Cultura Panamericana

2019 ◽  
Vol 6 (1) ◽  
Author(s):  
Anthony Macías
Keyword(s):  
Los Angeles ◽  
Sense Of Place ◽  
American Culture ◽  
Pop Culture ◽  
Mixed Race ◽  
Urban Spaces ◽  
Expressive Culture ◽  
Culture Industries ◽  
Latin Americans ◽  
Pan American

I am writing this analytical appreciation of cultura panamericana, or pan-American culture, to propose a wider recognition of how its historical linkages and contemporary manifestations confront colonialism, honor indigenous roots, and reflect multiple, mixed-race identities. Although often mediated by transnational pop-culture industries, expressive cultural forms such as art and music articulate resonant themes that connect US Latinos and Latinas to Latin Americans, pointing the way toward a hemispheric imaginary. In US murals, for example, whether in the Chicago neighborhood of Pilsen or the Los Angeles neighborhood of Highland Park, pan-American expressive culture offers alternative representations by embracing indigeneity, and it creates a sense of place by tropicalizing urban spaces.

The Los Angeles "Zoot Suit Riots" Revisited: Mexican and Latin American Perspectives

2000 ◽  
Vol 16 (2) ◽  
pp. 367-391 ◽  
Author(s):  
Richard Griswold del Castillo
Keyword(s):  
United States ◽  
Los Angeles ◽  
Ethnic Group ◽  
Latin American ◽  
Mexican American ◽  
American Culture ◽  
The United States ◽  
Mexican Origin ◽  
Latin Americans ◽  
Zoot Suit

The so-called Zoot Suit riots in Los Angeles in June of 1943 made Latin Americans more aware of the negative racial attitudes within the United States toward Mexicans. Through the publicity surrounding the riots, they also first learned of the existence of a large ethnic group of Mexican origin. This knowledge, however, often came with an additional message that the Mexican American culture was not worthy of esteem by respectable people. / Los disturbios llamados "Zoot-Suit" que ocurrieron en Los Angeles en Junio 1943 hizo saber a los latino americanos que las actitudes de los norteamericanos hacia los mexicanos no eran muy positivas. A través de la publicidad durante los disturbios, aprendieron por la primera vez de la existencia de un gran grupo étnico de origen mexicano en los Estados Unidos. Desgraciadamente esta información vino con otro mensaje que la cultura de los mexicoamericanos no era digna de honor por la supuesta gente decente.

scholarly journals KAJIAN MENGENAI RUMAH KOPI SEBAGAI RUANG PUBLIK DI KERAMAIAN KOTA KAWASAN BLOK M

2020 ◽  
Vol 1 (2) ◽  
pp. 829
Author(s):  
Alfredo Wijaya Putera
Keyword(s):  
Public Space ◽  
Millennial Generation ◽  
American Culture ◽  
Public Spaces ◽  
Lifestyle Changes ◽  
Urban Life ◽  
Urban Spaces ◽  
Previous Generation ◽  
Definition Of ◽  
Second Wave

With the most dominant number, millennial generation is one generation which it has high income compared to the previous generation. This change has an impact on lifestyle, where one of  the  lifestyles  that  are  studied  and  understood  is  the  lifestyle   of   drinking   coffee. These lifestyle changes how community enjoying coffee, so coffee houses that exist especially in Jakarta try to adapt to this activity. Apart from that, the adaptation of coffee houses in Jakarta is also more oriented towards American culture, where its role is in the entry of coffee houses in Jakarta, especially in the era of the second wave. So the question is whether the changes in coffee houses in Jakarta are in accordance with the definition of public spaces in cities where they can contribute to providing life, especially in urban spaces. To find out more about this, type of coffee houses studied especially in Jakarta, and get results coffee houses in Jakarta as a public space specifically providing ‘life’ only in building and forget about his role as public space in urban. Considered this problem, studied about type of coffee house in the European region, which can solve about giving a urban life. From these results, type about coffee house in European tried to be rearranged and combined with type coffee houses in Jakarta, which can contribute a urban life in Jakarta. AbstrakDengan jumlah yang paling dominan saat ini, generasi milenial adalah salah satu generasi dimana mempunyai pendapatan yang tinggi dibandingkan dengan generasi sebelumnya. Perubahan ini berdampak dalam gaya hidup, dimana salah satu gaya hidup yang dikaji dan dibatasi adalah gaya hidup ngopi. Perubahan gaya hidup ini mempengaruhi perubahan aktifitas masyarakat dalam menikmati kopi, sehingga rumah kopi yang ada khususnya di Jakarta mencoba beradaptasi dengan aktifitas ini. Terlepas dari itu, adaptasi rumah kopi yang ada di Jakarta juga lebih berorientasi pada budaya Amerika, dimana perannya pada masuknya rumah kopi di Jakarta khususnya pada era the second wave. Sehingga yang menjadi pertanyaan adalah apakah perubahan rumah kopi yang ada di Jakarta sesuai dengan definisi ruang publik dalam kota dimana dapat berkontribusi dalam memberikan kehidupan, khususnya dalam ruang kota. Sehingga untuk mempelajari lebih lanjut mengenai permasalahan tersebut, maka disini dicoba di pelajari bagaimana tipe rumah kopi yang ada khususnya di Jakarta, dan didapatkan hasil bahwa rumah kopi yang ada di Jakarta dijadikan ruang publik yang lebih hidup bersifat ‘kedalam’ bangunan saja, menyampingkan sebagai fungsi ruang publik khususnya memberikan kehidupan dalam ruang kota. Sehingga dengan demikian dicoba di pelajari tipe rumah kopi khususnya yang ada di bagian daerah Eropa, dimana mempunyai ciri khusus dapat berkontribusi dalam memberikan kehidupan khususnya pada ruang kota yang di tempatinya. Dari hasil ini kemudian dicoba disusun ulang dan dikombinasikan dengan tipe rumah kopi yang ada di Jakarta, sehingga diharapkan tipe rumah kopi yang ada di Jakarta dapat berperan memberikan kehidupan khususnya pada ruang kota.

scholarly journals ‘Gaijin Mangaka’: The boundary-violating impulse of Japanized “art comics”

2019 ◽  
pp. 3-26
Author(s):  
Ana Matilde de Sousa
Keyword(s):  
Coming Of Age ◽  
Pop Culture ◽  
First Century ◽  
Cultural Appropriation ◽  
Visual Artists ◽  
Culture Industries ◽  
Avant Garde ◽  
Graphic Narratives ◽  
Negative Identity

This paper investigates the artistic strategies of Japanised visual artists by examining the emerging movement of manga-influenced international “art comics”—an umbrella term for avant-garde/experimental graphic narratives. As a case study, I take the special issue of the anthology š! #25 ‘Gaijin Mangaka’ (July 2016), published by Latvian comics publisher kuš! and co-edited by Berliac, an Argentinian neo-gekiga comics artist. I begin by analysing four contributions in ‘Gaijin Mangaka’ to exemplify the diversity of approaches in the book, influenced by a variety of manga genres like gekiga, shōjo, and josei manga. This analysis serves as a primer for a more general discussion regarding the Japanisation of twenty-first-century art, resulting from the coming of age of millennials who grew up consuming pop culture “made in Japan”. I address the issue of cultural appropriation regarding Japanised art, which comes up even on the margins of hegemonic culture industries, as well as Berliac’s view of ‘Gaijin Mangaka’ as a transcultural phenomenon. I also insert ‘Gaijin Mangaka’ within a broader contemporary tendency for using “mangaesque” elements in Western “high art”, starting with Pierre Huyghe and Philippe Parreno’s No Ghost Just a Shell. The fact that the link to Japanese pop culture in ‘Gaijin Mangaka’ and other Japanised “art comics” is often more residual, cryptic, and less programmatic than some other cases of global manga articulates a sense of internalised foreignness, embedding their stylistic struggles in an arena of clashing definitions of “high” and “low,” “modern,” “postmodern”, and “non-modern”, subcultures and negative identity.

Migrant Media

2017 ◽  
Author(s):  
Robert Jackson
Keyword(s):  
Los Angeles ◽  
American Culture ◽  
Southern History ◽  
Black And White ◽  
History Of ◽  
Studio System ◽  
Southern Migrants ◽  
Ubiquitous Presence ◽  
Hollywood Studio System

Chapter 2 provides a history of southern migration and its impact on American culture at large. Most pointedly, black and white southern migrants to Los Angeles contributed in fundamental ways to the development of the Hollywood studio system, and the “southernization” of many of its institutions. Southern filmmakers included D. W. Griffith and many of his acolytes and younger peers. Other southerners occupied positions throughout the industry, and the enormous output of films registered southern history and culture in many ways: in the appearances of southern actors, in the presence of jazz, in films of every genre, and perhaps more than anything else in the ubiquitous presence of segregation, which the system as a whole had adopted for its own purposes.

scholarly journals Becoming-Black: Patterns and Politics of West-German ‘Afro-Americanophilia’ in the Late 1960s

2015 ◽  
Vol 12 (2) ◽  
Author(s):  
Moritz Ege
Keyword(s):  
African American ◽  
American Culture ◽  
Political Action ◽  
White Supremacy ◽  
Pop Culture ◽  
Cultural Appropriation ◽  
Race And Racism ◽  
African American Culture ◽  
Soul Music

In the late 1960s, African American culture and politics provided ‘lines of flight’ (Deleuze and Guattari) from outdated modes of subjectivity for many ‘white’ Germans; appropriating culture politics, and experimenting with forms of symbolically ‘becoming black’ represented a major cultural theme of the time. These tendencies resonated with: radical, anti-imperialist politics; countercultural sensibilities, where African American culture provided a radically contemporary critique of European modernity; the racialized, erotically charged logics of primitivism and romanticism in which ‘the repressed’ was to be brought back to the surface; and with a consumer-based economy and pop culture that supported the incorporation, domestication and aestheticisation of difference, desire and conflict.  This article sketches the patterns, forms and politics of the cultural theme of Afro-Americanophilia in Germany at the time, stressing the links between politics and corporeality.  In doing so, it illustrates that questions of race and racism were crucial for the 1968 conjuncture in Germany and it critically reviews the assumptions and implications of a specific form of hedonistic anti-racism in which ‘white’ European protagonists claimed ‘chains of equivalence’ (Laclau and Mouffe) between their position and that of people oppressed by racism and white supremacy.  Two case studies illustrate different forms and common patterns.  The first concerns a West Berlin network of radical-left groups that called itself ‘The Blues’ and combined militant political action (partly modelled on the activities of the Black Panther Party, according to some of its participants) with a countercultural sensibility. This included a felt connection to African American culture and stylistic practices. The second case study reviews the reception of soul music in the German music press and in countercultural circles, contrasting different readings of the supposedly ‘authentic.’  Overall, the article reconstructs practices of Afro-Americanophilia as ambiguous phenomena that foreshadow later forms of fetishistic cultural appropriation, but where, in some cases, the selective, erotically charged exoticism also led to tangible solidarity and strong connections. 

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