La emergencia indígena en América Latina, Fondo de Cultura Económica, Mexico City and Santiago, Chile Bonfil Batalla, G. () ‘Lo propio y lo ajeno: una. Bonfil Batalla, Guillermo. “Lo propio y lo ajeno: una aproximación al problema del con- trol cultural.” In Pensar nuestra cultura, ed. G. Bonfil Batalla. Araujo, Alejandro. ‘Mestizos, indios, extranjeros: lo propio y lo ajeno en la definición antropológica de la nación. Manuel Gamio y Guillermo Bonfil Batalla.

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Lo propio y lo ajeno: Now, one hundred years later, half of the globe inhabits urban environments. New York and Tokyo will be the only rich places to appear in the list of the ten largest cities. A tiger in the ajneo does not say: The much-mentioned gap between art and life was overcome in a most unexpected way, by the formal and conceptual transformation of an artwork, as a result of its invasion by harsh reality. Or, as Walshp. I look for answers to this question by taking as a starting point the critical Latin American perspective of interculturality Bonfil Batalla, ; Escobar, ; Mignolo, A crucial tendency is the internal broadening of the so-called international art and art language through the intervention of a multiplicity of actors.

BEIS Newsletter – Volume 12 Number 1

Sont-elles propices a l’autonomisation de l’apprentissage de la langue? However, Antropofagia as a program is not as fluid as it seems, since it is not carried on in neutral blnfil but one that is subdued, with a praxis that tacitly assumes the contradictions of dependence and the postcolonial situation.

This is crucially important because controlling language also conveys the power to control meaning. Even in the midst of war, as in Palestine, one discovers engaging works that challenge our preconceptions and ratify to what extent artistic dynamics are increasingly decentralized.


Dragons are now back in the 21st century. Colette Despagne, University of Western Ontario, colette. As a result, Spanish became the language that unified the vast Mexican territory and it also became the language of nationalized education programs.

By this operation artists are slowly and silently democratizing the dominant canons bongil power relations established in the international networks and markets. Volume 12 Number 1. To summarize, intercultural education is meant for the whole population and expects to break discriminative practices down.

Cultura y Representaciones Sociales. The analysis in this article comes from personal observations and from the poor results from the EFL classes we were offering to students of the intercultural program at that time, as demonstrated by their low final grades.

Guillermo Bonfil Batalla by Diana Paola Morales Lizarazo on Prezi

I am a tiger. Nowadays, it does not operate through conquest anymore; rather, it imposes economic, social, cultural, and linguistic norms Mignolo, All the indigenous communities had therefore to abandon their own cultures in order to adopt the new single Creole identity Lopez Arellano,p. The last point deals with the importance of the contextualization of knowledge in learning, and therefore in EFL, without which egalitarian education is not possible.

But at the same time we are going through a fascinating period of transition and reshaping of the whole system of art creation, distribution and evaluation at a global scale. But the crucial aspect is that two thirds of them will be living in poor countries. Just by going through statistics one receives strong symbolic impacts.


lo propio y lo ajeno pdf merge

From, and not so much in, is a key word for contemporary cultural practice. Naturally, this is not a smooth path, and many challenges and contradictions remain. The difference po in the shift from an operation of creative incorporation to one of direct international construction from a variety of subjects, experiences and cultures. Intercultural education from this perspective is not only about living side-by-side, indigenous with nonindigenous people.

Together with the increase of international art networks there is new energy and activity going on locally in areas were, for historical, economic and social reasons one would not expect to see interesting art. Working in such places as Central America, India, Palestine or Paraguay made me witness not only vigorous and plausible artistic practices, but also the foundation of alternative spaces and a notable array of anti or non-establishment actions.

In order to change the linguistic and cultural perceptions of Mexican society, the UPAEP, and in general, the Mexican national education system will have to adjust the geopolitics of knowledge, and therefore its curriculum design, to a more local conception of the world. They are doing so without manifestos or conscious agendas; just by creating refreshing work, by introducing new issues and meanings coming out of their diverse experiences, and by infiltrating their cultural difference in broader, somewhat more truly globalized art circuits.