popular cultures in capitalism, is an example of how to redefine popular culture is possible and makes sense when it is part of a broader cognitive effort. The aim of the research Canclini, offer an interpretation of intercultural conflicts in capitalism is still valid, but now seem more exacerbated situations and dramatic. In any case, one's position today is built around popular culture can not ignore the theoretical and methodological advances already achieved. For example:
• The realization that the cultural diversity of ways to produce and reproduce, to imagine and dream, to be born, live and die fabricated in the long historical time, there are now a troubled relationship with the capitalist form, with several centuries of existence and that takes many forms of update.
• The necessary discussion of the term "culture" and its use in understanding how we produce and reproduce the social.
• The need for study strategy capable of encompassing the production, circulation and consumption of objects, expressions and cultural practices.
• Think of culture as a tool to understand, replicate and transform the social system, to develop and build the hegemony of each class.
• In this sense, popular culture (rather than popular culture as abstract whole) are the result of an unequal appropriation of cultural capital, the development of their own living conditions and conflictual interaction with hegemonic sectors.
• Cultures are popular in two areas: a) work practices, family, communication and all the capitalist system that organizes the lives of all its members, b) the practices and ways of thinking that the popular sectors create for themselves, to conceive and express their reality, their subordinate role in the production, circulation and consumption.
There are two findings in the study of García Canclini that are disturbing: the fact that the future of popular culture depends on the whole society and requires a systematic modification of all means of production, circulation and consumption of culture.
"But this reorganization of the cultural field may be satisfied fully in a society that is not based on commercial exploitation of men and their deeds."
(García Canclini, 1982, p. 212).
Can we still think there may be a different society? If capitalism and its contemporary transformations, supported by advances science and technology is a scenario in which we act, what kinds of cultural activities are appropriate. Why, for whom and for what purpose?
In the book Hybrid Cultures. Strategies for entering and leaving modernity, García Canclini offers a much more subtle and elaborated about the Latin American and Chapters: "The staging of the popular" and "Popular, popular, political representation to play ", shows how popular it is not something existing but something that is built and how the relationship between rulers and ruled are intricate and in every interaction there is struggle, but also dramatizing the experiences of otherness and recognition.
this perspective can be addressed a number of paradoxical situations:
a) The modern development does not eliminate traditional folk cultures.
b) The popular and traditional cultures no longer represent the majority of popular culture.
c) It does not focus on popular objects.
d) What is popular is not the monopoly of the popular sectors.
e) What is popular is not experienced by subjects with melancholic complacency popular traditions.
f) pure preservation of traditions is not always the best resource for breeding popular and rework your situation.
Folklore consists of a set of goods and traditional cultural forms, particularly oral and local character, always unchanged. The changes are attributed to external agents, it is recommended to instruct the officials and experts to "take nothing away from the folk" and "know what the traditions that there is no reason to change."
- Folklore, understood in this way constitutes the essence of identity and cultural heritage of the country,
- Progress and modern means of communication, to accelerate the "final process of disappearance of folklore," disintegrate heritage and are "losing their identity" to the American people.
Understanding these paradoxes, illustrated by a series of examples by García Canclini, can be viewed as a cultural challenge for every developer obligated to investigate and learn a variety of situations, because what is popular is not given once and for forever, but it is occurring every time
dramatizes the social.
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