Religion, as a belief system, interacts with virtually every socio-cultural manifestation, such as family, politics, law, economics, clothing, health, diet, and so on. Thus, religion may affect behavior, values, and even --among other things-- what in anthropology we call material culture.(1)
Art and Culture
A Glimpse at Center of the Margin offers an extract of the Spanish authored ethnography titled “Centro del Margen: Crónica de un día en un estudio de grabación clandestino de música rap en Buenos Aires” recently published in Studies in Latin American Popular Culture. The original ethnographic essay consists of thirteen diary-styled entries throughout a cycle of twenty four hours spent in the underground rap recording studio of Buenos Aires. Using a chronicle, I intercalate the experiences of fieldwork with the review of theoretical ideas about the lived experiences.
It is no secret that the United States’ film and television industry has a diversity problem. Latinos make up 17% of the American population and 32% of frequent moviegoers, but are entirely underrepresented in film and TV. In the Media, Diversity, and Social Change Initiative's 2014 Report, Latinos made up only 4.9% of the movie characters in the 100 top grossing films of 20131.
“To make it you have to be fully alive. I do my best to do that. I enjoy every moment because I believe that once we die, that’s it. We’re not coming back. Lovers come back. Styles come back. But time? It never comes”1.
Este año, y también en los años 2009 y 2012, Costa Rica fue considerado como el país más feliz del mundo, debido principalmente al bienestar y a la alta esperanza de vida que su gente disfruta a pesar de tener un producto interior bruto significativamente menor que el de los países de Europa Occidental, Estados Unidos y Canadá (New Economics Foundation, 2017).
My article on Cuban writer and filmmaker Jesús Díaz (1941-2002) is part of a broader research project on cultural policy, participation and censorship in Cuba.1 I raise two questions. First, what is the role of cultural agents in the production of both stability and change in Cuba, and concomitantly, what does the regime do to coopt actors and control the production of politico-cultural forms? Second, when and how do writers and artists actually push for more ‘space’ and deploy their expressive powers in a way that challenges the statu quo?