Global Voices » Arts & Culture

Argentina: Transforming a Neighborhood through a Cultural Shed

Juliana Rincón Parra — Wed, 16 May 2012 21:20:57 +0000

The Piedrabuenarte Cultural Shed in the outskirts of Buenos Aires, Argentina is transforming the neighborhood through culture, arts and citizen media. Formerly a warehouse for discarded scenery and sets for the Colon Theater, the space was transformed by artists in the community into a center for arts. Through their YouTube channel they are telling the world about it.

Eddie Avila, on a Rising Voices article from 2011, included this note before a video interview with the founders:

There are plans to work more closely with the youth in the neighborhood, showing them how they can use the cameras on their mobile phones to contribute to the YouTube channel. This would allow for additional perspectives on the diverse Piedrabuena neighborhood. In the following video, two of the founding members of the Shed, Juan “Pepi” Garachico and Lucian Garramuño, talk about what the Shed means to the residents and how they use citizen media to tell the stories of Piedrabuena.

So what have they been up to? On their YouTube channel, Piedrabuenartv is an artistic show that gives us images of daily activities in the Cultural Shed as well as being an artistic outlet for the community to express themselves through video. The next video shows the transformation of an empty lot into a cultural city, where relocated playground equipment found a new home, and an open air theater stage is being built, all of this surrounded by the high rise apartment blocks where much of the community lives.

Other episodes of the show feature neighbors talking about their expectations regarding the cultural transformation of the neighborhood, or like this next one, a look back to when they first opened the bricked up windows after 30 years.

Indonesia: Lady Gaga's Concert Permit Denied

Carolina Rumuat — Wed, 16 May 2012 14:33:01 +0000

After being pressured by conservative politicians and hardline groups, which branded Lady Gaga as a devil worshiper, the Indonesian police announced that it won't issue a permit to the highly anticipated Lady Gaga concert in Jakarta, leaving over 50,000 fans disappointed.

@HeyPotterhead:Lady Gaga's concert better not be cancelled. I did NOT fell in line for 8 hours for nothing! Stupid FPI #IndonesiaSavesGaga #BTWBallGBK

FPI or the Islamic Defenders Front is an influential religious group which often campaigns against ‘anti-Islamic' activities and ideas. In this particular case, Lady Gaga was accused of corrupting the morality of young Indonesians.

One of the promotional merchandises of the Lady Gaga concert. From the twitpic page of @youngdancers

Lady Gaga fans, who were called ‘little monsters', have criticized the government's decision

@ginaignasia: Apa hak nya. Gue yang nabung&cari calo susah2, nyekal2 seenaknya. #IndonesiaSavesGaga #GagaIsAmazing #monsterpower #BurnFPIdown

@ginaignasia: What right do they have. I'm the one who have been saving up; looking hard for scalpers, then you suddenly ban the concert.

@akibaryou: Save Mother Monster! Save the freedom of expression! The cancellation is proof of how our country has lost its priority.#IndonesiaSavesGaga!

@Ray_owl: FPI is embarrassing Indonesia internationally! #IndonesiaSavesGaga RT @lanaaisya: FPI is being a hypocrite. #saveladygaga

@NickyYuventius:Yang bikin gue bingung adalah polisi yg beralasan gaga itu porno. APA KABAR KONSER DANGDUT? PREEEET!

@NickyYuventius: What I found odd was the police giving an excuse saying that Gaga (act) is pornographic. What about dangdut concerts?

Dangdut, an Indian influenced folk music, is very popular in Indonesia. The dance moves of Dangdut performers are oftentimes sexy and erotic.

Meanwhile, the Christian Indonesian Church Council (PGI) supported the concert arguing that it's a part of the country's freedom of expression.

Not all politicians found Lady Gaga's performance racy. Lawmaker Ahmad Basarah, who is a Muslim, told newspaper The Jakarta Globe that the national police should be fair when it comes to protecting the nation's values, whether it's against liberal-capitalistic ideas or Middle Eastern ideologies.

Here are more reactions on twitter:

@danielvk: Religious mafia manipulates democracy & freedom to rob the freedom of others. Don't tolerate intolerance! #saynotohate #indonesiasavesgaga

@DanielZiv: It's not a matter of #IndonesiaSavesGaga, it's more like whether Gaga can save Indonesia.And really, Indonesia needs to save itself from this extremist nonsense, Gaga or no Gaga.

Mexico: Netizens Say Goodbye to Writer Carlos Fuentes

Andrea Arzaba — Wed, 16 May 2012 07:27:04 +0000

On May 15, 2012, Latin America lost one of its most important contemporary writers. Mexican writer Carlos Fuentes died in Mexico City, at the age of 83. The main cause of his death was a hemorrhage. Fuentes was best known for being part of the writers from the “Latin American Boom”, and for writing a book at least every 12 months.

People from all over the world expressed their concerns over this terrible loss. Blogger Juan José Meneu, from Blogs La Rioja, explained why he was so fond [es] of Fuentes’ way of writing:

Era un escritor terriblemente culto e inteligente y exigía de sus lectores atención y esfuerzo para alcanzar esa cultura y esa inteligencia. Con la convicción de que la literatura era un instrumento poderoso para denunciar la realidad, para mostrar los errores de los seres humanos pero también, para la esperanza, para la educación, para la enseñanza, para combatir el olvido.

He was a terribly educated and intelligent writer, and he demanded from his readers attention and special effort to reach that culture and that intelligence. With the conviction that literature was a powerful tool to report reality, to show the errors of human beings, but also for hope, for education, to combat forgetfulness.

Meneu finished his blog post with a sincere goodbye, wishing he had more books [es] by Carlos Fuentes:

Ha muerto Carlos Fuentes. Me queda el consuelo de que aún tengo algún libro suyo por leer. Me queda la tristeza de que no habrá más.

Carlos Fuentes has died. What is left is the consolation that I have yet to read another book written by him. It is sad that there won't be any more [books written by him].

Carlos Fuentes, 2008. Image from Flickr user Casa de América (CC BY-NC-ND 2.0)

On HuffPost Voces, the Spanish version of The Huffington Post, writer Marga Britto published a text dedicated to the author [es], where she assures that the death of Fuentes has left a country in pure loneliness:

Hubiese sido maravilloso escuchar la opinión de Carlos Fuentes tras las elecciones. Hubiese sido de gran consuelo contar con una voz de autoridad en dónde refugiarnos y hacer sentido de este gran naufragio nacional.

Nos dejas solos, Carlos Fuentes. Nos dejas un enorme hueco en la razón y en el tiempo. De pronto las letras se han quedado huérfanas y solos tendremos que vérnoslas con quien se empeña en ganar la batalla con palabras espurias, con su lenguaje bastardo, con la banalidad de los tiempos modernos.

It would have been wonderful to hear what Carlos Fuentes thought after the (Mexican) elections. It would have been a great comfort to have a voice of authority where we could find shelter and make sense of this great national shipwreck.

You leave us alone Carlos Fuentes. You leave a huge hole in reason and in time. Suddenly, the letters have been orphaned and are dealing alone with who is determined to win the battle with spurious words, with a bastard language, with the banality of modern times.

Rafa García from Fayerwayer mentioned the trending topics related [es] to the author's passing:

El autor de novelas como Aura, La Muerte de Artemio Cruz, Agua quemada, La silla del Águila, Gringo y La Región más Transparente, Carlos Fuentes, muerió hoy a los 83 años de edad en la Ciudad de México.

La noticia recorrió de inmediato todos medios de comunicación y las redes sociales, particularmente en Twitter donde su nombre Carlos Fuentes y el #todoscomocarlos se convirtieron en tema tendencia.

Q.E.P.D.

The author of novels such as Aura, The Death of Artemio Cruz, Burned Water, The Chair of the Eagle, Gringo and The Most Transparent Region, Carlos Fuentes, died today at 83 years of age in Mexico City.

The news swept away all media and social networks, especially on Twitter where his name Carlos Fuentes and #todoscomocarlos (”Everyone like Carlos”) became trending topics.
RIP

Writers and other public figures used Twitter to express their sadness and pay homage to Carlos Fuentes. Mexican President Felipe Calderón (@FelipeCalderon) [es] wrote:

Expresé mis condolencias telefónicas a Silvia Lemus, viuda del gran Carlos Fuentes.

I expressed my condolences on the telephone to Silvia Lemus, widow of the great Carlos Fuentes.

The account of the United States Ambassador in Mexico, Embajador Wayne (@USEmbassyMex) [es], tweeted:

#EmbajadorWayne: Lamento profundamente el fallecimiento de Carlos Fuentes. Su partida es una gran pérdida para el mundo.

#EmbajadorWayne:: I deeply regret the death of Carlos Fuentes. His departure is a great loss to the world.

Mexican writer Elena Poniatowska (@EPoniatowska) [es] similarly expressed her condolences:

Lamento profundamente la muerte #CarlosFuentes

I deeply regret the death of #CarlosFuentes

British-Indian writer Salman Rushdie (@SalmanRushdie) said:

RIP Carlos my friend. Yesterday the hoax about Gabo, but this is sadly true. “Carlos Fuentes dies at 83 http://t.co/2uQGHgvC via @USATODAY“

Finally, an account that publishes quotes by Argentinian comic strip character Mafalda (@MafaldaQuotes) [es] wrote:

“Algún día se dará más valor a la cultura que al dinero” #QEPD Carlos Fuentes. #MafaldaQuotes

“Someday we will give more value to culture than money” #RIP Carlos Fuentes. #MafaldaQuotes

China: Motor-Powered Breakfast Crepes

Juliana Rincón Parra — Wed, 16 May 2012 05:28:50 +0000

The Presurfer shares a video where we can see how the Beijing Jianbing is made. This large breakfast crepe is made possible thanks to a very steady hand and a motorized wheel that allows a really large and thin crepe to be evenly cooked.

Video: Indigenous Video Festival Open for Submissions

Juliana Rincón Parra — Wed, 16 May 2012 05:23:11 +0000

The XI International Film and Video Festival of Indigenous Peoples to be held in Colombia during last quarter of 2012 is putting out a call for entries for audiovisual material about indigenous and first people issues and topics.

The Center for Indigenous Cultures in Peru is promoting the festival through their blog, and this is how they summarize the event:

Colombia será la sede del XI Festival Internacional de Cine y Video de los Pueblos indígenas a realizarse en Bogotá del 23 al 30 de septiembre y en Medellín del 03 al 06 de octubre del presente año. Con el lema “Por la Vida Imágenes de Resistencia”, el festival tiene como objetivo visibilizar la extinción de los pueblos indígenas, la violación del territorio y a sus sitios sagrados naturales, como un espacio de análisis de la crisis humanitaria que atraviesan los pueblos indígenas.

Colombia will be hosting the XI International Film and Video Festival of Indigenous Peoples to take place in Bogota from the 23 to the 30 of September and in Medellin from 03 to 06 of October of the running year. With the theme “Images of Resistance for Life”, the festival has as an objective to visibilize the extinction of the indigenous peoples, the violation of the territory and their natural sacred places and as a space for analysis of the humanitarian crisis the indigenous people are going through.

Videos or films submitted to the Festival should have been made after January 1, 2010 and should not have previously participated in the International Festival of Film and Video of Indigenous Peoples. They should focus on the topics of child labor, ecology, education, history, indigenous medicine, identity, land and territory, political participation, rights of indigenous people's, women and worldview and they can be animation, docu-fiction, documentary, fiction, experimental video, music videos, video art, television programs. Deadline for submissions is May 21st, 2012 and information on where to mail the submissions and application forms can be found on their page.

Guyana: Creator of “Cuffie” Statue Dies

Janine Mendes-Franco — Tue, 15 May 2012 18:25:37 +0000

Demerara Waves acknowledges the passing of “internationally acclaimed artist and sculptor, Philip Moore”, who was perhaps best known for sculpting the 1763 Monument, a tribute to Cuffy, a former slave who is recognised as a national hero in Guyana.

Brazil: ‘Hands That Cure, Words That Heal'

Paula Góes — Tue, 15 May 2012 14:13:13 +0000

[All links lead to Portuguese language pages except when otherwise noted]

With their herbs, gestures, prayers and comforting words, the “doctors of the people” are an important element of Brazilian popular culture and religious syncretism. Folk healers are found throughout the country, but play a special role in remote areas, where medical professionals are scarce and allopathic medicine is inaccessible.

In a post called ‘Hands that cure, words that heal', Ricardo Câmara recalls the history of faith healing and highlights the work of benzedeiras (women who pray for and bless the ill), usually a free and voluntary activity that has spread throughout Brazil as an alternative to traditional medicine since the sixteenth century:

Terço e folhas nas mãos, oração na ponta da língua e muita fé em Deus. As benzedeiras e benzedores que surgiram no Brasil com a chegada dos Jesuítas, no século XVI, são figuras presentes na cultura popular até os dias de hoje.
A benzeção, como várias outras práticas religiosas e médicas populares, aflorou-se com intensidade no período Colonial Brasileiro e os fatores que propiciaram o desenvolvimento da prática da benzeção, com certeza, remetem à precariedade da vida material, destacada pela raridade de médicos, de cirurgiões, de produtos farmacêuticos, e ao sincretismo dos povos em geral, que também contribuíram, e muito, para que a prática da benzeção se propagasse ainda mais.

Rosaries and leaves at hand, prayers on the lips and much faith in God. Folk healers, who emerged in Brazil with the arrival of the Jesuits in the sixteenth century, are present in popular culture up to now.
Blessing, like many other popular religious and medical practices, surfaced with intensity in the Brazilian colonial period and the factors leading to the development of the practice refer, of course, to the precariousness of material life, highlighted by the scarcity of doctors, surgeons, pharmaceutical products, and by the syncretism of the population in general, which in turn contributed to spread the practice of blessing even further.

Blessing woman Dona Izabel. Photo by Fredox Carvalho, for Agência de Notícias Cavaleiro de Jorge (used with permission).

The training of folk healers, individuals who according to Maria Luiza Benitez are usually “predestined and born with a special gift of power, talent or knowledge”, requires great dedication:

O estudo do curandeiro difere grandemente dos estudos e práticas da medicina convencional. Não há livros de medicina, nem notas de aprovação. Mas é preciso vencer todos os testes e provações. E é exclusivamente por meio da dor, do sofrimento, da doença e da própria morte que o curador adquire acesso ao universo das realidades extraordinárias. O mundo do além é o terreno onde se pode obter o conhecimento, a experiência, as qualificações e o poder para auxiliar os demais.
O chamado costuma vir em sonhos ou por intermédio de um acidente, doença, injúria sofrida, ameaça de morte eminente, da morte e mesmo morte clínica temporária.

Studying to become a healer differs greatly from the study and practice of conventional medicine. There are no medical books or passing grades, but you have to overcome all tests and trials. Additionally, it is only through pain, suffering, disease, and death itself that the healer gets access to the world of extraordinary realities. The world beyond is the land where you can obtain the knowledge, experience, skills and power to help others.
The call usually comes in dreams or through an accident, illness, injury, suffering, threat of imminent death, even death itself, and temporary clinical death.

Shaman in a Pataxó indigenous tribe in Bahia. Photo by Flickr user Mario Niveo (CC BY-NC-ND 2.0)

Teacher Glauco Ricciele Ribeiro reveals how women become folk healers:

Benzedeiras senhoras de coração puro, servem ao próximo sem interesses ou cobiça. O dom adquirido por elas são passados de geração a geração. Mas em nosso mundo atual, tal prática cada vez mais desaparece e junto dela a fé popular perde suas características. […]
Mas poucos sabem como uma benzedeira inicia seu “sacerdócio”. Tradicionalmente a Sexta-feira Santa é a única data onde se ordena o Dom de ser Benzedeira a uma mulher de bom coração e sem impedimentos. Esta pessoal deve ajudar através das rezas todo tipo de necessitado sem distinção de classe ou credo.

Folk healers are women with pure hearts, who serve others without self-interest or greed. The gift they acquire is passed from generation to generation. But in our world today, such practices are increasingly disappearing and, together with them, the popular faith loses its characteristics. […]
But few people know how a healer began her “ministry”. Traditionally, Good Friday is the only day in which the gift of healing is given to a woman of good heart and without hindrances. Through all kinds of prayers, she ought to help people in need without distinction of class or creed.

The Blessing Culture. Photo from the Etnia Brasil website by Livia Zaruty (CC BY-NC-ND).

Journalism student Angélica Weise disagrees that the art of healing is disappearing:

Elas fazem parte da cultura popular. A maioria é de uma generosidade incrível. Por mais antiga que seja a tradição, as benzedeiras se encontram mais vivas do que nunca. Basta ter vocação e força de vontade. Mesmo com a medicina avançada, muitas pessoas recorrem a elas para os diversos tipos de cura. […]
Para encontrá-las não há endereço. Basta perguntar nas ruas que logo alguém conhece ou já ouviu falar delas. Na maioria são velhas e simples. É olhando para o rosto e contando suas rugas que encontramos a idade delas. Quem acredita em benzedeira, jura que elas fazem milagres.

They are part of popular culture. Most are incredible generous. No matter how old the tradition is, folk healers are more alive than ever. It only takes calling and will. Even with the advancement of medicine, many people turn to folk healers for various types of healing. […]
To find them, you need not to have an address. Just ask in the streets and you will find someone who knows or has heard of them. Most are elderly and humble. It is looking at their faces and counting their wrinkles that we find out their age. Those who believe in spiritual healing, swear that they promote miracle cures.

Conventional doctors are not so convinced of the miraculous power of spiritual healing and are concerned about the practice, considering that “the scientific safety should not be set aside”.

Meanwhile, traditional healers of two cities in the Brazilian state of Paraná, Rebouças and São João do Triunfo, have seen their activity recently recognized by pioneering municipal laws in Brazil. This resulted in a project of Social Mapping of Folk Healers, whose unprecedented legislation was celebrated as a victory by the local network of traditional communities and peoples:

Num processo de continua luta e organização social das benzedeiras articuladas no Movimento Aprendizes da Sabedoria (MASA) em 22/02/2012 o Presidente da Câmara Municipal de São João do Triunfo promulgou a lei municipal nº 1.370/11, a qual reconhece a identidade coletiva das benzedeiras de Triunfo, regulariza o livre acesso as plantas medicinais por parte dos detentores de ofícios tradicionais de cura e propõe a construção de política municipal especifica de acolhimento das práticas tradicionais de cura nos sistema formal de saúde.

After a process of continuous struggle and social organization of folk healers from the Learners of Wisdom Movement (MASA), the president of São João do Triunfo's City Council passed City Ordinance No. 1,370/11 on on February 22, 2012, a law which recognises the collective identity of the folk healers of Triunfo, regulates free access to medicinal plants by the holders of traditional healing craft, and proposes the elaboration of municipal policy specifically to bring traditional healing practices in the formal health system.

City ordinance recognises the work of folk healers of Triunfo. Photo by Rede Puxirão de Povos e Comunidades Tradicionais published by Flickr user Cultura Viva (CC BY-SA 2.0).

Regardless of whether the cures are a reality or the result of a placebo effect, the act of healing through non-traditional means is considered an intangible heritage of Brazilian culture by the National Institute of Historic and Artistic Heritage (IPHAN) [en], which belongs to the federal government of Brazil as part of the Ministry of Culture.

In addition to bringing spiritual comfort, folk healers inspire artists, like the writer Sinval Santos da Silveira, who tells us the story and secret of a woman who lived in a very humble house, with no electricity or running water:

Mulher de idade avançada, magrinha, mal alimentada,
e de um coração cheio de bondade…
Sobre uma pequena mesa, a imagem da Santa, em
quem deposita sua fé e a sua vida.
Benze, em nome da Santinha, curando torcicolo, arca
caida, dor de dente, dor nas costas, dor de olhos, de
garganta, de cabeça, mal olhado, inveja, etc.
Seus pacientes ou clientes, pelo trabalho milagroso,
nada pagam, nada devem.
O prazer de poder ajudar alguém, que lhe procura,
está acima de qualquer outro valor.
Só agora entendo, que o poder de cura daquela mulher,
sempre residiu numa única coisa, que tinha em excesso,
em sua humilde casinha: muito amor…

Elderly, skinny, malnourished woman,
whose heart was full of goodness…
On a small table, there is an image of the Saint in
whose care she places her faith and life.
She blesses, on behalf of the sweet Saint, healing stiff neck,
lumbago, toothache, backache, sore eyes and throat,
headache, evil eye, envy, so on.
Her patients or clients pay nothing, nothing owed
for the miraculous work.
The pleasure of helping someone who looks for her
is valuable above anything else.
Only now I understand that the healing power of that woman
was always based on the only one thing that her humble house
had in excess: lots of love…

Latin America: Art from the Colonial Period in 2.0

Jon Lindsay Miles — Tue, 15 May 2012 12:47:59 +0000

All links lead to Spanish-language websites, unless otherwise noted.

The long colonial period that resulted in what we know today as Latin America, has left its traces in the colonial art still preserved throughout the continent. Citizen media attests to this. Many online spaces are dedicated to the sharing of photographs, video, texts, specific works and other examples of artistic expression from this period, at the same time explaining how these images today make up part of the landscape and identity of the countries they belong to. As one would anticipate, the images from each region show an enormous diversity in response to the inspiration that arrived from Europe.

We present here a sample of the many 2.0 websites dedicated to this colonial art, that serves as the common denominator adopted by indigenous cultures across most of the continent, before being adapted by each as its own.

The Portal de Arte (Art Gateway) from Colombia, provides us with a context for the definition of what is understood by the term Colonial Art:

Pontifical Catholic University of Chile. Reproduced under the Creative Commons licence

Este arte se caracteriza por la fusión de cosmovisiones y técnicas de conquistadores y aborígenes […] En cada pieza escultórica, catedral y pintura, los motivos religiosos son los gobernantes, así como los parámetros de representación europeos; pero éstos fueron sutil y subterráneamente “digeridos” por los aborígenes americanos, quienes colocaron en cada obra elementos propios de sus culturas (símbolos religiosos y espirituales, figuras antropomorficas, zoomorficas y fitomorfas) de modo tal que se entremezclaban con los imágenes católicas importadas, manteniendo de este modo, la voluntad de forma de la producción artística indígena subsitiendo [sic] por debajo del arte europeo impuesto a la fuerza.

This art is characterized by the fusion of the world views as well as the techniques of both the Spanish Conquistadores and the indigenous people. […] European religious motifs and representational parameters govern each piece of cathedral sculpture and painting, but these are then subtly and surreptitious “digested” by the indigenous people of the Americas, who placed elements of their own cultures into each work (religious and spiritual symbols, anthropomorphic, zoomorphic and other biomorphic figures) in such a way that these mix with the imported Catholic images, assuring that the expressive forms of indigenous artistic production survive beneath the forced imposition of those of European art.

In Ecuador, Iván Petroff shares some of his work, done for his studies in artistic expression, pointing us to some characteristic features of the colonial plastic arts:

La plástica colonial, al comienzo fue repetitiva, o mejor, recreativa de los modelos europeos, sin embargo, pese al control español, el artista indígena introdujo pequeños elementos de su arte y religión, especialmente en los rasgos físicos de los santos provincianos y en la carga cultural no europea de los retablos y algunos motivos ornamentales de capiteles y frisos.

The colonial plastic arts at first repeated, or rather, recreated European models. Nevertheless, and in spite of Spanish control, indigenous artists introduced small elements from their art and religion, particularly in the way of physical features given to the images of provincial saints, and in a non-European cultural charge expressed in altarpieces and in ornamental motifs given to capitals and friezes.

In the same way, Iván uses his blog to open access to a musical piece from the epoch, placed on YouTube by denesago. The song was composed by the Spaniard Juan de Araujo, who was confirmed as one of the most important musicians of the colonial epoch in what is now Bolivia. The video images show something of baroque architecture and painting from Bolivia, Ecuador and Peru:

In Venezuela, Janeth Rodríguez manages a blog dedicated entirely to colonial art in Venezuela and its different expressive modes. The sources of her posts are various academic pieces, the principal motivation being to gather, celebrate and bring to people's attention the preservation of these pieces:

Este blog nace con varios objetivos: difundir nuestro patrimonio artístico de los siglos XVI al XVIII con la intención de promover su preservación; servir de vehículo para promocionar la investigación que los estudiantes de la Escuela de Artes de la Universidad Central de Venezuela producen en torno a este tema; y lograr una comunicación más efectiva entre todos los interesados en el mundo colonial.Nuestra meta es presentar a los visitantes una breve historia de diversas obras de arte venezolanas, e incluso de algunas extranjeras que llegaron a nuestro territorio durante ese período.

Several objectives are behind the birth of this blog: to disseminate information about our artistic heritage from the sixteenth and seventeenth centuries, in order to argue for its preservation; to serve as a vehicle for the promotion of investigation of this material by students of the School of Arts at the Central University of Venezuela; and to open up the most effective communication we can between all those interested in the colonial world. Our aim is to present to those visiting our site a brief history of varied Venezuelan objects of art, as well as others that arrived here from other lands during this historical period.

Meanwhile, the blog Romanticismo, launched by students of Spanish and Literature in the Colombian capital Bogotá, shares examples of the characteristic forms of literature from the colonial epoch:

La literatura en lengua española durante la colonia comenzó a desenvolverse en Nueva España desde un principio. La literatura de la conquista son mayormente coplas y romances, burlas hacia los gobernadores, ayudantes, etc. mientras que la de colonia son textos que incitan a la libertad y revolución.

Literature in the Spanish language during colonial times quickly began its particular development. Literature from the time of the conquest is mostly in the form of verse and romances, poking fun especially at those who governed and those around them, while that from the colonial period comprises texts urging liberty and inciting revolution.

Then there is Optimusomnium, which shows several examples of Peruvian painting of the colonial period in a video:

Finally, user LordArchibaldHartley gathers a number of artistic and cultural images that have served as the inspiration for much of the art made in Mexico today.

These are just a few of the many examples of sites offering information on colonial period art in Latin America in 2.0. If you'd like more information and to investigate other similar sources in the Spanish language, visit the Wikipedia article Arte colonial latinoamericano.

Bangladesh: Economic of Marriage payments

Rezwan — Tue, 15 May 2012 06:28:15 +0000

“There are two kinds of marriage payments — dowry and brideprice, with significant differences among their prevalences in time and across societies,” - informs J. Rahman at Mukti.

Costa Rica: The Circus that Saves Children's Lives

Juliana Rincón Parra — Tue, 15 May 2012 01:39:27 +0000

To the south of Costa Rica lies the town of Perez Zeledon, home to the Fantazztico Circus that is giving children and youth in the region a chance to stay out of drugs and trouble while opening doors to international travel.

In a video documentary, the story of this 12 year old project by the New Life Asociation (Asociacion Vida Nueva) takes shape. In an interview, a mother explains how young people are left to their own devices, and they end up getting in trouble or addicted to drugs due to lack of opportunities to study or work. The circus gives them a chance to learn skills, discipline and become part of a group where they become valued. It is also the story of Josue, who drifted away from the circus, and almost died from a drug overdose. As he says, he returned to the circus where he knew he'd find the support to go on, and now he tries to steer clear from peer pressure.

The Circo Fantazztico has had the opportunity to travel overseas to Europe, presenting their show and work to audiences while also discovering new cultures and places.

The Sula Batsú Cooperative of Costa Rica which works in training and skill building for cooperatives and other non-government organizations shared through their facebook page a link to the promotional video with the comment:

El viernes pasado nos visitó la agrupación Circo FantazzTico, en este proyecto social se usa la pedagogía circense como medio del trabajo preventivo con niños, niñas y jóvenes en riesgo social. La idea del proyecto es crear un lugar seguro para los niños, niñas y jóvenes que están en una situación social difícil, y que puedan aprender habilidades corporales al igual que adquirir competencias sociales…

Last Friday the Fantazztic Circus group visited us, this social project uses the circus training as a means to do preventive work with children and youth in social risk. The project's idea is to create a safe place so that boys, girls and young people in difficult social situations can learn physical movement skills while they learn social skills…

The Circus is also well received nationally: the following video shows their presentation in the National Stadium of Costa Rica in the capital city of San Jose, to an audience of 10 000 people. The presentation included aerobatics of people twisting on ropes, fabric and tumbling as well as floor exercises and pyramids.

Pakistan: Partition Era Writer Saadat Hasan Manto Lives On

Kumail Ahmed — Mon, 14 May 2012 21:14:08 +0000

Saadat Hasan Manto (1912-1955) was a short-story writer, a dramatist and also a translator from Punjab. Today the people of the sub-continent are celebrating his 100th birth anniversary highlighting his significance in the India-Pakistan partition era. Art councils in Pakistan, press clubs, and literary clubs are organizing festivals to remember his legacy and his importance in today's society.

Manto's basic contribution to Urdu literature (with respect to partition) is that he considered the killing of thousands of Hindus and Muslims during migration as a massacre of humanity rather than of any single religion. He said:

Don't say that a hundred thousand Hindus or a hundred thousand Muslims have been massacred. Say two hundred thousand human being have been slaughtered.

Saadat Hasan Manto. From twitter: @siddharth426

This was Manto's message at the time when religious division was at its peak. People were divided - rather isolated - on religious differences and did not consider killing a major crime against humanity. In such times, Manto rose as a messenger of humanism in the subcontinental literature. He wrote dramas like ‘Toba Tek Singh' (name of a village in Pakistani Punjab), in which he highlighted the miseries of partition.

But is Manto relevant today? Yes! He definitely is relevant. His criticism on the hypocritical societal values, his attitude towards social taboos and ethos [ur], and his whimsical remarked towards United States makes him a living legend. Manto, as Zahida Hina rightly says, was a visionary.

Manto's writing can today help Pakistan to come out from the abyss of fundamentalism and extremism which is increasing day by day. The cultural and political crises which Pakistan is facing today were seen years ago by Manto in his article ‘Allah ka bara fazl ha' (God's benevolence is infinite).

Social media was flooded with comments regarding Manto's life and his work.

B. P. Singh praises Manto with the following words:

Perspicacious man, a real human being, I have acted in one of his plays in India, and truly I follow some of his writing religiously. If the mankind seriously follows his writing spirit, the world really will become a heaven! True homage and salute to a nice person ‘Manto'.

Some tweets:

@navedjaved: Remembering a prolific writer and a genius of his times, Saadat Hasan Manto on his birthday- RIP Legend!

@manish0891: Its 100th birth anni.of Saadat Hasan #Manto, one of the best short story writer of the Urdu language.

@osamamotiwala: Saadat Hasan Manto, although you are just a memory, but some memories last forever. Shine on you crazy diamond.

Manto was never frightened from expressing his thoughts. He had to go to court for his writings. But, Manto only wrote what he saw. Nazir Ahmed Minto comments:

Manto only wrote what he SAW,…… and which those people did not want too see !

Naveeda Valentina tweets:

@NaveedaV: Janam din mubarak (Happy Birthday) Saadat Hasan Manto! A man who pulled no punches indeed. *jaam chalkaoing*

@NaveedaV: Happy Birthday Saadat Hasan Manto! A man who pulled no punches indeed.

Manto is being given overwhelming coverage in Pakistani media (for English see: DAWN, THE NEWS). This fact is praise-worthy enough to be quoted. Although fanaticism has risen in the soicety, but Manto's voice still lives on.

Ahmed Shakeel tweets:

@Ahmed_Shakeel: It is heartening to see birth centenary of short story writer in Urdu Saadat Hasan Manto finds wide coverage especially in non Urdu media.

Manto died on 18th January 1955 at the age of 43. His thoughts will always be with us. Vivek Martolia comments:

manto sahab amar rahenge hamesha ke liye , he is alive in his stories.

Manto will live forever, he is alive in his stories.

Iran: Cartoonist Eludes Sentence of 25 Lashes for Drawing Politician

Fred Petrossian — Mon, 14 May 2012 18:05:45 +0000

Cartoon of Ahmad Lotfi Ashtyani that landed Mahmoud Shokraye in trouble with authorities.

An Iranian cartoonist, Mahmoud Shokraye, was sentenced [fa] to 25 whiplashes for drawing a cartoon of former conservative member of parliament, Ahmad Lotfi Ashtyani in Amir Nameh magazine in Arak.

A campaign to support the cartoonist was launched online, and several cartoonists drew cartoons in support of Mahmoud Shokraye.

It seems the campaign was successful, since finally the former politician withdrew his complaint [fa] on Monday, May 14, 2012.

Mana Neyestani, a leading Iranian cartoonist who has also been jailed for his cartoons, made a cartoon to support the cause.

Cartoon by Mana Neyestani from Mardomak.org

Vahid Nikgoo drew a cartoon where Ahmad Lotfi Ashtyani looks himself in a mirror and says, “When I take you to court and sentence you to lashes, you will learn not to show me like that.”

An image can be worth more than 1000 words, but in Iran a cartoon can cost you jail and lashes.

Spain: Arts Also Blossom in the Global Spring

Marianna Breytman — Mon, 14 May 2012 16:10:22 +0000

This post is part of our special coverage Europe in Crisis.

From May 12 (12M) to May 15 (15M) [es], Spain has experienced a social movement in the streets to protest the control of the banks and demand a system that is more democratic, participatory, and fair. With the expansion of demonstrations and general discontent, the 15M movement achieved its goal of growing and remaining in the street.

Citizen collectives continue to act through popular assemblies, commissions, and work groups that allow for debate on topics that affect the people and carry out acts of cooperation. Many countries have been inspired by the “indignant” Spaniards, and protests continued to demonstrate their global character on October 15 of last year, with demonstrations in over 900 cities and 82 countries. On May 12, 2012, demonstrations were organized once again throughout all of Spain and on a global level.

The arts have also blossomed with the 15M. Blog Voces con Futura [es] (Voices with a Future) publishes a large portion of the anonymous posters that have filled the plazas during the protests. The author of the blog is a Spanish designer residing abroad that wants to maintain her anonymity and dedicates her attention to the creative talent that has risen as a result of the indignant movement.

To commemorate the 15M's first anniversary, the 12M–15M events, and to invite everyone to take to the streets again, the blog # Acampadasol [es] has published a series of amazing posters that reveal many of the reasons for the protests. Here we share some of the beautiful and creative posters:

"Another world is possible"

"We remain in the squares"

"If you steal, do not govern"

"We don't want reforms…We want a different system"

All images were published under the CC BY 3.0 License.

This post is part of our special coverage Europe in Crisis.

Venezuela: Street Art on the Internet

Marianna Breytman — Mon, 14 May 2012 15:01:29 +0000

Street artists and musicians broaden their public when they come into contact with citizen media. In Venezuela, where music and theater are parts of daily life, traffic, and buses, a number of citizen journalists share their experiences when they meet with artists that bring color to urban life.

Similarly, these very artists prepare short videos and documentaries in which they show performances of various street musicians.

In this video, recorded by the artists themselves for the festival of street singers, you can see musicians that come together in various cities throughout the country:

Meanwhile, Cinetica13 shares a very popular street musician's performance in the city of Mérida.

Theater also has its place in the Venezuelan street art world. On his YouTube account, Perucho Morales shares performances by the “Comediantes” group, also in Mérida.

Thumbnail “Melodies in the street. Mérida, Venezuela” by Flickr user David Hernández, used under Creative Commons License Generic Non-Commercial-Equal-Sharing Attribution 2.0 2.0 (CC BY-NC-SA 2.0)

Nagorno Karabakh: Cultural Destruction and Preservation in the Armenia-Azerbaijan Conflict

Onnik Krikorian — Mon, 14 May 2012 07:40:51 +0000

During the conflict between Armenia and Azerbaijan over the disputed territory of Nagorno Karabakh, hundreds of thousands of ethnic Azeris and Armenians were displaced. With hundreds of settlements also razed, and thousands of monuments destroyed, Conflict Voices looks at the issue of cemeteries, some of which were destroyed, but also preserved during the war as well as in the 18 years since the 1994 ceasefire.