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How a Few Individuals Brought about a Cultural Cusp: From a Mexican Mural Program to a Movement

  • Cultural and Behavioral Systems Science
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Abstract

Significant cultural change often results from the interlocking behavior of a few individuals. The phenomenon is nonreplicable because a considerable portion of the major players’ interactions are nonrecurring and driven by unique circumstances. Yet, these interactions can be analyzed from a behavioral science perspective. As an example, I describe how five individuals made possible the cultural cusp that created an unprecedented social revolution through public murals in Mexico. I analyze how their repertoires complemented each other, the circumstances that brought them together, and the values that united them. Their unique interactions coalesced with recurring interlocking behavioral contingencies that created the movement. The example could shed light on the understanding of other cultural phenomenon with similar properties.

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Notes

  1. The Impressionist movement started in France in the 1860s and expanded to other countries in Europe and eventually around the world. The Impressionists challenged traditional painting and were initially rejected because of their use of color, emphasis on light, and abandonment of realistic forms.

  2. Other artists brought from abroad to the SEP mural program by Vasconcelos included Roberto Montenegro (1885–1968; Pérez Rosales, 2001; Roberto Montenegro, n.d.); Manuel Rodríguez Lozano (1891–1971; Colección Blaisten, n.d.; Manuel Rodríguez Lozano, n.d.; Sampaio Amaro, 2004); Amado de la Cueva (1891–1926; Andrews, 2011); Adolfo Best Maugard (1891–1964); and Ignacio Asúnsolo (1890–1965; Sampaio Amaro, 2004).

  3. In addition to Dr. Atl, artists residing in Mexico hired by Vasconcelos to assist in the SEP mural program included Jorge Enciso (1879–1969; Enciso, 1971); Ramón Alva de la Canal (1892–1985); Fernando Leal (1896–1964); Xavier Guerrero (1896–1974); and Fermín Revueltas Sánchez (1901–1935). Also assisting were the Guatemalan Carlos Mérida (1891–1985) and the American Pablo Esteban O’Higgins (1904–1983), both of whom remained in Mexico for the rest of their lives. O’Higgins was eventually granted honorary Mexican citizenship for his contributions to the arts (Lucie-Smith, 1993; Vogel, 2010).

  4. Some of the artists trained or inspired by Rivera and Siqueiros include Leopoldo Méndez (1902–1969; Quirarte, 1989); Juan O’Gorman (1905–1982; Lara Elizondo, 2001; Lucie-Smith, 1993); Julio Castellanos González (1905–1947; Quirarte, 1989); Jorge Gonzalez Camarena (1908–1980); Aurora Reyes Flores (1908–1985), the first woman recognized as a Mexican muralist; Alfredo Zalce Torres (1908–2003; Gutiérrez López, 2007); Luis Arenal Bastar (1908–1985); Jose Chavez Morado (1909–2002); Jesús Guerrero Galván (1910–1973; Quirarte, 1989); Francisco Dosamantes (1911–1986); José Raúl Anguiano Valadez (1915–2006; Quirarte, 1989); Ángel Bracho (1911–2005); and Fernando Castro Pacheco (1918–2013). Another artist, Rufino Tamayo (1899–1991), gained attention in subsequent years by vehemently critiquing Mexican muralist work as propagandist, nationalistic, and false. He created murals in his own abstract style (Brenson, 1991; de Conde, 1999; Paz & Lassaigne, 1995; Pereda & Sánchez Fuentes, 1995).

  5. Other Mexican artists painted murals in the United States. For instance, José Miguel Covarrubias Duclaud (1904–1957) created six mobile murals in San Francisco, assisted by Antonio M. Ruíz (1892–1964; Quirarte, 1989).

  6. Several Mexican artists who participated in the SEP mural program who ultimately immigrated to the United States included Alfredo Ramos Martínez (1871–1946; Patterson, 1964); Spanish artist Emilio García Cahero (1897–1939; Leal, 1935; Sampaio Amaro, 2004); French artist Louis Henri Jean Charlot (1898–1979), who eventually taught at the University of Hawaii and whose writings helped disseminate the Mexican muralist movement (Andrews, 2011; Lucie-Smith, 1993); and Emilio Amero (1901–1976), who eventually taught at the University of Oklahoma.

  7. Other muralists in Latin America included Antonio Berni (1905–1981) in Argentina; Miguel Alandia Pantoja (1914–1975) in Bolivia; Cándido Portinari (1903–1962; Colar, 2010) in Brazil; Cuban-born Mario Carreño Morales (1913–1999; Anreus et al., 2012) in Chile; Pedro Nel Gómez Agudelo (1899–1984) and Santiago Martínez Delgado (1906–1954) in Colombia; Eduardo Riofrío Kingman (1913–1997; Greet, 2009) and Osvaldo Guayasamín (1919–1999) in Ecuador; and José Sabogal (1888–1956; Sabogal, n.d.-a, n.d.-b; Lucie-Smith, 1993) in Peru.

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    Maria E. Malott

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Malott, M.E. How a Few Individuals Brought about a Cultural Cusp: From a Mexican Mural Program to a Movement. Perspect Behav Sci 42, 773–814 (2019). https://doi.org/10.1007/s40614-019-00211-4

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