Reviewed by:

• Performance in the Zócalo: Constructing History, Race, and Identity in Mexico's Central Square from the Colonial Era to the Present by Ana Martínez
• Jacqueline E. Bixler

Those who have marveled at the expanse and grandeur of Mexico's main square or simply love all things Mexican are sure to find Performance in the Zócalo a fascinating read. The heart of Tenochtitlán, the site of three centuries of colonial control, and the stronghold of Mexico's fraught postcolonial democracy, the Zócalo has long been the physical, symbolic, and political center of Mexico. As Ana Martínez states, it is "a socially produced space" where "[t]he intersection of history, race, and identity has been constructed and contested through performances" for the past five centuries (3). It is also where conquerors, viceroys, presidents, and dictators have staged and continue to stage official and celebratory performances to legitimize their power, manipulate social memory, and sell a Mexican imaginary to the masses who witness these carefully crafted spectacles. Meanwhile, the poor, disenfranchised, and repressed have increasingly occupied the same huge, public space to stage marches, protests, and other acts of rebellion that contest the rulers' domination as well as official history.

Each of the five chapters focuses on a specific event: the civic festival held in 1539, just eighteen years after the conquest, to celebrate the empire of Charles V; the 1721 bicentennial celebration of the conquest, designed to underscore allegiance to the monarchy; the 1910 bicentennial processions that commemorated the onset of the battle for independence and established Mexico's identity as a mestizo nation; the 2001 occupation of the Zócalo by Subcomandante Marcos and the Ejército Zapatista de Liberación Nacional; and the spectacular and costly 2010 celebration of both independence and the Revolution. As the author moves from one chapter to the next, she identifies parallels and contrasts among these performative events, highlighting in particular the recycling of political, cultural, and performative traditions.

Colonial authorities started to stage commemorative events in the Zócalo soon after the conquest as a way of celebrating and confirming colonial dominance over the masses, particularly the Indigenous population, which was much larger than that of the ruling Europeans. The author pays particular attention to the participation and (mis)representation of the native population in these events, demonstrating that their inclusion actually subverted the political intent of the performances; ironically, the "directors" of these performances unwittingly provided the Indigenous participants a large public space in which to remind the spectators of their existence. As Martínez explains, Mexico has long glorified its Indigenous past while ignoring the Indigenous present and presence; hence the 2001 occupation of the Zócalo, in which "[t]he ignored and abused Indians confronted Mexico's desire for globalization in the most important public space of the country," gave a voice and visibility to the nation's rural Indigenous population (16).

During the past century, the Zócalo has increasingly served as a site of contestation and confrontation, as witnessed not only in the bold entry of the Zapatistas in 2001, but also in the 2 October 2, 2018 march from Tlatelolco to the Zócalo to commemorate the fiftieth anniversary of the slaughter of students, protesters, and passersby, the yearly arrival of the caravan of parents and others to protest the [End Page 117] lack of justice in the disappearance of forty-three students from Ayotzinapa on September 26, 2014, and the March 8, 2020 march to protest escalating violence against women. The author safely predicts that the Zócalo will continue to be "Mexico's most contested space. While the government does not recognize a large part of the country's past and present condition, other people—Indigenous groups, students, and activists—continue to find ways to memorialize and perform alternative histories in Mexico's central square" (160).

While Martínez does not pretend to offer a detailed summary of Mexican history, much less rewrite...

审核人：

• Zócalo 中的表演：从殖民时代到现在的墨西哥中央广场的历史、种族和身份建构作者： Ana Martínez
• 杰奎琳·E·比克斯勒

那些惊叹于墨西哥主要广场的广阔和宏伟的人，或者只是喜欢墨西哥的一切事物的人，一定会在 Zócalo 找到表演一本引人入胜的读物。作为特诺奇蒂特兰 (Tenochtitlán) 的心脏地带，三个世纪的殖民统治之地，以及墨西哥充满后殖民民主的大本营，索卡洛长期以来一直是墨西哥的物质、象征和政治中心。正如 Ana Martínez 所说，它是“一个社会生产的空间”，在过去的五个世纪中，“历史、种族和身份的交叉点通过表演被构建和挑战”（3）。这里也是征服者、总督、总统和独裁者上演并继续举办官方和庆祝表演的地方，以使他们的权力合法化，操纵社会记忆，并向目睹这些精心制作的奇观的群众出售墨西哥的想象。与此同时，穷人、被剥夺权利和受压迫的人越来越多地占据着同样巨大的、

五章中的每一章都关注一个特定的事件：1539 年，即征服仅 18 年后举行的市民节，以庆祝查理五世帝国；1721 年的征服二百周年庆典，旨在强调对君主制的效忠；1910 年两百周年游行纪念独立战争的开始，并确立了墨西哥作为混血国家的身份；2001 年 Subcomandante Marcos 和 Ejército Zapatista de Liberación Nacional 占领 Zócalo；以及 2010 年庆祝独立和革命的壮观而昂贵的庆祝活动。随着作者从一章到下一章，她确定了这些表演事件之间的相似之处和对比，特别强调了政治、文化和表演传统的循环利用。

征服后不久，殖民当局开始在 Zócalo 举办纪念活动，以此庆祝和确认殖民统治对群众，特别是比统治欧洲人多得多的土著人口。作者特别关注当地居民在这些活动中的参与和（错误）表现，表明他们的参与实际上颠覆了表演的政治意图；具有讽刺意味的是，这些表演的“导演”在不知不觉中为土著参与者提供了一个大型公共空间，以提醒观众他们的存在。正如马丁内斯解释的那样，墨西哥长期以来一直在美化其土著过去，而忽略了土著的存在和存在。因此 2001 年对 Zócalo 的占领，其中“

在过去的一个世纪里，索卡洛越来越多地成为一个竞争和对抗的场所，这不仅体现在 2001 年萨帕塔派的大胆进入，也体现在 2018 年 10 月 2 日从特拉特洛尔科到佐卡洛的游行中，以纪念学生、抗议者和路人被屠杀五十周年，父母和其他人的大篷车每年都会到来抗议[完第117页]2014 年 9 月 26 日和 2020 年 3 月 8 日游行抗议对妇女暴力升级的 43 名学生失踪事件缺乏正义。作者有把握地预测，Zócalo 将继续成为“墨西哥最具争议的空间。虽然政府不承认该国过去和现在的大部分情况，但其他人——土著群体、学生和活动家——继续寻找方法在墨西哥中央广场纪念和表演另类历史”（160）。

虽然马丁内斯并没有假装提供墨西哥历史的详细总结，但更不用说重写......