Mexican America - Mexican America: Glossary

Mexican America: Glossary
Anglo: In Texas, New Mexico, and other areas of the United States with a large Hispanic or Mexican American populations, Anglo (from Anglo-Saxon) refers to white English speakers, their cultures, and their historical perspectives. This term, which is rooted in real social and territorial conflict, reflects a long-standing perception of cultural difference between the descendants of English- and the Spanish-speaking colonists.
Asian Exclusion: East Asian workers played a key role in transforming the economy of the American West in the decades following the Mexican-American War in 1848. The Chinese began arriving inCalifornia with the gold rush of 1848. Over the next fifty years, they became important in railroad, mining, agricultural, and fishing industries. The Chinese met hostility on U.S. soil, and their rising presence triggered a xenophobic and racist backlash across the United States . Laws were passed to exclude Chinese, Japanese, and other Asians from American citizenship and even residence. Laborers fromMexico were recruited to work in California to fill the vacuum created by excluded Asian labor.
Aztec Empire: The Aztec Empire was the last civilization to rule the ancient and densely populated Valley of Mexico before Spanish colonization. It began as a federation of three lake-side cities, Tenochtitlán, Texcoco, and Tlacopán, also referred to as the Triple Alliance. Warriors from these cities conquered or intimidated neighboring nations into an enormous tribute-based network for exchanging raw and finished goods. The Aztec referred to themselves as Mexica. The language spoken throughout the Aztec Empire was Náhautl.
Aztlán: According to their own stories, the Aztecs, also know asMexica, migrated to central Mexico from a distant homeland. Called Aztlán, it has an important place in Chicano mythology. As a symbolic reclamation of their place in American history, Chicanos located Aztlán in the Southwest United States, in the area conquered during the Mexican-American War.
Benito Juárez: Benito Juárez (1806-1872) was Mexico ’s president from 1858 to 1872, during a period of political and social reform known as La Reforma. Famous for resisting the French occupation during the 1860s, and for limiting the influence and privileges of the military and the Catholic Church, he is cherished as one of the nation’s best-loved leaders. Juárez, who spoke only Zapotec (an indigenous language from southern Mexico ) throughout his childhood, remains Mexico ’s only indigenous president to date.
Charreada: The Mexican spectacle of equestrian and ranching sports is celebrated in both Mexico and the United States to maintain the traditions associated with the charrería.
Charrería: Mexican rodeo and equestrian traditions, including the performance and paraphernalia of musicians, riders, and cowboys, are known collectively as charrería.
Charro: In Mexico , cowboy and rodeo traditions have evolved into a national sport accompanied by elaborate fanfare. The charro, with his broad sombrero and matching outfit, is the gentrified version of the humble vaquero, or cowboy. Charro attire, known for its elaborate decorative metalwork, is closely associated with equestrian sports and crafts like saddle making.
Chicana, Chicano: In the late 1960s, men and women of Mexican descent in the western and southwestern United States were developing new political strategies and elaborating new identities. Chicano, for men, and chicana, for women, are old labels that were reclaimed to signal engagement in the struggle for social justice and equity in housing, education, labor rights, and other areas. Still current, chicano indicates a cultural outlook rooted in the indigenous past, one that does not favor Hispanic origins or whiteness, but absorbs and reinterprets American popular culture.
China Poblana: The china poblana is the legendary figure in Mexican popular history who incorporated Chinese silks into the traditional women’s dress to invent the china poblana dress. According to some accounts, the original china poblana was a woman enslaved in Asia and finally sold in the colonial city of Puebla. While shrouded in historical and ethnic ambiguity, she is a figure who reveals Mexico as a center of global exchange between Asia and Europe.
Conjunto: In the early 1900s, farming communities in South Texas were dancing to a style of music they called conjunto. After World War II, many South Texans left the region for better job opportunities, particularly in the western United States and the Midwest, and brought conjunto along with them. Though South Texas is still the center of conjunto performance, over the decades the music has evolved into several regional varieties. Called música norteña on the Mexican side of the border, conjunto musicians play the accordion, the bajo sexto (a 12-string guitar), bass, and drums to perform songs styles such ascorridos, polkas, rancheras, cumbias, and the vals.
Corrido: The corrido is a type of Mexican ballad that tells dramatic stories about love and betrayal, confrontations with the law, and other popular themes from the imagination and real life of communities living along the U.S.-Mexican border.
Cumbia: Originally from northern Colombia ’s Caribbean coast, thecumbia is a set of rhythms that illustrate the centuries-long encounter between Native Americans, Africans, and their mixed descendants. Once stigmatized as “race music” in Colombia , the cumbia has become ubiquitous on dance floors and radio stations across Latin America. This more commercial cumbia, with its simpler percussive arrangement, exploded in popularity over the second half of the 20th century, with fans in Mexico , El Salvador , Argentina , and elsewhere.
Genre Scenes: Genre scenes are realistic works of art that portray everyday life—a detailed landscape, a home interior, or a public setting filled with workers, families, or other members of a community engaged in the tasks or particularities of their daily existence. Mexican genre scenes from the 1700s and 1800s offer glimpses of household objects, popular fashion, and the general social order in an era before photography.
Great Depression: From about 1930 to 1940, the United States and the entire world suffered through a wide-scale economic depression. In the United States , it coincided with a period of drought in the Midwest that created an ecological and farming crisis known as the Dust Bowl. Lasting until World War II, the Great Depression affected all Americans, with many losing their homes, businesses, and livelihoods. As many as half a million Mexicans and Mexican Americans left the United States forMexico during this decade. Unknown thousands of them were U.S.citizens forcibly deported to Mexico to minimize the competition with white American workers for jobs.
Guerrilla: Guerrilla is the Spanish word for an irregular force of local fighters who are organized to sporadically combat, or at least ambush, the better-equipped armies of foreign invaders.
Guerillero: In Spanish, someone who fights in a guerrilla is called aguerrillero.
Hispanic: Over 2,200 years ago, when the Romans conquered the Iberian Peninsula, they renamed the place Hispania, which is better known now as España, or Spain . By 1500, Spanish Catholics, who had been in the process of reconquering the land from Spanish and North African Muslims, took their fight across the ocean to the Americas . What were Spanish colonies several centuries ago are today Mexico and the Spanish-speaking republics of the Caribbean and Central and South America. As an indicator of a common history and language, many people with roots in the Spanish-speaking Americas are referred to asHispanic.
Hispano: For about 250 years, before New Mexico became part of theUnited States , it was an isolated, but relatively populated frontier region in northern Mexico . The first nonindigenous settlers in the area were Spanish, or at least identified themselves with the norms of Spanish culture (regardless of ethnicity). Like their descendants today, they called themselves hispanos as a way of distinguishing between themselves, local Pueblo communities, other Native Americans, and later arrivals from the eastern United States and Mexico .
Indian: The diverse native peoples who live in the Americas have their own names. In the histories written by European colonizers, they are often called Indians. This old term, which is based on a geographical mistake, is rich in history, but also controversy.
Latino: People with roots in the Spanish- and Portuguese-speakingAmericas today increasingly identify themselves as Latino. It is a term most commonly used within the United States to unite this ethnically and culturally diverse population. In order to disown the legacy of colonialism, this broader term is sometimes used as a replacement forHispanic.
Maguey: Also known as the century plant, the maguey (Agaveamericana) was cultivated in Mexico about 8,000 years ago. Since then it has had a prominent place in the everyday life and economy ofMexico . The maguey plant is still cultivated for its fibers, which are used to make rope and rough textiles.
Malinche: La Malinche is a historical figure whose real biography is shrouded in the myths surrounding the Spanish conquest of the Aztec Empire. Also known by the Spanish name Doña Marina, and the Náhuatl name Malintzin, she was the indigenous translator for Spanish explorer Hernán Cortés and his army as they moved from the Mexican coast inland towards the grand Aztec capital, Tenochtitlán, and beyond to Honduras. A controversial figure representing both motherhood and betrayal for the Mexican nation, La Malinche gave birth to Hernán Cortés’s first and favorite son.
Manifest Destiny: Throughout the 1800s, Americans, including recent immigrants from Europe, poured over the Appalachian Mountains and moved West toward the Great Plains. By 1848, following the U.S. victory in the Mexican-American War and the California gold rush, many Americans felt it was their God-given right to expand across the continent and rule it from shore to shore. This belief, rooted in ideas about nation, race, and progress, is called Manifest Destiny.
Mariachi: Mariachis, groups comprised of vocalists, trumpeters, violinists, and various bass and guitar players, are today consideredMexico ’s traditional musical ensemble. Originating in the state of Jalisco, mariachi music transformed itself from a regional to a national music between the 1930s and 1950s.
Matachines: Representing different regional styles, the matachines are masked performers who dance in areas of Northern Mexico and the Southwest, often in honor of the Virgin of Guadalupe. Originally commemorating the expulsion of the Moors from southern Spain in 1492, this dance was introduced to Mexico to facilitate the Christianization of Native Peoples. The dances of the matachines developed into a symbolic retelling of the military conquests and spiritual imposition of the Spanish colonizers.
Maya: The term Maya is used to group together the related contemporary and historical communities and language groups of southern Mexico (including the Yucatan), Guatemala , Belize , Honduras, and El Salvador . The Mayans developed an enduring writing system that was in use even during the initial period of Spanish colonization. Because the region where Mayans lived was politically fragmented, poor in precious metals, and highly resistant to Spanish cultural intrusion, some Mayan communities maintained their independence until the end of the 1600s.
Mesoamerica: Mesoamerica is a term used to describe the land and culture between central Mexico and Nicaragua . This fertile, diverse, and densely populated region has been economically and politically connected for millennia. It is also one of the centers of scientific and cultural innovation in pre-European America .
Mestizo: A Spanish term meaning “mixed,” mestizo is the racial formula often used to ethnically categorize Latin America, and particularly Mexico . Although it usually refers to a person of mixed European and indigenous ancestry, the term historically has also included people of mixed African ancestry as well. Like all racial labels, it is subject to significant local and personal interpretation.
Mestizaje: From the Mexican perspective, the notion of mestizaje, or racial mixture—in this case predominantly between native peoples and Europeans and their descendents—is at the core of what many Mexicans and Mexican Americans consider their national identity. Implicit in this idea, however, has been a notion of progress that includes mestizos and whites, while equating native people with the premodern past and diminishing the historical African presence in Mexico .
Metate: The metate is an ancient piece of technology used by indigenous women in Mesoamerica. It is a flat, slightly convex grinding surface made from stone, usually with three or four legs. After soaking dried corn grains in limewater to remove the outer hull (thereby maximizing its nutritional value), the women grind the processed corn on the table-like metate with another stone resembling a rolling pin. The dough created on metates makes the tortillas that have been the staple food of Mesoamerica for millennia.
Mexica: The people whom today we call Aztec, called themselvesMexica. The term Aztec was adopted in the 19th century as a way to distinguish contemporary Mexicans from the historic empire encountered by the Spanish in 1519.
Mexican American: This term describes a wide category of people who live in the United States and who have a familial link to Mexico or Mexican culture. It can include people who have roots in the territory conquered by the United States in the Mexican-American War, and who might not speak Spanish, as well as recent immigrants, some of whom might speak an indigenous language.
Mexican-American War: The Mexican-American War (1846-1848) was a territorial conflict between the United States and Mexico . It has its roots in the secession of Texas from Mexico in 1836, and its annexation by the United States in 1845. This war was devastating forMexico , which was invaded by U.S. armies and lost the upper half of its territory (from California to Texas) to the United States under terms set by the Treaty of Guadalupe Hidalgo. Worse off were the Mexican citizens who suddenly found themselves living in the United States . Many found themselves dispossessed of their land by new English-speaking settlers, particularly from the American South, and were relegated to second-class citizenship for generations.
Mexican Revolution: The Mexican Revolution was a civil war fought on several fronts across Mexico from 1910 till about 1920. Several famous figures such as Emiliano Zapata and Pancho Villa took part. This war, involving movements as diverse as indigenous farmers seeking land redistribution, organized industrial workers, and local elites seeking greater political representation, all united against the 30-year rule of Porfirio Díaz. While Mexico ’s new liberal constitution was written in 1917, the country’s full transition to a peaceful democracy was not complete until the end of the 1920s.
Moctezuma: Moctezuma was the Aztec emperor who encountered Hernán Cortés and his able translator, La Malinche, also known as Doña Marina, during the Spanish invasion of Mexico in 1519. Held hostage by the Spanish in his splendid palace in Tenochtitlán (latter-day Mexico City), Moctezuma died from wounds reputedly inflicted by Aztecs angry at his perceived incapacity to expel the foreign invaders.
Moors: The Moors were North African Muslims who ruled the southern half of Spain during Europe’s Middle Ages. After centuries of warfare between several small Christian and Muslims kingdoms, Catholic Spain succeeded in uniting itself by 1492 and expelled the Muslim (Moorish) and Jewish communities. This major historical event, known as thereconquista, or reconquest, was retold in epic tales and plays. Across Hispanic America, the story of this conflict between Moors and Christians was retold and reinvented to reflect local experiences of Spanish conquest and colonization.
Muralism: On the heels on the Mexican Revolution (1910-1920), the Mexican government engaged in a serious mission to fund the arts, and art education. Murals, large paintings on walls in public spaces, became a means of creating a democratic art form that could uplift and dignify working men and women. Several prominent Mexican artists united around this idea, known as muralism, throughout the 1920s and 1930s. The most famous are José Clemente Orozco, Diego Rivera, and David Alfaro Siqueiros.
Música Norteña: see Conjunto
Náhautl: The language spoken throughout many indigenous communities in central Mexico is Náhuatl. This was the language spoken throughout the Aztec Empire and taught in Aztec schools. Moving into the countryside following the conquest, Spanish priests learned indigenous languages and created new schools. These priests revolutionized Náhuatl and Mayan languages with the introduction of Latin letters. Indigenous communities were considered outside the Spanish social order, but still very much related to it. Náhuatl and Maya languages had a strong literary and administrative presence during the colonial period.
Native American: Native American is a term used most commonly in the United States to describe the indigenous peoples living between the Bering Strait in Alaska and Tierra del Fuego in Chile . Native American is often used as a replacement for the older term, Indian.
Paño: Paños are graphic art works designed on handkerchiefs by Chicano prisoners in California, Texas, and the Southwest. Like a letter that retells memories of both good and bad times, paños are often mailed as gifts to friends and loved ones.
Peso: The unit of currency in Mexico and other Latin America countries.
Pulque: Made from fermented maguey juice, pulque was once a popular beverage throughout Mexico . After the development of railways throughout central Mexico in the late 1800s, vast maguey plantations cropped up around Mexico City, supplying it daily with fresh pulque, which can spoil in as little as a day. Since the 1920s, pulque has been largely replaced by bottled beer, which was marketed as more “modern and hygienic.”
Pulquería: Once a common sight in Mexico , but now found mostly in the countryside, a pulquería is a tavern where men consume pulque.
Olmec: From about 1200-400 B.C., a complex and regionally influential culture developed along the Gulf Coast of Mexico, in the area ofVeracruz and Tabasco. Called Olmec by 19th-century researchers, we do not know what this stone-carving, monument-building, and jade-loving people called themselves. What is certain is that many attributes of their civilization, such as astronomy and mathematics traditions, ritual ball games, and writing, were carried on and developed by other Mesoamerican civilizations until the Spanish conquest.
Pre-Hispanic: Pre-Hispanic is a term used to describe the period of Latin American history before the arrival of Spanish colonists—the first group of Europeans and Africans in North America.
Pueblo: The Spanish word for town, it is also used to describe the adobe village-dwelling indigenous peoples who still farm along the tributaries of the Rio Grande and Colorado Rivers of New Mexico andArizona. Many of these pueblos, such as the Zuni or the Hopi, have maintained separate political and cultural identities from Spanish, Mexican, and later Anglo settlers who have since populated the Southwest.
Ranchera: A classical song genre in 20th-century Mexican popular music, the ranchera is often a love song, especially for the nation and countryside. Rancheras were often featured in movies, and became favorite songs among Mexican and Latin American audiences watching Mexican films from the 1940s to the 1960s.
Ranching: The horse, cattle, and sheep cultures of the American West were introduced to central Mexico from Spain in the 1500s. Outside of mining, this herding economy, which concentrated large holdings of land among relatively few families, came to dominate the social structure of northern Mexico, including areas as far north as Texas and California. Ranching culture had at least two profound consequences—the destruction of the region’s grasslands, and the arrival of the horse in the cultures of the many tribes of the North American Great Plains.
Retablo: Spanish colonial art is known for particular kinds of religious imagery. Retablos are painted pieces of wood (often depicting saints) that decorate church or home altars.
Rio Grande: Called the Rio Bravo in Mexico , the Rio Grande River rushes south out of northern New Mexico, and cuts the long border between Texas and Mexico . Racist terms like “wetback,” or the Spanish notion of “mojado,” meaning “wet,” have their origin in the experience of migrants crossing of this dangerous river border.
Santero: When talking about Catholic devotional art, a santero is both an artisan and believer who crafts objects like religious figurines (santos), biblical paintings, and other decorative art for home altars or churches.
Santos: The lives of saints play an important role in the education and beliefs of Catholics. Santos are the carved and painted wooden images of saints produced by santeros in places like New Mexico and Puerto Rico.
Tajadero: Spanish for a chopping knife, tajadero is the term used to refer to the axe-shaped money used in Mesoamerica in the pre-Hispanic period and up to the early colonial period around 1600. One tajaderowas equivalent to about 8,000 cacao beans—the other prevalent unit of currency in the region.
Tejano: Tejano, the original Spanish term for a Texan, can be used to describe the Hispanic and/or Mexican residents of Texas both before Texan Independence (1836) and up to the present.
Tlaxcala: An island in the middle of the Aztec Empire, Tlaxcala was a Náhuatl-speaking confederacy that resisted Aztec conquest for over a century. Allying themselves with Hernán Cortés’s small army of Spaniards and rallying other Aztec enemies, the Tlaxcaltecs played a key role in dismantling the Aztec Empire.
Treaty of Guadalupe Hidalgo: see Mexican-American War
Vals: Spanish for waltz, this musical form was popular in the 19thcentury throughout Latin America, where it developed many regional interpretations from Texas to Peru .
Vaquero: Spanish term for cowboy.
Yaqui: Living in the arid region of Sonora and Arizona, the Yaqui are an indigenous people known for their resistance to both Spanish and Mexican authorities. Never conquered by Spanish forces, the Yaqui made several attempts at independence from the new Mexican state after the 1820s. Enduring the brutality of the Mexican government throughout the 19th- and into the 20th centuries, at least 8,000 Yaquis were deported to henequen plantations in the Yucatán as enslaved workers. Thousands more were displaced, many seeking refuge inArizona, particularly in the wake of the Mexican Revolution.
Zuni: The Zuni, also known as the Zuñi or Ashiwi, are an indigenous community that has farmed and built villages along New Mexico’s ZuniRiver Valley for at least 1,000 years. The Zuni entered the Spanish imagination when one of their pueblos, Hawikuh, was reported to be the mythical, gold-rich city of Cíbola. Such speculation motivated further intrusion into the region by Spanish explorers (most notably Francisco Vásquez de Coronado), missionaries, and settlers.
"Mexican America - Mexican America: Glossary" showing 34 items.
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Spur
- Description
- This spur, worn over a riding boot, was made in Mexico in the mid-1800s. Rubbed against the animal's side, spurs are one of the instruments that riders use to direct horses. The spikes on this spur are set on a small wheel called a rowel, making this a rowel spur. Horses and good riding equipment, such as spurs, saddles, stirrups, and leather coverings, played a fundamental role in the European conquest, exploration, and settlement of wide areas of North America. Much of the technique and craftsmanship of riding culture that was found in the American West among both Native Americans and later U.S. settlers was introduced by the Spanish in Mexico within the first century of colonization (1500s). During this period, huge herds of cattle and sheep (both newly introduced species, like horses) flooded the dry grasslands of northern Mexico and were tended by men who would later be called vaqueros—cowboys. The ranching culture that they developed, as well as the ecological destruction that grazing produced, stretched from Texas to California. This economy of raising livestock on the open range was embraced by settlers coming overland from the American East along routes like the Santa Fe, Old Spanish, and Gila trails. To this day, ranching remains a vital economic and cultural force in both the American West and northern Mexico.
- Location
- Currently not on view
- Date made
- 1840 - 1860
- ID Number
- CL*004841
- catalog number
- 4841
- accession number
- 2007.0144
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Azada de Mango Corto
- Description
- A short Handled hoe, 1936 hoe. Original owner Librado Hernandez Chavez, (father of Ceser Estrada Chavez). The hoe has a metal blade welded to a metal neck and a wooden handle. The two are attached by a slot screw. The top edge of the blade is similar to the two curves at the top of a valentine hear. Blade recently sharpened.
- The short-handled hoe brings back memories of back-breaking labor for generations of Mexican and Mexican American migrant workers who sustained California's booming agricultural economy. Since the late 1800s, its expansive fields of produce have relied on a cheap, mobile, and temporary workforce. The short-handled hoe required workers to bend painfully close to the ground to weed and thin crops. The state abolished the short-handled hoe in 1975, ruling it an occupational hazard after a seven-year legal battle. During this period of political mobilization, the predicament of the migrant farm worker became emblematic of the limited opportunities and the cycle of poverty that trapped many Mexican Americans. In 1966, when Mexican and Filipino American farm workers were brought together under the banner of the United Farm Workers of America, the struggle for labor rights was understood by its supporters as part of the much larger civil rights movement. It was not just important for Mexican Americans but also other low-paid workers. The hoe pictured here belonged to Librado Hernandez Chavez, father of civil rights leader and farm worker organizer, Cesar Estrada Chavez.
- Location
- Currently not on view
- Date made
- 1936
- user
- Chavez, Librado Hernandes
- Chavez, Cesar Estrada
- ID Number
- 1998.0197.01
- accession number
- 1998.0197
- catalog number
- 1998.0197.01
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Market Plaza Mexico
- Description
- This aquatint, titled Market Plaza by Geoge O. "Pop" Hart, was printed about 1925, a period of peak migration for workers streaming to the United States seeking opportunity in the United States and escape from the chaos of the Mexican Revolution (1910 1921). Many of the married men settled in the United States and brought their wives and families—from 1900 to 1932, the Mexican-born population of the United States grew from 103,000 to over 1,400,000. Other Mexican workers returned to their homes in Jalisco, Guanajuato, or Michoacán, and came north periodically in search of seasonal or temporary work. Replacing recently banned workers from Asia, these men provided cheap labor for the newly irrigated cotton fields of Texas and Arizona, the copper mines of Utah, the fruit processing plants of California, and the railroads that connected all points in between. An abundance of factory jobs also increasingly attracted Mexican migrants to cities like Chicago and Milwaukee. But many of these hard-earned economic opportunities in the United States came to an end during the Great Depression of the 1930s. Mexican workers in areas like California had to compete with economic refugees from across the country. Many were targets of discrimination and anti-immigrant violence. Thousands of American citizens were among the 500,000 men, women, and children forcibly and suddenly moved to Mexico on buses and trains from Texas and California during the Great Depression. This print is one of a series of images created by American artists traveling in Mexico.
- Location
- Currently not on view
- Date made
- ca 1925
- Associated Date
- 20th century
- graphic artist
- Hart, George O. "Pop"
- ID Number
- GA*14183
- catalog number
- 14183
- accession number
- 92987
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Mariposas en Patyenaro
- Description
- With the lucrative growth of tourism in 20th century, stereotypical and processed images of Mexico have often been marketed to the American imagination. In them, "South of the Border" becomes a sunny pre-modern place of vacations, trinkets, and convenient lawlessness. But contrasting and complex images of Mexico have pervaded the American imagination since well before the Civil War. Mexico, itself defined by cultural and racial exchange, has historically represented a starkly different social order to most Americans. A country with cheap land and labor and bountiful mineral and agricultural resources offered economic opportunities to many Americans, from white financiers and mercenaries to black oil workers and baseball players. Mexico was also a refuge for many American artists, of Mexican descent or otherwise, who imagined Mexico in different ways. Some artists sought inspiration from its ancient history, and others came looking for a pristine and exotic landscape. This lithograph, titled Mariposas at Patyenaro was drawn by Alan Crane in 1943. It depicts the picturesque, butterfly-shaped nets of Mexican fisherman paddling their canoes on a lake. 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. Similar prints by Crane showing scenes of idyllic Mexico are housed in the Graphic Arts Collection of the National Museum of American History.
- Location
- Currently not on view
- Date made
- 1943
- maker
- Crane, Alan
- ID Number
- GA*23830
- catalog number
- 23830
- accession number
- 306563
- 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
Toluca Market
- Description
- This scene of the Toluca market was depicted by Alan Crane in 1946. Housed in the Graphic Arts Collection of the National Museum of American History, it is one of a series of lithographs of Mexican landscapes and genre scenes he printed during the 1940s. The growth of the tourist industry, rebounding after WWII, created a market for images of an idyllic Mexico—peaceful, scenic, and premodern. The elements of everyday life shown here—the densely packed stands of the ceramics vendors, the pulquería (a cantina that serves pulque, the fermented juice of the maguey plant), and the traditional dress of the marketeers—were as foreign to the urbanized Mexican American youth in Los Angeles, El Paso, and San Antonio as they were to American tourists seeking a memento of "Old Mexico." The generations of youths who grew up in the 1930s, 1940s, and 1950s were fundamental in negotiating the language, aesthetics, and political vision that would constitute the contemporary culture of Mexican Americans. These young men and women, many of whom were war veterans as well as industrial and agricultural workers, created empowering images of Mexican Americans as they defined new roles for themselves as activists during the civil rights struggles of the 1950s, 1960s, and 1970s.
- Location
- Currently not on view
- Date made
- 1946
- graphic artist
- Crane, Alan
- ID Number
- GA*23825
- catalog number
- 23825
- accession number
- 306563
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Hernan Cortes
- Description
- This engraving shows Hernán Cortés (1485–1547), the Spanish captain who headed the conquest of the Aztec Empire. He became a part of popular mythology the moment he arrived in Mexico in 1521. Cortés had spent time in Cuba killing and enslaving its indigenous inhabitants and administering the new social order of the Spanish colonies of the Caribbean. As his well-read memoirs attest, even his experiences in Cuba did not prepare him for the history-altering intrigues, battles, and cultural encounters between the Spanish and the Mexicans, Mayas, and their many neighbors in between. Motivated by an ancient notion of fame, Hernán Cortés wrote his own version of the conquest of Mexico that put him squarely at the center, favored by the Christian God. But neither his victories nor his pillage of the Mexican capital would have been possible without the aid of soldiers, slaves, and supplies from the enemies of the Aztecs. As a testament to Cortés's enduring fame, his portrait by the Spanish painter Antonio Carnicero was published as an engraving by Manuel Salvador y Carmona in 1791 in the book, Retratos de los españoles ilustres, con un epítome de sus vidas, (Portraits of Illustrious Spaniards, with a Synopsis of Their Lives.)
- Location
- Currently not on view
- Date made
- ca 1795
- depicted
- Cortes, Hernan
- original artist
- Carnicero, D. A.
- graphic artist
- Carmona, D. J. A.
- ID Number
- GA*20683
- catalog number
- 20683
- accession number
- 226630
- 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
Work and Rest
- Description
- The Graphic Arts Collection of the National Museum of American History houses an extensive series of prints by archeologist and artist Jean Charlot (1898–1979), and prominent Los Angeles printer Lynton Kistler (1897–1993). Charlot, the French-born artist of this print, spent his early career during the 1920s in Mexico City. As an assistant to the socialist painter Diego Rivera, he studied muralism, a Mexican artistic movement that was revived throughout Latino communities in the United States in the 1960s and 1970s. This lithograph, titled Work and Rest contrasts the labor of an indigenous woman, grinding corn on a metate, with the slumber of her baby. Printed by Lynton Kistler in Los Angeles in 1956, it presents an image of a Mexican woman living outside the industrial age. This notion of "Old Mexico" unblemished by modernity appealed to many artists concerned in the early 20th century with the mechanization and materialism of American culture. It was also a vision that was packaged as an exotic getaway for many American tourists. It is worth contrasting the quaint appeal of an indigenous woman laboring over her tortillas with the actual industrialization of the tortilla industry. By 1956, this woman would likely have bought her tortillas in small stacks from the local tortillería, saving about six hours of processing, grinding, and cooking tortilla flour.
- Location
- Currently not on view
- Date made
- 1956
- graphic artist
- Charlot, Jean
- printer
- Kistler, Lynton R.
- ID Number
- GA*23355.05
- catalog number
- 23355.05
- accession number
- 299563
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Mexican Kitchen
- Description
- The French-born artist Jean Charlot spent his early career during the 1920s in Mexico City. His 1948 lithograph depicts a scene from the domestic life of a Mexican indigenous woman, a favorite theme of the artist. Household work—without the aid of most, if any, electrical appliances—was a full-time job for many working-class and poor Mexican women, north and south of the border, well into the 20th century. Food preparation was especially labor-intensive. Corn had to be processed, wood gathered, and water fetched, in the midst of child rearing and other household duties. This was the daily fare of most women, who rarely worked outside the home after marriage. Mexican American women who found work in cities like El Paso in the early 20th century were either single or widowed. Many worked as domestic servants, others in industrial laundries or textile mills. Like today, some women turned to their kitchens to earn a living, making meager profits selling prepared food on the street to Mexican American workers and Mexican migrants.
- Location
- Currently not on view
- Date made
- 1948
- graphic artist
- Charlot, Jean
- ID Number
- GA*23377
- catalog number
- 23377
- accession number
- 299563
- Data Source
- National Museum of American History, Kenneth E. Behring Center
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