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.
When Americans think of cultural products of Mexico, they normally mention items such as tacos, mariachi bands, and the sombrero. However, the country has much more to present than the wonderful yet sometimes superficial artifacts widely known in the United States. One example is the visual arts, and more specifically, muralism.
Favelas have long been known as the impoverished neighborhoods surrounding the cities of Brazil. Rio de Janeiro, the second largest city, is home to one of the oldest favelas, Providência, founded in 18971. The original favelas normally consisted of informal housing like shacks, usually made from scrap metal, woods, or other materials. They originated due to a lack of affordable housing, thus pushing poorer citizens to the outskirts of the cities.
La antroposociología nos señala que ciertas condiciones materiales y espirituales inducen la aparición de determinado tipo de producción estética. La correspondencia entre lo material y lo espiritual, expresado en el mundo del arte, no es ya, pues, una sorpresa para nadie. Si echamos una mirada, aunque leve, a Antonio Cándido, a Ángel Rama o a René Wellek y a Austin Warren en su Teoría Literaria, para señalar sólo a tres, podemos corroborarlo.
Despite growing up in London and presently working in his Brooklyn, New York studio, the Chilean-born artist Sebastian Errazuriz clearly retains an implicit and powerful emotional connection with his South American homeland.
What can art do to change the world? This question has resurfaced in every discussion of new art movements since the Russian avant-garde of the early twentieth century.