Casals, A. & Riera J. (2015)." ‘We Are Gunslinging Girls:’ Gender and Place in Playground Clapping Games". Atlantis: Critical Studies in Gender, Culture & Social Justice, 37(1), 54-69 (original) (raw)
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We Are Gunslinging Girls:' Gender and Place in Playground Clapping Games
2015
This article presents a qualitative study of clapping games in the playground, a space directly conditioned by its historical and socio-cultural context. Based on qualitative interviews and observations with adults and children in Catalonia, Spain, we argue that the repressive Francisco Franco dictatorship (1939-1975) and the emergence of Spanish feminist and other critical movements in the late 1960s have shaped the nature of clapping games in school playgrounds. Through a close analysis of their lyrics, we defend the idea that the study of clapping games is important for understanding the gendered geographies and culturally-specific moments of girlhood in Catalonia, and highlight the role of playgrounds as spaces where girls negotiate their roles and identities. Resume Cet article presente une etude qualitative des jeux de main sur les terrains de jeux, des lieux qui sont directement conditionnes par leur contexte historique et socioculturel. Selon des observations et des entrevue...
Rock Ritual and Literature: Youth Culture and the Transition to Democracy in the Southern Cone
The paper proposes ar eflection on pogo dance,a nd its aesthetic and political significance in the context of youth cultures in the Southern Cone. Ipropose areading of 'pogo' as part of the rock event, looking into the performative aspects of this cultural form, and discussing how the ceremonial and the ritual in the rock event constitute and reveal the cultural; how the political inscribes the global and redefines it; and how the rock conglomerate becomes an aesthetics that feeds and is fed by the literary in the Southern Cone. The focus of my study falls on the less studied side of rock communication: audience participation, specifically pogo dance. The approach Ia m proposing identifies ar ecurring connectedness along the rock recital, and what is involved in it, and the theatrical. The paper focuses on agroup of texts by Uruguayan authors, which have been referred to as the 'Aesthetic of Cruelty'.
Rock Ritual and Literature: Youth Culture and the Transition to Democracy in Souther Cone
The paper proposes ar eflection on pogo dance,a nd its aesthetic and political significance in the context of youth cultures in the Southern Cone. Ipropose areading of 'pogo' as part of the rock event, looking into the performative aspects of this cultural form, and discussing how the ceremonial and the ritual in the rock event constitute and reveal the cultural; how the political inscribes the global and redefines it; and how the rock conglomerate becomes an aesthetics that feeds and is fed by the literary in the Southern Cone. The focus of my study falls on the less studied side of rock communication: audience participation, specifically pogo dance. The approach Ia m proposing identifies ar ecurring connectedness along the rock recital, and what is involved in it, and the theatrical. The paper focuses on agroup of texts by Uruguayan authors, which have been referred to as the 'Aesthetic of Cruelty'.
Recasting culture and space in Iberian contexts - Edited by Sharon R. Roseman & Shawn S. Parkhurst
Journal of the Royal Anthropological Institute, 2009
have been redefined as territories of Afro-Brazilian culture, semi-public spaces becoming places of mediation through which the axé (power, vital force) is transformed into a 'cultural value'. He insists that objects of cultural value must be known, seen, and reproduced, but in Candomblé you are not allowed to see or depict these objects. The question, therefore, is how to transform secret values into cultural values so that they become public. Sansi defines this process as the outcome of extended interaction between intellectuals and Candomblé leaders during the course of a century. Anthropologists, writers, and painters, some of whom became practitioners (and vice versa), combined the changing attitudes of both those in power and practitioners, including a definite hierarchy in which Candomblé Ketu is the accepted model, emphasizing its 'pure African' cults, while all other manifestations are neglected or even rejected. Chapters 6, 7, and 8 focus on modern art and Afro-Brazilian culture. During the Vargas regime's search for nationalism, 'progress' and an 'authentic' Brazilian culture emerged. The popular became exotic and was given a political role. During the dictatorship, artistic elites were recognized and acknowledged as representing Afro-Brazilian art, corresponding to the accepted Candomblé houses. All others were considered as mere 'popular' artists who created works for tourists. Sansi stresses the contradiction between the innovations of contemporary modern art and the standard, hierarchic, 'traditional' concept of Afro-Brazilian art. The Orixás of Tororó exemplifies the complexity of these changes. This is a public monument, the purpose of which was to glorify African-Brazilian culture but at the same time symbolize the secret world of the orixás and the axé. Pentecostals' recent attacks see the monument and Candomblé as fetishism, the devil's work, and attempt to shake the perception of Candomblé as symbolizing national identity. The concluding chapter, 'Re-appropriations of Afro-Brazilian culture', claims that while Candomblé has now attained official recognition, religious people who once were its practitioners dispute its credibility when they turn to Protestantism. Sansi concludes that the Afro-Brazilian cultural renaissance is characterized by the 'objectification of new, unprecedented cultural values attached to objects' (p. 188). Values have changed and will continue to change, opening a route to new conflicts and transformations of values. Book reviews 175
Strenæ [En ligne], 2023
L’Espagne, où 80 % de la population vit en ville, est un pays qui se soucie d’offrir un environnement sain à ses enfants si l’on en juge par sa participation active au sein d’associations telles que Ciudades amigas de la infancia et l’AICE (Asociación Internacional de Ciudades Educadoras), ainsi que sa place dans le dernier Bilan Innocenti 17 de l’UNICEF. Cet intérêt pour le bien-être de l’enfant en milieu urbain explique certainement la très large diffusion des ouvrages, tous traduits en espagnol, du psychopédagogue italien Francesco Tonucci, sur le rôle des enfants dans l’écosystème urbain. La société figurée dans la littérature pour la jeunesse se construisant à partir des espaces sociaux de l’enfance et mettant en scène la société dont l’enfant fait l’expérience, nous nous proposons de voir si la littérature produite en Espagne pour les enfants met en scène la société urbaine dont le petit Espagnol fait l’expérience au xxie siècle et si elle s’inscrit dans ce vaste programme national de réflexion sur la ville et l’enfant. Abstract in english Spain, where 80 % of the population live in cities, is a country that cares about providing a healthy environment for its children, judging by its active participation in programmes such as Ciudades amigas de la infancia and AICE (Asociación Internacional de Ciudades Educadoras) and its place in the latest UNICEF Innocenti Report Card 17. This interest in the well-being of children in urban environments certainly explains the widespread distribution of the writings, all translated into Spanish, of the Italian educational psychologist Francesco Tonucci, on the role of children in the urban ecosystem. Since the society depicted in children’s literature is constructed from the social spaces of childhood and depicts the society experienced by the child, we propose to see whether the children’s literature produced in Spain depicts the urban society experienced by the Spanish child in the 21st century, and whether it forms part of this vast national programme of reflection on the city and the child.
Dos cavernas, un jardín y mil estrellas: el pequeño comercio en España, 1929-1979
VLC arquitectura. Research Journal
Small commercial establishments have the double condition of interior and exterior place, of public and private space and, therefore, also of culture –associated with the habitability of the interior– and by nature –linked to the unprotected exterior–. The result of this coexistence is the culturalization, through artifice, of nature within the commercial space. In the context of modernity, architectural projects emerge where nature also nourishes the imaginary quality of the business by building a new seductive spatiality through the metaphor of “typical elements from nature.” By means of a tour of modern stores in Spain (1929-1979), these being testing and research laboratories for their authors for larger-scale works, the design and execution of different scenographies for sales and commercial service are studied, from the approach through figurative representation of their elements –including direct use of these– to produce the materialisation of a metaphorical “interior landsca...
Golfos, punkis, alternativos, indignados: Subterranean traditions of youth in Spain, 1960 ̶ 2015
Contemporary Popular Music Studies, 2019
This text is an attempt to review some academic work on youth cultures carried out in Spain since the transition to democracy (although some earlier work related to the subject, stemming from the late Franco period, is also brought up). The nearly 200 contributions analyzed (books, papers, theses, unpublished reports and journal texts) were grouped into different academic areas such as criminology, sociology, psychology, communication or anthropology, and theoretical trends ranging from "edifying" ecclesiastic postwar literature to the Birmingham school, to post-subcultural studies. The works are classified into seven major periods marked by different youth styles which act as distorting mirrors of social and cultural changes that are taking place: the late Franco times (golfos and jipis), the transition to democracy (punkis and progres), the post-transition (pijos and makineros), the 1990s (okupas and pelaos), the beginning of century (fiesteros and alternativos), the Latin kings and ñetas (2005̶ 2010) and finally, in the present, the ninis and indignados. The social context, the academic framework and the main research lines for these periods are analyzed, and we also touch upon what we consider as representative of the emerging ideological, theoretical and methodological tendencies. With this, we seek to bring up the core issues relating to Spanish youth (sub)cultures, showing how their history relates to the underground social, economic and political movements, which exist in a constant feedback with the former.