152 p., Sheds light on the importance of orality as it is embedded in the cultural traditions of the Colombian Caribbean. Examines the different ways in which orality is manifested and produced in Colombian popular culture and literature. Also explores the dynamics of "primary orality," in which orality compensates for the absence of knowledge or usage of a written alphabet, and "secondary orality," in which orality is sustained by a technological device, in this case the cassette.
Colombia: United Nations Research Institute for Social Development, Participation Programme
Location:
Agricultural Communications Documentation Center, Funk Library, University of Illinois Box: 135 Document Number: C20632
Notes:
Burton Swanson Collection, 226 pages, Partcipation, Report no. 86.7, Translated from the original Spanish text "Estado y Ejido en Mexico : el caso del Credito Rural en La Laguna"
This paper analyzes the intersection of two parallel developments that have had a curious impact on agrarian politics in Colombia: on the one hand, attempts to appropriate land for ‘green’ ends such as biofuel production, which have become ubiquitous all across Latin America, and on the other, the implementation of multicultural reforms, which in Colombia resulted in the collective titling of more than five million hectares of land for ‘black communities’.
The Caribbean coastal region of Colombia is called the costa, and its inhabitants are referred to as costeños. The müsica costeña (coastal music) is a product of tri-ethnic syncretic cultural traditions including Amerindian, Spanish, and African elements, a merging that begins with the colonial period and continues into the republican period on the Caribbean Coast. Traditional music from the Colombian Caribbean coast expresses its tri-ethnic costeño identity in various vocal styles and musical forms and through its types of instruments and the way they are played. This essay describes the aspects and circumstances under which cumbia, a coastal musical genre and dance form of peasant origins characterized by an African-derived style, has spread from its local origins in the valley of the Magdalena River to acquire a Colombian national identity, becoming in a few years a transnational musical phenomenon.
Agricultural Communications Documentation Center, Funk Library, University of Illinois Box: 11 Document Number: B01480
Notes:
AgComm Teaching, see also IDB01478, In mass communication and the development of nations (ppII-1-II-11) East Lansing, Michigan: International Communication Institute, Michigan State University
