The 1599 portrait Don Francisco de Arobe and His Sons, Pedro and Domingo by Andean artist Andres Sanchez Gallque (Figure 1) is one of the most frequently cited and reproduced paintings in the modern literature on colonial South America. The painting has been extensively praised, parsed, and interpreted by twentieth- and twenty-first-century authors, and heralded as the first signed South American portrait. “Remarkable” is the adjective most frequently employed to describe this work: modern authors express surprise and delight not only with the persuasive illusionistic power of the painting, the mesmerizing appearance of its subjects, and the artist's impressive mastery of the genre, but with the fact that the artist chose to sign and date his work, including a specific reference to his Andean identity.

In 1796, the commander of die Guatemalan presidio of Peten, Jose de Galvez, together with its leading prelate and the caciques of the nearby pueblos of San Andres and San Jose, registered a formal complaint: an increasing number of runaway black slaves from Belize taking refuge there had been marrying Maya women in their villages. The officials objected to these unions, stating that they did not want “their blood mixed with these newly Christian blacks” and alleged that the asylum seekers took Maya brides in thinly disguised attempts to exploit native female labor. The cacique of San Andres, don Raimundo Chata, backed by the leading civil and ecclesiastical authorities in a rare moment of unity, advocated the removal of the escaped slaves to a site set aside for blacks on the other side of Lake Peten (see map in Figure 1). The result of this proposed policy of segregation was the creation of a “new pueblo for blacks converted to the faith.”

In March of 1929, die young Peruvian poet and political activist Magda Portal departed from die Yucatan in Mexico to give a series of lectures in Cuba, Puerto Rico, the Dominican Republic, and Colombia. She traveled as an emissary of the Alianza Popular Revolucionaria Americana (American Popular Revolutionary Alliance, APRA), a recendy founded political organization that sought to transform Latin America by creating a united front against foreign imperialism. On July 14, in Santo Domingo she gave a lecture titled “Latin America Confronted by Imperialism,” at “the largest theater in town” to an audience of about 200. Her presence as an intelligent, energetic, and beautiful woman, standing on stages normally reserved to men, enhanced the power of her words, and she was well aware of the striking effect on audiences of seeing a woman in the traditionally male role of political orator

On April 17, 1974, and die two days following, a gathering of 16 indigenous participants from nine different indigenous societies was held in Diamantino, Mato Grosso, Brazil. During the three days, vernacular narratives, trivial announcements, and critiques of the government and local ranchers were presented—without any of the participants significantly engaging with one another. Only one primary source on this event, a short, typed document, is available today. The historicity of this “Assembly of Indigenous Chiefs” is granted by both the anthropological and the historical situations of the participating communities. For the first time, individuals from indigenous societies that did not share ethnic borders or history met to advance indigenous rights; for the first time also, these individuals were granted political representation (of their groups), a notion largely foreign to indigenous political traditions. There was a conscious effort to draw chiefs from as many communities as possible and to establish a large, pan-Indian movement.