HISTORY,

THE CULTURE,

ECUADOR POLITICS
 THE

ECUADOR
LITICS (NOW IN 2ND EDITION) READER
HISTORY, CULTURE, POLITICS

Edited by Carlos de la Torre and Steve Striffier

derson DUKE UNIVERSITY PRESS DurhamandLondon 2008

ela Maria Smorkaloff

RE, POLITICS
 Contents

Acknovvledgrnents ~
Introduction

© 2008 Duke University Press

AlI rights reserved 1 Conquest and Colonial Rull
Printed in the United States of Arnerica on acid-free paper oc
Tamara Bray. Ecuador's Pre-Coh
Typeset in Monotype Dante by Achorn International
Frank Salomon. Ancestors, Grave
Library of Congress CataIoging-in-Publication Data appear
Cañari "Inca-isrn" 27
on the last printed page of this book.
Susan V. Webster. Building aLife
Architect and Entrepreneur

Sherwin K. Bryant. Finding Freed

Karen Vieira Powers. A Battle of\l

Colonial North Andes 68

Sarah C. Chambers. Manuela Sáer

~ BlancaMuratorio. The State, Mis:
Upper Amazon, 1767-1896 ¡

II A New Nation 99

Andrés Guerrero. The Constructic

Discourse and the "Miserable
Century IO]
Friedrich Hassaurek. Four Yearsa
Juan Montalvo. Selection from]u
A. Kim Clark. Railway and Natío]
Ronn Pineo. Guayaquil and Coas
Rob Rachowiecki. Mountaineerin
Perspective 148

III The Riseofthe Popular

Albert B. Franklin. Portrait of a P~

JoséMaría Velasco Ibarra. You Ari

 Contents

Acknowledgments ix

Introduction

Conquest and Colonial Rule 9

aper~
Tamara Bray. Ecuador's Pre-Columbian Past 15

Frank Salomon. Ancesrors, Grave Robbers, and the Possible Antecedents of

ppear
Cañari "Inca-ism" 27

Susan V. Webster. Building a Life in Colonial Quito: José Jaime Ortiz,

Architect and Entrepreneur 40

Sherwin K. Bryant. Finding Freedom: Slavery in Colonial Ecuador 52

Karen Vieira Powers. A Batde ofWills: Inventing Chíefly Legitimacy in the

Colonial North Andes 68

Sarah C. Chambers. Manuela Sáenz: Americana or Quiteña? 79

• Blanca Muratorio. The State, Missionaries, and Native Consciousness in the

Upper Amazon, 1767-1896 86

11 A New Nation 99

Andrés Guerrero. The Construction of a Ventriloquist's Image: Liberal

Discourse and the "Miserable Indian Race" in the Late Nineteenth

Century I03

Friedrich Hassaurek. Four Years among the Ecuadorians II7

Juan Montalvo. Selection fromJuan Montalvo (1832-1889) 121

A. Kim Clark. Railway and Nation in Liberal Ecuador 126

Ronn Píneo. Guayaquil and Coastal Ecuador during the Cacao Era 136

Rob Rachowiecki. Mountaineering on the Equator: A Historical

Perspective 148

III The Rise ofthe Popular 155

AlbertB. Franklin. Portrait of a People 159

José Maria Velasco Ibarra. You Are Not My President 163

 p aq

RaphaelV. Lasso. The Wonderland 167

Noemí Espinosa. Traditional Pooc
Jorge Icaza. Patrón and Peon on an Andean Hacienda 169
Rudi Colloredo-Mansfeld. Globaliz
Pablo Palacio. The Man Who Was Kicked to Death 175
among Otavalo's Merchant A
Henri Michaux. The Indian's Cabin 182
,f X. Andrade. Pancho Jaime 385

JoséMaría Velasco Ibarra. "Heroic Pueblo ofGuayaquil" 185

Javier Vásconez. Big Angel, My Le

María Fernanda Espinosa. Nature

Barry Lyons, with Angel Aranda an

IV Global Currents 189

Iván Oñate. The Writings ofIván

Galo Plaza Lasso. Two Experiments in Education for Democracy 193

'l{' Adrián Bonilla. The Origins of the Ecuadorian Left 200

Suggestions for Further Reading

¡,.j, Carmen Martínez Novo. The Progressive CathoIic Church and the

Acknowledgment ofCopyrights

Indigenous Movement in Ecuador 203

Index 427

Salomon Isacovici andjuan Manuel Rodríguez. Man of Ashes 209

Pablo Cuvi. Men of the Rails and of the Sea 218

[ean Muteba Rahier. Creolization and African Diaspora Cultures:

The Case ofthe Afro-Esmeraldian Décimas 226

HernánIbarra. Julio Jaramillo and Music as Identity 237

SteveStriffier. The United Fruit Cornpany's Legacy in Ecuador 239

Tom Miller. The Panama Hat Trail 250

Diane C. Bates. Deforestation in Ecuador 257

>f. Carlos de la Torre. Civilization and Barbarism 267

i Felipe Burbano de Lara. Deinstitutionalized Democracy 271

V Domination and Struggle 277

.,¡ Carlos de la Torre. Nina Pacari, an Interview 279

SarahA. Radcliffe. Wornen's Movements in Twentieth-Century

Ecuador 284

Pablo Ospina. The Galápagos: Environmental Pressures and Social

Opportunities 297

Norman E. WhittenJr. Emerald Freedom: "With Pride in the Face of

the Sun" 302

Suzana Sawyer. Suing ChevronTexaco 321

Dorothea Scott Whitten. Arts of Amazonian and Andean Women 329

VI Cultures and Identities Redefined 337

[ean Muteba Rahier. National Identity and the First Black Miss Ecuador
(1995--96) 341

Braá D. Jokisch and David Kyle. Ecuadorian Intemational Migration 350

Mary]. Weismantel. Cities ofWomen 359

 Noemi Espinosa. Traditional Foods ofEcuador 371

Rudi Colloredo-Mansfeld. Globalization frorn Below and The Political Tum

among Otavalo's Merchant Artisans 377

,f X. Andrade. Pancho Jaime 385

uayaquil" 185 Javier Vásconez. Big Angel, My Love 388

María Fernanda Espinosa. Nature and Humanity through Poetry 396

Barry Lyons, with AngelAranda and Dina Guevara. "Simple People" 403

Iván Oñate. The Writings ofIván Oñate 415

tion for Democraey 193

Lefi: 200
Suggestions for Further Reading 419

olie Church and the

Acknowledgment of Copyrights 423

Index 427

Man of Ashes 209

218

Diaspora Cultures:
226

239

57

267

emocracy 271

279

wentieth-Century

Pressures and Social

ith Pride in the Face of

d Andean Women 329

First Black Miss Ecuador

temational Migration 350

mUiSt take 00 both the integration­

capitalist elites and
NAIB and the maín­
artisans and the Pancho Jaime
. nalized business
10Iltle i'n CONAIB. Conse­ X. Andrade
the region making
, and fragmeoted so­

takeo 00 thís challenge.

without political The contraversial independent journalist Víctor Francisco Jaime Orellana, widely
work out prices knownasPanchoJaime, or P], was born in Guayaquil in 1946 andassassinated there in
y respoosibilities of theír asso­ September 1989. Today, people remember him as a rockero (rocker) and as a polítical
re poínts on state agencies. aetivist. Some see PJ as either a puppet in the hands of populist leaders, oras the las:
ith effective, high-level state trulyhonest, independentfighter forpopular causes. Equallyimportant, manyseePJ as
~eks ro be heard on energy sub­ "un verdadero macho" (a true macho man), an honor ccrnferredonhimfor the ballsy,
ence of foreign competitors, personalflair with whichhedenounced 'olítical corrupticn. Atthe sametime, Jaime is
ed, industrialized, handícraft widely considered an example ofa "style" believed to beCOmmon among working-class
valeños steer national poliey­ sectors, onecharaeterized by vulgar, violent language and a disproportionate emphasis
r their exrrernely competitive onsexual references. The anthropologist X. Andrade leaves it up tothereader todecide.
tplanet where a bright Andean
mero
Pancho Jaime grew up in Los Angeles, where bis family had moved in the
early fifties as part of the first massive wave of Ecuadorian immigrants to the
United States, Jaime, an observant Seventh Day Adventist, was proud cfhav­
ir ta Hape (Oxford: Oxford ing been a Vietnam Veteran and a participant in the California híppie move­
ment, details in bis colorfullife history that differentiated him from most of
hisreaders and provided him with a certain status in Ecuador. He presented
himself to his Guayaquil readers as a cross between a híppie and a workíng­
de LA CONAlE (Quito: class intellectual, appearing in caricature in his own magazines wearingjeans,
r-shírt, baseball cap, flíp-flops, round glasses, and a ponytail, At the same
es that accompanied the
time, PJ built a bridge between himself and his workíng-class readers by un­
devaluador a la pér­
derscoring his personal experience with poverty and oppression.
vol. 52 (2001): 7-22.
While in Los Angeles, Jaime worked an endless series of odd jobs, such
TIte WorldEconomy in the
as dishwashing, selling newspapers, and cleaning restaurants and service sta­
tions. Nevertheless, he earned a technical degree at a community college. In
the 1970S, he got involved as the musíc editor ofL.A. Touch, an adult magazine
devoted to pornography and the hippie lifestyle. According to P], shortly afier
the beginning of his career as a journalist, bis luck changed dramatically. He
claimed to have found a large sum ofmoney that he used to return to Guaya­
quil, where he lived for the remainder ofhis lífe.
386 X. Andrade

Promoting rock music was Jaime'stop mission on his return, and in so do­ was due in part to economic constt
ing he acquired local celebrity. His knowledge ofNorth American pop culture lamented in his writings. More impa
and his hippie experience became the symbolic capital that he exploited in the ated a space-consuming effect. For iJ
course of various enterprises. His first publications were devoted entirely to two or three paragraphs. Each parag
music and emerging bands. By the time PJ started criticizing the music indus­ not necessarily about related topics,
try for its discriminatory practices toward local bands, he had already toured form a continuous, single account. ja
with his own group, Texaco Gulf, and opened the cíty's first rock discotheque expertise, but his grammar and pune
and "head shop." jairne's notoriety spread further through his stint at a radio Estimating the numbers of reader
station, where he worked as a DJ under the professional na me La Mamá del mine the actual print runs. There are
Rack. istered publications to disclosethe ni
Although the tone ofjairne's a11egations against the music industry became were never officially approved for O)
increasingly virulent in the final issues of his early magazines, his jump to a collaborators I interviewed fluctuare
more clearly political form of journalism was the direct product of a violent impressive numbers in the case of
incident with local police. During November 1984, PJ was tortured and incar­ magazines increased as they were pi
cerated. His torturers, government officers, made him eat both his hair and networks of gossip in public offices,
his paper and then broadcast a photograph ofhis bloody, disfigured face on a11 over the city. AlthoughJaime ta
national television. This episode occurred during León Febres Cordero's ul­ and mosdy male working-classaudic
traconservative presideney, a time when jaime had begun printing a tabloid, magazines suggests that there was a
Censura (here translated as "Censured" rather than "Censorship," in reference male and female, upper- and middle
to Pj's constant subjection to state terrorism). In the years that fo11owed this jaime's works were sold primariJ
episode, Jaime was on several occasions tortured by local authorities, kid­ and administrative center, as well as
napped by government agents, and was even once illegally incarcerated for classes. Members of a local associal
several months. few decades have dorninated the S<
In defiance ofhis torturers' threats, to which he made frequent reference were eventually recruited to distril
in his magazines, PJ spent the rest ofhis life speaking out. Throughout Febres publications popularity around 19a
Cordero's regime (1984-88) and the first year of the presideney of the social­ the sly by whispering ro potential o
democrat Rodrigo Borja (1988--92), PJ published approximately thirteen issues the streets. Even to this day, Jaime!
of Censura fo11owed by twenty issues of Comentarios de PanchoJaime. dor's urban classes.
Although the format of the publications gradually changed from that of
a tabloid newspaper to a magazine, the main feature added over time was
the use of crude caricatures instead ofphotographs. Advertising, always mar­
ginal, gradually disappeared altogether, although jaime did occasionally pub­
lish propaganda from friends, and populist and leftíst figures. The magazines
were printed on cheap paper, the colored ink reserved only for the cover.
They consisted on average of forty pages, which included approximately
thirty articles and an editorial page about current political developments.
Generally speaking, each page had at least one illustration, most often a single
cartoon. Sometimes, articles were accompanied by reproductions of original
documents, such as letters or certifica tes, offered as proof of the veracity of
the contents. The sma11 typesetting and crowded layouts created the impres­
sion of each page being packed with information. The saturation of space
 Pancho Jaime 387
missionon rus return, and in so do­ was due in part to economic constraints, a limitation that Jaime frequently
dge ofNorth American pop culture lamented in rus writings. More importantly, the narrative structure itself ere­
oliccapital that he exploited in the ated a space-consuming effect. For instance, entire pages were filled by only
lications were devoted entirely to two or three paragraphs. Each paragraph was composed ofseveral sentences,
started criticizing the musie indus­ not necessarily about related topies, but that were somehow intertwined to
localbands, he had already toured form a continuous, single account. Jaime possessed a fair level oforthographíc
ed the city's first rock discotheque expertise, but his grammar and puncruation departed from the standard.
further through rus stint at a radio Estimating the numbers ofreaders is difficult. First of all, it is hard to deter­
e professional name La Mamá del mine the actual print runs. There are no laws in Ecuador that require even reg­
istered publications to disclose the number of copies sold, and Pj's magazines
againstthe music industry became were never officially approved for open distribution. The estirnates ofthe ex­
bis early magazines, rus jump to a collaborators I interviewed fluctuated between 8,000 and 18,000 copies, both
as the direct product of a violent impressive numbers in the case of Ecuador. Second, the circulation of the
r 1984, PJ was tortured and incar­ magazines increased as they were photocopied, borrowed, or transmitted via
, made him eat both his hair and networks of gossip in public offices, educational centers, and neighborhoods
ofhis bloody, disfigured face on all over the city. Although Jaime targeted local bureaucrats and politicians,
during León Febres Cordero's ul­ and mostly male working-class audiences, the widespread consumption ofhis
. e had begun printing a tabloid, magazines suggests that there was a far more diverse readership that included
erthan "Censorshíp," in reference male and female, upper- and middle-class readers.
). In the years that followed this jairne's works were sold primarily in downtown Guayaquil, the financial
tortured by local authorities, kid­ and administrative center, as well as an important meeting place for all social
ven once illegally incarcerated for classes. Members of a local association of disabled persons, who in the last
few decades have dominated the selling of lottery tickets and newspapers,
hich he made frequent reference were eventually recruited to distribute the magazines at the height of the
speakingout. Throughout Febres publication's popularity around 1987. Vendors advertised the magazines on
ar of the presidency of the social­ the sly by whispering to potential or well-known clients as they passed by in
hed approximately thirteen issues the streets. Even to this day, jaime's work retains a following among Ecua­
tanosde PanchoJaime. dor' s urban classes.
s gradually changed from that of
ain feature added over time was
ographs.Advertising, always mar­
oughjaime did occasionally pub­
and leftist figures. The magazines
ink reserved only for the cover.
, which included approximately
t current polítical developments.
ne illustration, most often a single
ied by reproductions of original
ffered as proof of the veracity of
wded layouts created the impres­
ation. The saturation of space