The Saamaka Maroons of Suriname

Author(s):  
Richard Price ◽  
Sally Price

This is an advance summary of a forthcoming article in the Oxford Research Encyclopedia of Latin American History. Please check back later for the full article. Fifty years ago, we began wide-ranging anthropological and historical work with Saamaka Maroons, the descendants of slaves who had escaped from the plantations of coastal Suriname in the late 17th and early 18th centuries and established an independent society and culture deep in the Amazonian rainforest. Then a colony of the Netherlands, Suriname became an independent republic in 1975. Events of the 1980s and 1990s—most notably a civil war between the State and the Maroons and the subsequent decision by the State to exploit the timber and mineral riches of the Saamakas’ traditional territory—have led to wrenching changes for people who were once the masters of their forest realm. As the most visible and activist academic supporters of the Saamakas, the authors were barred from Suriname by the national government and, since 1986, have been condemned to continuing work in neighboring French Guiana (Guyane), where tens of thousands of Saamakas in exile have become part of a complex multi-ethnic society driven by strong assimilationist policies authored in Paris. During this same period, the authors have become increasingly involved in activism, assisting the Saamaka people in Suriname in their struggle to protect their territory, which has unfolded before the Inter-American Court of Human Rights. What are the moral dilemmas posed by this activist work? What has it been like writing Saamaka ethnography and history from the excentric location of Guyane? How do we imagine the book that we will never get to write, about changes and continuities in Saamaka life over the past fifty years?

Author(s):  
Mariola Espinosa

This is an advance summary of a forthcoming article in the Oxford Research Encyclopedia of Latin American History. Please check back later for the full article. Yellow fever was one of the most dreaded diseases in the Caribbean region from its first appearance in the 1650s until the confirmation of its spread via the bites of infected mosquitos in 1900. Fear of the disease resulted from not just its high mortality rate, but also the horrifying manner in which it killed its victims: after several days of fever, chills, and body aches, the skin and eyes of those who were most seriously infected would turn yellow as their livers failed, they would bleed from the eyes and nose, and they would succumb to the vomiting of coagulated blood. Because the virus caused only mild symptoms in children and a single episode confers lifetime immunity, the disease did not heavily impact natives of the region. Instead, it was newcomers in the Caribbean who suffered the worst ravages.


Author(s):  
Joanne Harwood ◽  
Valerie Fraser ◽  
Sarah J. Demelo

This is an advance summary of a forthcoming article in the Oxford Research Encyclopedia of Latin American History. Please check back later for the full article. The Essex Collection of Art from Latin America (ESCALA) was originally founded as the University of Essex Collection of Latin American Art (UECLAA) in 1993, but, with no permanent display space, a versatile online presence has been essential to its success as a resource for students, curators, and researchers. By about the year 2000 it comprised around 400 works from about 10 different countries. While it is important to remember that viewing a work of art onscreen is no substitute for viewing it firsthand, the digital catalogue is an essential aspect of ESCALA’s activities. It can offer resources that a paper catalogue cannot (it can provide a record of an artist’s performance, for example), it serves as a versatile resource for teaching and research, and it generates interest in the field among those who happen upon it through random searches.


2019 ◽  
Vol 20 (2) ◽  
pp. 141-160
Author(s):  
Gonzalo Candia

AbstractLatin American history is full of populist experiments. The result of this history is a political culture across the continent characterized by conflict and polarization. The most recent wave of Latin American populism is represented by neo-populism. Neo-populism identifies itself as the “socialism of the 21st century.” Its most representative expression is the Chavista regime, which was led first by Hugo Chávez, and then by Nicolás Maduro. This Article, after examining what populism is, considers how regional human rights institutions of the Americas have dealt with the Chavista regime. In doing so, this Article describes the efforts deployed by both the Inter-American Commission and the Inter-American Court of Human Rights to keep Chávez under control. This Article concludes that regional human rights supervision, being relevant in the context of the Venezuelan experience, was finally incapable of either preventing or stopping the authoritarian path adopted by Chávez. This was because: (a) early supervision over the Chavista regime did not avert its leaders from abusing human rights afterwards; and (b) intensifying regional supervision over the regime became paradoxically self-defeating after it took full control of the State apparatus.


2006 ◽  
Vol 33 ◽  
pp. 85-100 ◽  
Author(s):  
Esperanza Brizuela-García

The idea of Africanization is arguably one of the most important and prevalent in African historiography and African studies. I first encountered this notion some eight years ago when I started graduate school. With a background in Mexican and Latin American history, I found it necessary to immerse myself in the historiography of Africa. It was in this process that I encountered the idea of Africanization. It was not always identified in this manner, but it was clear that historians were, in one way or another, articulating a concern about how “African” was African history.The objective of this paper is to examine the history of Africanization in African historiography. It departs from two basic premises. First, the issues that come with the idea of Africanization are more pronounced in the field of African history. When compared to other fields, such as Latin American history, this indigenizing of history is not given nearly so much attention. Second, the idea that African history needs to be Africanized has been taken for granted, and has not been critically examined. Here I will contend that the historical conditions that have framed the emergence and development of African historiography have made it necessary to emphasize the issue of Africanization. I will also argue that those conditions have changed in the past fifty years, and that the questions raised in the quest to Africanize history should be redefined in view of the new challenges for African history and of historiography at large.


Author(s):  
Laura Vazquez

This is an advance summary of a forthcoming article in the Oxford Research Encyclopedia of Latin American History. Please check back later for the full article. The Spanish word “historietas,” like the English word “comics,” refers to a broad and heterogeneous body of work. A comic strip, a comic series, and a graphic novel are obviously not the same thing. One term can hide genres as diverse as gag cartoons, caricatures, illustrations, figurative narration, and narrative figuration. While comic strips and historietas often share a metonymic perspective, they represent two distinct practices. Comic strips published in newspapers and magazines are part of a hybrid genre similar to cartoons and historietas. Comic strips and cartoons both feature stand-alone stories. Comic strips and historietas both present their plots in a sequential graphic narrative. Historietas differ from comic strips and cartoons by appearing in adventure magazines, graphic novels, and serials that vary in content and publication format, each adhering to its own production conditions and genre rules. Graphic humor in Argentina has historically been tied to the political and economic elite. Even so, graphic humorists were able to surreptitiously convey subversive messages through their drawings and words. To work in the professional print industry has long been defined as having one foot in media business and the other in public interest. Due to the types of publications featuring historietas, their circulation, and their readership, historieta artists (historietistas) enjoyed a comparatively greater degree of autonomy in communicating social and political criticism. For graphic humor, its comedy or realism is connected to the type of commentary that appears in the opinion page of the daily news. Such is the case with magazines like Tía Vicenta, Humor Registrado, Satiricón, and Hortensia. The central characteristics of political humor link a historieta to the social and cultural conventions of its time. Graphic humor can be read in light of the ways it is unavoidably intertextual and metacommunicational, conditioned by existing discourse. Starting in the 1960s, realist and adventure historietas cultivated stylistic voics in tune with emerging forms of reflexive irony and the historieta’s unique visual properties. Playful experimentation in the textual and graphic dimensions of the historieta resulted in strongly political tales with elements of novelty and improvisation. Historietas written by Héctor Oesterheld and drawn by Alberto Breccia are paradigmatic of this tension between historietas and politics. Their narrative and aesthetic innovations highlight how historietas can be organized as ideological discourse, intervening alongside popular culture in the debates and dilemmas of the time.


Author(s):  
Anne E. Peterson ◽  
Cindy Boeke

This is an advance summary of a forthcoming article in the Oxford Research Encyclopedia of Latin American History. Please check back later for the full article. Collections at Southern Methodist University's DeGolyer Library focus on the U.S. West, the Spanish borderlands, transportation, business history, and much more. The DeGolyer has over 900,000 photographs and is especially rich in Mexican photography. With more than 120 Mexican accessions, mostly from the period ca. 1865–1930, the DeGolyer has one of the most comprehensive photographic collections in the country totaling more than 8,500 photographs and 3,000 negatives. Additional Mexican accessions include portraits, manuscript collections of viceroyalty documents (some signed by Spanish kings), land grants, applications for nobility, documents related to the Catholic Church and to the emperors Iturbide and Maximilian, materials from the Mexican War and Texas Revolution, early maps, currency, and rare books. A country of great beauty and geographical diversity, Mexico has attracted a variety of photographers from abroad as well as regional image-makers. More than thirty photographers are represented at the DeGolyer. Subjects include landscapes, native peoples, railroads, mining, agriculture, tourist views, and the Mexican 1910 Centennial and Mexican Revolution. Collections at the DeGolyer also illustrate the regime of President Porfirio Díaz (r. 1876–1910) and the eventual struggle for power between the old guard and working-class people leading to the revolution. The Mexican Revolution was a drawn out, violent, and bloody affair, and the DeGolyer has important collections relating to the conflict. The Norwick Center for Digital Services (nCDS), a unit of Southern Methodist University’s Central University Libraries (CUL), is working with the DeGolyer Library to put an increasing number of the Mexican collections online. The DeGolyer Library’s digitized Mexican accessions are available in the "Mexico: Photographs, Manuscripts, and Imprints" digital collection, which is part of the CUL Digital Collections website. The nCDS and the DeGolyer Library have documented the digital collection’s use in a variety of publications, exhibits, and educational applications. The primary resources available in "Mexico: Photographs, Manuscripts, and Imprints" are widely used throughout Mexico by Mexican academic researchers, school students, and the general public. The digital collection is also utilized in many other countries by scholars and people who want to learn more about Mexico’s rich cultural heritage and tumultuous past. The nCDS and the DeGolyer Library are continuing to augment this popular digital resource, one that is growing use for the study of Mexican history.


Author(s):  
Andrea Martínez Baracs

This is an advance summary of a forthcoming article in the Oxford Research Encyclopedia of Latin American History. Please check back later for the full article. The Biblioteca Digital Mexicana (BDMx) provides access—for the average user as well as for students and scholars—to significant historical materials, "unpublished or very rare," as was said in the second half of the nineteenth century, the golden age of Mexican historiography. The BDMx is not concerned with documents that have a principally symbolic value (such as autographs or decrees about the founding of cities); rather, it deals with those with high cultural density, whose value is not diminished upon their first reading. Finally, the BDMx contains only materials that are not already easily found online, which, unfortunately, excludes a great number of very valuable works. This initiative was founded and directed with the support of a directorial council comprised of the directors of four important Mexican institutions connected to Mexican history and culture: the Archivo General de la Nación (AGN), the Biblioteca Nacional de Antropología e Historia (BNAH), the Centro de Estudios de Historia de México (CEHM-Carso), and the Consejo Nacional para la Cultura y las Artes (Conaculta). With this institutional backing, the BDMx has been able to add eight additional archives and libraries, and it continues to grow. The AGN houses most national historical archives; the BNAH holds the main Mesoamerican Codices collection of the country, and its Colección Antigua has long been appreciated by scholars, with holdings such as the Franciscan Archives collection; CEHM-Carso is a private library that has acquired unique archival collections; Conaculta is our Ministry of Culture and, as such, has under its wing many regional museums, important photography collections, and more. The BDMx also works closely with the Universidad Iberoamericana's Biblioteca Francisco Xavier Clavijero, a private library that holds the Porfirio Díaz Archives and much more. And the Mapoteca Manuel Orozco y Berra, founded in the nineteenth century, holds a trove of historical maps. The BDMx chooses the documents by common agreement with the curators of these collections. It looks for variety in the types of documents and supportive materials (books, other publications, manuscripts, pictography, photography, lithography, and so on). The themes are self-selected, due to their own worth and because they might mark an important anniversary or a centennial. Up to the present, some of the principal selections have been Mesoamerican codices, the unpublished oeuvre of Guillén de Lampart, ancient maps and plans, and the work of Rodrigo de Vivero. Each item is accompanied by a historiographical introduction that aims to be up to date and relevant. The user is distracted with nothing other than the presentation of the documents, in a clean and friendly format. And the worth of the project lies in the quality of the documents. This is an example where less is more.


Author(s):  
Katherine D. McCann ◽  
Tracy North

This is an advance summary of a forthcoming article in the Oxford Research Encyclopedia of Latin American History. Please check back later for the full article. The Handbook of Latin American Studies is a selective annotated bibliography of works about Latin America. Continuously published since 1936, the Handbook has been compiled and edited by the Hispanic Division of the Library of Congress for seventy-five years. Published works in multiple languages are selected for inclusion in the Handbook by a cadre of contributing editors, actively working scholars who provide a service to the field by annotating works of lasting scholarly value and writing bibliographical essays noting major trends, changes, and gaps in existing research. In 1995, the Hispanic Division launched the website HLAS Online, providing access to a database of more than 340,000 annotated citations. The ability to search across more than 50 volumes of the Handbook with a single query gave researchers unprecedented access to years of scholarship on Latin America. In 2000, HLAS Web, a new search interface with more robust functionality, was launched. The two sites link researchers worldwide to a vast body of selected resources on Latin America. The Handbook itself has become a record of the history of the field of Latin American studies and an indicator of changing trends in the field. With digital access to Handbook citations of books, articles, and more, scholars are able not only to identify specific works of interest, but also to follow the rise of new areas of study, such as women’s studies, cultural history, environmental history, and Atlantic studies, among others.


2012 ◽  
Vol 69 (2) ◽  
pp. 237-254
Author(s):  
Susan Schroeder

Over the course of the past half century, the field of colonial Latin American history has been greatly enriched by the contributions of Father Stafford Poole. He has written 14 books and 84 articles and book chapters and has readily shared his knowledge at coundess symposia and other scholarly forums. Renowned as a historian, he was also a seminary administrator and professor of history in Missouri and California. Moreover, his background and formation are surely unique among priests in the United States and his story is certainly worth the telling.


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