the Commission’s guides, at the top of the intellectual scale to read the cataclysmic past.

Carmelo Fernández, Piedra grabada de Gámesa. Provincia de Tundama (via World Digital Library).

After Codazzi died in 1859, elites left behind tried to make sense of his project and battled each other over meanings and representations of the nation. Although members of the commission had high hopes for the mass reproduction and circulation of the materials they produced, that did not occur. Chorography and the work of the Chorographic Commission died with Codazzi, supplanted later in the nineteenth century by newer forms of mapping which are still common today, such as topography.

Although the work that the Chorographic Commission created between 1850 and 1859 was not as widely received as hoped, the spatialized and racialized regional hierarchy inherent in its visual materials would be reproduced and refined within Colombian scholarly and popular discourse. By no means the originator of this fragmented discourse, the Commission’s cartographic project formed the basis for most maps of Colombia into the early twentieth century.

Gracefully written, integrating over thirty images and maps, Mapping the Country of Regions offers a fascinating window into both the visual culture produced during the nineteenth century in Colombia, and the ways that territories, boundaries, and state-lines are constructed. Appelbaum’s contextualization of her source base that she makes explicit within her analysis heightens her claims about the use of geographic, ethnographic, and visual methods to secure territory. This theme of racialization of geographic hierarchy is not solely limited to Colombia, as ideas about how race and region have historically informed each other throughout Latin America. The blending of analysis with visual representation enables this book to be of use for those interested in not only Latin American nation-state building, but this methodology of combining visual and textual analysis would be of value for anyone incorporating visual culture into their own work.

Nancy P. Appelbaum, Mapping the Country of Regions: The Chorographic Commission of Nineteenth-Century Colombia (Chapel Hill: The University of North Carolina Press, 2016).

Also by Madeleine Olson on Not Even Past:
A Texas Historian’s Perspective on Mexican State Anticlericalism.

You may also like:
Antonio de Ulloa’s Relación Histórica del Viage a la America Meridional, by Haley Schroer.
Casta Paintings, by Susan Deans-Smith.

Media and Politics From the Prague Spring Archive

By Ian Goodale

In an unpublished letter to the Soviet daily newspaper Izvestiia, Liudmila Chukovskaya wrote that “muteness has always been the support of despotism.” This quote is cited in the booklet, Czechoslovakia and Soviet Public, compiled by the Radio Liberty Committee in New York in August 1968 to analyze the coverage of the Soviet invasion of Prague. During the Cold War, the media—and radio broadcasts in particular—were used as weapons by the U.S. and the Soviet Union in their battle to define a geopolitical narrative in line with their respective national interests. By examining the ways that both U.S.-backed and Soviet-supported media sources attempted to portray the events of the invasion of Czechoslovakia, this booklet serves as an important resource not just for understanding this specific event, but for how media was used by the two superpowers in their struggle for power and influence.

Soviet invasion of Prague, 1968 (via Mitteleuropa).

The two media sources analyzed by the booklet, Radio Liberty and Radio Moscow, were key propaganda arms of the United States and the USSR, respectively. In addition to the comparison of the coverage of these events by Radio Liberty and Radio Moscow, the booklet contains evaluations of the Czech events by staff members of the Radio Liberty Committee in Munich and New York, utilizing various documents and press clippings unavailable to the general American public. As such, the document provides a comprehensive overview of the events surrounding the Prague Spring as they were depicted by the popular and state-run media. This is not a complete narrative of the invasion, but a direct account of the ways it was portrayed by opposing sides of the conflict.

The front page of the Radio Liberty booklet (via author).

Radio Liberty, a radio station funded by the U.S. government to counter the Soviet-funded Radio Moscow, was a key piece of the U.S.’s propaganda strategy in its fight against the spread of communism in Europe. Founded in 1951 as an anti-communist news service directly targeting the Soviet Union, it began broadcasting in 1953, four days before the death of Stalin. It eventually expanded from its initial broadcasting base in Germany to include transmitters in Portugal, Spain, and Taiwan, the latter of which was used to direct broadcasts to Russia’s eastern provinces. By December of 1954, Radio Liberty was broadcasting in 17 different languages.

Radio Moscow, a state-run station in the Soviet Union, served a similar propagandistic role, broadcasting in German, English, and French in an attempt to reach western European audiences. The U.S. began to be targeted by the broadcasts in the 1950s, during the Cold War, with transmitters situated first in the Moscow region and, later, in Vladivostok and Magdalan. In the early 1960s the station began broadcasting in African languages, further broadening its audience.

Radio Free Europe/Radio Liberty still has an office in Prague and broadcasts in Eastern Europe, Central Asia, and the Middle East (via Wikimedia Commons).

The booklet notes the differing strategies of the two countries in their handling of the invasion. Soviet media, for example, simply refused to acknowledge a host of inconvenient truths regarding Czechoslovakia, remaining, as the booklet notes, “blind and mute” to student demonstrations, the broader democratization of Czech society, and even the replacement of party leader Antonín Novotný with Alexander Dubček. While Radio Liberty broadcast favorable news widely to promote its agenda–such as the fact that Czech citizens missed “no occasion…to let the Soviet troops know they were not welcome…students walked brazenly with flags under the long guns of the tanks”–Radio Moscow remained silent on unfavorable events.

But this silence could not last. The Soviet strategy soon transitioned from this calculated muteness to one of scathing criticism of liberalization in Czechoslovakia. As Izvestiia proclaimed on September 7th, Radio Liberty and other Western media outlets–described as “press and radio working in the service of the monopolies”–were creating “vile anti-communist inventions” to undermine the Soviet Union. “Every day,” the paper proclaimed, “brings new proof of the provocatory role of imperialist propaganda.”

Alexander Dubček attempted to reform socialism in Czechoslovakia, which antagonized hardliners in Moscow and staunch Czech and Slovak anti-socialists (via Wikimedia Commons).

By comparing the reports from Radio Liberty and Radio Moscow side-by-side, these differing strategies become all the clearer. Situated within the broader Prague Spring archive, the document is a source that helps to understand how both the U.S. and Soviet governments strategized their media communications in a cultural and political battle, spinning events to serve their respective narratives. In an era of conflict and confusion over the geopolitical future, portrayal of the present became a battleground of ideologies, the media a weapon to promote each side’s agenda.

Olivia L. Gilliam and Edward P. Pell, August, 1968. Czechoslovakia and the Soviet Public. The University of Texas, Austin, TX. Accessed January 21, 2017. https://repositories.lib.utexas.edu/handle/2152/38273
doi:10.15781/T2PN8XF39

More by Ian Goodale on Not Even Past:
The Prague Spring Archive Project.

The Gunning of America: Business and the Making of American Gun Culture, by Pamela Haag (2016)

By Isaac McQuistion

Guns and America enjoy a symbiotic relationship, the one constantly evoked when you refer to the other. A Congressional Research Service report estimated that, in 2009, the number of firearms in the United States surpassed the number of people, 310 million compared to 306.8 million. That gap has continued to widen, and as of 2015, guns outnumbered people by 40 million. These aren’t exact figures; more concrete numbers are hard to come by. Still, they show that the number of firearms in the US, by an reasonable estimate, dwarfs that in any other country in the world. In the list of gun-loving nations, the United States has nearly twice the number of guns per capita as the next country, Serbia.

How do we explain this? How did the US become such an outlier? Many point to the Constitution and the second amendment, the right to bear arms folded into the fabric of our nation almost from its inception. Guns were what fueled westward expansion, and the citizen militia is what beat back the British. Therefore, the gun holds a spot of preeminence in the national lore of America.

Samuel Colt (via Wikimedia Commons).

Pamela Haag’s book The Gunning of America: Business and the Making of American Gun Culture, offers a meticulously researched and beautifully written corrective to this mytho-poetic view of the gun. Haag, who received a PhD in history from Yale, takes the old journalistic maxim of “follow the money” and applies it to the American gun industry. As she writes, “We hear a great deal about gun owners, but what do we know of their makers?” This is the guiding light of her book: to trace the development of the gun industry and the loose constellation of entrepreneurs who laid the foundation for what we have today. These were men like Oliver Winchester, Samuel Colt, and Eli Whitney (yes, that one).

Haag’s overall argument is that it was the gun industry itself that turned the United States into a gun-loving nation. To begin her book, she points out what many gun enthusiasts themselves have been saying for years, albeit selectively and ahistorically: that guns were tools, used and marketed as such. They were unremarkable objects, with as much emotional resonance as a claw hammer or a bow saw.

Coupled with this reputation as ordinary and functional was a style of production that limited the number of guns that could find their way to the market. Guns were originally made by blacksmiths, few of whom specialized in manufacturing firearms, and were therefore often clunky items, prone to breaking and difficult to repair.

Two Pennsylvania rifles. Rifles like this were used by militiamen and snipers during the American Revolutionary War (via Wikimedia Commons).

Eli Whitney was among the first to propose a solution to this problem. In 1801, he made a presentation before President John Adams, demonstrating the merits of constructing guns out of interchangeable parts. This approach would enable him to quickly produce a large number of reliable firearms that could be easily repaired.

This development is what made the modern gun industry viable and other manufacturers soon followed Whitney’s lead. It was not a very stable market, though. The gun business was largely tethered to the boom and bust cycle of war, with the United States government serving as its largest client. In times of peace, manufacturers turned to the overseas market, selling weapons to whichever foreign government happened to be in need of them.

But in order to expand their business, the gun manufacturers knew that they had to increase the domestic demand for their product. Through a close look at advertisements and items like dime-store Westerns, Haag brilliantly demonstrates how savvy marketing transformed the gun from a tool to an emotionally-charged emblem of masculinity, individualism, and the nation. As she writes, “what was once needed now had to be loved.”

An 1876 gun advertisement (via Wikimedia Commons).

In the earliest examples that Haag chooses, guns are listed as just one of many items that your local smithy could make and repair. Later ads would grow more sophisticated, but they would still focus on mechanical virtues and overall utility.

This began to change in the early 1900s, as the gun manufacturers switched from their previous text-heavy ads to more emotive, visual ads, rendered in full color and often regarded as works of art in themselves. They depicted excitement, romance, and nostalgia, drawing heavily on images of cowboys and hunters in the Wild West, their trusty firearm at their side as they faced down a vicious bear or band of Native Americans.

A 1898 Winchester ad (via Wikimedia Commons).

The manufacturers didn’t stop at wannabe woodsmen. They sought to make their market as wide as possible, and in doing so made the gun seem an integral part of American life and history. A key part of this process was to make owning a rifle synonymous with manhood, targeting the father-son relationship in particular. “You know [your son] wants a gun,” one ad reads,” but you don’t know how much he wants it. It’s beyond words.” Another tells fathers that a boy’s “yearning for a gun demands your attention. He will get hold of one sooner or later. It is his natural instinct.”

But guns weren’t the sole province of men. An ad for Smith and Wesson read, “Any woman can learn how to use a Smith & Wesson in a few hours, and . . . she will no longer feel a sense of helplessness when male members of the family are absent.” A Winchester ad from 1921 proclaimed that “Every man, woman or child has an inherent desire to own a gun.” Advertisements like these, alongside their countless depictions in popular culture, are what created America’s gun culture.

A 1914 Remington ad targeting women (via Wikimedia Commons).

Juxtaposed with the account of these early arms manufacturers is that of the women associated with them, and in particular Sarah Winchester, who married Oliver Winchester’s only son. Sarah led a singularly unhappy life. She lost her first daughter, Annie, when the child was only 40 days old. She’s believed to have suffered one or two more miscarriages, and she lost her husband to tuberculosis, and, shortly after, her mother also died.

At this point, Haag’s account drifts into speculation. She theorizes that Sarah thought herself cursed, haunted by the victims of all the guns that her husband and father-in-law brought into the world and thanks to whose money she lived in splendor. In a possible attempt to ward off the spirits she built the Winchester mystery house in San Jose, California, a vast mansion that she was perpetually making additions to, with stairs that lead to nowhere and rooms, fully furnished and decorated, that are completely walled off. Now a tourist attraction, it stands as an architectural depiction of madness.

The Winchester Mystery House (via Wikimedia Commons).

This is fascinating stuff and it’s readily apparent why Haag thought it necessary to counterpose her depiction of the gun manufacturers, who have all the humanity of adding machines and clearly distanced themselves and their capitalist aims from the visceral reality of the violence of the arms they made, with the almost unbearable humanity of Sarah Winchester. The one drawback is that because it is so highly speculative, this part of the book runs the risk of detracting from the brilliant research that Haag deploys elsewhere.

And the research really is quite brilliant. Haag gained access to the company archives of Winchester, Colt, and other gun manufacturers, and she makes excellent use of the privilege. Haag is a beautiful writer, able to weave together a compelling narrative studded with memorable lines and anecdotes, like the gun salesman in Turkey who, upon realizing during a demonstration that his gun was clogged with sand, solved the problem by urinating on the offending component.

Puck cartoon from 1881 satirizing gun culture in America (via Wikimedia Commons).

In the end, Haag strips away the mythology of guns in America to reveal a truth that’s both more ordinary and more profound than what existed before. It was the ineluctable logic of capitalism that drove the original gun manufacturers to seek out as wide a market as possible for their product, and it was the story that they told their customers that has lived on until today.

Pamela Haag. The Gunning of America: Business and the Making of American Gun Culture. New York: Basic Books, 2016.

Also by Isaac McQuistion on Not Even Past:
Examining Race in Appleton, WI.

Tatlin’s Fish: Art and Revolution in Everyday Life

By Peter Worger

Tucked into the pages of Nikolai Punin’s diary is a sliver of silver paper made into the shape of a fish. Its scales have been drawn with what appears to be black marker or charcoal in an Impressionist style on one side and in a Cubist style on the other. The fish has two fins along its underside and a pointed tail, most of which have brightly-colored orange tips, and there is a razor-like saw of a fin on its backside. An orange piece of yarn is tied to its mouth as if the fish had been caught with it, making it easy to hang or pull out of a book. The whole object is about the length of a page and, since it was found in a book, one can assume it was made to be used as a bookmark.

Both sides of the fish are decorated in silver and orange (Punin papers, Harry Ransom Center).

The fish was a gift from the famous Soviet avant-garde artist, Vladimir Tatlin, to his friend, the art historian Nikolai Punin. The two men worked together at The Museum of Painterly Culture in Petrograd in the early 1920s just after the Russian Revolution when the diary was written. Punin worked in the Department of General Ideology and Tatlin was producing an experimental play by the poet Velimer Khlebnikov, another friend and collaborator in the circle of Russian revolutionary, avant-garde artists. For Punin, Tatlin represented a particular quality of Russian art that made it surpass the latest Cubist innovations in painting coming from France. In 1921, Punin had already written a polemic entitled, “Tatlin (Against Cubism).” In this short work, he argued that Tatlin made the same innovations in art as the French Cubists, but surpassed them because the tradition of icon painting in Russia gave the Russian avant-garde a particular appreciation of the paint surface. The lack of a Renaissance tradition of perspectivalism, according to Punin, also gave the Russian avant-garde a much freer relationship to space. Punin referred to The Fishmonger, as one of three paintings that represented Tatlin’s start in this direction. In that painting we can see multiple fish that have the silver and orange coloring as the paper fish found in Punin’s diary. Tatlin’s early experiences with church art, painting icons, and copying wall frescoes, was crucial in the development of his style as well as his ideas about the role of art in revolutionary society. The icon was both a work of art and an object for everyday use. This emphasis on the image as everyday object became important in expanding Tatlin’s creative pursuits to include the construction of utilitarian objects to transform the nature of everyday life in the USSR during the transition to socialism.

The Fishmonger, by Vladimir Tatlin, 1911 (via Wikiart).

In 1923, Tatlin became the Director of the Section for Material Culture at the Museum of Painterly Culture. During his tenure there, he authored several documents outlining his general program for the role of material culture in the USSR. In an article written under his direction called “The New Way of Life,” he described a series of new projects and prototypes, namely a new design for a coat, and one of five new designs for an oven that could cook and keep food warm for 28 to 30 hours and also keep the home heated economically. Tatlin incorporated the text of “The New Way of Life” into a controversial work of the same name, a photo-montage showing images of the designs that were meant to depict that revolutionary new way of life. He created it for display in the showroom of the Section for Material Culture and the designs were also shown at the Exhibition of Petrograd Artists of All Tendencies. Punin wrote a favorable review of Tatlin’s work in the exhibition, but other critics who believed that art should occupy a place “beyond the realm of the everyday” found the designs inappropriate. Tatlin’s work was revolutionary in that it challenged this traditional boundary between art and the everyday.

A New Way of Life, by Vladimir Tatlin (via Russian State Archive of Literature and Art).

The fish is an important indication of a close personal and professional relationship between the artist, Vladimir Tatlin, and his admiring critic, Nikolai Punin, and it represents the ways that Tatlin and Punin tried to outline a new revolutionary program for art. It also is an example of that very revolutionary impulse in that it is an object to be contemplated for its aesthetic beauty and also to be used for a utilitarian purpose as a bookmark. Tatlin’s work paved the way for a new interpretation of art as something that could be figurative as well as useful; art in revolutionary society could have a place in the daily lives of every individual and not only in the lofty realm of the art establishment. This little fish offers a window onto the theories of the period of the Russian Revolution, when people sought to rethink the entire Western European model of not only aesthetics but also society.

Tatlin’s fish can be found in The Punin Collection, Harry Ransom Humanities Research Center, The University of Texas at Austin.

Additional Sources:
Anonymous, “New Way of Life,” in Tatlin, ed. Larissa Alekseevna Zhadova (1988).
John E. Bowlt, review of O Tatline, by Nikolai Punin, I. N. Punina, V. I. Rakitin, Slavic Review 55, no. 3 (1996).
Christina Kiaer, “Looking at Tatlin’s Stove,” in Picturing Russia: Explorations in Visual Culture, Valerie A. Kivelson and Joan Neuberger, eds (2008).
Jennifer Greene Krupala, review of O Tatline by N. Punin, I. N. Punina, V. I. Rakitin, The Slavic and East European Journal 40, no. 3 (1996).
John Milner, Vladimir Tatlin and the Russian Avant-Garde (1983).
Nikolai Punin, “Tatlin (Against Cubism),” in Tatlin, ed. Larissa Alekseevna Zhadova (1988).

The End of White Christian America, by Robert P. Jones (2016)

By Diana Bolsinger

Robert Jones interprets many of today’s most contentious political and cultural battles as the product of shifts in America’s demographic make-up. He convincingly shows that ongoing demographic shifts in America’s ethnic mix are accompanied by unprecedented changes in religious affiliation. White Christian (by which he means Protestant) Americans dominated American politics and social life for most of our nation’s history. Jones dates the shift away from this dominance to the election of John F. Kennedy – a Catholic– in 1960, with the change accelerating through the 1960s and 1970s. In subsequent decades, the number of religiously unaffiliated Americans surged, along with increases in the numbers of Catholic, Jewish, Muslim and others. The last year that Protestants represented a majority was 2008. Jones uses survey data to identify a generational shift within Protestant mainline and evangelical movements, finding younger believers to be far more accepting of gay and interracial marriage.

Jones argues that it is this demographic shift that has driven the furor over several key issues in recent years, including same-sex marriage, abortion, and a number of initiatives to infuse politics with “Biblical values.” Jones cites polling data indicating evangelical white Protestants are the least likely group to have black friends to explain their alienation from movements such as Black Lives Matter. He likens the passion driving the religious white conservative reaction to the “anger and denial” stage of grief, predicting believers will eventually refocus their energies on strengthening their own community of believers.

(via Jeff Kubina)

Jones’s interpretation of today’s culture wars is shaped by his own liberal outlook, but his account should also be interesting to conservative readers. Regardless of one’s political views, the demographic changes he outlines are real and are changing America’s politics and culture. The data Jones provides derives from solid sources. Most of the explanations for the rise of the “angry voter” behind the Trump campaign have focused on economic issues. While Jones does not address the 2016 presidential campaigns, his work provides a useful background on how demographics also factor into the rise of Trump’s popularity. The results of the campaign should also prove an interesting test of Jones’s argument that “White Christian America” has lost the political clout to dominate national politics.

Robert P. Jones, The End of White Christian America (New York: Simon & Schuster, 2016)

Sound Maps: The New Archive (No. 6)

By Henry Wiencek

In the study of history, it’s easy to fall back on national identities: “Irish music,” an “English accent,” “American Exceptionalism” are just a few examples. But a closer examination of the local cultures—music, dialects, history—that exist within nations demonstrates how misleading those generalizations can be. Just look through one of the British Library’s “Sound Maps” and you’ll be convinced. This remarkable site takes many of the library’s 50,000 recordings of music, regional accents, and oral histories and arranges them geographically on Google Maps. The project is at once global and local—each sound map is an aural window into a unique part of the world. You can hear birds chirping in Algarve, Portugal, a folksinger perform in Carlistrane, Ireland, or the local dialect in Morton, Mississippi.

One of the most fascinating—and addictive—features on the site is “Your Accents,” a global map of the world’s seemingly endless variety of dialects. The map features recordings of people from across the globe reading the same English phrases, allowing listeners to discern how each locality articulates “scone,” “garage” and “schedule” among other richly pronounceable words. The most immediate differences are apparent along national lines, as English, Indian, American, and various other accents contour the words in unique ways. But the map goes even deeper—revealing the astonishing regional differences that exist within those nations. Although people from Brighton and Leeds ostensibly share an “English” accent, the sonic differences between them are vast.

Other sound maps use the same technology to tell far more sobering stories. “Jewish Survivors of the Holocaust” archives oral histories of that traumatic epoch. Again using Google Maps, the page arranges survival stories based on geographic origins: individuals from France, England, Germany, Poland and even Azerbaijan are all represented. These unique and deeply affecting histories underscore the striking heterogeneity of the Holocaust’s victims and survivors. They were rich and poor; came from big cities and small towns; and identified as religiously devout and irreligious. By mapping their oral histories, the British Library visually captures that geographic and experiential diversity. And by letting them speak, reinforces the kinds of variations that get flattened out or even erased when reading text on a page.

The British Library’s “Sound Maps” is an invaluable tool for anyone interested in hearing what the world sounds like. Cultural historians and preservationists will take particular interest in the collections of music and dialects—time capsules of old folkways quietly vanishing in a globalizing world. Readers may note the site’s emphasis on English speaking regions, especially the UK, but the geographic breadth of its collection remains deeply impressive. These maps do not just capture the sounds of the world, they capture its most compelling minutiae: the small town pubs, the remote jungles, and the fascinating people.

Explore the latest finds in the NEW ARCHIVE:

Charley Binkow on iTunes’s salute to Black History Month

And Henry Wiencek finds a new way of looking at Emancipation

Photo Credits:

Screenshot from “Your Accents” sound map (Image courtesy of the British Library)

Screenshot from “Jewish Survivors Of The Holocaust” sound map (Image courtesy of the British Library)

Quebecois lumbermen making music with a violin and sticks, 1943 (Image courtesy of National Film Board of Canada)

Getz/Gilberto Fifty Years Later: A Retrospective

by Edward Shore

“I’m not a sociologist but it was a time when people in the States wanted to turn to something other than their troubles,” Brazilian singer Astrud Gilberto mused in 1996. “There was a feeling of dissatisfaction, possibly the hint of war to come, and people needed some romance, something dreamy for distraction.” This year marks the fiftieth anniversary of 1964’s Getz/Gilberto, the triumphant collaboration between North American jazz saxophonist Stanley Getz (1927-1991), Brazilian singer and guitarist João Gilberto (b. 1931), his then-wife, Astrud Gilberto (b. 1940), and their friend and compatriot, the composer Antonio Carlos “Tom” Jobim (1927-1994).

Getz/Gilberto was not North America’s first encounter with bossa nova, the lyrical fusion of samba and cool jazz emanating from the smoky nightclubs, recording studios, and performance halls of Rio de Janeiro in the mid-1950s. Yet the eight-track LP was by far the most successful. Propelled by the genre-defining single, “The Girl From Ipanema,” Getz/Gilberto spent ninety-six weeks on the charts and won four Grammy awards, including Best Album of the Year in 1965. Other tracks, including “Para Machucar Meu Coração,” “Desafinado,” and “Corcovado/Quiet Nights of Quiet Stars,” also became jazz standards. “Americans are generally not very curious about the styles of other countries,” Astrud Gilberto insisted. “But our music was Brazilian music in a modern form. It was very pretty and it was exceptional for managing to infiltrate America’s musical culture.”

What explains Americans’ love affair with bossa nova in the winter of 1964? Part of the answer lies in the power of popular music to relieve a broken heart. Critics associated Getz/Gilberto’s cool, sophisticated sound with the Kennedy White House, where music, high fashion, and glamorous parties had been hallmarks of “Camelot” on Pennsylvania Avenue during the early 1960s. Perhaps audiences sought to recapture a bit of the mystique that had vanished when President Kennedy was slain in Dallas, Texas, only five months before the record’s release.

For jazz critic Howard Mandel, Getz/Gilberto was like “another tonic for the assassination’s disruption, akin for adults to the salve upbeat the Beatles had provided for teenagers’ after their appearance on the Ed Sullivan Show in February 1964.” Gilberto’s hushed vocals and understated guitar, Jobim’s gentle piano, and Getz’s lush saxophone transported weary listeners to a sun soaked, tropical paradise light years removed from the turmoil confronting the United States in the winter of 1964.

Yet the Brazil of North American fantasy–languid, exotic, and serene–contrasted sharply with reality. By late 1963, the United States had declared Brazil a “trouble spot” in its hemispheric crusade against communism. Traditional elites and U.S. Cold Warriors opposed Brazilian President João “Jango” Goulart and his center-left agenda, which extended voting rights to illiterates, taxed foreign corporations, and introduced land reform. Meanwhile, peasant agitation in the Brazilian Northeast, the fulcrum of the global sugar trade, deepened the anxieties of U.S. policymakers who feared that Latin America’s largest economy might soon follow in Cuba’s footsteps. In March 1964, the Lyndon Johnson administration and the Brazilian military secretly began plotting Goulart’s overthrow.

While “The Girl from Ipanema” climbed to the top of the Billboard charts, U.S. warships penetrated Brazilian waters to support a military coup d’état on April 1, 1964, terminating the country’s brief flirtation with social reform. The United States had once again intervened in Latin America to preserve an illusion of tropical tranquility that existed only in the imaginations of ruling elites, intelligence agencies, and North American consumers. The military dictators who succeeded Jango and controlled Brazil for the next two decades understood the uses of music just as well and embraced bossa nova for its commercial appeal, apolitical subject matter, and potential to smooth over the nation’s deep-seated socio-political divisions.

Yet the marriage between bossa nova and the dictatorship was not to last. A younger generation of Brazilian artists, including Caetano Veloso, Gal Costa, Gilberto Gil, Rita Lee, and Tom Zé, fused elements of bossa nova with rock n’roll, psychedelia, experimental theatre, and Brazilian folk music into the colorful, exuberant countercultural movement known as Tropicália. Gone was the “tall, tan, young, and lovely” morena of Ipanema Beach. By 1968, the regime’s censors raced to cleanse Brazilian popular music of anti-establishment themes, even forcing Caetano Veloso and Gilberto Gil, two of the country’s most visible stars, into exile in the United Kingdom. The coup government ultimately turned its back on bossa nova, too. In 1969, the regime sacked Vinícius de Moraes from his post in the Foreign Ministry after the legendary composer, playwright, and original author of “The Girl from Ipanema” criticized the dictatorship’s restraints on artistic freedom.

Popular interest in bossa nova continued to wane over the course of the 1970s. Outraged by U.S. sponsorship of the military regime, Brazilian musicians distanced themselves from a style that enjoyed intimate ties to the “giant from the North.” A blend of rock, samba, and jazz known as MPB, or “música popular brasileira,”eclipsed bossa nova as Brazil’s national sound. MPB artists like Chico Buarque, Jorge Ben, and Novos Baianos camouflaged criticisms of government repression, social injustice, and imperialism with irresistible melodies, appealing to a growing audience of middle-class youth. Meanwhile, in the slums and favelas of Rio de Janeiro, São Paulo, and Salvador, a young generation of Afro-Brazilians challenged the nation’s vaunted reputation as a “racial democracy,” while embracing cultural symbols of Black Power and the African Diaspora, including soul, funk, and reggae. Amid this rising tide of popular protest against the regime, bossa nova, with its dreamy, cool detachment, appeared painfully at odds with the struggles of ordinary Brazilians.

Still, the genre remains a major force in Brazilian pop culture and “world” music. The millions of tourists who visit Rio de Janeiro every year arrive at an airport named after Tom Jobim. Inevitably, more than a few vacationers board their flights home in “Girl from Ipanema” t-shirts purchased at the airport gift shop. Bossa nova also experienced a brief resurgence in the mid-1990s. Red Hot+Rio, a compilation album produced by the AIDS-awareness organization Red Hot in 1996, paid tribute to the musical career of Tom Jobim and featured covers by artists including Sting, Astrud Gilberto, and David Byrne. Today, pop stars like Marisa Monte, Celso Fonseca, and Uruguay’s Jorge Drexler refashion bossa nova sounds for contemporary audiences. And what about the song that made bossa nova an international sensation? “The Girl From Ipanema” currently ranks as the second-most-recorded pop song of all time, after the Beatles’ “Yesterday.” Amid the pageantry surrounding the upcoming FIFA World Cup and the 2016 Rio Olympic Games, look for “The Girl From Ipanema” to sway gently back into the spotlight.

Stan Getz and Astrud Gilberto perform “The Girl From Ipanema” in 1964:

Hear more Bossa Nova:

João Gilberto and Antonio Carlos Jobim in a 1992 live concert

Elis Regina and Tom Jobim performing “Aguas de Março” in 1974

Astrud Gilberto’s comments can be found in “Interview with Astrud Gilberto,” by Howard Mandel, Verve Records, Re-issue of Getz/Gilberto, 1996, liner notes.

Howard Mandel’s comments come from correspondence with the author, January 2014. A special thanks to him from the author.

Photo Credits:

1964 LP cover of Getz/Gilberto (Image courtesy of Verve Records)

Creed Taylor, Antonio Carlos “Tom” Jobim, João Gilberto and Stan Getz recording together (Image courtesy of last.fm)

Brazilians marching against the country’s military dictatorship, 1964 (Image courtesy of Mount Holyoke College)

Musical team on Getz/Gilberto: (from left) Stan Getz, Milton Banana, Tom Creed Taylor, João Gilberto and Astrud Gilberto (Image courtesy of last.fm)

Images used under Fair Use Guidelines

Ordinary Egyptians: Creating The Modern Nation Through Popular Culture by Ziad Fahmy (2011)

by Ahmad Agbaria

On June 8, 2010 an Egyptian Google executive based in Dubai, named Wael Ghonim, was stunned by a YouTube video that featured a fellow citizen by the name of Khaled Said, bloodied and disfigured. It turned out that the Egyptian police had beaten Said to death and mutilated his body. Appalled by this short video that ran viral through Arab social media, Wael Ghonim created a Facebook page that came to symbolize the involvement of ordinary people in creating change. “We are all Khaled Said” was the name of the Facebook page, adding the motto “today they killed Khaled, and if I don’t act for his sake, tomorrow they’ll kill me.” This internet-based movement contributed to fomenting the uprising in Egypt that ultimately overthrew the corrupt, 30-year regime of Hosni Mubarak. Throughout modern Egyptian history, the media and popular culture have played a crucial role in shaping and informing major political events, as Ziad Fahmy makes evident in Ordinary Egyptians: Creating the Modern Nation Through Popular Culture.

Fahmy argues that the illiterate and lower classes played an important role in forging Egyptian nationalism. Drawing on otherwise unconsulted sources in colloquial Egyptian, such as songs, popular poems, vaudeville plays, and other sources in the spoken and vernacular Cairene dialect, Fahmy shows that popular culture was instrumental in helping to create a new national identity. Fahmy’s study of these sources fills a sizable gap in the historiography of Egyptian nationalism by lending a voice to the majority of the population. While previous research on Egyptian nationalism was built on intellectual history (Gershoni, Rethinking Nationalism and Smith The Ethnic Origins of Nations), Fahmy’s Ordinary Egyptians turned the approach to Egyptian nationalism from elites to non-elites.

The primary problem that Fahmy raises relates to many third world societies. How can we investigate nationalism in societies with more than 90 percent illiteracy? Focusing on Egypt in the last quarter of nineteenth century and the beginning of twentieth, when no more than 6.8% of the population was literate, Fahmy unequivocally discards Eurocentric theories as counterproductive when applied to illiterate societies. Thus he supplements the study of print capitalism by a more inclusive media capitalism, which is better able to account for unnoticed or undocumented cultural occurrences. “Cultural products,” writes Fahmy in the preface, “are not socially relevant unless they are communally and socially activated.” In other words, Fahmy is concerned with the ways individuals and communities communicate with and digest cultural information. Print capitalism was a luxury in late-nineteenth century Egypt. The illiterate population, who couldn’t relate to a written newspaper, still actively participated in creating national identity through the new mass media and entertainment industry. Earlier theories of nationalism that dismissed “orality and direct social interactions” ignored not only the experiences of the vast majority of the population, but more importantly, as as Fahmy notes, paraphrasing Mikhail Bakhtin,they ignored the “social life of discourse outside the artist’s study, discourse in the open spaces of public squares, streets, cities and villages.”

Fahmy stresses the centrality of Cairo and to a lesser extent Alexandria as hubs of cultural activity that radiated and distributed the popular Cairene dialect throughout Egypt. Thanks to the new industrial infrastructure (railroads, telegraph, and post office), the urban areas and the countryside became more connected. New musical and comedic theater troupes could reach more isolated populations. Editors of popular journals, Ya’qub Sannu’, ‘Uthman Jalal, and ‘Abdellah Nadim, defiantly used the colloquial Egyptian language, jokes, azgal (colloquial poetry), and cartoons as a counterhegemonic tools to include the masses in the nascent Egyptian identity.

The second half of Ordinary Egyptians shows popular national identity developing political significance. The more the British colonial authorities (and the elite who were complicit with them) attempted to staunch the press and forcefully impose the press law, the more popular illicit publications became. The masses that took to the streets in the spring 1919 revolution provided undeniable evidence of popular culture’s effectiveness.

Not every popular act, song, or poem, however, should be construed as counterhegemonic or helping in creating the new nation. In Ordinary Egyptians, Fahmy leaves no space for what Rogers Brubaker coined, “National Indifference”. For Brubaker people can be mostly indifferent about their identity and ethnicity. Certainly, people sing national songs, but they also sing and recite poems out of pleasure in the first place, rather than to express sympathy for the nation or animosity toward the British.

Fahmy succeeds remarkably well in discrediting the top-down understanding of cultural diffusion, though he over estimates the role of the capital cities, Cairo and Alexandria, in originating and disseminating culture. His strong point, however, is the discussion of the role of popular culture in Egyptian nationalism. Thus, the contemporary uprisings in Egypt that ousted Housni Mubarak can be seen as a current reincarnation of previous revolutions that were driven, at least in part, by public mass media and popular culture.

You may also like:

Yoav di-Capua’s FEATURE piece on his recent book, Gatekeepers of the Arab Past.

Yoav di-Capua’s blog post about political and social conditions in Egypt eight months after Mubarak’s ouster in February 2011.

Lior Sternfeld’s review of Erez Manela’s The Wilsonian Moment.

Making History: Robert Matthew Gildner

Interview by Zach Doleshal

For the fifth installment of our “Making History” series, Zach Doleshal talks to Robert Matthew Gildner, a senior doctoral student in history at the University of Texas at Austin. In the interview, Robert explains why 1952 represented a unique moment for indigenous Bolivians, why previous historians have overlooked this history, and how a trip to Holland inspired him to work on Latin American history.

Robert Matthew Gildner is a Ph.D. candidate in the History Department of The University of Texas at Austin. He is currently writing his dissertation, tentatively titled, “Integrating Bolivia: Revolution, Race, Nation, 1952-1964,” which investigates the cultural politics of national integration in Revolutionary Bolivia to rethink postcolonial nation-state formation in Latin America. Abolishing colonial hierarchies of caste to transform segregated societies into unified republics was at the heart of Latin America’s postcolonial predicament. This predicament was especially acute in Bolivia. Indians constituted seventy percent ofthe population, but remained politically excluded and socially marginalized by a European-decedent, orcreole, minority still a century after Independence. Following the Bolivian Revolution of 1952, a new generation of creole nationalists sought, once and for all, to break with the colonial past. They uprooted the entrenched system of ethnic apartheid that characterized pre-revolutionary society and integrated Indians into a modern nation of their own making. In subsequent years, artists, intellectuals, socialscientists, and indigenous activists worked to transform Bolivia from a segregated, multiethnic society into a unified nation. “Integrating Bolivia” interrogates the dynamic interplay between state and societyas these diverse agents negotiated the terms of indigenous inclusion and the content of national culture.

Although the government granted political citizenship to indigenous Bolivians, it was the cultural politics of revolution that ultimately determined the limits of ethnic inclusion. State officials created a new national culture for the integrated republic, one that venerated Bolivia’s mixed Andean and Hispanic heritage. Historians recast national history as a multiethnic struggle against foreign economic exploitation. Archeologists reconstructed Tiwanaku, identifying in the pre-Hispanic ruins the primordial origins of Bolivian nationhood. Anthropologists studied rural communities, expanding the definitionof cultural patrimony to include indigenous art, music, and dance. Despite the inclusive veneer of this national culture model, it generated novel forms of indigenous exclusion by subsuming ethnic identity to national identity. This ambitious project to decolonize Bolivia thus operated to recolonize it on new terms. Yet, the Revolution did not result in the devastation of indigenous civilization, as dominant historiographical trends contend. Rather, by controlling their cultural representation in the narrow apertures opened by this exclusionary model, indigenous activists successfully bridged political citizenship and ethnic recognition.

Robert’s next project will use a transnational study of Andean mountaineering to examine the relationship between the physical environment, human geography, and nation-state formation in Latin America. During the nineteenth century, political leaders in the fledgling Andean republics of Bolivia, Ecuador,and Peru confronted a similar problem: forging cohesive nation-states in ethnically-fragmented and geologically-diverse territories. As national leaders struggled to overcome the daunting human andphysical geography of the Andes, mountaineering played a critical role in territorial integration, the making of environmental policy, and the definition of geopolitical frontiers. This project examines the adventures and imaginations of British, French, and German mountaineers, their engagement with rural indigenous communities, their reliance on local geographic knowledge, and their connections to liberal political projects across the Andes during a period of capitalist incursion and national consolidation.

Robert Matthew Gildner’s research and teaching focus on the cultural, political, and intellectual history of modern Latin America, with an emphasis on the Andean region. His broader research interests include indigenous politics, historical memory, race/ethnicity, and the construction of knowledge. He has been the recipient of a Fulbright Fellowship, the American Historical Association’s Beveridge Award, and Foreign Language and Area Studies Fellowships.

You may also like:

Jessica Wolcott Luther’s interview for Making History, in which she talks about her dissertation on the history of slavery in seventeenth century Barbados.

Christina Salinas’ interview for “Making History,” in which she tells us about her childhood growing up on the Texas-Mexico border.

The Dictator’s Seduction: Politics and the Popular Imagination in the Era of Trujillo by Lauren Derby (2009)

by Lauren Hammond

Rafael Trujillo, dictator of the Dominican Republic from 1930 to 1961, remains a figure of mythic proportions in the popular Dominican imagination. A light-skinned mulatto with Haitian ancestry, Trujillo rose from obscurity as a sugar plantation guard to establish one of Latin America’s most enduring dictatorships. His appetite for women was legendary and common belief held that he never sweated. Trujillo’s minions, and even foreign governments, lavished him with praise and an array of titles from Generalissimo to Benefactor of the Fatherland to Restorer of Financial Independence. However, outside portrayals of Trujillo as a make-up wearing megalomaniac and revelations of his regime’s oppression, many questions remain about the mechanisms of state power and relations between the Dominican populace, Trujillo, and the state. In The Dictator’s Seduction, Lauren Derby uncovers the cultural economy “that bound Dominicans to the regime.” She reinterprets the regime’s theatricality – pageants, parades, and the practices of denunciation and public praise – as critical in obscuring the inner workings of the regime and argues that the Trujillato gained and maintained the support of the masses, albeit in attenuated form, by creating a new middle class and co-opting Dominican understandings about the embodiment of race, gender, sexuality, and the process of community formation.

Derby’s most salient observations of the populist dynamics of the Trujillo regime come through her examination of the ritualized practices of denunciation and praise and the tensions between the Dominican Party and an expanded state bureaucracy. Amongst ordinary citizens, state workers, and party officials, accusation reflected the Caribbean practice of gossip as a means of social control, while panegyric was used for personal gain. The conflict between the Dominican Party and an expanded state bureaucracy reflected this dynamic. Founded in 1930, the massive Dominican Party created a new, darker middle-class indebted to the regime for its new identity. State workers, on the other hand, continued to hail from lighter-skinned elite families. While this divide played on pre-existing socio-racial tensions, Derby demonstrates that Trujillo and his proxies also encouraged a culture of enmity between state and party officials. This left members of both groups vulnerable to charges of corruption, disloyalty, and moral failings, which could result in social death. In a culture sensitive to the loss of personal honor and respect, Dominicans lived in fear of social isolation. Moreover, state bureaucrats and Dominican Party workers used praise of Trujillo and their efforts on his behalf to improve their positions within the Trujillato and as a means of defense against condemnation.

The book’s most interesting claims emerge from Derby’s exploration of popular belief surrounding Trujillo’s invulnerability, which Dominicans attribute to his muchachito, or spiritual guide. After the assassination of Trujillo on the highway between Ciudad Trujillo and San Cristobal, the arranged coup failed to take place because conspirators inside the regime hesitated to believe that Trujillo, who had survived three previous assassination attempts, was dead. Derby shows that Dominicans attributed Trujillo’s invulnerability to his muchachito who purportedly visited Trujillo in his sleep. The muchachito found its roots in a popular mixture of Haitian voodun and Afro-Dominican vodú and was associated with black magic. It told Trujillo how to invest and about plots against him, providing a popular explanation of the apparatus of power. Popular Dominican religiosity viewed the duality of Trujillo and his spirit guide as extremely dangerous and unstable. Many believe that in the end Trujillo lost trust in his muchachito and challenged it. This loss of confianza led to Trujillo’s undoing. Derby also examines the rebuilding of Santo Domingo following Hurricane San Zenón, the coronations of his daughter at the Free World’s Fair of Peace and Confraternity in 1955 and his mistress at the Dominican Republic’s 1937 Carnival, clothing and tiguerage, and the growth of a grassroots religious movement called Olivorismo following Trujillo’s assassination.

Lauren Derby’s monograph makes a significant contribution to Dominican historiography and scholarship on populism, Latin American and Caribbean dictatorship, and gender and sexuality. However, while many of her conclusions are based on a series of oral histories, the voices of her subjects remain largely absent from the text. In addition, at times the work would have benefitted from a more in depth analysis of the complexity of race and national identity in the Dominican Republic. Overall, the text offers much needed assessment of popular culture in the Dominican Republic during and after the Trujillo regime.

Photo credits:

Harris & Ewing, “Former President [of] San Domingo arrives in Capital. Washington, D.C., July 6. A close-up of General Rafael L. Trujillo, former President of the Dominican Republic, made as he stood at attention while the national anthem was being played upon his arrival today,” 6 July, 1939.

via The Library of Congress

Unknown artist, “Insignia of the Dominican Party, the party founded by the Dominican dictator Rafael Leonidas Trujillo on 16 August, 1931.”

via Wikipedia

You may also like:

This interview, conducted in May 2011, with General Imbert, one of the men who assassinated Rafael Trujillo in 1961. (BBC News)

Adrian Masters’ review of The Doubtful Strait, Ernesto Cardenal’s poem chronicling the history of Nicaragua from colonial discovery to the Somoza dictatorship.

« Previous Page

Recent Posts