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This article compares the transformation of carnival celebrations in Buenos Aires, Argentina and Montevideo, Uruguay at the beginning of the twentieth-century. It argues that changes in carnival practices in the River Plate region, a geography shared by these two national capitals, cannot be understood without taking a comparative stance since the demise of carnival in Buenos Aires was linked to the rise of a vacation culture in Montevideo. In addition, the more dramatic urbanization process experienced by Buenos Aires and the longer political stability of the nineteenth century here enabled elite politicians, commercial interests, and the middle and upper classes to regulate carnival behaviors to such an extent that the festivities became increasingly lackluster. In contrast, the slower urbanization process in Montevideo combined with the government's close but not overzealous regulation of carnival, allowed Montevideo's carnival to flourish. The disparate nature of Montevideo's carnival celebration that included the involvement of the city's diverse neighborhoods was also an important aspect of this carnival's popularity and success. This article also assesses the historiography on Montevideo's carnival which has cast a negative light on the impact of modernization and the festival. In comparison to Buenos Aires', carnival in Montevideo was fomented by governmental regulation. Finally, this article examines the relationship between carnival and each of the city's African-descent populations. [ABSTRACT FROM AUTHOR]

The article focuses on the evolution of different cultural forms of Latin America and the role of the elite in refining the forms. It studies the elite attitude towards popular class activities during the colonial and national eras. This article seeks to broaden the current study of the elite and popular cultures in Latin America by examining the production and reception of the zarzuela (Spanish operetta or light opera) in the mass culture context of late-nineteenth century Buenos Aires, where all social classes attended performances. Generally speaking the zarzuela is a dramatic, music-laden work structured around one unified plot that combines dialogue, song and dance. The article highlights its impact on the cultural forms of Latin America.