Susana Vargas

Department of Communication Studies

McGill University.

Montreal, Canada

Retablos are one of the most popular art forms in Mexico, that flourished during the nineteenth-century and continues still today. I argue retablos are a site os resistnace, where identity is negotiated. I analyse the surge of Retablos after Spanish Colonization and argue Reatablos reveal a subversive adoption of Christian values as they constitute a continuation of a votive offering tradition well rooted on indigenous beliefs. Despite the introduction of Christian practices such as confession, which promoted a mediating relation to god and foster a sense of individuality, mestizos found in ex-votos a space to continue with indigenous traditions, making of this private art expression a form of public popular art. I will explore how this public popular art has persisted throughtout centuries, what constitutes its artfulness and the importance of their public display for the negotiation of identity. Since the 60’s there has been an important resurgence of this popular art forms which mostly deal with negotiations of sexual identity. 

The themes of retablos switch from giving thanks for miracles related to natural disasters during the XIX century to sex-change operations in the 90’s. How this transition happened? What it is about retablos that allows for this subversive identity negotiation? Through a politised account of Spanish colonization and an analysis of themes, spaces and tradition of retablos, I argue that retablos are a site of negotiation and contestation of Mexican post-colonial identity to this date. 

Retablo adaptation and transformation in Mexico reveals a negotiation of subversive identity, with themes such as sex-change operations, transgender, gay couples getting married, husbands not catching their wives having an affair with another woman, prostitutes finding love with another women, etc. Why a catholic tradition of votive offering is taken back by mestizos? How are retablos a form of activism then and today? I argue, it is because retablos offered a physical and affective space that resisted material and psychic spiritual colonization through their public display that their tradition has persisted throughout the nineteenth century until today.

About Susana Vargas

Susana Vargas is a MA student in Communication Studies at McGill University.