People

The University de la República (State University)

The population is clearly of European origin, although Asia and Africa have also contributed to its composition but to a lesser extent, and there are inherited albeit mingled native traces. These vestiges are more an intellectual concern than visible evidence but in no way does this detract from the indigenous past of many Uruguayan families. Uruguay is nevertheless the least American of the countries of this hemisphere in percentage of natives in its population.

The origin of other groups who have their share in the melting pot of Uruguayan society is more evident. In 1805, one third of the inhabitants of Montevideo were black and halfway through the 19th century the French also accounted for one third, and although both communities are now less significant, the former stand out in our music, dances and sports, and the latter had a strong cultural influence until mid 20th century.

For the most part Uruguay is made up, roughly half and half, of inflows from Spain and Italy, and that is the basis of its idiosyncrasy.

However, added to these predominant trends there are Jews, Arabs, Armenians, Europeans of all origins--from Germany and Switzerland to England and Yugoslavia--and from other sources. For many decades this blend has made Uruguayans very similar to many of their neighbors, but with their own peculiar identity.

It is by no means easy to make an Identikit portrait of Uruguayans because the country is young and its population was the result of different waves of immigrants. They resemble the Spaniards more than the Argentines do, although the Italian share is practically the same in both countries. Possibly because they are very individualistic and have a less cheerful and extrovert personality. One of their features is the famous melancholy that tango took up as its own and a grey environment that Torres Garcia also claimed as his in most of his paintings, with an underlying geographical landscape which is real but also with a mental landscape brought from across the Atlantic.

Anybody appears despondent when compared to the Brazilian sparkle and the Caribbean liveliness, but the hallmark of Uruguayan society is not sadness, its main features are its mixed ancestry and above all the restrictions set by its size. A small country with a small population has no choice but to take into account the existence of rather inhibiting codes that rule its relationships. This is the genesis of good manners, an easy-going character, respect for formal education, risk aversion and creation brimming with self-criticism. There are many other traits as well. Uruguayans are certainly respectful neighbors, an interesting feature in times of integration, but Uruguay must also bet on the imagination they tend to repress.

The first person to conceive Uruguay was Jose Artigas. All the others, with different degrees of success, have merely attempted to reach the standard he set. It is the anonymous people who make up our country. But there are also individual men and women who have left their mark. Some of our founding heroes, chieftains such as Lavalleja, Rivera and Oribe, set the stage for those of the 20th century such as Aparicio Saravia, for statesmen like Batlle y Ordóñez, for leaders in the style of Herrera, and for democracy.

There are writers of lyrics such as Acuña de Figueroa, minstrels like Bartolomé Hidalgo, historians such as Bauzá and Pivel, writers like Acevedo Díaz, thinkers as was Rodó, philosophers like Vaz Ferreira, analysts such as Real de Azúa, the whole literary generation known as the 900s, the three poets exiled in Paris. In other areas there is the myth of Gardel, the whip of Legiuzamo, the voice of Sosa, the orchestra of Canaro, the stories by Quiroga, the fantasy of Hernández, the novels by Onetti. Others that had an impact were architects like Vilamajó, engineers like Dieste, musicians like Fabini, teachers such as Enriqueta Comte y Riquet, "payadores" (singers of improvised verses) and "murguistas" (groups of street musicians, especially in Carnival), scholars of our own culture like Serafín Garcia, researchers as was Rubino, wise men like Estable, etiologists like Talice, folklore performers such as "el Lena" and "Los Olimareños", tenors such as Damiani, physicians like Morquio, directors like Del Ciopo. Also unforgettable is the charm of Zitarrosa, the feminism of the Luisi sisters, the humour of Peloduro and the legs of "la Gularte". And Maracana!

How to speak to a Uruguayan?

"Montevideo Balcón al Sur", B & D Editores,

Intendencia Municipal de Montevideo, 1998, page 71, photo by Miguel Rojo.

Maracaná, Río de Janeiro, Brazil, 1950, Gambetta rushes for the ball after the end of the match.
 

Maracaná, Río de Janeiro, Brazil, 1950, Varela, Schiaffino and Ghiggia celebrates after the match.

Photos by Alfredo Testoni "Alfredo Testoni", Testoni Studios Ediciones, Ediciones Galería Latina.

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