Hacienda (UK /ˌhæsiˈɛndə/ or US /ˌhɑːsiˈɛndə/; Spanish: [aˈθjenda] or American Spanish: [aˈsjenda]) is a Spanish word for an estate. Some haciendas were plantations, mines, or even business factories. Many haciendas combined these productive activities. The hacienda system of Argentina, parts of Brazil, Chile, Mexico and New Granada was a system of large land-holdings that were an end in themselves as the marks of status (in Portuguese, the cognate term fazenda applies to the similar system in Brazil). The hacienda aimed for self-sufficiency in everything but luxuries meant for display, which were destined for the handful of people in the circle of the patrón.
Haciendas originated in land grants, mostly made to conquistadors. It is in Mexico that the hacienda system can be considered to have its origin in 1529,[citation needed] when the Spanish crown granted to Hernán Cortés the title of Marquess of the Valley of Oaxaca, which entailed a tract of land that included all of the present state of Morelos. Significantly, Cortés was also granted an encomienda, which included all the Native Americans then living on the land and power of life and death over every soul on his domains.
In Spanish America, the owner of a hacienda was called the hacendado or patrón. Aside from the small circle at the top of the hacienda society, the remainder were peones, campesinos (peasants), or mounted ranch hands variously called vaqueros, gauchos (in the Southern Cone), among other terms. The peones worked land that belonged to the patrón. The campesinos worked small holdings, and owed a portion to the patrón. The economy of the eighteenth century was largely a barter system,[citation needed] with little specie circulated on the hacienda. There was no court of appeals governing a hacienda.[citation needed] Stock raising was central to ranching haciendas. Where the hacienda included working mines, as in Mexico, the patrón might be immensely wealthy. The unusually large and profitable Jesuit hacienda Santa Lucía near Mexico City, established in 1576 and lasting to the expulsion in 1767, has been reconstructed by Herman Konrad from archival sources. This reconstruction has revealed the nature and operation of the hacienda system in Mexico, its peones, its systems of land tenure and the workings of its isolated, intradependent society.
The Catholic Church and its orders, especially the Jesuits, were granted vast hacienda holdings, linking the interests of the church with the rest of the landholding class. In the history of Mexico and other Latin American countries, this resulted in hostility to the church, including confiscations of their haciendas and other restrictions.
In South America, the hacienda remained after the collapse of the colonial system in the early nineteenth century. In some places, such as Santo Domingo, the end of colonialism meant the fragmentation of the large plantation holdings into a myriad of small subsistence farmers' holdings, an agrarian revolution. In Argentina and elsewhere, a second, international, money-based economy developed independently of the haciendas which sank into rural poverty.
In most of Latin America the old holdings remained. In Mexico the haciendas were abolished by law in 1917 during the revolution, but remnants of the system affect Mexico today. In rural areas, the wealthiest people typically affect the style of the old hacendados even though their wealth these days derives from more capitalistic enterprises.
Haciendas were more prevalent in Bolivia until the 1952 Revolution of Victor Paz Estenssoro which established an extensive program of land distribution as part of the Agrarian Reform.
There were haciendas in Peru until the Agrarian Reform (1969) of Juan Velasco Alvarado, who expropriated the land from the hacendados and redistributed it to the peasants.
The hacienda system and lifestyles were also influenced in the Philippines which was colonized by Spain through Mexico for 300 years. Attempts to break up the hacienda system in the Philippines through land reform laws during the second half of the 1900s have not been succeeded especially the Hacienda Luisita that resorted to protests.
In popular culture, haciendas are often portrayed in telenovelas like A Escrava Isaura and Zorro.
Contents |
List of haciendas [link]
- Hacienda Buena Vista
- Hacienda Juriquilla
- Hacienda Luisita
- Hacienda Mercedita
- Hacienda Napoles
- Hacienda San Antonio de Petrel
- Palacio San José
- Hacienda San Jose Chactún
- Hacienda Yorba
Ministerio de Hacienda [link]
Nowadays, the Ministerio de Hacienda is the government department related to finance and taxation in Spain, equivalent to the "US Department of the Treasury" and the "British Treasury".
See also [link]
References [link]
- Konrad, Herman W. (1980), A Jesuit Hacienda in Colonial Mexico: Santa Lucía, 1576–1767, Stanford University Press, ISBN 978-0-8047-1050-3
External links [link]
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Look up hacienda in Wiktionary, the free dictionary. |
https://wn.com/Hacienda
Hacienda (disambiguation)
Hacienda is a Spanish word for an estate or the main house upon the estate, see Hacienda.
Ministerio/Departamento de Hacienda, referring to a government agency in Spain or Latin America, is the treasury department.
Hacienda, La Hacienda, or The Hacienda may also refer to the following:
Places
(by state then city)
The Haçienda
The Haçienda was a nightclub and music venue in Manchester, England, which became famous in the Madchester years of the late 1980s and early 1990s. The Haçienda opened in 1982, and despite considerable and persistent financial troubles survived until 1997 – the club was mainly supported by record sales from New Order. The Haçienda is associated with the rise of acid house and rave music.
Creation
The former warehouse occupied by the club was at 11-13, Whitworth Street West on the south side of the Rochdale Canal: the frontage was curved and built of red brick. Before it was turned into a club, the Haçienda was a yacht builder's shop and warehouse before becoming a Bollywood cinema in the 1970s, showing films to the local Asian community.
Originally conceived by Rob Gretton, it was largely financed by the record label Factory Records and the band New Order along with label boss Tony Wilson. It was on the corner of Whitworth Street West and Albion Street, close to Castlefield, in the centre of the city. FAC 51 was its official designation in the Factory catalogue. New Order and Tony Wilson were directors of the club.
Croatian Parliament
The Croatian Parliament (Croatian: Hrvatski sabor) or the Sabor is the unicameral representative body of the citizens of the Republic of Croatia; it is Croatia's legislature. Under the terms of the Croatian Constitution, the Sabor represents the people and is vested with legislative power. The Sabor is composed of 151 members elected to a four-year term on the basis of direct, universal and equal suffrage by secret ballot. Seats are allocated according to the Croatian Parliament electoral districts: 140 members of the parliament are elected in multi-seat constituencies, 8 from the minorities and 3 from the Croatian diaspora. The Sabor is presided over by a Speaker, who is assisted by at least one deputy speaker (usually four or five deputies).
The Sabor's powers are defined by the Constitution and they include: defining economic, legal and political relations in Croatia, preservation and use of its heritage and entering into alliances. The Sabor has the right to deploy the Croatian armed forces abroad, and it may restrict some constitutional rights and liberties in wartime or in cases of imminent war or following natural disasters. The Sabor amends the borders of Croatia or the Constitution, enacts legislation, passes the state budget, declares war and decides on cessation of hostilities, adopts parliamentary resolutions and bylaws, adopts long-term national security and defence strategies, implements civil supervision of the armed forces and security services, calls referenda, performs elections and appointments conforming to the constitution and applicable legislation, supervises operations of the Government and other civil services responsible to the parliament, grants amnesty for criminal offences and performs other duties defined by the constitution.
Sabor (disambiguation)
Sabor is the common Croatian name for the Croatian Parliament (full name Hrvatski sabor in Croatian), the country's legislative assembly.
Sabor, meaning "assembly" may also refer to:
- Saborna crkva, any Cathedral church in the Serb Orthodoxy
Other uses
Sabor (Tarzan)
Sabor is a generic name for lions (originally tigers) in Mangani, the fictional language of the great apes in the Tarzan novels of Edgar Rice Burroughs. In Burroughs' works innumerable lionesses appear under the name of Sabor. In the Walt Disney animated movie Tarzan, Sabor is a term for leopards, more specifically the leopard that killed Tarzan's parents.
Evolution of the term
In the initial magazine publication of the original Tarzan novel Tarzan of the Apes, Sabor meant "tiger". Burroughs subsequently altered the meaning to "lioness" for book publication after being informed that there are no tigers in Africa. He substituted "lioness" rather than "lion" because there was an existing Mangani term for lions in the story, Numa. Lions thus attained the distinction of being the only creatures with separate terms in Mangani for the male and female. An ex post facto explanation rationalizing the distinction has been found in the fact that male lions are maned and female lions are not, providing a marked visual distinction between the two.
Reprise
In music, a reprise (/rəˈpriːz/ rə-PREEZ) is the repetition or reiteration of the opening material later in a composition as occurs in the recapitulation of sonata form, though—originally in the 18th century—was simply any repeated section, such as is indicated by beginning and ending repeat signs.
Song reprises
Reprise can refer to a version of a song which is similar to, yet different from, the song on which it is based. One example could be "Time", the fourth song from Pink Floyd's 1973 album The Dark Side of the Moon, which contains a reprise of "Breathe", the second song of the same album.
