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“Pancho” Villa Through Popular Culture and Collective Memory, 1910-2015

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“Pancho” Villa Through Popular Culture and Collective Memory, 1910-2015 Imagining Villa: An Examination of Francisco “Pancho” Villa through Popular Culture and Collective Memory, 1910-2015 Item Type text; Electronic Dissertation Authors Macias, Marco A. Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction, presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 30/09/2021 19:09:32 Link to Item http://hdl.handle.net/10150/628477 IMAGINING VILLA: AN EXAMINATION OF FRANCISCO “PANCHO” VILLA THROUGH POPULAR CULTURE AND COLLECTIVE MEMORY, 1910-2015. by Marco Antonio Macias __________________________ Copyright © Marco A. Macias 2018 A Dissertation Submitted to the Faculty of the DEPARTMENT OF HISTORY In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY In the Graduate College THE UNIVERSITY OF ARIZONA 2018 1 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Dissertation Committee, we certify that we have read the dissertation prepared by Marco A. Macias, titled “Imagining Villa: an examination of Francisco “Pancho” Villa through popular culture and collective memory, 1910-2015” and recommend that it be accepted as fulfilling the dissertation requirement for the Degree of Doctor of Philosophy. _______________________________________________________________________ Date: May 15, 2018 William H. Beezley _______________________________________________________________________ Date: May 15, 2018 Kevin Gosner _______________________________________________________________________ Date: May 15, 2018 Jennifer Jenkins Final approval and acceptance of this dissertation is contingent upon the candidate’s submission of the final copies of the dissertation to the Graduate College. I hereby certify that I have read this dissertation prepared under my direction and recommend that it be accepted as fulfilling the dissertation requirement. ________________________________________________ Date: May 15, 2018 Dissertation Director: William H. Beezley 2 STATEMENT BY AUTHOR This dissertation has been submitted in partial fulfillment of the requirements for an advanced degree at the University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this dissertation are allowable without special permission, provided that an accurate acknowledgement of the source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the head of the major department or the Dean of the Graduate College when in his or her judgment the proposed use of the material is in the interests of scholarship. In all other instances, however, permission must be obtained from the author. SIGNED: Marco A. Macias 3 ACKNOWLEDGEMENTS This dissertation could not have been finished without the guidance and assistance of numerous people and institutions. First, I want to thank my advisor, Dr. William H. Beezley who always demonstrated interest in my project and willingness to provide key input along the process. I am equally indebted to Dr. Kevin Gosner and Dr. Jennifer Jenkins; their patience and support over the years in fielding questions and fueling lines of inquiry have allowed me to provide this contribution to Villismo scholarship. I am also thankful to Dr. Guadalupe Villa and Dr. Oscar Martinez for their relentless support and advice. To the Department of History at the University of Arizona in Tucson, all my gratitude, my development as a scholar in Latin America was afforded to me by its magnificent faculty. I further need to express thanks and appreciation to the numerous institutions. The staff at University of Texas El Paso Special Collections, University of Arizona’s Library and Special Collections, Archivo General de la Nación, Biblioteca Nacional, Biblioteca Miguel Lerdo de Tejada, and Biblioteca Nacional de Antropología e Historia were always helpful and insightful during my research. This research would have not been possible without the amazing support at Center for Latin American Studies and a Thinker Foundation Research Grant that allowed me to travel into various parts of Mexico to conduct research. I am also indebted to the University of Arizona Confluence Center Graduate Fellowship. The Department of History through the William H. Hesketh Scholarship, John P. Rockfellow Award, and the Michael Sweetow Fellopwhip provided additional funds to which I am grateful for. To my parents: for infusing me with a love for Mexico. To my wife and children: for always supporting me. Finally, I wish to thank Kelley Castro, Anabel Galindo, Luis Coronado Guel, Amado Guzman, Allison Huntley, Diana Montaño, Osciel Salazar, Marco A. Sanchez, and Cristina Urias; your friendships and endless hours of heartworm conversations, support, and encouragement through the years have allowed me to reach this stage. Any shortcomings are my own. 4 TABLE OF CONTENTS ABSTRACT ………………… 08 INTRODUCTION ………………… 09 CHAPTER I: Mythmaking in times of revolution ………………… 16 The origins of Doroteo Arango (a.k.a. Francisco Villa) ……………… 17 The start of Pancho Villa’s revolutionary career ……………………… 19 The rise of the Centaur of the North …………………………………… 24 The Centaur of the North ………………………………………………. 31 Challenging Villa’s myth …………………………………………….… 34 Retirement in Canutillo, Durango ……………………………………… 42 CHAPTER II: Pancho Villa Folk Music Hero …………………… 45 Origins of El Corrido …………………………………………………… 46 Corridos Villistas ……………………………………………………….. 49 Campaign Songs ………………………………………………………… 64 Songs Honoring Francisco Villa ………………………………………… 66 Conclusion ………………………………………………………………. 70 CHAPTER III: Pancho Villa in Cartoons and Comic Books ………....…………. 73 Villa in the 1910s ………………………………………………………… 75 Villa in Comic Books during the 1930s and 1940s ……………………… 84 The golden years of Villa comic books: 1960s ………………………….. 87 Comics and Cartoons after the 1980s and Onward ………………………. 94 Conclusion ……………………………………………………………….. 100 CHAPTER IV: Pancho Villa Movie Star ………………… 103 A Film Legacy ………………………………………………………… 104 First wave of Villa Cinema ……………………………………………. 113 Second Wave of Villa Cinema ………………………………………… 118 Third Wave of Villa Cinema …………………………………………... 123 Conclusion …………………………………………………………….. 129 CHAPTER V: Politics of Remembrance ………………… 131 Towards gaining political recognition …………………………………… 134 Villa’s Official Government Recognition ……………………………….. 141 Villa, recognized as pillar of the revolution ………………………..….… 147 Cultural Festivities in Honor of Villa in Mexico and the United States .… 154 Conclusion ……………………………………………………………….. 157 5 CONCLUSION ………………… 160 Final Considerations …………………………………………………. 164 BIBLIOGRAPHY ………………… 167 6 Cover Photo: IMPACTO - VII, 15, 59 “Los Dorados Conmemoran El Natalicio del Gral. Villa” ISSUE/AHUNAM/Archivo Martin Luis Guzmán Franco/Caja-298, Exp. 12. 7 ABSTRACT Villa’s memory still permeates the fabric of Mexican society throughout popular culture and collective memory. Why Villa survives through myth continues relatively unexplored. To analyze the origins of the myth and it construction over time provides an understanding of how ordinary people participated in fashioning their own ideas of nationalism. This dissertation traces the myth of Villa as a social construct of ongoing inventions of traditions started in the 1910s and preserved in the 1920s by veterans that formed collective memories premised in the creation of the División del Norte. It further describes and analyses how from the 1930s onward, these collective memories were transplanted to a wider audience by mass media; further shaping imagined perceptions that in one way or another persist until our day. In crafting this discourse, I examine newspapers, music, political cartoons, comic books, movies, and ephemera to show how Villa’s image is a social/cultural construct brought together by the synergy of popular culture and collective memory that over the twentieth century produced a carefully woven, multi- faceted narrative. 8 INTRODUCTION Early morning on July 20, 1923, Francisco “Pancho” Villa stepped into his 1919 Dodge and drove off with his secretary and a small entourage of bodyguards. After cruising the streets of Parral, Chihuahua, the black car slowly turned on Calle Gabino Barreda, when suddenly a handful of assassins opened fire, killing Villa and his men. Villa’s lifeless body slumped with his right hand gripping his gun holster, a sign that in the split second it took the assassins to fire, he tried reaching for his revolver. News of the events in this small northern town quickly reached all corners of Mexico. That evening, newspapers reported the death, posting pictures of the bodies the next day. Villa had been assassinated, but his legend continued to grow. Today, Villa’s memory still permeates the fabric of Mexican society throughout popular culture and collective memory. In his work on the life of Francisco Villa, historian Friedrich Katz wrote there was a void to be filled in analyzing, describing, and assessing the development of Villa’s legend.1 Katz observed three basic versions of Villa’s legend. The first myth is based on Villa’s remembrance dictated to his secretary between 1913 and 1914, building him as a victim of socio-economic conditions prevalent during the presidency of Porfirio Diaz. The reason for why Villa turns into banditry was because
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