
A BRIEF HISTORY OF MEXICO
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ing education, especially in the percentage of girls who enroll in high
school. The program has been deemed so successful that it has been
copied around the world, including in New York City. Another suc-
cessful program, developed by nonprofit organizations, offers micro-
credit to poor women in the hope that a little financial boost of $50 or
s
o
might be enough to launch an income-generating project, such as
raising chickens, selling tortillas, or sewing for neighbors. The lenders
also organize support groups to help the women pay back the loans as
well as learn more about nutrition or social problems. Inventive and
promising, these programs need to be expanded for greater impact.
Oportunidades, for example, serves the extremely poor, who consti-
tute only 18 percent of those living in poverty.
Cultural Openings
A new generation of Mexican artists and writers is defining itself in
the age of globalization, leaving behind the tradition of mexicanidad.
In architecture, for example, the colorist principles of Luis Barragán
continue to have their impact long after his death in the work of
Ricardo Legoretto, but at the same time a younger generation, rep-
resented by Enrique Norten of TEN Arquitectos and his design for
the Visual and Performing Arts Library in Brooklyn, New York, has
grasped on modernist principles that make their work international
rather than Mexican. The conceptual works of artist Gabriel Orozco
(b. 1962) are part of an international aesthetic, not a Mexican one.
Indeed a retrospective on his work will be exhibited in New York
City and in Europe in 2009 but not in Mexico. Even writers, such as
the group calling themselves El Crack, have turned their focus away
from Mexico to find international success: Jorge Volpi’s prize-winning
thriller In Search of Klingsor (2002) is a good example. In the new
cinema, Mexican screenwriters and directors are pursuing careers in
the United States, for example, Guillermo del Toro with his animated
Hellboy film series (2006–08), Alejandro González Iñárritu’s 21 Grams
(2003) and Babel (2006), and Alfonso Cuarón’s Harry Potter and the
Prisoner of Azkaban (2004) and Children of Men (2006). All three
Mexican directors were nominated in 2007 for multiple Academy
Awards. However, when these new directors turn their cameras on
Mexico, the satirical and critical results seem to be inspired by the
new openness of Mexico, such as González Iñárritu’s Amores perros
(1999); the more gentle Y tu mamá también (2002) by Cuarón; and