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Copyright of Políticas Culturais em Revista is the property of Politicas Culturais em Revista and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Dixit. Comunicación, Profesión, Conocimiento is the property of Universidad Catolica del Uruguay Damaso Antonio Larranaga and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cuadernos de Música, Artes Visuales y Artes Escénicas is the property of Pontificia Universidad Javeriana and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista Foco (Interdisciplinary Studies Journal) is the property of Revista Foco and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Polis (07176554) is the property of Polis - Revista Academica Universidad Bolivariana and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Using an ethnographic approach, including various techniques such as bibliographic analysis, analysis of documents and archives and longterm field work in Pilagá communities, this article analyzes --various transformations of Pilagá basketry between 1978 and 2014. Our research highlights the creation of an indigenous craft and its simultaneous attachment to the Pilagá identity as authentic. In addition, the paper examines and identifies the various transformations and their dialogue with market trends and public cultural policies --both in presence and absence--, in relation to artisanry in the province of Formosa, within a field that includes multiple actors holding unequal power. [ABSTRACT FROM AUTHOR]

This article reflects on the articulation of cultural policies and artistic projects for social inclusion in the province of Buenos Aires. The Cruzavías community theater group, from the Nueve de Julio city, is taken as a case, seeking to investigate the modalities of articulation between the group and the State based on specific cultural and social policies, which at the same time enabled and hindered the development of activities and the exploration of other areas of social life through art. Through an ethnographic approach to the object, we propose an analysis that is both historically situated and theoretically transdisciplinary, which reveals processes linked to the region's cultural policies and participants' subjective transformations. In this way, we seek to contribute both to the field of cultural policy studies, as well as to the perspectives that analyze processes of art, inclusion and social transformation. [ABSTRACT FROM AUTHOR]

From a critical perspective, this article raises a set of problems identified in the field of socio-cultural policies in Uruguay, particularly within the cycle of progressive governments (2005-2020). In this sense, it contributes to critically rethinking the sustainability of these strategies, taking into account the risks of ascribing to a rhetoric of the socioeconomic impacts of culture; the precarious working conditions of those who work daily in these policies; the subordination of cultural policies to the agendas of social development and education organizations and institutions; and some of the challenges that commonly emerge in processes based on the participation of lowincome and precarious sectors. This paper is based on extensive fieldwork carried out in Montevideo and Paysandú between 2016 and 2020, which included observations in work spaces and interviews with cultural workers enrolled in socially oriented cultural policies and programs. [ABSTRACT FROM AUTHOR]

Copyright of Dixit. Comunicación, Profesión, Conocimiento is the property of Universidad Catolica del Uruguay Damaso Antonio Larranaga and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Memorias is the property of Fundacion Universidad del Norte and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Patrimônio e Memória is the property of Centro de Documentacao e Apoio a Pesquisa and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Since 2009, the Buenos Aires City Government (GCBA) has been incorporating equipment of different dimensions to develop skateboarding and producing shows that combine "sport and urban culture". Its ultimate objective is to position the city as capital of extreme sports, nationally and regionally, among young people. Seeking to transcend a merely symbolic vision of culture, this article addresses the relationships between "youth" and "urban" cultures, the market, and the cultural policies that the GCBA declares to propose. For this, I use a qualitative methodology based on the analysis of primary sources produced within the framework of my doctoral research, and of sources produced by GCBA agencies and media agencies, in triangulation with specialized scholarly literature. [ABSTRACT FROM AUTHOR]

Copyright of Runa: Archivo para las Ciencias del Hombre is the property of Runa: Archivo para las Ciencias del Hombre and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Políticas Culturais em Revista is the property of Politicas Culturais em Revista and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The aim of this article is to analyze the applicability of the growth strategies for the Argentinean cultural sector to the Colombian case, based on Stiglitz's development theories and the neo-Shumpeterian theory of innovation, all through three variables of analysis: legislation, institutionality, and cooperation. Argentina has become a major factor to be taken into account when developing policies, in terms of know-how, education, training, and infrastructure, which would allow us to analyze whether Colombia can achieve competitive advantages in the international market for the cultural sector. We used a qualitative methodology with a documentary approach, including secondary sources that allowed the identification of strategies and the analysis of the possibilities for implementation. As the main result, we identified the endogenous process of growth of the Argentinean cultural sector, as it links institutional and regulatory diversity, as well as education, and integrates civil society in the construction of creative cities, as is the case of Buenos Aires. In the case of Colombia, there is a need for strategies that go beyond the institutional and normative to support the cultural sector, so that it is possible to link larger budgets and greater inclusion, in order to integrate all Colombian artists and creators in decision-making and policy making. [ABSTRACT FROM AUTHOR]

Copyright of Aura. Revista de Historia y Teoría del Arte is the property of Aura Revista de Historia y Teoria del Arte and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Imagofagia is the property of Imagofagia - AsAECA and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The following paper focuses on Riel y fomento, an argentinian magazine published by the General Administration of the State Railways between 1922 and 1935. With an explicitly nationalist approach, the publication addressed railways issues accompanied by articles related to the promotion of tourism and the dissemination of arts and architecture. The research will be focused on the period 1922-1928 and will delve into several aspects, such as the participation of artists and illustrators, the contributions made by managers and intellectuals and the role of images and articles in the magazine. As a main hypothesis, I argue that Riel y fomento articulated in its pages a project of social and cultural modernization centered on the "civilizing" power of the railroad, translatable in agricultural and industrial growth and in the development of an authentic culture of Americanist values. [ABSTRACT FROM AUTHOR]

Copyright of Políticas Culturais em Revista is the property of Politicas Culturais em Revista and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Aura. Revista de Historia y Teoría del Arte is the property of Aura Revista de Historia y Teoria del Arte and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Bitácora Urbano/Territorial is the property of Bitacora Urbano/Territorial and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Tabula Rasa is the property of Universidad Colegio Mayor de Cundinamarca and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Runa: Archivo para las Ciencias del Hombre is the property of Runa: Archivo para las Ciencias del Hombre and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Boletin de Antropologia is the property of Universidad de Antioquia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Políticas Culturais em Revista is the property of Politicas Culturais em Revista and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article gives an overview of Venezuelan cultural policies from the definition of culture and cultural activities typified by UNESCO. It analyzes official information and independent research about four substantive issues: a) Cultural Institutions, Legislation, Cultural and Public Investment for Culture; b) Creators, Cultural Managers, "Cultores" and Intellectuals in Venezuela; c) The New Man, New Woman: Strategic Objectives of the Bolivarian Revolution d) The historical debts to the cultural sector. [ABSTRACT FROM AUTHOR]

Copyright of Políticas Culturais em Revista is the property of Politicas Culturais em Revista and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Políticas Culturais em Revista is the property of Politicas Culturais em Revista and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Políticas Culturais em Revista is the property of Politicas Culturais em Revista and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The Revolution's Reading Plan is a Venezuelan government stimulus program oriented towards the education of citizens with particular emphasis on collective readings. The present paper analyses the political, ethical and pedagogical aspects of this cultural policy, within the framework both of Venezuelan legislations and the Ibero-American Reading Plan (ILÍMITA) promoted by the Organisation of Ibero- American States in consultation with the Regional Centre for the Development of Books and Reading in Latin America and the Caribbean [ABSTRACT FROM AUTHOR]

Copyright of Runa: Archivo para las Ciencias del Hombre is the property of Runa: Archivo para las Ciencias del Hombre and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Nomadas (01217550) is the property of Universidad Central and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article analyzes how politicians, newspapers, and intellectuals represented indigenous people of Central America during the so-called Liberal Era (1870-1944). They portrayed "Indians" as barbarous, rebellious, manipulable and, therefore, a driving force behind the caste wars of Central America. Based on these images, Central American liberal elites confronted the "Indian problem" in three different ways: hiding their indigenous heritage by labeling their imagined communities as "white" (Costa Rica); integrating Indian communities within the new nation-states but rejecting their cultures, traditions, and identities (El Salvador, Nicaragua, and Honduras); and finally by continuing with the colonial model of exclusion (Guatemala). [ABSTRACT FROM AUTHOR]

After independence in 1975, Mozambique has adopted Marxism-Leninism as state ideology and as a tool for nation building, trying to get rid of a colonial and "tribalist" past and to affirm national unity in an essentially multi-language and multi-ethnic country. Afterwards, Mozambique has faced a civil war that ended only in the beginning of the 1990's and which resulted in a multi-party democracy. This article intends to reflect on the dilemmas faced by the country in terms of cultural and educational policies in such a context, focusing on Mozambican intelligentsia's positions in the contemporary debate on the country's "multi-cultural" reality. [ABSTRACT FROM AUTHOR]