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This book provides a broad overview of the development of Ibero-American cultural policy in an important and innovative way. This volume brings together specialists in the field, from different nations and disciplines, and provides the keys to understanding the different trajectories and experiences of some significant countries in the area on both sides of the Atlantic; the recent developments in this domain such as urban cultural regeneration policies and cultural development policies; and the dynamics of policy transfers such as cultural diplomacy. The book also contrasts the applicability and the explanatory power of the idea of the family of nations for the analysis of cultural policy with models inspired by the welfare regimes. This book allows international researchers an overarching view of the peculiarities and the latest achievements in the field of Ibero-American cultural policy. This book was originally published as a special issue of the International Journal of Cultural Policy.
The Routledge Handbook of Latin American Development seeks to engage with comprehensive, contemporary, and critical theoretical debates on Latin American development. The volume draws on contributions from across the humanities and social sciences and, unlike earlier volumes of this kind, explicitly highlights the disruptions to the field being brought by a range of anti-capitalist, decolonial, feminist, and ontological intellectual contributions. The chapters consider in depth the harms and suffering caused by various oppressive forces, as well as the creative and often revolutionary ways in which ordinary Latin Americans resist, fight back, and work to construct development defined broadly as the struggle for a better and more dignified life. The book covers many key themes including development policy and practice; neoliberalism and its aftermath; the role played by social movements in cities and rural areas; the politics of water, oil, and other environmental resources; indigenous and Afro-descendant rights; and the struggles for gender equality. With contributions from authors working in Latin America, the US and Canada, Europe, and New Zealand at a range of universities and other organizations, the handbook is an invaluable resource for students and teachers in development studies, Latin American studies, cultural studies, human geography, anthropology, sociology, political science, and economics, as well as for activists and development practitioners.
This book brings together academic and activist work on community media, feminist, decolonial, and Indigenous perspectives to digital activism, including Free and Open Communication in Latin America. The essays in this collection speak to major changes over the past decade that are reshaping digital media uses and practices. The case studies presented here question many commonly held assumptions around global media ownership, sustainability, and access relevant to countries beyond Latin American contexts.
This book brings together a leading team of international experts in arts and global development to showcase effective practice and to explore how this vibrant interdisciplinary field has developed and what the latest research can teach us. Although arts play a central role in human development, and in the health and wellbeing of individuals and communities, few have attempted to comprehensively explore arts practice as global development. This Handbook first provides a theoretical framework for exploring arts and global development, before surveying a comprehensive range of art forms and development practices to explore the potential of the arts to strategically and beneficially contribute to more just and equitable conditions for communities across the globe. Stretching across the arts from theatre, dance, and music to poetry, film, and visual arts, the book covers topics as diverse as health, education, peacebuilding, livelihoods, sustainability, activism, and arts as research method in programming. The Handbook also identifies gaps in the literature, pointing towards the most pressing and promising avenues for further research over the next few years. This book will be an essential resource for any researcher, student, or practitioner wishing to understand the role of the arts in global development and in the global south more generally.
In a time of social and ecological crises, people everywhere are looking for solutions. States and capitalism, rather than providing them, only make matters worse. There’s a growing sense that we’ll have to fix this mess on our own. But how? Deciding for Ourselves, in the spirit of the Zapatistas, demonstrates that “the impossible is possible.” A better world through self-determination and self-governance is not only achievable. It is already happening in urban and rural communities around the world—from Mexico to Rojava, Denmark to Greece—as an implicit or explicit replacement for nations, police, and other forms of hierarchical social control. This anthology explores this “sense of freedom in the air,” as one piece puts it, by looking at contemporary examples of autonomous, directly democratic spaces and the real-world dilemmas they experience, all the while underscoring the egalitarian ways of life that are collectively generated in them.
Addressing participatory, transdisciplinary approaches to local stewardship of the environment, Grassroots to Global features scholars and stewards exploring the broad impacts of civic engagement with the environment. Chapters focus on questions that include: How might faith-based institutions in Chicago expand the work of church-community gardens? How do volunteer "nature cleaners" in Tehran attempt to change Iranian social norms? How does an international community in Baltimore engage local people in nature restoration while fostering social equity? How does a child in an impoverished coal mining region become a local and national leader in abandoned mine restoration? And can a loose coalition that transforms blighted areas in Indian cities into pocket parks become a social movement? From the findings of the authors’ diverse case studies, editor Marianne Krasny provides a way to help readers understand the greater implications of civic ecology practices through the lens of multiple disciplines. Contributors: Aniruddha Abhyankar, Martha Chaves, Louise Chawla, Dennis Chestnut, Nancy Chikaraishi, Zahra Golshani, Lance Gunderson, Keith E. Hedges, Robert E. Hughes, Rebecca Jordan, Karim-Aly Kassam, Laurel Kearns, Marianne E. Krasny, Veronica Kyle, David Maddox, Mila Kellen Marshall, Elizabeth Whiting Pierce, Rosalba Lopez Ramirez, Michael Sarbanes, Philip Silva, Traci Sooter, Erika S. Svendsen, Keith G. Tidball, Arjen E. J. Wals, Rebecca Salminen Witt, Jill Wrigley
Cultural Management and Policy in Latin America provides in-depth insights into the education and training of cultural managers from interdisciplinary and comparative perspectives. The book focuses on the effects of neoliberalism on cultural policies across the region, and questions how cultural managers in Latin America deal not only with contemporary political challenges but also with the omnipresent legacy of colonialism. In doing so, it unpacks the methods, formats, and narratives employed. Reflecting on emerging and contemporary research topics, the book analyses the key literature and scholarly contexts to identify impacts in the region and beyond. The volume provides scholars, students and reflective practitioners with a comprehensive resource on international cultural management that helps to overcome Western-centric methods and theories.
The authors collected here address youth street cultures in different cities from the Ibero-American world, bringing together contributions on Brazil, Argentina, Mexico, Chile, Portugal, Spain, and beyond. This overseas approach bridging the European and American contexts is justified by the range of (complex) social, cultural and economic relationships that have shaped this transnational geographical space since the beginning of the colonial period. The chapters collected here focus on three key concepts—creativity, resistance and transgression—that form a threefold dispositive to locally and globally confront, contest and even fight against the hegemonic, punitive and oppressive powers (re)produced by (white, male) dominant classes of the city. The book ensures a high diversity of geographical and social/cultural research contexts by focusing on one, two or multiple spatial contexts (the public space, the street, the city) and, at the same time, by emphasizing the different economic, social, cultural, symbolic specificities of youth cultures (including gender, sexuality and race) in their particular urban contexts.
This book examines the contemporary art world in Latin America from an anthropological perspective and recognises the recent reconfiguration of Lima's art scene. Giuliana Borea traces the practices of artists, curators, collectors, art dealers and museums, identifying three key moments in this reconfiguration of contemporary art in Lima: artistic explorations and new curatorial narratives; museum reinforcement and the strengthening of Latin American art networks; and of the rise of the art market. In so doing, Borea highlights the different actors that come into play in activating and de-activating directions and imaginations. The book exposes the practices of the local, the global, indigeneity and politics in the arts, and reveals that the strengthening of the Lima art scene has fostered the expansion of dominant art views and formats mobilised by transnational elite actors. Featuring analytical chapters interspersed with personal stories, Borea's book presents an in-depth analysis of a specific art scene to open up a new way of understanding contemporary art practices in relation to globalisation, neoliberalism and the city.
A cultural imaginary is a structuring space through which collective understandings of cultural and society phenomena are formed, reproduced, and accepted as the norm. Reading the Walls of Bogotá uses graffiti and street art to explore the urban imaginaries of violence in Bogotá, Colombia. These artistic forms are produced and received in different ways in different areas of the city and offer an insight into citizens’ everyday experiences and perceptions of violence from the political, to the personal, to that of structural inequality. Through graffiti, in which critiques of memory, space, politics, and aesthetics are embedded, artists and their viewers form vernacular theories through which they interpret the world and the spaces they inhabit. By focusing on creative expression, Alba Griffin shows how Bogotá’s residents respond to imaginaries of violence, how they critique the norms, how they appropriate space to challenge or negotiate violence, and how they push back against inequality.