Modernity and Hybrid Cultures

Posted by: | March 24, 2009 | Comments Off on Modernity and Hybrid Cultures

Nestor Garcia Canclini’s article entitled “ Hybrid Cultures: Strategies for Entering and Leaving Modernity”, talks manily about the development of urban dwellings. They have become microcosms of interweaving and fragmented: humans, land and culture. Cities offer a paradigm for culture and power, and create many opposing thoughts of humankind. Latin American cities scenarios make one perceive both the amalgamation and separation in both high and popular culture. Much global modernity phenomenon in the trends and creation of popular culture is able to be viewed, many of these stratifications of art is impossible to get to and not necessary. A hybrid happens in these forms of art that is more generically termed ‘post-modernism’.By pointing out interesting issues, like the figurative bond between urban and rural spheres in the view of the ever increasing mass media prevalent in most nations today Canclini shows us what one may see when going to a Latin American country. Many of the countries I have been to in Latin America have supported this thought process, much of television broadcasting either has some or a large portion of influence on the style, language and goals of the country and its people. Canclini then goes on to talk about urban reflections, by using examples from national monuments, statues and urban artwork to show the ways in which history and modernity interact on the canvas that is the streets. Other examples of folk and art works tend to be display in museums and usually in areas of ‘high culture’, while the public areas and monuments is where the real contention court lies. Page two hundred and thirty one provides an excellent example for how the author proposes an alternative look at contesting and contention in public areas through the viewpoint of popular culture representations. In the last paragraph of this chapter, the author makes this contesting even clearer between lack of public initiative, acknowledging the symbolism these monuments perform (i.e. creating politeness and conflict) and a detachment from political issues. The most interesting part of Canclinis work, or at least I found to be, is when he discusses the significance of urban graffiti art and the ways in which it allows for imagery to be altered, distorted and rebuild visual realities. Other things  such as comic books, which the author also points out, can have a humoristic approach to speak about the dominant and orthodox view forms.


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