Argentina and Latin America
In all of Latin America, only one other woman has aroused an emotion, devotion, and faith comparable to those awakened by the Virgin of Guadalupe. In many homes, the image of Evita is on the wall next to the Virgin.
In his essay titled "Latin America" published in The Oxford Illustrated History of Christianity, John McManners claims that the appeal and success of Eva Perón are related to Latin American mythology and concepts of divinity. McManners claims that Eva Perón consciously incorporated aspects of the theology of the Virgin and of Mary Magdalene into her public persona. Historian Hubert Herring has described Eva Perón as "perhaps the shrewdest woman yet to appear in public life in Latin America".
In a 1996 interview, Tomás Eloy Martínez referred to Eva Perón as "the Cinderella of the tango and the Sleeping Beauty of Latin America". Martínez suggested she has remained an important cultural icon for the same reasons as fellow Argentine Che Guevara:
Latin American myths are more resistant than they seem to be. Not even the mass exodus of the Cuban raft people or the rapid decomposition and isolation of Fidel Castro's regime have eroded the triumphal myth of Che Guevara, which remains alive in the dreams of thousands of young people in Latin America, Africa and Europe. Che as well as Evita symbolize certain naive, but effective, beliefs: the hope for a better world; a life sacrificed on the altar of the disinherited, the humiliated, the poor of the earth. They are myths which somehow reproduce the image of Christ.
Although not a government holiday, the anniversary of Eva Perón's death is marked by many Argentines each year. Additionally, Eva Perón has been featured on Argentine coins, and a form of Argentine currency called "Evitas" was named in her honour. Ciudad Evita (Evita City), which was established by the Eva Perón Foundation in 1947, is located just outside Buenos Aires.
Cristina Fernández de Kirchner, the first elected female president in Argentine history, is a Peronist who has occasionally been referred to as "The New Evita". Kirchner says she does not want to compare herself to Eva Perón, claiming she was a unique phenomenon in Argentine history. Kirchner also says that women of her generation, who came of age in the 1970s during the military dictatorships in Argentina, owe a debt to Eva Perón for offering an example of passion and combativeness. On 26 July 2002, the 50th anniversary of Eva Perón's death, a museum opened in her honour, the Museo Evita. The museum, created by her great-niece Cristina Alvarez Rodriguez, houses many of Eva Perón's clothes, portraits, and artistic renderings of her life, and has become a popular tourist attraction. The museum was opened in a building that was once used by the Eva Perón Foundation.
In the book Eva Perón: The Myths of a Woman, cultural anthropologist Julie M. Taylor claims that Eva Perón has remained important in Argentina due to the combination of three unique factors:
In the images examined, the three elements consistently linked—femininity, mystical or spirituality power, and revolutionary leadership—display an underlying common theme. Identification with any one of these elements puts a person or a group at the margins of established society and at the limits of institutional authority. Anyone who can identify with all three images lays an overwhelming and echoing claim to dominance through forces that recognize no control in society or its rules. Only a woman can embody all three elements of this power.
Taylor argues that the fourth factor in Eva Perón's continued importance in Argentina relates to her status as a dead woman and the power that death holds over the public imagination. Taylor suggests that Perón's embalmed corpse is analogous to the incorruptibility of various Catholic saints, such as Bernadette Soubirous, and has powerful symbolism within the largely Catholic cultures of Latin America:
To some extent her continuing importance and popularity may be attributed not only to her power as a woman but also to the power of the dead. However a society's vision of the afterlife may be structured, death by its nature remains a mystery, and, until society formally allays the commotion it causes, a source of disturbance and disorder. Women and the dead—death and womanhood—stand in similar relation to structured social forms: outside public institutions, unlimited by official rules, and beyond formal categories. As a female corpse reiterating the symbolic themes of both woman and martyr, Eva Perón perhaps lays double claim to spiritual leadership.
John Balfour was the British ambassador in Argentina during the Perón regime, and describes Eva Perón's popularity:
She was by any standard a very extraordinary woman; when you think of Argentina and indeed Latin America as a men-dominated part of the world, there was this woman who was playing a very great role. And of course she aroused very different feelings in the people with whom she lived. The oligarchs, as she called the well-to-do and privileged people, hated her. They looked upon her as a ruthless woman. The masses of the people on the other hand worshipped her. They looked upon her as a lady bountiful who was dispensing Manna from heaven.
In 2011, two giant murals of Eva Perón were unveiled on the building facades of the current Ministry of Social Development, located on 9 de Julio Avenue. The works were painted by Argentine artist Alejandro Marmo. On 26 July 2012, to commemorate the sixtieth anniversary of Eva Perón's death, notes were issued in a value of 100 pesos. The controversial effigy of Julio Argentino Roca was replaced by that of Eva Perón, making her the first woman to be featured on the currency of Argentina. The image in the notes is based on a 1952 design, whose sketch was found in the Mint, made by the engraver Sergio Pilosio with artist Roger Pfund. The printing totals 20 million notes; it is not clear whether the government will replace the notes that feature Roca and the Conquest of the Desert.
