Welcome to 'Inés-capable History'
(Title created by Inés' core 303 students)
This blog is brought to you by adjunct professor Inés de Haro's students of Core 303: Connecting Past & Present. This blog is dedicated to highlighting the through-line of geopolitical conflicts from the Pre Cold War Era (1929-1990s) to the Post War Globalization Era (1990s-Present). The pre and post Cold War Eras (20th & 21st Centuries) of modernity are arguably the most critical eras of geopolitical history in the context of present day governmental identities & systems around the globe.
The identities of our present social and political globe display how governments and individuals interact with the geopolitical scope around them, and our job is to determine how they got to where they are.
These eras have been driven by conflicts divided between the ideological warfare of ‘communism’ vs. ‘capitalism,’ which have resulted in differing levels of global influence and polarization.
By connecting the origins of our geopolitical past to our present, we are able to identify and analyze the factors that public/private interest reactions have shaped our understanding of geopolitical identity in a historical context.
Historical Meme Analysis
by Sierra Blume & Elihu Peloquin
Francisco Franco was a dictator that ruled over Spain from 1936 to his death in 1975. Franco established himself as a prominent military leader for the Nationalists, a political faction, during the Spanish Civil War. Eventually, Franco’s party won the war and the country became unified. Franco’s reign was heavily influenced by Fascism and a lot of terrible crimes were committed by the government for ‘the good of the people’. One of these crimes was taking children from their mother’s and then putting them into illegal adoption networks.1 The actual number of children stolen is still unknown. There are a wide variety of estimations, but it is impossible to get a real number. The Spanish government’s concealment of documents,2 the number of children that were orphaned by the regime versus the civil war, and the time that has passed are all factors inhibiting accurate estimations. Additionally, any attempts to question or address these claims after Franco’s death were shut down by The Pact of Forgetting.3
George Orwell (real name Eric Arthur Blair) participated in the Spanish Civil War as a volunteer for the POUM (Partido Obrero de Unificación Marxista, or Workers’ party of marxist unification), a socialist militia fighting against Francisco Franco’s fascist forces.4 Arriving in Spain in late 1936, Orwell intended to write about the war for a newspaper, but instead enlisted, saying that if it was his kind of fight, he would join.5
Orwell fought on the Aragon front, experiencing harsh trench warfare conditions. He witnessed the complex political infighting among anti-fascist factions, particularly the growing tensions between the Communist-backed factions and anarchist/socialist militias. In May 1937, he was caught in the violent conflict between these groups in Barcelona, which led to the persecution of his comrades, these were The May Days. Shortly after, Orwell was sent back to the Argon front, where he was shot in the throat by a sniper. He survived thanks to his friend Harry Milton. Disillusioned by the suppression of revolutionary groups by Stalinist forces, he fled Spain to avoid arrest. His experiences profoundly shaped his anti-totalitarian views, later influencing Animal Farm and 1984. He recounted his time in Spain in Homage to Catalonia, a firsthand account of the war’s political complexities and betrayals.
'Children of the Grave'
Written by James Cangelosi, Tyler Chasse, and Zach Elliot
3
Melodies of Conflict
Musical Narratives in the Spanish Civil War
An Introduction to Spanish Civil War Folk Song
Written by Savannah Ciak
Music and songs serve as an outlet for emotions that cannot be easily expressed through simple rhetoric. Sound weaves together emotions and stories into powerful narratives, translating experiences into consumable media. During the Spanish Civil War, folklore songs served as a form of resistance. The Republicanos and Nacionales shared music within their factions, with soldiers and civilians often singing to one another in times of stress and conflict. These songs fostered a sense of unity and offered solace amidst the chaos.
“Folklore is informal, traditional culture”1 that is passed by people to one another through everyday interactions. For example, folklore includes inside jokes among friends, rumors, legends, songs, and other vernacular items that are spread in a folkgroup.2 Because folklore is often passed orally, there is minimal documentation on the origin of many folk songs. It then follows that since there is a lack of “primary document material, the songs of the Spanish Civil War have been examined by few scholars.” Despite the lack of formal documentation, these songs have been re-recorded and continue to inspire new anthems of resistance, serving as a primary method of expressing identity3 and connecting the struggles of the past with present-day conflicts.4
An Introduction to the Spanish Civil War
Context for Song and Lyrical Analysis
Written by Lily PouliotThe Spanish Civil War officially began on July 17, 1936,6 with rebels creating a military revolt throughout Spain against Franciso Franco’s uprising to overthrow the government. Franco eventually remained victorious, claiming control of the political power and instituted martial law. Groups within The Nationalists included Carlists, Falangists, and traditional conservatives who viewed the rebellions as Communists.7 With the rise of Franco’s power, his influence over the government spread. He soon recognized a few songs and labeled them as Cantos nacionals, or “Nationalist Songs.”8 These songs were from the Spanish Civil War and were used to remember and honor the fallen. One of these songs was the already-established national anthem of Cara al Sol, belonging to the Falange Española de las JONS.9 It was a custom for the songs to be listened to while standing up, paying tribute to Spain and the fallen. For exclusively military events, the list of songs must have been saluted with the “national salute,”10 otherwise known as the Roman Salute.
The Falange Española de las Juntas de Ofensiva Nacional Sindicalista, or FE de las JONS, is a combination of the Falange Española and the Juntas de Ofensiva Nacional Sindicalista, both parties that fall under Francisco Franco. It was founded in Spain in 1934 when the JONS departed as the main fascist group during the Second Spanish Republic and merged with Falange during the Spanish Civil War.11 The faction expanded rapidly during the Civil War, as many leftists or centrists joined out of fear of persecution, avoiding suspicion that loyalties were skewed. The leader and co-founder José Antonio Primo de Rivera was a key figure in the movement of the Nationalist group, playing a decisive role by collaborating with conspiracies and military attempts to overthrow the Republic.12
José Antonio Primo de Rivera was the eldest son of dictator General Miguel Primo de Rivera, the founder of the Falange.13 He launched the Falange Española as a movement to overthrow the government if political parties on the left-leaning side would impose policies. The Falange remained a political party as he continued to make speeches in parliament, although it used support from Benito Mussolini’s Italy for survival. It wasn’t until February 193614 that Primo de Rivera lost his seat in the parliament and was arrested. Primo de Rivera was soon given a summary trial and then executed by Republican authorities. Despite his execution, Francisco Franco’s party treated him as a martyr and merged the Falange party into the Nationalists movement.
6 United States Holocaust Memorial Museum. “Spanish Civil War.” United States holocaust memorial museum, 2024. https://encyclopedia.ushmm.org/content/en/article/spanish-civil-war.
7 Ibid.
8 Franco, Francisco. "Decreto número 226." Boletín Oficial del Estado (131): 548–549, 1937. https://www.boe.es/datos/pdfs/BOE//1937/131/A00548-00549.pdf
9 Ibid
10 Franco, Francisco. "DECRETO de 17 de julio de 1942 por el que se refunden las disposiciones vigentes en lo que respecta el Himno Nacional, Cantos Nacionales y Saludos" Boletín Oficial del Estado: 5346, 1942.
11 Berdichevsky, Norman. “"Franco, Fascism and the Falange: Not One and the Same Thing." New English Review, 2008. https://web.archive.org/web/20130914033144/http://www.newenglishreview.org/custpage.cfm/frm/21484/sec_id/21484
12 Ibid
13
An Analysis of “Cara al Sol of Falange Española”
A Song Recognized by Francoists during the Spanish Civil War
Written by Lily Pouliot
Cara al Sol, or Facing the Sun in English, was written in December 1935 and is credited to the leader of the Falange, José Antonio Primo de Rivera. The music for the anthem was composed by Juan Tellería and Juan R. Buendia. The source of this specific anthem is unique, as the purpose of the song was to counteract other already-established songs, specifically rebellion versions. Cara al Sol was made to rival the second Spanish Republic anthem El Himno de Riego, and A las Barricadas, a popular Anarchist song. The first performance was heard at a rally in Madrid on February 2, 1936, a year after Primo de Rivera formed a committee to establish the anthem. The popularity of the song rose exponentially by Primo de Rivera’s execution through his glorification by Spanish Nationalists:
Facing the sun in my new shirt, that you embroidered in red yesterday, That's how death will find me if it takes me and I won't see you again.
I'll take my place alongside my companions who stand on guard in the heavens, with a hard countenance, they are present in our efforts.
If they tell you that I fell,
know that I went to my post up there.
Victorious flags will return at the merry step of peace and will wear pinned five roses: the arrows of my quiver.
Spring will return laughing again, which is awaited by air, land and sea.
Onwards, squadrons, to victory, that a new day dawns in Spain!
The anthem manages to summarize the values of the Falangist organization, mainly focusing on youth, leaders, the fallen, and the idea of the nation being reborn anew. The line, “That's how death will find me if it takes me and I won't see you again”, relates to Primo de Rivera’s notion of death, where a hero does not seek death but instead will take his own life as acceptance of their duty, as the rule of Falange’s military is to look at death “face to face, and to give one’s life for the Motherland”. The next line is a reference to fallen Falangists in heaven, as they await for destiny to collect all members to join them. They follow Primo de Rivera’s sayings, reflecting an intuition of Franco’s sword and how he would bring victory to the Nationalist cause. However, this cannot be achieved without pain, death, and resurrection. The last two lines delve into the foretelling of the triumph of “national-syndicalism” and the upcoming new age of peace and happiness for those who repel liberal romanticism.
Although the Spanish War has passed, along with Francisco Franco’s rule and the Cantos nacionals, the everlasting damage has reached present times, still affecting thousands of civilians. On April 24, 2023, a recent shift of trying to correct the past in the method of moving Primo de Rivera's corpse to a different cemetery, specifically a less-prominent cemetery in Madrid. What shows the ripple effects of the war is the clash of modern-day Primo de Rivera supporters, who decided to clash with police officers outside of the cemetery as the remains were moved there. This has not been the first time the remains have been moved, where he was originally in the Valley of Cuelgamuros, previously the Valley of the Fallen, which is a large mausoleum in the mountains north of Madrid. The mausoleum was built by Francisco Franco, where he was also buried after his death in 1975. Multiple arrests took place during the clashes between the supporters and the police, where the family of Primo de Rivera proposed the idea of transferring the remains to San Isidro to follow his will to be buried on Catholic “blessed ground”. Despite the retaliation from Nationalist supporters, Spain is attempting to slowly correct the ways of the past, or at least recognize what was done negatively affected the lives of many.
15 Libertad Digital Author. "César Vidal - ¿Quién redactó el "Cara al sol"?" Libertad Digital, 2004. https://www.libertaddigital.com/opinion/ideas/quien-redacto-el-cara-al-sol-1276226351.html#google_vignette
An Analysis of “Viva La Quinta Brigada” by Christy Moore
Written by Hannelore Sanokklis
[Link to Video] Christy Moore - Viva la Quinta Brigada. Live at Barrowland Glasgow
While documenting and recording folk music from the Spanish Civil War is crucial for helping us understand the experiences and emotions of those who lived through it, it is also important to find modern ways to connect the past with the present.
“Viva La Quinta Brigada” by Christy Moore is a modern Irish song that highlights the role of the International Brigades in the Spanish Civil War, with a particular focus on Irish involvement.22 During the Spanish Civil War (1936-1939) groups of foreign volunteers were recruited to fight on the Republican side against Franco’s fascist regime.23 Members of these brigades came from 50 countries and were recruited, organized, and directed by the Comintern (Communist International).,24,25
Between 35,000-42,000 volunteers joined the International Brigades during the conflict.26 Around 700 Irish volunteers joined the war on the side of the Nationalists (In support of Franco),27 and only 247 joined the international brigades on the side of the Republicans (against Franco).,28 Eoin O’Duffy,29 the leader of the Irish Volunteers for Franco, presented the Spanish Civil War as a fight to preserve the Catholic religion in Spain from the communists.30 As many Irish had been oppressed due to their Catholic religion, this message sat better with them than the anti-clerical Republican side of the Spanish Civil War.31
The leader of the Republican Irish Volunteers was Frank Ryan, a left-wing Irishman who opposed both fascism and the rise of pro-fascist movements in Ireland.32 Ryan was one of the key figures in organizing Irish support for the Republican side in Spain and played an important role in the International Brigades as a senior officer.33 The Irish volunteers were officially part of the 15th Battalion (XV) otherwise known as Tom Mann Centuria.34 This brigade was mainly made up of English speakers (ie British, Irish, and American)35
“Viva la Quinta Brigada” translates to “Long live the fifth brigade”. When Christy Moore wrote this song, he mistakenly used the word “Quinta” (meaning 5) for the word “quince” (meaning 15).36 To accurately account for history, the song should be titled “Viva la Quince Brigada” translating to “Long live the Fifteenth Brigade”. Christy Moore later remedied this mistake by re-titling the song to include the word “quince”.37
Christy Moore was inspired to write this song by Micheal O’Riordan, a soldier in the International Brigade and the founder of the Communist Party of Ireland.38 Moore wrote the song based on O’Riordan’s book “The Connolly Column”, which told the story of the Irishman who fought for the Spanish Republic., 39,40
[Verse 2]
They came to stand beside the Spanish people
To try and stem the rising fascist tide
Franco’s allies were the powerful and wealthy
Frank Ryan’s men came from the other side
This verse references Frank Ryan and the Irish volunteers who fought alongside the Spanish Republicans. The Nationalists were typically Catholic, supported by fascist groups, and members of the ruling class, including businessmen, landowners, and military leaders. In contrast, the Republicans were made up of common laborers, trade unionists, left-wing activists, and those who supported a democratic government.41
[Chorus]
Viva la Quinta Brigada
“No Pasaran,” the pledge that made them fight
“Aldelante” is the cry around the hillside
Let us all remember them tonight
This is the chorus of the song. “Viva la Quinta Brigade” as mentioned before, means “Long live the fifth brigade”. The next line says “No pasaran” meaning “they shall not pass!”42 This slogan is an anti-fascist slogan and was first used when the International Brigades helped stop Franco’s advance on Madrid in 1936.43 The next line says “Aldelante” meaning “forwards!”44 This is in reference to a war slogan and poster that says “adelante luchadores de la libertad” translating to “forward freedom fighters!”45 Finally, the line “Let us all remember them tonight” urges listenters to honor the sacrifices of the soldiers who fought for freedom and democracy, ensuring their bravery is not forgotten.
[Verse 8]
This song is a tribute to Frank Ryan
Kit Conway and Dinny Coady too
Peter Daly, Charlie Regan and Hugh Bonar
Though many died, I can, but name a few
This verse mentions Frank Ryan again and begins listing other volunteers who served and died fighting against Franco’s oppressive regime. The line “thought many died, I can, but name a few” highlights the difficulty of remembering and honoring every individual, as so many lost their lives. In this verse, Moore uses the phrase “but” in the sense of “only” emphasizing that he is limited to naming just a few, even though many more deserve recognition.
The lyrics of the song themselves serve as a vivid representation of these historical events and O’Riordan’s personal experiences. By examining these lyrics we can gain a deeper understanding of how the song reflects the struggles and solidarity of the time, as well as how Moore conveys the emotional essence of the Spanish Civil War.
To connect the past to the present, Moore took the accounts and story from O’Riordan and transformed them into an upbeat Irish song with a catchy chorus. In doing so, he modernized an important part of both Irish and Spanish history, making it more accessible for people to learn about.
22 “Christy Moore – Viva La Quinta Brigada Lyrics | Genius Lyrics.” GENIUS. Accessed February 17, 2025. https://genius.com/Christy-moore-viva-la-quinta-brigada-lyrics.
23 “International Brigades.” Encyclopædia Britannica. Accessed February 16, 2025. https://www.britannica.com/topic/International-Brigades.
24 Ibid.
25 This was an organization headquartered in Paris, founded by the Communist Party of the Soviet Union.
26 López, Uma Arruga i. “In Spanish Trenches, Irishmen Fought against Fascism.” Jacobin. Accessed February 17, 2025. https://jacobin.com/2021/06/spain-international-brigade-comintern-franco-ireland-fascism-book-review.
27 These volunteers joined under General Eoin O’Duffy, to form the catholic faith against the “reds” (communists).
28 Dorney, John. “‘God’s Battle’: O’duffy’s Irish Brigade in the Spanish Civil War – the Irish Story.” The Irish Story, October 24, 2018. https://www.theirishstory.com/2018/10/24/gods-battle-oduffys-irish-brigade-in-the-spanish-civil-war/.
36 From the Parapet. “Christy Moore – Viva La Quinta Brigada.” From the Parapet, April 10, 2020. https://fromtheparapet.wordpress.com/2018/03/29/christy-moore-viva-la-quinta-brigada/.
37 “Christy Moore – Viva La Quinta Brigada Lyrics | Genius Lyrics.”
38 Communist Party of Ireland. Accessed February 17, 2025. https://www.communistpartyofireland.ie/s-oriordan.html.
39 Ibid.
40 The Connolly Column was the name given to the Irish Republican socialist volunteers.
41 “Spanish Civil War.” Encyclopædia Britannica, February 11, 2025. https://www.britannica.com/event/Spanish-Civil-War.
42 Mitchell, Tom. “Viva La Quinta Brigada: New Anthem for an Extinct Ideal.” Viva La Quinta Brigada: New Anthem for an Extinct Ideal, July 8, 2020. https://tommitchell.substack.com/p/viva-la-quinta-brigada-new-anthem.
43 “No Pasarán: Anti-Fascist Slogan Takes on New Significance in Ukraine Crisis.” The Guardian, March 12, 2022. https://www.theguardian.com/world/2022/mar/12/no-pasaran-anti-fascist-ukraine-spanish-civil-war.
44 Mitchell, Tom. “Viva La Quinta Brigada: New Anthem for an Extinct Ideal.”
45 “CNT, AIT, Fai, Adelante! Luchadores de La Libertad!” Digital Collections Home – Digital Collections. Accessed February 17, 2025. http://digitalcollections.hoover.org/objects/25902/cnt-ait-fai-adelante--luchadores-de-la-libertad.
An Analysis of “Jarama Valley” by Woody Guthrie
Written by Savannah Ciak
One of the most well-known collections of folk songs from the Spanish Civil War is Songs of the Spanish Civil War, Vols. 1 and 2.46 Recorded soon after the war ended, re-recorded in the 1960s by Folkways Records, and then remastered in 2014, the original songs in the anthology album were created by members of the Abraham Lincoln Brigade. This brigade, composed of American volunteers, fought against Franco's forces during the Spanish Civil War.47
Among the collection, "Jarama Valley" stands out as a song commemorating the experience of the International Brigades experience during the Battle of Jarama. Sung by Woody Guthrie, the song adapts the tune of the American folk song "Red River Valley.”48 The song was originally written by Alex McDade, a member of the British Battalion, XV International Brigade,49 and details his experience as a soldier at Jarama. He would later die in another battle during the war.50 Despite his death, his song carried on through the decades. The original lyrics are unconfirmed, as many of the details regarding the battle of Jarama rely on first-hand witness accounts.51 This song is one of the few artifacts remaining from the battle that can inform present historians about what may have happened.
Lyrics such as,An Analysis of “March of Oriamendi” by Jose Juan Santesteban and adapted by Ignacio Baleztena Ascárate in 1908
Written by Matt Compton
The March of Oriamendi (Marcha de Oriamendi) was originally written long before it was adopted by the Franco regime. The original composition was written as a (preemptive) celebration of the liberal victory at the Battle of Oriamendi. Its original lyrics were written by Jose Juan Santesteban, a Basque composer and presumably not a supporter of the Carlist movement. However, the Carlists won the battle and appropriated the song, and there do not appear to be records of the lyrics or how they might have originally been anti-Carlist.54
Given that the song was written as (and adapted as) a marching song, the lyrics contain refrains that talk of marching and fighting in union and refrains that reference God and the kingship of Spain, but there are interesting differences between the lyrics in Basque (written by/for Carlists), versus the Spanish version adopted by Franco’s forces, specifically the Spanish Legions. In Basque, the lyrics state:
Long live God most beloved
Let him be our lord.
Long live Spain and the Basque Land
And the legitimate king.
These lyrics mention the Basque claims specifically and in addition reference Infante Carlos María Isidro,55 who was a descendant of the kings of Spain, but never was truly its ruler, despite his support from Basque regions and the Carlist movement. Interestingly, in the Spanish version, the lyrics still mention “God, Fatherland, Fuero, King,” which is the Carlist motto. However, this version does not specify who is the King of Spain, nor does it seem to directly reference Franco (“el generalissimo”):
For God, Fatherland, and the King
At whatever cost,
Acquired it must be -
Return the King of Spain
To the court of Madrid
Franco allowing an anthem from Carlists, and even officially recognizing it as a national song is interesting to analyze because the Carlists did not entirely align with his fascist views.56 However, as many (aspiring) authoritarians do, Franco used the existing Carlist movements as a way to gain support, as they had a shared enemy in the existing Republican government, and giving perceived favors, such as mid-level government functions was perceived as a way to make their support of Franco’s regime worth the effort.57
Another interesting note regarding the Spanish version of the song’s lyrics, adapted for Franco, is that Between 1936 and 1939, the line that reads
Return the King of Spain
To the court of Madrid
Was replaced by:
The red berets shall conquer Madrid
This is a direct reference to the uniforms of a majority of the Carlist forces, as well as the Francoist regime. From what resources/declarations of the Junta are available online, there is no listed description of the exact lyrics that were listed as a part of Cantos nacionales, the Nationalist songs that were to be played at government or military events to honor the Fatherland and the fallen.58
54 Arozamena Ayala, Ainhoa. March of Oriamendi - Auñamendi Eusko Entziklopedia. Accessed February 17, 2025. https://aunamendi.eusko-ikaskuntza.eus/en/march-of-oriamendi/ar-77679/.
“March of Oriamendi.” Wikipedia, December 12, 2024. https://en.wikipedia.org/wiki/March_of_Oriamendi.
55 “Infante Carlos María Isidro of Spain.” Wikipedia, December 14, 2024. https://en.wikipedia.org/wiki/Infante_Carlos_Mar%C3%ADa_Isidro_of_Spain.(Accurate English sources were challenging to find for this song.)
The Pact of Forgetting & The Power of Context
Written and Created by Samantha Hasselquist and Mitchell Biagini
Franco’s dictatorship. All political prisoners being held by the dictatorship-turned-democracy would be released and in exchange all crimes committed by the regime would be pardoned. Colloquially, this law became known as the “Pact of Forgetting”, as it aimed to forget the past atrocities and make way swiftly for a just democracy. 1
The goal of this comic is to highlight the importance of context when judging a situation. Without the context, the character’s actions cannot be properly judged. The Pact of Forgetting codifies this lack of context into law in Spain. Today, there remains victims of Franco’s regime alive. The impact of these atrocities are still felt today through generations and communities who were changed irrevocably. 2
For example, between the 1930s the 1970s newborns were separated from their mothers without consent and given to families who were loyal to the dictatorship.3 The mothers typically gave birth then were immediately told their child had died. In our comic, the character is handed a newborn after they have shown to be a loyal soldier. Without the context of where this child came from, you probably assumed there wasn’t something so horrific behind its origin. With Spain’s Amnesty Law, the loyal soldier promoted to executioner can never be charged for any crimes. This may have stabilized the democracy which followed Franco’s dictatorship, but is it just?
1 CARRACEDO, ALMUDENA;BAHAR, ROBERT, “The Pact of Forgetting.” (Newsweek Global, 2018)
2 Encarnación, Omar, “Forgetting, in Order to Move On” (New York Times, 2014)
3 Benavides, Lucía , “How Spanish Women Were Allegedly Targeted In 'Stolen Babies & #39; Cases For Decades” (NPR, 2018)
The Juxtaposition of Justice and Peace
Written by Aidan Pasek and Alec Turgeon
ABSTRACT
This paper analyzes the relationship between the concepts of justice and peace in regards to how they
juxtapose. It also examines the aforementioned concepts in relation to the Pact of Forgetting and
the Francisco Franco Dictatorship Era, catalysts for the discussion about juxtaposition.
The Pact of Forgetting is a controversial political decision dating back to the 20th century following
the Franco Dictatorship. The Pact was designed to disregard and move on from repression that
plagued the Spanish Civil War. It put forth that persons who committed human rights violations or
crimes of similar character during the Francoist period were excepted from prosecutions,
essentially suppressing these offenses by way of forgetting.
The Pact’s impact has been felt by a great many of the Spanish population.
And highlighting The Silence of Others documentary, a divide emerges over spoiling the existing
peace to enact justice or letting peace continue without voices being heard.
When the line once drawn is erased, what side is chosen?
INTRODUCTION
The Pact of Forgetting is one of the most controversial political decisions of the 20th century.
The Pact ensured not just that those responsible for many of the crimes that were committed
under the Franco Dictatorship were largely absolved, but also ensured that future generations of
Spaniards would not know of said crimes. Proponents of the Pact argue that it was necessary in order
to leave the past behind and to move to a brighter future for Spain. However, many of the victims
who suffered under the Franco Administration felt otherwise; that their suffering was being paved over,
their struggles ignored, and their oppressors continued to walk the streets without consequences.
This side is highlighted in The Silence of Others, which showcases the various kinds of efforts
many Spaniards undertook in order to achieve some form of justice.
However, we are nearing 50 years since the Pact was forged, and most of
those who were not alive during the Franco Dictatorship are blissfully ignorant
that it even happened, and that going back on that now would upset the peace that currently exists.
The fallout of the Pact of Forgetting has produced a divide over whether or not it is worth spoiling
the unwitting peace that exists to give justice to those who suffered.
So which is more important: justice or peace?
ON THE SIDE OF JUSTICE
Let’s address an end of the spectrum. When the Franco dictatorship came to an end,
people surfed a wave of uncertainty as they navigated the recovery process. For many
individuals, feelings of being deprived of freedom and rights were common, but just as common
was an unknowing sense of direction. Was it possible to live any better? To live more happily?
Such questions contributed to wounds not easy to mend. But one of the central rights
that individuals endeavored to reclaim was the right to justice. The word justice is an abstract term with different meanings depending on the context. Different people
will have different perspectives on justice based on the place, time, and situation.
Justice could be a matter of voice, but it could also be a matter of action. In The Silence of Others documentary, victims of the Franco Dictatorship seek repair with regards to the Pact of Forgetting in Spain. Additionally, the perspectives of justice presented in the film highlight the term’s abstractness. For a lot of people in the film, justice is viewed through the lens that no crimes can go unpunished or that victims of abuse and demise should be brought back to the appropriate persons. But the ideal hope is to bring attention to the Pact’s cruelty and re-establish the connections between the victims and their close attachments. To these individuals, justice is felt as justice. But at the same time, this could raise the question of “Is looking for justice looking for revenge?” The answer is in the negative.
An idea that resurfaces throughout the film is that of universal jurisdiction.
In other words, the authority of judicial systems to investigate and prosecute specific,
serious crimes regardless of the cause and time of occurrence. In the film, universal
jurisdiction is quoted as the notion that “Crimes against humanity can be prosecuted, by any time,
by any court anywhere in the world." For many survivors and their families in the film,
justice is a matter of seeking accountability rather than revenge.
The concept of revenge might act as a claim for justice, but the two concepts do not relate.
Justice concerns an approach to law that is measured, balanced, and valid. On the other hand,
revenge assumes the opposite approach as it is often not calculated, demeaning, and destructive.
Despite the various interpretations of justice, revenge is not a sound claim for justice even if the
former term does produce sound. Justice aims to be reasonable and ascertain the truth; it can take
time to solve problems, but it solves more problems than those created by revenge.
For Spaniards, they simply desire recognition and closure for their cases to heal personal
wounds inflicted in the past. Whether this means the identification of victim remains or
government acknowledgement of the crimes committed, justice validates these hopes and endeavors
when pursued. But sometimes, talking about the past can be difficult. It can generate discussions
about topics that may be better to forget or not even introduce to future generations.
Sometimes—to address the other end of the spectrum—is it worth disturbing the peace?
ON THE SIDE OF PEACE
A phrase that was often used in relation to the process behind prosecuting Franco Era
enforcers is that doing so is “opening the wound again” or “opening old wounds” and
that we need to keep looking forward to the future and the potential it has beyond the Franco
era rather than drag it on. Within The Silence Of Others, there is a moment where the filmmakers
go out into the streets during the night life and ask younger people if they know anything about
the Franco dictatorship, and none of them know a single thing about it because they were not
taught about it due to the Pact of Forgetting (I mean, it is literally in the name of the pact).
They are going through their lives as if nothing ever happened at all, and are operating with that
understanding. Some would say that this is freeing in a way, that their blissful ignorance
keeps them from being shackled down by the past and having to consider it.
They never think about it or make any decisions based on it since they never even
knew it really existed in the first place, and thus can move forward unburdened by it.
They have peace because they did not even know there was conflict. All of this,
however, largely hinges on the belief that the wound of the Franco Era has been closed,
and it is in that single idea that the core frustrations and disagreements over the
Pact of Forgetting exist.
CONCLUSION
To some, the Pact of Forgetting was the stitches that closed the wound of the Franco Era;
a piece of legislation that ensured everyone, no matter what side, could move forward in life,
and be unburdened by its atrocities irregardless of if they were even alive or old enough to remember it in the first place. To some, it created peace through dispassionate, unequivocal forgiveness
and the promise to move forward beyond it. To many others, however, most importantly those who
suffered under the regime, it was the opposite: an impossible roadblock that prevented the stitches from ever being sown. Many people rightfully feel that they have been denied justice,
whether it is in that their torturers get to walk free and live across the street from
them free of consequences, or that they still do not know the final resting places of their mothers,
daughters, sons, and fathers. They believe that all that happened, suffering and all, should not be swept under the rug for a false peace, and they will continue fighting for themselves and their family
members’ experiences to be remembered.
1 The Silence of Others, directed by Robert Bahar and Almudena Carracedo (2018; United States: El Deseo), Film
2 Ibid.
Catholic Involvement in the Spanish Civil War
A Mirror to Present-Day America
Written by Melanie Duverge
History often has a unique way of acting as a guiding light when navigating today’s most
pressing issues. Take, for example, the Spanish Civil War (1936–1939), a brutal conflict where
religion and politics collided with lasting consequences. While the war itself might feel like a
distant event, the story of the Catholic Church’s involvement in Francisco Franco’s Nationalist
party holds a mirror up to the ongoing imbalance of power between church and state in
modern-day America.
In Spain, the Catholic Church had long been a powerful political force.1 When the Second Spanish Republic was established in 1931, it attempted to weaken the Church’s influence through secularizing reforms. The Church, feeling its prominent political influence being threatened, sided with Franco’s Nationalists, a conservative, authoritarian movement. The Church maintained significant power—control over education, financial backing, and a prominent role in shaping policies against divorce, abortion, and communism.2
The influence of religion in Spain during the Civil War is not as distant as we might think. In the United States, despite the clear separation between church and state laid out in the Constitution, religious beliefs continue to shape political discourse. The rise of the Christian Right and the power of evangelical Christians in American politics reflect a troubling trend where religious beliefs guide public policy. Issues like abortion rights, same-sex marriage, and even religious exemptions to healthcare laws show how the line between church and state can blur, just as it did in Spain decades ago.3
Take, for example, the 2022 Supreme Court decision to overturn Roe v. Wade. This was a major victory for conservative religious groups who had been pushing for years to make their beliefs a part of national law. The ruling didn’t just change abortion rights—it showed how religion can still have a powerful impact on legal decisions, raising serious questions about the ongoing blurring of lines between church and state in America today.
As students, we must look beyond the interpretation of history as nothing more than a record of events. The Spanish Civil War offers a crucial lesson on the dangerous consequences of unchecked religious power in politics. The Church’s role in Franco’s regime didn’t just impact Spanish society, the wrongs committed at the hands of a corrupt government rudimentarily affected the nation. In America, we’re facing similar threats to the foundation of our country. When religious groups are allowed to dictate laws that affect everyone, it challenges the core values of a democracy that is supposed to protect individual rights, no matter one's religious beliefs.
The tension between church and state is not just a historical issue. It is a live issue, one that still influences political systems today. By studying the past, we can better understand how these power dynamics can shape our future. The question remains: Will we allow religion to dictate our policies, or will we uphold the separation that is essential to a fair and just society? The choice is ours to make.
1 The Catholic Church had significant influence over Spanish political life, offering financial support, and instilling a sense of ethical and moral superiority amongst Franco’s Nationalists. (Preston, Paul. Franco: A Biography. 1993 )
2 A photo showing Catholic clergy alongside Francisco Franco and Nationalist military leaders, symbolizing the Church's blatant support for Franco’s authoritarian regime during the Spanish Civil War.
3 In the U.S., religious groups have consistently influenced policy decisions on topics such as abortion and same-sex marriage–based purely on Catholic religious beliefs–for the entirety of the country, a country constitutionally regarded as a haven for freedom of religion. (Green, John C. The Bible and the Ballot: Politics and the Religious Right. 2010.)
The Scale of Justice and Human Rights
Art created by Yana Ramos
Comments
Post a Comment