Otago Daily Times

Spanish group on a mission to lighten la leyenda negra

Centuries on from the conquistad­ors and the Spanish Inquisitio­n, a new foundation is fighting to rehabilita­te Spain’s bloody historical image. Sam Jones , of The Observer, reports.

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BEYOND the cliched vistas of bullfights and beaches, and beneath the stereotype­s of sunshine and sangria, fiestas and siestas, there lurks a dark view of Spain that some of its people find bitterly and enduringly unfair.

For more than 500 years, they say, the country’s past has been disfigured and distorted by the propaganda spread by its former opponents and rivals. The socalled leyenda negra — black legend — was spun by chronicler­s in England and the Netherland­s who supposedly sought to depict their Roman Catholic enemies as unusually cruel and bloodthirs­ty and to exaggerate the brutality of the Spanish empire and the Inquisitio­n.

Five centuries on, a newly establishe­d group, the Hispanic Civilisati­on Foundation, is hoping to lay the legend to rest by using feature films, TV programmes, books and mobile exhibition­s to lighten Spain’s historical image. The foundation, made up of businessme­n, diplomats, journalist­s, lawyers, academics and writers, aims to restore a lost sense of pride in the spread of Spanish culture.

According to the foundation, Spaniards have spent far too long feeling guilty and ashamed of their past and worrying about how they are seen by the rest of the world.

‘‘We need to improve the selfesteem and cohesion of Spaniards when it comes to their shared history and what they have contribute­d to humanity,’’ Borja Cardelus, a writer and vicepresid­ent of the foundation, says.

‘‘There are various reasons why selfesteem is so low but it’s fundamenta­lly because neither Spain nor Hispanic countries have cultivated their images.’’

Cardelus said that, unlike Spain, the US, the UK and France had used culture and education to foster a favourable internatio­nal image.

‘‘They’ve done this brilliantl­y well — but Spain hasn’t,’’ he says. ‘‘That has meant that others, outside Spain, have been the ones making Spain’s image, and that’s what’s called the leyenda negra.’’

Although he singles out figures such as the Dutchman Theodor de Bry — whose engravings of Spanish imperial atrocities helped cement the conquistad­ors’ reputation for cruelty — Cardelus lays much of the blame for the black legend at the door of a famous Spaniard.

The 16thcentur­y Dominican friar Bartolome de las Casas has long been feted for his early and fierce defence of the indigenous people of the Americas, but some historians have criticised him for overstatin­g the barbarism of the Spaniards and getting his figures badly wrong.

‘‘It’s true that, through his exaggerati­ons and lies, Bartolome de las Casas managed to get the Spanish crown and the country’s politician­s to protect the Indians,’’ Cardelus says.

‘‘In that respect, his position was very laudable. But Bartolome de las Casas also suggested that Indians could be saved by importing slaves from Africa.’’

Cardelus, who takes a markedly benign view of the conquest of the Americas, argues that Hernan Cortes and Francisco Pizarro brought ‘‘a

far more humanitari­an system’’ to the Aztec and Inca empires they conquered.

‘‘Cortes and Pizarro went into territorie­s that have been eulogised . . . but the Aztecs practised human sacrifice,’’ he says. ‘‘Cortes had no problem allying himself with those indigenous people who saw the Spanish as liberators from Aztec oppression. Things were even worse with the Incas, whose empire was very totalitari­an.’’

What’s more, he says, the black legend has come to eclipse Spain’s role in the developmen­t of the concept of human rights through the School of Salamanca.

Others have a more nuanced view of Spain’s imperial adventures and subsequent reputation.

‘‘I don’t deny the existence of the black legend — you can’t deny the evidence of that

negative criticism,’’ Ricardo Garcia Carcel, a historian and author of books on the black legend, the Golden Age and the inquisitio­n, says.

‘‘But I do question the fatalistic, victim mentality that surrounds the issue: ‘Oh, poor Spain! What have we done to deserve this?’’’

If you look at the Spanish empire from a historical point of view, he says, it becomes clear that it had its bright patches as well as its ugly shadows. Take, for example, Spain’s Golden Age literature and the huge interest in the works of Cervantes, which were translated and spread across the world.

‘‘There were evident virtues when you think of the cultural projection in both Europe and the Americas,’’ adds Garcia Carcel.

‘‘You can’t deny the existence of that extraordin­ary cultural empire. But you also have scenes of military violence like the sack of Antwerp.’’

He argues that Spain never had the necessary resources to come up with a counterleg­end.

‘‘It lost the image war and the war of public opinion in the 16th, 17th and 18th centuries.’’

He also wonders whether this latest public show of anxiety over Spain’s internatio­nal image has been prompted by recent events in Catalonia, and by the periodic national tendency to indulge in soulsearch­ing.

‘‘We’re living through the old problem of national consciousn­ess and the dismantlin­g of the nation state called Spain, which is being called into question by the whole Catalan question,’’ he says.

‘‘Amid this national insecurity, we’re seeing the return of a phrase that we thought was dead and buried. Spain is once again obsessivel­y — almost neurotical­ly — fixed on what other people think.’’

Cardelus denies there is any political dimension to the foundation’s work and says the fact that its emergence has coincided with the political crisis in Catalonia is purely coincident­al.

But he adds: ‘‘It does seem an opportune moment because one of the things we’re trying to do is bring together all the people of Spain when it comes to what we’ve done and what we’ve contribute­d.’’

He also rejects suggestion­s that this is all an attempt to whitewash the country’s colonial past.

‘‘We’re not looking to swap the black legend for a rosetinted legend,’’ he says.

‘‘We’re looking to swap the black legend for the truth.’’

Emilio SaenzFranc­es, a lecturer in history and internatio­nal relations at Madrid’s Comillas Pontifical university, is sceptical about the notion that the legend still fogs foreign eyes. Perhaps one reason for the survival of la leyenda negra, he suggests, is Spain’s lasting fascinatio­n with it.

‘‘Wellinform­ed people around the world know pretty well what Spain’s history has been and though they may have a cliched image of Spain, it’s no worse than that of the UK when it comes to certain things or France in other things,’’ he says.

‘‘But I think there’s something a little bit selfpunish­ing in the Spanish mentality.’’ — Guardian News and Media

Cortes and Pizarro went into territorie­s that have been eulogised . . . but the Aztecs practised human sacrifice . . Things were even worse with the Incas, whose empire was very totalitari­an . . . We’re not looking to swap the black legend for a rosetinted legend. We’re looking to swap the black legend for the

truth

Borja Cardelus, vicepresid­ent of the Hispanic Civilisati­on Foundation

I don’t deny the existence of the black legend — you can’t deny the evidence of that negative criticism. But I do question the fatalistic, victim mentality that surrounds the issue: ‘Oh, poor Spain! What have we

done to deserve this?’

historian Ricardo Garcia Carcel

 ??  ??
 ??  ?? Conquistad­or . . . Hernan Cortes, portrayed in a 19thcentur­y engraving by an unknown artist.
Conquistad­or . . . Hernan Cortes, portrayed in a 19thcentur­y engraving by an unknown artist.
 ?? PHOTOS: WIKIMEDIA COMMONS ?? Ambush . . . Atahuallpa, the last Inca emperor, is attacked by the Spanish under Francisco Pizarro at Cajamarca, in this engraving of unknown origin. He was captured and eventually executed by Pizarro, portrayed (above) by AmablePaul Coutan in 1835.
PHOTOS: WIKIMEDIA COMMONS Ambush . . . Atahuallpa, the last Inca emperor, is attacked by the Spanish under Francisco Pizarro at Cajamarca, in this engraving of unknown origin. He was captured and eventually executed by Pizarro, portrayed (above) by AmablePaul Coutan in 1835.

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