Children Created By Elena Albarran And Heard In Mexico

It could be concluded that the first two decades after the Mexican Revolution, the country’s children started to be viewed as potential cultural and social critics, model citizens, and influential reformers. In fact, children were meant to play a central role in the movement of reformation led by the revolutionary nationalist government as they also received a large percentage of the national budget, which went toward their educational development. To support this claim, Elena Albarran’s Seen and Heard in Mexico zeroes in on children and their contributions to the defining of Mexico’s identity at the time by analyzing records of children’s perspectives available through letters, stories, and drawings to examine how Mexican childhood corresponded to the hopeful yet varied visions of revolutionaries, which was a stark contrast to the more uniform basis of cultural nationalism. By teaching children how to step away from aesthetic goals in order to encourage them to take more political stances, the youth were guaranteed a rightful place at the middle of Mexico’s rewriting of their narrative. There were various ways through which children contributed

For example, the artwork submitted to Pulgarcito both emerged from and was judged by the standards of a national art curriculum pioneered in the 1920s, which is the beginning of a visual standard that applied to the Mexican people that is still recognizable today. Nationalism and internationalism reinforced one another because as schoolchildren corresponded with peers in other countries through social outlets such as Pulgarcito, they were encouraged to think about what activities, images, or objects were ideal. From this emerged symbols which came to represent the nation both at home and