Symbiotic Cities: Buenos Aires, Montevideo, and Mass Culture, 1910-1960

This dissertation examines how Buenos Aires emerged as a creative capital of mass culture and cultural industries in South America during a period when Argentine theater and cinema expanded rapidly, winning over a regional marketplace swelled by transatlantic immigration, urbanization and industrialization. I argue that mass culture across the River Plate developed from a singular dynamic of exchange and competition between Buenos Aires and neighboring Montevideo. The study focuses on the Argentine, Uruguayan, and international performers, playwrights, producers, cultural impresarios, critics, and consumers who collectively built regional cultural industries. The cultural industries in this region blossomed in the interwar period as the advent of new technologies like sound film created profitable opportunities for mass cultural production and new careers for countless theater professionals. Buenos Aires also became a global cultural capital in the wider Hispanic Atlantic world, as its commercial culture served a region composed largely of immigrants and their descendants. From the 1920s through the 1940s, Montevideo maintained a subordinate but symbiotic relationship with Buenos Aires. The two cities shared interlinked cultural marketplaces that attracted performers and directors from the Atlantic world to work in theatre and film productions, especially in times of political upheaval such as the Spanish Civil War and the Perón era in Argentina. As a result of this transnational process, Argentine mass culture became widely consumed throughout South America, competing successfully with Hollywood, European, and other Latin American cinemas and helping transform Buenos Aires into a cosmopolitan metropolis. By examining the relationship between regional and national frames of cultural production, my dissertation contributes to the fields of Latin American studies and urban history while seeking to de-center the United States and Europe from the central framing of transnational history.

Ledroit Park, A Portrait In Black And White: A Study Of Historic Districts, Social Change, And The Process Of Neighborhood Placemaking

This research examines the process of placemaking in LeDroit Park, a residential Washington, DC, neighborhood with a historic district at its core. Unpacking the entwined physical and social evolution of the small community within the context of the Nation’s Capital, this analysis provides insight into the role of urban design and development as well as historic designation on shaping collective identity. Initially planned and designed in 1873 as a gated suburb just beyond the formal L’Enfant-designed city boundary, LeDroit Park was intended as a retreat for middle and upper-class European Americans from the growing density and social diversity of the city. With a mixture of large romantic revival mansions and smaller frame cottages set on grassy plots evocative of an idealized rural village, the physical design was intentionally inwardly-focused. This feeling of refuge was underscored with a physical fence that surrounded the development, intended to prevent African Americans from nearby Howard University and the surrounding neighborhood, from using the community’s private streets to access the City of Washington. Within two decades of its founding, LeDroit Park was incorporated into the District of Columbia, the surrounding fence was demolished, and the neighborhood was racially integrated. Due to increasingly stringent segregation laws and customs in the city, this period of integration lasted less than twenty years, and LeDroit Park developed into an elite African American enclave, using the urban design as a bulwark against the indignities of a segregated city. Throughout the 20th century housing infill and construction increased density, yet the neighborhood never lost the feeling of security derived from the neighborhood plan. Highlighting the architecture and street design, neighbors successfully received historic district designation in 1974 in order to halt campus expansion. After a stalemate that lasted two decades, the neighborhood began another period of transformation, both racial and socio-economic, catalyzed by a multi-pronged investment program led by Howard University. Through interviews with long-term and new community members, this investigation asserts that the 140-year development history, including recent physical interventions, is integral to placemaking, shaping the material character as well as the social identity of residents.

"Jazz is Back": Alternative Jazz Venues and Gentrification in Washington, D.C.

Gentrification has dramatically changed the urban landscape of Washington, D.C. Non-profit alternative jazz venues have become important sites for negotiating this complex process that is re-shaping the city. Each such venue aligns itself with one of the two primary factions of gentrification: new urban migrants or long-term residents. Westminster Presbyterian Church’s Jazz Night in Southwest fosters a community of repeat-attendees resisting social displacement. The Jazz and Cultural Society unabashedly foregrounds ties to long-term residents in highlighting a black identity and its local interconnectedness. CapitolBop’s Jazz Loft demonstrates the difficulties that come with trying to cater to a young audience, and at the same time, resist gentrification. These venues present three perspectives on gentrification and together bring light to the overlapping complexity of gentrification.