Mexican America - Introduction

Introduction
"Mexican America" is a sampling of objects from the collections of the National Museum of American History. The stories behind these objects reflect the history of the Mexican presence in the United States. They illustrate a fundamentally American story about the centuries-old encounter between distinct (yet sometimes overlapping) communities that have coexisted but also clashed over land, culture, and livelihood.
Who, where, and what is Mexico? Over time, the definitions and boundaries of Mexico have changed. The Aztec Empire and the area where Náhautl was spoken—today the region surrounding modern Mexico City—was known as Mexico. For 300 years, the Spanish colonizers renamed it New Spain.
When Mexico was reborn in 1821 as a sovereign nation, its borders stretched from California to Guatemala. It was a huge and ancient land of ethnically, linguistically, and economically diverse regions that struggled for national unity. Texas, (then part of the Mexican state of Coahuila y Tejas) was a frontier region far from the dense cities and fertile valleys of central Mexico, a place where immigrants were recruited from the United States. The immigrants in turn declared the Mexican territory an independent republic in 1836 (later a U.S. state), making the state the first cauldron of Mexican American culture. By 1853, the government of Mexico, the weaker neighbor of an expansionist United States, had lost what are today the states of California, Nevada, Utah, Arizona, New Mexico, Texas, and parts of Colorado and Wyoming. In spite of the imposition of a new border, the historical and living presence of Spaniards, Mexicans, indigenous peoples, and their mixed descendants remained a defining force in the creation of the American West.
“La América Mexicana” es una muestra conformada por objetos provenientes de las distintas colecciones del Museo Nacional de Historia Americana. Estos objetos reflejan la historia de la presencia mexicana en los Estados Unidos e ilustran una crónica fundamentalmente americana acerca del encuentro centenario entre comunidades diferentes que han coexistido, pero que también se han enfrentado, en la pugna por la tierra, la cultura y el sustento.
¿Quién, dónde y qué es México? Con el transcurso del tiempo, las definiciones y los límites de México han ido cambiando. Se conocía como México al Imperio Azteca y toda el área donde se hablaba náhuatl —actualmente la región circundante a la ciudad de México. Durante 300 años los colonizadores españoles se refirieron a ella como Nueva España. Cuando en 1821 México resurgió como una nación soberana, sus fronteras se extendían desde California a Guatemala. En ese entonces era un antiguo e inmenso territorio conformado por regiones étnica, lingüística y económicamente diversas que luchaban por adquirir unidad nacional. Texas (en ese entonces parte de los estados mexicanos de Coahuila y Tejas) era una región fronteriza lejos de las densas urbes y de los fértiles valles de México central, donde se reclutaban inmigrantes de los Estados Unidos. En el año 1836 este territorio mexicano se declaró como república independiente (y más tarde, estado de EE.UU.), convirtiéndose en el primer calderón de la cultura mexicoamericana. Hacia 1853, el gobierno de México, el vecino débil de un Estados Unidos en expansión, había perdido el territorio de los actuales estados de California, Nevada, Utah, Arizona, Nuevo México, Texas y partes de Colorado y Wyoming. A pesar de la imposición de un nuevo límite fronterizo, la presencia histórica y ocupacional de los españoles, mexicanos y pueblos indígenas, junto a sus descendientes mestizos, constituiría a lo largo del tiempo una influencia determinante para el desarrollo del Oeste Americano.
"Mexican America - Introduction" showing 5 items.
Orale ese Vato
- Description
- As this paño humorously titled Orale ese vato (Spanish for roughly, right on, man) shows, one characteristic of Chicano art is that it avidly consumes and reconfigures both American and Mexican pop culture with its own slang, looks, and attitude. A paño is a hand-drawn handkerchief traditionally designed by Chicano prisoners. Like a letter that retells memories of both good and bad times, paños are often mailed as gifts to friends and loved ones. Valued as a vibrant popular art that overlaps with muralism, tattoo design, graffiti, and auto airbrushing, paños and their makers are receiving increased exposure for their visual storytelling abilities. An illustrator and a muralist known for depicting Chicano themes, Walter Baca (1947-1993) designed this paño in New Mexico in 1992.
- Location
- Currently not on view
- Date made
- 1992
- artist
- Baca, Walter R.
- ID Number
- 1993.0150.02
- catalog number
- 1993.0150.02
- accession number
- 1993.0150
- Data Source
- National Museum of American History, Kenneth E. Behring Center
"Valor"
- Description
- Mexican Americans have served in U.S. armed forces since the Civil War. But it was the generation of Mexican Americans returning from World War II who mobilized their communities and changed the political landscape of the West. Laying the groundwork for the Chicano movement of the 1960s, organizations like the American G.I. Forum began advocating on behalf of Hispanic veterans who were denied the educational, health care, housing, and other rights guaranteed by the G.I. Bill. Often working in concert with the League of Latin American Citizens (LULAC) and other Latino civil rights organizations, the Texas-based G.I. Forum soon engaged in broader social battles over school desegregation and voter registration rights. Today, the G.I. Forum is a nationally recognized source of scholarships among Mexican American students. This paño, titled Valor, the Spanish word for courage, commemorates the Korean War Medal of Honor winner Rodolfo Hernández. Paños are an art form created traditionally by Chicano prisoners on white handkerchiefs. Often mailed as gifts to friends and families, the images on paños remember loved ones, depict important memories, and tell stories about the dark side of life, as well as redemption. The maker of this paño is unknown.
- Location
- Currently not on view
- Date made
- 1988
- depicted
- Hernandez, Rudy
- ID Number
- 1993.0150.06
- catalog number
- 1993.0150.06
- accession number
- 1993.0150
- Data Source
- National Museum of American History, Kenneth E. Behring Center
1879 Almanac
- Description
- Titled Un Calendario Curioso para 1879, this almanac was printed in Mexico at the beginning of the Porfiriato—the period between 1876 and 1911 dominated by the presidency of Porfirio Díaz. This was a period of intense foreign investment in Mexico. U.S. corporations were especially active in Mexico's mining industry, which was now connected to the United States by an ever-expanding web of railroads. While many fortunes were made during this era of peace and economic growth, the boom did not trickle down to the rural poor or the urban working classes. Many small farmers and indigenous communities lost their fields to powerful landlords and plantation owners. The middle and upper classes also grew disgruntled as the political elite stifled the country's democracy in the name of progress. This almanac offers a window into the everyday lives of Mexicans living in the late 1800s. In addition to a year-long forecast, it includes a timeline of world and Mexican history, highlighting dates such Noah's flood and the execution of Emperor Maximilian. A section at the end offers an elaborate list of recipes selected by "people of good taste" for "people of all classes."
- Location
- Currently not on view
- ID Number
- CL*300959.14
- catalog number
- 300959.14
- accession number
- 300959
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Night of the Dead
- Description
- Though anchored in local Roman Catholic traditions, many of the religious beliefs and symbols of Mexican Americans have roots in indigenous notions about the soul and our universe. Between October 31st and November 2nd, Día de los Muertos, or Day of the Dead, is celebrated with family, decorating home altars and visiting the graves of loved ones. A holiday with much regional and individual variation, it is traditionally an occasion to commemorate parents and grandparents with altars of marigolds, candles, alcohol, skeleton-shaped sweets, and other foods and personal objects favored by the dearly departed. Day of the Dead celebrations were reinvented across many Mexican American communities beginning in the 1970s, as the Chicano movement promoted and readapted Mexican cultural practices. Many artists since then have seized on the visual power of the altar as a conduit for personal and public memory. In the United States, Day of the Dead altars can be found interrogating life and critiquing politics in public places. Contemporary Day of the Dead celebrations have memorialized those who have died from AIDS, gang violence, the civil wars in Central America, and crossing the border. This lithograph, titled Night of the Dead, was originally drawn in ink by Alan Crane in 1958. Alan Horton Crane (1901–1969) was a Brooklyn-born illustrator best known for his landscapes and genre scenes of life in Mexico and New England. This image is part of a series of prints by Alan Crane housed in the Graphic Arts Collection of the National Museum of American History.
- Location
- Currently not on view
- Date made
- 1958
- maker
- Crane, Alan
- ID Number
- GA*23836
- catalog number
- 23836
- accession number
- 306563
- Data Source
- National Museum of American History, Kenneth E. Behring Center
La Malinche
- Description
- La Malinche, the title of this lithograph, was the indigenous woman who translated for Cortés between Maya, Náhuatl, and Spanish during his first years in Mexico. Considered either as a traitor or a founding mother by some Mexicans, La Malinche was Cortés's lover and the mother of his favorite son Martín. She and Moctezuma are also central figures in the Matachines dances that are performed in Mexico and New Mexico. Originally commemorating the expulsion of the Moors from southern Spain in 1492, the dance was brought to Mexico where it was treated as a means for Christianizing native peoples. The historical figure of La Malinche, known in Spanish by the name Doña Marina, is also credited for playing an almost miraculous role in the early evangelization of central Mexico. This print, made by Jean Charlot in the 1933, shows a young girl in the role of La Malinche, holding a rattle or toy in one hand, and a sword in the other. Jean Charlot, a French-born artist, lived and studied in Mexico in the 1920s and 1930s. He depicted stylized scenes from the daily life of Mexican workers, particularly indigenous women.
- Location
- Currently not on view
- Date made
- 1933
- graphic artist
- Charlot, Jean
- ID Number
- GA*23401
- catalog number
- 23401
- accession number
- 299563
- Data Source
- National Museum of American History, Kenneth E. Behring Center

