S.O.S Model for Analyzing Primary Sources The Changing Face of Latin America

1. S.O.S Model for Analyzing Primary SourcesThe Changing Face of Latin America

2. Instructions for this Process This PowerPoint is designed to demonstrate the SOS Model of Primary Source Analysis. As you go through this process, complete each activity as if you were a student in class. Write all of your responses in Word and post each in a summative posting on the class discussion board. Make comparisons among your ideas, interpretations, and analyses with those of your peers. Evaluate what you have learned at the conclusion of this process and post your thoughts. Collaboratively synthesize the experiences, ideas, & thinking as described in your postings.

3. Content Example of the SOS Model The Changing Face of Latin America

4. Overarching Question Historically how have North Americans viewed Latin Americans? Why?

5. Brainstorming Prior Knowledge Latin America What images, people, descriptive words do you think of when you think of Latin America?

6. Pause & Post Before moving to the next slide, develop a list of as many words as you can. Post your responses on the class discussion board Compare list with peers

7. Example List What images, people, descriptive words do you think of when you think of Latin America? The following slide is an example of a list that was generated in a social studies classroom

8. Latin America Brazil Amazon Rain Forest Mexico Coffee Poverty Spanish Population Hot Climate Middle America Soccer Drug Wars Cocaine El Nino Fishing US involvement Volcanoes Mountains Chile Andes Mountains Inca Maya Aztec Shanty Towns Population Growth Conquistadors Immigrants (to & from) Asian Immigrants Jungle Deforestation Banana Plantations Origin of Slavery Sugar Plantations Beach�Caribbean Guerrilla Warfare Portuguese Trucks Trade NAFTA The purpose of this activity is to reveal prior knowledge, misconceptions, misunderstandings, and potential bias and prejudice of students.The purpose of this activity is to reveal prior knowledge, misconceptions, misunderstandings, and potential bias and prejudice of students.

9. Begin the S.O.S. Process 1st Order Primary Source Establish perspective/bias/prejudice Begin with Scaffolding of Reading Use reading strategies Follow-up with Structured Analysis 5 step structured process

10. First Order Primary Source Document 1888: A U.S. Official Interprets Latin America Reading is available at this link

11. Scaffolding ERT� Everybody reads to� Find out how the author views citizens of Chile and Argentina. Figure out what factors might influence the author�s interpretation of these cultures. Highlight Important facts that help address these questions Intriguing facts that support your interpretations Support Interpretations Document interpretations with reference to the text

12. Structure Identify the Document Who is the author? What is the title of the document? When was it written? What type of document is this? e.g. journal, report, book, etc.

13. Structure Analyze the Document What is the purpose of the document? Why was it written? Who is the intended audience? What is the author�s bias or perspective? What questions do you have for the author?

14. Structure Define Historical Context Who are the important people, events, and ideas at the time the document was written? Local/Regional? National? International? How did these people, events, and ideas or ideas might have influenced this document?

15. Structure Interpret the Document (source specific) How does the author describe Latin Americans? What adjectives does are used to describe the Chillano? Argentinians? What is the North American view of Latin Americans?

16. Structure Metacognitive Analysis Thinking about Thinking How did you begin to read the document? What strategies did you use to make sense of the document? What did you do when you did understand?

17. Second Order Primary Source Images Advertisements Photographs Political Cartoons

19. Lazy Peon AvocadoAn original�Lazy Peon brand Avocado Label from Vista, California. Person sitting with Large Sombrero covering top half the person. Cactus, adobe home with mountains in�background. Circa: 1940s50s.

22. The Mulatto Gentlemen of Esmeraldas, 1599. Andr�s S�nchez Gallque. Museo de Am�rica, Madrid, Spain

23. Portrait of a �usta, early 18th c. Museo Inka.

24. Political Cartoons

26. Analysis of Images of Latin America Identify Who? Title? When? Type? Analyze Purpose? Why? For Whom? Bias/Perspective? Define Historical Context People, Events, Ideas? Local, National, International? Impact? Interpret (source specific) Who? What? When? Where? Why? How? Metacognitive Analysis Thinking about Thinking Processes, Strategies, Methods?

27. Third Order Primary Surces Casta Painting 1777 CASTA Painting Casta Painting Explanation For this task, make individual interpretations of these primary sources using the structured analysis process.

28. Casta Painting, 1777. A larger image is available as a PDF on the module homepage CASTA Painting Casta or �caste� paintings depict in more explicit terms than almost any other colonial objects, the effects of inter-cultural mixing. They were made in both New Spain and Peru in the 18th century, primarily for patrons of the upper classes�often Spaniards who had been in the colonies or had strong curiosity about the Americas. In this case, Ignacio Mar�a Barreda created this oil-on-canvas painting for a friend, one Lieutenant Colonel Antonio Rafael de Aguilera y Orense, a military man who spent part of his career in New Spain. Typically casta paintings comprise sixteen scenes that register, through the presentation of family groups, the progressive dilution of 'pure' Spanish, Indian, and African blood. Inscriptions set within or near to each painted panel identify the names assigned each new �caste� created thus. For instance, in this painting, just below the first scene in the upper left corner, a well-dressed Spanish man extends his arms to receive his child from his indigenous mate; the text reads, " De Espa�ol, y Indio, Mestizo o Cholo" (From Spaniard and Indian, Mestizo or Cholo). Tracing across the top from left to right and then down the caste hierarchy, we see the generation of castizo, espa�ol criollo, and mulatto children. And in the lowest compartment of all, the painter presents �barbarian� indigenous people, called mecos. Casta paintings link purity of blood to status. In these painted settings, Spaniards have the highest social standing, usually appearing in the first panel of each series; across successive scenes, the pairs become darker and increasingly poor. Those in the lowest rungs are either those of the most mixed blood or those so 'barbaric' and 'uncivilized' as to be beyond the realm of mixing. This desire to classify the people of the New World has many origins. One intellectual source can be found in Enlightenment teachings that sought to find (or create) order and rational explanations for both the natural and social world. These were popular in New Spain and Peru in the latter part of the 18th century. Another source was social anxiety about a person�s place in the increasingly complex and heterogeneous world of the colonies. Whether or not paintings such as this one did, in fact, represent �order� or �reason� for 18th-century viewers, is not known. But they do give visual expression to the complex process of mestizaje among groups that inhabited New Spain. In so doing, these works reinscribe two colonial presumptions: that such inter-cultural (inter-racial) mixing would manifest itself visually and socially, and that it was a process that demanded commentary. BIBLIOGRAPHY Garc�a S�iz, Concepci�n. 1989. Las castas mexicanas: Un g�nero pict�rico americano. Milan: Olivetti. Katzew, Ilona (ed.). 1996. New World Orders: Casta Painting and Colonial Latin America. New York: Americas Society. Majluf, Natalia. 1999. Los cuadros de mestizaje del virrey Amat: la representaci�n etnogr�fica en el Per� colonial. Lima: Museo de Arte. � GLOSSARY Enlightenment: (English) A philosophical movement of the 18th century, first developed in western Europe, and also known as the �Age of Reason.� The Enlightenment brought empirical methods to science and held that social, intellectual and scientific progress could be achieved through reason. Meco: (Spanish) A derogatory term for an indigenous person who does not live in a settled community, has not converted to Christianity, nor accepted �civilized� modes of living. The terms derives from the word �Chichimec� which was used in central Mexico in pre-Hispanic times to describe nomadic and semi-nomadic peoples in a negative light. Mestizaje: (Spanish) A descriptive word for the ethnic and cultural mixings in the New World. Mestizo: (Spanish) A person of indigenous and European descent. Mulatto: (English) A multi-racial person of African descent.Casta or �caste� paintings depict in more explicit terms than almost any other colonial objects, the effects of inter-cultural mixing. They were made in both New Spain and Peru in the 18th century, primarily for patrons of the upper classes�often Spaniards who had been in the colonies or had strong curiosity about the Americas. In this case, Ignacio Mar�a Barreda created this oil-on-canvas painting for a friend, one Lieutenant Colonel Antonio Rafael de Aguilera y Orense, a military man who spent part of his career in New Spain. Typically casta paintings comprise sixteen scenes that register, through the presentation of family groups, the progressive dilution of 'pure' Spanish, Indian, and African blood. Inscriptions set within or near to each painted panel identify the names assigned each new �caste� created thus. For instance, in this painting, just below the first scene in the upper left corner, a well-dressed Spanish man extends his arms to receive his child from his indigenous mate; the text reads, " De Espa�ol, y Indio, Mestizo o Cholo" (From Spaniard and Indian, Mestizo or Cholo). Tracing across the top from left to right and then down the caste hierarchy, we see the generation of castizo, espa�ol criollo, and mulatto children. And in the lowest compartment of all, the painter presents �barbarian� indigenous people, called mecos. Casta paintings link purity of blood to status. In these painted settings, Spaniards have the highest social standing, usually appearing in the first panel of each series; across successive scenes, the pairs become darker and increasingly poor. Those in the lowest rungs are either those of the most mixed blood or those so 'barbaric' and 'uncivilized' as to be beyond the realm of mixing. This desire to classify the people of the New World has many origins. One intellectual source can be found in Enlightenment teachings that sought to find (or create) order and rational explanations for both the natural and social world. These were popular in New Spain and Peru in the latter part of the 18th century. Another source was social anxiety about a person�s place in the increasingly complex and heterogeneous world of the colonies. Whether or not paintings such as this one did, in fact, represent �order� or �reason� for 18th-century viewers, is not known. But they do give visual expression to the complex process of mestizaje among groups that inhabited New Spain. In so doing, these works reinscribe two colonial presumptions: that such inter-cultural (inter-racial) mixing would manifest itself visually and socially, and that it was a process that demanded commentary. BIBLIOGRAPHY Garc�a S�iz, Concepci�n. 1989. Las castas mexicanas: Un g�nero pict�rico americano. Milan: Olivetti. Katzew, Ilona (ed.). 1996. New World Orders: Casta Painting and Colonial Latin America. New York: Americas Society. Majluf, Natalia. 1999. Los cuadros de mestizaje del virrey Amat: la representaci�n etnogr�fica en el Per� colonial. Lima: Museo de Arte. � GLOSSARY Enlightenment: (English) A philosophical movement of the 18th century, first developed in western Europe, and also known as the �Age of Reason.� The Enlightenment brought empirical methods to science and held that social, intellectual and scientific progress could be achieved through reason. Meco: (Spanish) A derogatory term for an indigenous person who does not live in a settled community, has not converted to Christianity, nor accepted �civilized� modes of living. The terms derives from the word �Chichimec� which was used in central Mexico in pre-Hispanic times to describe nomadic and semi-nomadic peoples in a negative light. Mestizaje: (Spanish) A descriptive word for the ethnic and cultural mixings in the New World. Mestizo: (Spanish) A person of indigenous and European descent. Mulatto: (English) A multi-racial person of African descent.

29. Analysis of these Casta Painting Identify Who? Title? When? Type? Analyze Purpose? Why? For Whom? Bias/Perspective? Define Historical Context People, Events, Ideas? Local, National, International? Impact? Interpret Casta Painting Explanation Who? What? When? Where? Why? How? Metacognitive Analysis Thinking about Thinking Processes, Strategies, Methods?

30. Synthesis of Primary Source Analysis Historically how have North Americans viewed Latin Americans? Why? How were your descriptions of Latin Americans reflective of stereotypes that have endured since the arrival of the Spanish Conquistadors? Curtis� portrayals were published in 1888? What are the legacies of stereotypes? How do these continue to influence our views of Latin Americans?

31. Legacy of Stereotypes Much of the world still tends to view Latin Americans in terms of stereotypes. The popular image of the mustachioed bandit sporting a large sombrero and draped with cartridge belts has been replaced by the figure of the modern-day guerrilla.

32. The Bandit: Hollywood Style

33. The Modern Bandit

34. The Oppressor & The Revolutionary

35. The Lazy Peon Another common stereotype is that of the lazy Latin American who constantly puts things off until "ma�ana" (tomorrow).

36. Lazy but Speedy Speedy Gonzales: The Disney Effect

37. The Latin Lover The Latin lover-Antonio-Banderas-style represents another widespread image of Latin America (although he was born in Spain).

38. Social Studies Curriculum Stereotypes Mayans, Incans, and Aztecs

39. Mestizaje: Ethnic & Cultural Diversity Images are not necessarily a reflection of reality. Latin America is a mixture of cultures, each one distinct from the other. Each with a different history and heritage unique to its region.

40. Mestizaje: Ethnic & Cultural Diversity Just read the words of great Latin American Leaders to begin to understand the complexity of the diverse cultures and ethnicities.

41. Sim�n de Bol�var: �Message to the Congress of Angostura, 1819 �We are not Europeans; we are not Indians; we are but a mixed species of aborigines and Spaniards. Americans by birth and Europeans by law, we find ourselves engaged in a dual conflict: we are disputing with the natives for titles of ownership, and at the same time we are struggling to maintain ourselves in the country that gave us birth against the opposition of the invaders. Thus our position is most extraordinary and complicated.�

42. 1992 Interview with Rigoberta Menchu Tum, Mayan "We are not myths of the past, ruins in the jungle, or zoos. We are people and we want to be respected, not to be victims of intolerance and racism. "It is said that our indigenous ancestors, Mayas and Aztecs, made human sacrifices to their gods. It occurs to me to ask: How many humans have been sacrificed to the gods of Capital in the last five hundred years?" The Guatemalan indigenous woman, Rigoberta Menchu, lowers her eyes and continues, pausing often, in the same ironic tone: "Today the governments of Latin America should be ashamed of not having exterminated the indigenous, at the end of the twentieth century, because we exist at the end of this century. We are not myths of the past, ruins in the jungle, or zoos. We are people and we want to be respected, not to be victims of intolerance and racism." It is September, 1992. Five hundred years after the immense sailing ships of Christopher Columbus cut through the waters between America and Europe. Five hundred years of butchery. Five hundred years of extermination and complete marginalization.

43. Challenging Stereotypes Stereotypes spring from ignorance and bias Have historical roots Have been propagated throughout history Understanding the origins of bias, stereotypes, and prejudice is the starting point to challenging misperceptions of cultures, ethnicities, and societies that are different from our own Here is where we begin to develop globalmindedness

44. Final Conclusions This primary source analysis should help teachers and students to begin to recognize the historical bias that many Americans have toward Latin Americans and understand the roots of these biases. In understanding current views we have to begin by exploring the influences that have shaped our thinking. This is historical understanding.

45. Extension of Learning & Curriculum Applications This Primary Source Analysis serves as the beginning of a Unit of Study designed to help students develop an informed appreciation for the social, racial, and ethnic diversity of Latin America and for the historical circumstances that have contributed to this diversity.

46. Review of the Process S.O.S. Primary Source Analysis Structure Ordering Scaffolding