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Beginning in the late 1950s political leaders in Venezuela built what they celebrated as Latin America’s most stable democracy. But outside the staid halls of power, in the gritty barrios of a rapidly urbanizing country, another politics was rising—unruly, contentious, and clamoring for inclusion. Based on years of archival and ethnographic research in Venezuela’s largest public housing community, Barrio Rising delivers the first in-depth history of urban popular politics before the Bolivarian Revolution, providing crucial context for understanding the democracy that emerged during the presidency of Hugo Chávez. In the mid-1950s, a military government bent on modernizing Venezuela razed dozens of slums in the heart of the capital Caracas, replacing them with massive buildings to house the city’s working poor. The project remained unfinished when the dictatorship fell on January 23, 1958, and in a matter of days city residents illegally occupied thousands of apartments, squatted on green spaces, and renamed the neighborhood to honor the emerging democracy: the 23 de Enero (January 23). During the next thirty years, through eviction efforts, guerrilla conflict, state violence, internal strife, and official neglect, inhabitants of el veintitrés learned to use their strategic location and symbolic tie to the promise of democracy in order to demand a better life. Granting legitimacy to the state through the vote but protesting its failings with violent street actions when necessary, they laid the foundation for an expansive understanding of democracy—both radical and electoral—whose features still resonate today. Blending rich narrative accounts with incisive analyses of urban space, politics, and everyday life, Barrio Rising offers a sweeping reinterpretation of modern Venezuelan history as seen not by its leaders but by residents of one of the country’s most distinctive popular neighborhoods.
Against a backdrop of rapid urbanization and the growth of a global economy powered by carbon, Rebecca Jarman argues that in Venezuela, urban poverty has become one of the most important resources in national culture and statecraft. Attracting the attentions of writers, artists, filmmakers, and musicians from within and beyond the limits of Caracas, the barrios are fetishized in the cultural domain as sites of rampant sex, crime, revolution, disease, and violence. The appeal of the urban poor in entertainment is replicated in the policies of autocratic leaders who, operating within an extractivist matrix that prizes the acquisition of land and capital, have sought to expand their reach into these densely populated territories. Sometimes yielding to commodification, the barrios also have resisted exploitation by exceeding the terms of their representation in hegemonic culture and politics. Whether troubling the narratives that profit from poverty or undermining class-based stereotypes with experimental aesthetics, the barrio as a shifting set of coordinates consistently evades appropriations of disenfranchisement. Mapping the recurrent tensions, anxieties, conflicts, aspirations, and blind spots that characterize depictions of the barrios, Rebecca Jarman elaborates a dynamic cultural analysis of the history of poverty in the Venezuelan capital.
"Reconstructs the experience of participatory urban governance in three impoverished communities in Montevideo, Uruguay. Offers an account of various experiences and explains successes and failures in reference to the distinct traditions and resources found in each community"--Provided by publisher.
In Venezuela's El Sistema, music is both a means of government control and a form of emancipation for youth musicians
A REESE WITHERSPOON x HELLO SUNSHINE BOOK CLUB YA PICK Recipient of the 2021 Pura Belpré Young Adult Author Medal One of BuzzFeed's Must-Read YA Books of 2020 A Best Book of the Year: Cosmopolitan * Kirkus Reviews * SheReads * New York Public Library “An engrossing #OwnVoices novel.” —PopSugar “This book will set your dreams on fire . . . It’s fabulous.” — Reese Witherspoon A powerful contemporary YA for fans of The Poet X and I Am Not Your Perfect Mexican Daughter set in Argentina, about a rising soccer star who must put everything on the line—even her blooming love story—to follow her dreams. In Rosario, Argentina, Camila Hassan lives a double life. At home, she is a careful daughter, living within her mother’s narrow expectations, in her rising-soccer-star brother’s shadow, and under the abusive rule of her short-tempered father. On the field, she is La Furia, a powerhouse of skill and talent. When her team qualifies for the South American tournament, Camila gets the chance to see just how far those talents can take her. In her wildest dreams, she’d get an athletic scholarship to a North American university. But the path ahead isn’t easy. Her parents don’t know about her passion. They wouldn’t allow a girl to play fútbol—and she needs their permission to go any farther. And the boy she once loved is back in town. Since he left, Diego has become an international star, playing in Italy for the renowned team Juventus. Camila doesn’t have time to be distracted by her feelings for him. Things aren’t the same as when he left: she has her own passions and ambitions now, and La Furia cannot be denied. As her life becomes more complicated, Camila is forced to face her secrets and make her way in a world with no place for the dreams and ambition of a girl like her. Filled with authentic details and the textures of day-to-day life in Argentina, heart-soaring romance, and breathless action on the pitch, Furia is the story of a girl’s journey to make her life her own.
Shortlisted for the Alice Davis Hitchcock Medallion 2021 (The Society of Architectural Historians of Great Britain) "It will become the standard work on the subject." Literary Review This major work provides the first comprehensive history of one of modernism's most defining and controversial architectural legacies: the 20th-century drive to provide 'homes for the people'. Vast programmes of mass housing – high-rise, low-rise, state-funded, and built in the modernist style – became a truly global phenomenon, leaving a legacy which has suffered waves of disillusionment in the West but which is now seeing a dramatic, 21st-century renaissance in the booming, crowded cities of East Asia. Providing a global approach to the history of Modernist mass-housing production, this authoritative study combines architectural history with the broader social, political, cultural aspects of mass housing – particularly the 'mass' politics of power and state-building throughout the 20th century. Exploring the relationship between built form, ideology, and political intervention, it shows how mass housing not only reflected the transnational ideals of the Modernist project, but also became a central legitimizing pillar of nation-states worldwide. In a compelling narrative which likens the spread of mass housing to a 'Hundred Years War' of successive campaigns and retreats, it traces the history around the globe from Europe via the USA, Soviet Union and a network of international outposts, to its ultimate, optimistic resurgence in China and the East – where it asks: Are we facing a new dawn for mass housing, or another 'great housing failure' in the making?
This book provides a timely and nuanced analysis of the successes and shortcoming of efforts to move beyond market democracy in Bolivia and Venezuela. A twin crisis of democratic representation and socio-economic precarity created space for anti-system outsiders to emerge on the left flank of traditional party-systems in Bolivia and Venezuela, paving the way for a "post-neoliberal" democratization process. Over the course of the projects headed by Evo Morales in Bolivia and Hugo Chávez and his successor Nicolás Maduro in Venezuela, however, power struggles emerged between a recalcitrant elite, the left-led government, and organized popular sectors. These tensions shaped the pathways that processes followed, with simultaneous democratization and de-democratization occurring whereby a partial deepening and extending of democratic quality for popular sectors was accompanied by the bending of liberal norms. Comparing the varying balance and forms of power between competing actors, this book offers a novel and rich explanation of the partial and stuttering efforts to advance a post-neoliberal democracy in Bolivia and Venezuela. Bringing important insights on the reasons for the emergence of anti-system leaders and parties, the impact that they have on the quality of democracy, and how progressive governments interact with social movements, this book will be of interest to researchers studying Latin America, as well as those specializing in development and political science more broadly.
In the tradition of Virginia Lee Burton's The Little House comes a heartfelt story about a father and son learning to accept the new while honoring and celebrating the old. For as long as he can remember, Leo has lived in the blue house with his dad, but lately the neighborhood is changing. People are leaving, houses are being knocked down, and shiny new buildings are going up in their place. When Leo and his dad are forced to leave, they aren't happy about it. They howl and rage and dance out their feelings. When the time comes, they leave the blue house behind--there was never any choice, not really--but little by little, they find a way to keep its memory alive in their new home.
Venezuela's most prominent community television station, Catia TVe, was launched in 2000 by activists from the barrios of Caracas. Run on the principle that state resources should serve as a weapon of the poor to advance revolutionary social change, the station covered everything from Hugo Chávez’s speeches to barrio residents' complaints about bureaucratic mismanagement. In Channeling the State, Naomi Schiller explores how and why Catia TVe's founders embraced alliances with Venezuelan state officials and institutions. Drawing on long-term ethnographic research among the station's participants, Schiller shows how community television production created unique openings for Caracas's urban poor to embrace the state as a collective process with transformative potential. Rather than an unchangeable entity built for the exercise of elite power, the state emerges in Schiller's analysis as an uneven, variable process and a contentious terrain where institutions are continuously made and remade. In Venezuela under Chávez, media activists from poor communities did not assert their autonomy from the state but rather forged ties with the middle class to question whose state they were constructing and who it represented.