Winner of the John Collier Jr. Award for Still Photography
As a young Fulbright scholar in Bogotá determined to democratize the photographic gaze and bring new visions and voices to public debate about Colombia’s armed conflict, Alexander L. Fattal founded Disparando Cámaras para la Paz (Shooting Cameras for Peace). The project taught photography to young people in El Progreso, a neighborhood on the city’s outskirts that was home to families displaced by violence in the countryside. Cameras in hand, the youth had a chance to record and reimagine their daily existence.
Shooting Cameras for Peace / Disparando Cámaras para la Paz is a penetrating look at one of Latin America’s most dynamic participatory media projects. The haunting and exuberant photographs made under its auspices testify to young people’s will to play, to dream, and to survive. The images bear witness to the resilience and creativity of lives marked by a war that refuses to die.
With text in English and Spanish, Shooting Cameras for Peace / Disparando Cámaras para la Paz makes vital contributions to studies of collaborative media, photographic activism, and peace and conflict in Colombia. Fattal’s insightful text offers critical reflection on the genre of participatory photography and the structural challenges faced by similar media projects.
The Soweto uprising was a true turning point in South Africa’s history. Even to contemporaries, it seemed to mark the beginning of the end of apartheid. This compelling book examines both the underlying causes and the immediate factors that led to this watershed event. It looks at the crucial roles of Black Consciousness ideology and nascent school-based organizations in shaping the character and form of the revolt. What began as a peaceful and coordinated demonstration rapidly turned into a violent protest when police opened fire on students. This short history explains the uprising and its aftermath from the perspective of its main participants, the youth, by drawing on a rich body of oral histories.
Straight edge is a clean-living youth movement that emerged from the punk rock subculture in the early 1980s. Its basic tenets promote a drug-free, tobacco-free, and sexually responsible lifestyle—tenets that, on the surface, seem counter to those typical of teenage rebellion. For many straight-edge kids, however, being clean and sober was (and still is) the ultimate expression of resistance—resistance to the consumerist and self-indulgent ethos that defines mainstream U.S. culture.
In this first in-depth sociological analysis of the movement, Ross Haenfler follows the lives of dozens of straight-edge youths, showing how for these young men and women, and thousands of others worldwide, the adoption of the straight-edge doctrine as a way to better themselves evolved into a broader mission to improve the world in which they live. Straight edge used to signify a rejection of mind-altering substances and promiscuous sex, yet modern interpretations include a vegetarian (or vegan) diet and an increasing involvement in environmental and political issues.
The narrative moves seamlessly between the author’s personal experiences and theoretical concerns, including how members of subcultures define “resistance,” the role of collective identity in social movements, how young men experience multiple masculinities in their quest to redefine manhood, and how young women establish their roles in subcultures. This book provides fresh perspectives on the meaning of resistance and identity in any subculture.
Mwenda Ntarangwi explores the Kenyan hip hop scene through the lens of Juliani's life and career. A born-again Christian, Juliani produces work highlighting the tensions between hip hop's forceful self-expression and a pious approach to public life, even while contesting the basic presumptions of both. In The Street Is My Pulpit, Ntarangwi forges an uncommon collaboration with his subject that offers insights into Juliani's art and goals even as Ntarangwi explores his own religious experience and subjective identity as an ethnographer. What emerges is an original contribution to the scholarship on hip hop's global impact and a passionate study of the music's role in shaping new ways of being Christian in Africa.
Students played a critical role in the Sandinista struggle in Nicaragua, helping to topple the US-backed Somoza dictatorship in 1979—one of only two successful social revolutions in Cold War Latin America. Debunking misconceptions, Students of Revolution provides new evidence that groups of college and secondary-level students were instrumental in fostering a culture of insurrection—one in which societal groups, from elite housewives to rural laborers, came to see armed revolution as not only legitimate but necessary.
Drawing on student archives, state and university records, and oral histories, Claudia Rueda reveals the tactics by which young activists deployed their age, class, and gender to craft a heroic identity that justified their political participation and to help build cross-class movements that eventually paralyzed the country. Despite living under a dictatorship that sharply curtailed expression, these students gained status as future national leaders, helping to sanctify their right to protest and generating widespread outrage while they endured the regime’s repression. Students of Revolution thus highlights the aggressive young dissenters who became the vanguard of the opposition.
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