Month: September 2020

To better understand Latin American civilization and history, we’ll be analyzing a primary and visual source.“Costumes, animals, and modes of transportation of Peru”.  It dates back to 1748, to a significant and turbulent period. The colonial era of Latin America. This primary visual source is from the work of Antonio de Ulloa. By the title of,  “Relacion historica del viage a la American meridional … Segunda parte”. Which  translates to, “Historical relations from the travels of the American Meridian, Second Part”.

From looking at this antiquated illustration, we see five people to the left; with letters by their sides, Andean animals like llamas and others, a person mounted on a horse, and all the way far; a carriage with people being driven. The setting consists of a small house to the far left of the image. Trees are present and the geography of the location is very hilly and mountainous. We can most likely presume, that the figures present are in the Andean Mountainous regions of Peru. At the very bottom, we see the illustrator’s name Diego de Villanueva. To the far right, there is a map key to identify the five people with letters. The key also identifies other objects in the picture such as the llamas and other animals. The really interesting thing about the map key, is that it provides a deep insight into who these people are. Although in Spanish, we can translate it to the race classes instilled during the Spanish colonial era. Following: A. A woman from Lima with a riding suit. B. A woman in a house keeping outfit. C. A Spaniard in a Peruvian suit. D. A Mulatto woman. E. A black slave, born in Peru. F. A mulatto woman riding a horse. This illustration from 1748, shows a look into how society was run.

The Spanish Casta system was a hierarchical pyramid that organized and labeled people according to their status. This status was determined based on one’s “ethnic purity” or place of birth. From top to bottom it follows from, the Peninsulares, the Criollos, Mestizos/Mulattoes, Native Americans, and enslaved individuals/Africans. The Peninsulares were of Spanish origin and born there. Criollos were of Spanish descent, but had lower status automatically because they were born in the Spanish colonies. Mestizos and Mulattoes were of mixed decent, Spaniard with Native American or African, life was hard for them as well. Below, were the Native Americans of Latin America. They had some autonomy within their communities but still oppressed from the upper classes. Finally at the very bottom, the slaves from Africa. There was little social mobility, these labels determined what one’s life was to be. The majority of the caste system was oppressed by the elite Peninsualres and Criollos. However, the Criollos were also oppressed.

Knowing the significant past behind this not so simple illustration, gives us a clearer understanding to the deep foundations of the Spanish colonies. The highly restricted confines of one’s social group came with specific duties and given occupations. Usually the hard, extortive labour was given to the majority of the social groups of the Casta system. The Natives and African slaves. One such example was the Mita. Where native labour was privatized for the use of mining gold or minerals for the Spanish Crown. Where often the Spanish heads were abusive towards their laborers. Sometimes crimes against them would see the courts to settle these matters.

Reflecting on this piece, we can pose many questions from this small glimpse of the past. We see the Casta system at play, just alone in the illustration. The one Spanish woman from Lima with a Spaniard enjoying the prospects of horseback riding. Behind them, their help, the housekeeper and slave. The mulatto woman also appears to have a house work costume as well. We have to ask, when would the Spanish realize that the lower Castas are people too? They have needs to be met, to improve their quality of life. They aren’t a back bone to extort from, to feed the Spanish Crown’s greed.

JCB Archive of Early American Images; Costumes, animals, and modes of transportation of Peru”, www.jcb.lunaimaging.com/. Accessed 16 Sept. 2020.

In this engraving of Simon Bolivar, one can make out important inferences on the cultural ideals and norms of Independence-era Latin America. Of particular note, is his style of dress, the background in the distance, the structure he stands in, and the text under the image. Before getting into analysis of the image or text in more specific detail, it is important to note Bolivar’s personal life has heavy influence, of course, on what he would or would not want depicted in a portrait such as this one. Simon Bolivar would have been considered creole (Spanish born in the Americas) and a member of one of the leading families in Caracas, Venezuela. He later went on to living in and around Spain during his adolescent years. Prior to leading his movement of independence, Bolivar was under the tutelage of Andres Bello, an Intellectual who likened the building of a nation to the upbringing of crops in agriculture.

Bolivar’s stance on independence is also important for the sake of analyzing the text under the engraving. His ‘us or them’ attitude towards Patriot support meant that he was, at the time, much more militarily driven as opposed to politically oriented. His sentiment towards Spain in the years leading up to and during the era of Latin American will be discussed in further detail below.

In the caption below is the phrase “Desde este dia la libertad sera indestructible en america, siendo los bellos trofeos de nuestras victorias, los derechos del pueblo, y la soberania de las leyes.” This translates approximately to “From this day forward, liberty will be indestructible in america, being that it is the beautiful trophy of our victories, the right of the people, and the most sovereign of laws.” One can establish from this quote then, that the source of the engraving must have been created after the start of Independence movement in Latin America. Additionally, we find from the text below the picture that this specific engraving is dated later into the era. Specifically in 1827 and was published in London.

To analyze the specific imagery in this print, one must first consider two things. Below the image, is written “Senor General Sir Robert Wilson ‘Retrato mio hecho en Lima con la mas grande exactitud y semejanza”. In english, “Senor General Sir Robert Wilson ‘Portrait I made in Lima with the greatest level of exactitude and semblance”. We can therefore assume that apart from any influence that Simon Bolivar may have had in this image, this can be taken as an accurate representation of the Latin American Patriot perspective.

 Firstly and most obviously, is the military attire and regalia that Bolivar is wearing, pointing to his victory-driven demeanor as opposed to diplomatic or compromising behavior. Secondly is the inclusion of the peruvian background in contrast to the decorative curtain, fanciful railing, and tiled floor in the foreground. We know that Bolivar was born into high status, was likely inspired by European design and culture in his adolescence, but nonetheless has his roots Caracas, Venezuela. This could be an expression of his overall life up to this point. Alternatively, if Bolivar had in fact mandated that this depiction of nature be in his portrait, we know that he was tutored by Andres Bello. Bello was a scholar who metaphorically compared the flourishing and upkeep of nature to that of the growth and maintenance of a nation. It’s unclear then whether Bolivar himself would have asked for the inclusion of the natural Latin American landscape, to be contrasted by the posh structure in the foreground, or if the artist made that choice. Additionally we see what are likely subordinate soldiers in that landscape, conveying Bolivar’s ranking over them, and his status/influence within the independence movement overall.

 

Sources

Simón Bolívar. Libertador de Colombia y del Peru; y Fundador de Bolivia. https://jcb.lunaimaging.com/luna/servlet/detail/JCB~1~1~1680~2470003:Simón-Bolívar–Libertador-de-Colomb?sort=image_date%2Csubject_groups# ©John Carter Brown Library, Box 1894, Brown University, Providence, R.I. 02912

 

Wood, James A., and Anna Rose Alexander. Problems in Modern Latin American History: Sources and Interpretations. 5th ed. Rowman & Littlefield, 2019. ProQuest Ebook Central.

The independence of Brazil from Portugal was unusual by the standards of the liberation wars in Latin America. The separation was really a backstopping of power by Pedro, the son of João VI, King of Portugal. The family had fled to Brazil during the occupation of Portugal by Napoleon and had built a strong base of support there. So, independence was not the typical liberal fight experienced in Venezuela or Argentina that resulted in republican governments. Recognizing the incongruity of creating an Empire of Brazil amidst all the claims for liberty and patriotism in the surrounding neighbors may have encouraged the leadership to create images that emphasized an independence that reflected Enlightenment values, not dynastic Portuguese squabbles. The regime presented itself as equal to the new governments in the Americas.

Foremost in the newly independent nations of Latin America was the claim to supporting modernization and liberal reforms. Starting with the arrival of the Portuguese royal family in Brazil in 1808, one of the themes stressed the bringing of Enlightenment to the Americans. As noted by Kirsten Schulz, local elites saw that the royal family established functioning royal courts of justice, trade and commerce and ultimately “civilization.” Art was commissioned to emphasize the enhancement of benefits under Pedro. The curtain created by Jean Baptise Debret encompasses many of the liberal ideals of the time. While celebrating of the coronation of Dom Pedro, he is replaced by a woman symbolizing the Empire, promoting the unity of Brazil and monarch. She holds a constitution, the goal and emblem of nineteenth century liberalism. The throne itself has two vital symbols, on the left arm are the scales of justice and on the right arm is a caduceus. Here Pedro’s rule is claimed to be bringing equal legal status, a point made clear by the multiethnic nature of the crowd surrounding the throne. By including the caduceus, associated with commerce, the emphasis is on trade and wealth benefiting the people of Brazil. That point is reinforced by the including of the trade goods of coffee and sugar in the foreground, promising the liberalization of trade. All of these qualities result in the cornucopia before the throne showing the great success and bountiful future of Brazil. The message is clear, Dom Pedro’s constitutional monarchy is the key to a modern and successful nation.

With the guarantee of proper rule under a modern state publicly proclaimed, the second element of the image and goal of national liberation becomes clear, the establishment of a unifying self-sacrificing patriotism among the populace. The image is filled with signs of devotion and militarism in defense of Brazil. Several Brazilians offer up their children directly to the crown. The multiethnic citizenry is emphasized as a Black soldier holds up his child while his wife encourages him. Below them a white woman kneels and pushes two of her babies forward as loyal contributions. Directly on both sides can be seen indigenous people kneeling and brandishing their weapons in service to the country. Even children are show bringing their farm implements in pledge of loyalty and commitment. The message is one of a legitimate state providing the benefits of freedom and success and in return earning loving patriotism of its diverse and unified citizens.

The challenge to Brazil’s government would be matching imagery of equality and loyalty of a diverse population to the reality of the nation. Was equality really a goal of the regime that perpetuated slavery and ethnic division? Additionally, how could an absolutist monarchy that had ignored Brazilians for hundreds of years really provide the liberal reforms proclaimed?

In the image, it describes:

“A native American wearing a feathered headdress is tied to a tree and strangled or garroted by two others. Spanish soldiers and a Catholic priest observe. Built environment includes dwellings and palisade.”

The image is titled “Atabaliba Strangled,” with the source date from the year 1760. Atabaliba was another name for the last famous Incan emperor, Atahualpa.   The image depicts what life was after Spanish colonialism took over the Americas. Cuzco, Peru, was the center of life for the Incas. When the Spanish colonialists arrived, the Incas were oppressed by the conquistadors and the legacy that the Catholic Church left behind. The image of Atahualpa being strangled,  not only shows the disregard that the Spanish had for the Incas, but as well as the hierarchy that existed after the conquest of the Incas.

The Catholic Church was a major force that shaped Latin America throughout history. “The Roman Catholic Church in colonial Latin America was a conglomeration of institutions, including ecclesiastical offices, the parish clergy, and various orders of nuns, monks, and friars that ran hospitals, schools, orphanages, missions, and even slave plantations.” Both The Catholic Church and the Spanish empire ruled together, in the picture, one can see that this is true by the way in which the priests and soldiers are both spectators of Atahualpa’s death. Kris Lane describes the view of the Spanish as

“With few exceptions the colonizer’s baser impulses and reflexive self-deception predominated, coarse veils of greed and pity alike obscuring the chaotic splendor of multiple Andean chiefdoms and lowland tropical cultures of astonishing physical, linguistic, political, and artistic range. The new administrative order, Spain’s typically tone-deaf late Renaissance bureaucracy, demanded this kaleidoscope be shattered, its varicolored sand grains separated and sorted, individuals and whole communities alike reduced to quanta called “Indians.”

So low was the hierarchy of the “Indians,” that the Spanish had no fear in ending the highest member of the Incan hierarchy.                                                                                        Although the Spanish viewed the Incas as savages, one can argue that the priests were present for the execution of Atahualpa, for religious reasons of “resolving one’s sins before death.” The Catholic Church had missionaries arrive in the Incan empire to not kill, but to spread the faith and to “guide, the subjects of God and king.” The Catholic Church continued to regulate the Incas throughout history because they believed it was God’s w.ish. “Furthermore, the pope had declared Amerindian souls equivalent (perhaps even superior) to those of Europeans in the eyes of God. The message to all colonists? Mistreat His innocent “children” and risk damnation.” It was due to religious reasons, that the Incas were converted to catholic religion and treated by the conquistadors as subjects of the king with limited rights. In the image “Atabaliba Strangled,” it can be concluded that the Incas demise started with their crowned ruler being killed. The Spanish soldiers and priests were the highest members of the colonial hierarchy, while the rest of society was oppressed

Citations

Problems in Modern Latin American History : Sources and Interpretations, edited by James A.           Wood, and Anna Rose Alexander, Rowman & Littlefield Publishers, 2019. ProQuest Ebook    Central,https://ebookcentral.proquest.com/lib/baruch/detail.action?docID=5743856.

“Atabaliba Strangled.” Atabaliba Strangled. – JCB Archive of Early American Images, jcb.lunaimaging.com/luna/servlet/detail/JCB~1~1~6835~115902696:Atabaliba-Strangled-?sort=image_date%2Csubject_groups.

 

This image from 1824, and it shows a gate on a canal at Chalco, Mexico. This picture shows me the diversity of content. The dress, culture, and architecture of this picture have symbolic meanings. It represents distinct characteristics, ethnicity, and identities that make a group different from another in this image. While the image looks unremarkable, it also sheds light on stereotypes, biases, and truest history.

In the central part, we can see some of the characters’ faces and expressions. It seems to be a deliberately sought out Angle to show the faces of these people. We see many people sitting in a small boat at the front, but behind them are fewer people of different colors. From the clothing and dress, we can see that these people have different identities. Someone is playing the piano; someone is standing very deliberately. You can see it in the background architecture; it looks very European. Whether it is the dress or the architecture, I will think of these people as representing the old aristocracy.

Even the image is from 1824, After Santa Anna and Guadalupe Victoria deposed Iturbide and set up a republic. Slavery still exists. In the articles we read before. but why does this image make these aristocrats so contrived and annoying? In the past, people seize the land to become the local aristocracy, turning the indigenous people into their own tenants. Then, they let them change their name to Christ, make them their own slaves, and then carry out the slave trade. The bad side is also apparent, hindering local culture development, the emergence of national conflicts, and shows the competition for interests. It also leads to social instability.In the articles, Angela Batallas tries to carry out the slave revolution through litigation; they argued that “one could not free the colony without freeing all the people.” At the time, more people thought it was just something that was common during the revolution, but I think it was the beginning of the end of slavery.

Finally, from the ethical perspective of modern society, colonies are the oblation of local culture and resources. At this point, the colonies were the product of the historical trend, the advanced civilization’s tool, the government of advanced civilization. Some countries are still under the influence of colonial culture.