DOCSLIB.ORG

Creatures of Colombia

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Creatures of Colombia :::Imagine That Parades::: Creatures of Colombia Students will create individual Headdresses based on Folkloric Creatures of Colombia, South America. Then during Imagination Festival your class will have a scheduled time to participate in the Creatures of Colombia Parade, so that the whole Festival can enjoy their unique creations and enthusiasm. OBJECTIVE: Myths and Legends of Colombia aims to show the importance of the Colombian oral tradition and how this tradition has preserved languages, beliefs, customs and culture. The Colombian folklore has strong influences from Spanish culture, with elements of African and Native American cul- tures. Barranquilla's Carnival is Colombia's most important folklore celebration, and is the biggest carnival in the world where people costumed as many of the legendary creatures parade the city. This year, Imagine That Parade will encourage the children to dive into a new and interesting cul- ture by making a headdress based on Creatures in Colombian legends, detailed with their own personal style and interpretation of the stories. Colombia is known for its bright, lively colors, which is great element to bring into the headdresses. STUDENTS WILL: Be exposed to traditional myths and legends about Colombian Creatures. Be challenged to create their own interpretation of the creatures inspired by the old tales. Create a headdress using their original thinking, problem solving, materials and methods. Participate in the Imagine That Parade. TEACHERS WILL: Read aloud short stories that include mythical Columbian creatures – Several stories are on page 2:: also feel free to research any additional stories. Talk about the tradition of storytelling in Colombian culture and its importance. In addition to folk tales, children can look at pictures of the folkloric characters to inspire ideas! Schedule a time for the children to design and create their headdress. 2014 IMAGINATION FESTIVALCLASSROOM PROJECT: Creatures of Colombia BASE STRUCTURES; Students can use anything from construction paper bases to old hats to create a sturdy structure to add additional material to. Construction paper/ fabric base:: Details & instructions on page 3 Plastic hat base:: Details & instructions on page 3 MATERIALS: Cardboard, fabric, felt, yarn, string, paint, markers, glue, scissors, paper, newspaper, eaves, bark, sticks, dried flowers, fabric flowers, glue, various kinds of ribbon, feathers, glitter, sequins, fake fur, oil pastels, sand, foil, card stock, pebbles, tissue paper, crayons, markers, buttons, fringe, tassels, elastic, bubble wrap, styrofoam, and anything thing else you can think of. Some resources to consult: Some Traditional Colombian Folklore Hombre Caiman, or Alligatorman, that has both human and alligator characteristics. He was a fisherman converted by the spirit of the Magdalena River into an alligator that returns once a year to hunt. The evil chicken ("pollo maligno") is an evil spirit of the forest in the form of a bird that haunts the hunters, attracting them to the deepest forest in order to devour them. La Tunda is a shape shifting monster that pretends to be your loved-ones, lures you into a forest and keeps them there as company. The Big Hat. He is well known for his black poncho, gargantuan hat and for traveling on his black mule with his two big black dogs restrained by thick heavy chains. He always arrives at night in a gallop. As the story goes, he makes noisy appearances, galloping and whistling. Amidst his whistling and laughing, he would proclaim his menacing phrase: “If I manage to reach you, I’ll put this hat on you!” This myth is a playful one. The Riviel The Riviel is a monster in the pacific region. The Riviel is an “Endriago”, a combination between man, a snake of several heads and a dragon. The people from town say that the monster scares fishermen at night .The riviel always asks his victims “how is the fishing”? Then, when the fisherman answers, the creature jumps on the boat to capture him. This mythical story shows how fishermen live, their culture, and how mysticism is intertwined in their daily practices. All these stories are passed from fathers to sons, through generations, and makes their culture more rich. THE PROJECT Try listening to Colombian music during the project. The link provided https://www.youtube.com/watch?v=ue9gaeCLk0I will take you to some samples of Colombian music, which will probably be used during the parade. Step 1: To get the kids started, give everyone a piece of white paper. After reading some of the old folk tales, ask the kids to brainstorm and draw their interpretation of the creatures. From there they will transform the drawing of their unique creatures into ideas for design- ing their own headdresses. It may be helpful to show the students several of the provided pictures so they will know the variety that is available to them in the creation of their headdresses. Step 2: The students will need to choose what material they want to use. The material you have available will dictate the direction of the headdresses. ( Materials suggestions are provided above). We are requesting that the headdress have 3-dimentional detail and decorations extending past the surface of the object, as illustrated in the pictures included. Step 3: Transfer the design from the paper to the headdress. Suggested methods::: #1 Construction paper/fabric base:: cut a strip of construction paper or fabric that is roughly 3 inches wide and is long enough to fit snug and secure about each child's head (measure the students head for exact paper length). From here add all detail and embel- lishments to the construction paper/fabric base. #2 Hat base:: If kids have any sort of ball cap, gallon milk jug, small box or other headpiece items at home this would be a great base to glue, paint and tape various material to. This would provide a very sturdy structure for the foundation of the headdress. #3 There are a several other ways to great a headdress:: Do not feel limited to the listed suggestions! Images of Folklore Characters Images from Colombian Parades + headdress Examples of many different types of headdress .
Load more

Recommended publications
  • The Colombian Scientific Diaspora in Switzerland
    Chapter 5 The Colombian Scientific Diaspora in Switzerland Gabriela TEJADA1 Table of Contents Executive Summary . 200 Introduction . 209 1. Colombian Context . 212 1.1 General Political and Socioeconomic Situation in Colombia . 212 1.2 Science and Technology in Colombia . 214 1.3 The Origins of the Colombian Scientific Diaspora Network . 218 2. Colombian Skilled Migrants in Switzerland . 223 2.1 Project Background, Case Study and Methodology . 223 2.2 Causes and Characteristics of Colombian High Skilled Migration to Switzerland and Migrants’ Life . 225 2.2.1 Migration Determinants . 225 2.2.2 Migration Paths . 232 2.2.3 Daily Life Experiences, Living and Working Conditions . 234 Positive First Experiences . 235 Negative First Experiences . 237 Personal Identity in Question . 240 Balancing Work and Family . 242 Leisure Activities and Swiss Quality of Life . 244 Contacts with Other National Communities and Bi-national Couples . 245 2.2.4 Integration in the Host Country . 247 Trans-national Identity . 249 Skilled Migrants’ Residential Status and Dual Citizenship . 251 Lack of Integration Feelings . 254 2.3 Brain Gain Mechanisms, Social Remittances and Other Trans-national Practices . 255 2.3.1 Scientific Diaspora Networks, R & D Initiatives and North-South Scientific Collaborations . 255 2.3.2 Knowledge Transfer, Social Remittances and Other Trans-national Practices . 261 2.3.3 Impact on Development in the Host Country . 262 2.3.4 Links with Families in the Country of Origin . 265 1 Cooperation@epfl, Swiss Federal Institute of Technology in Lausanne (EPFL). 200 Gabriela Tejada 2.3.5 Further Positive Impact . 267 2.3.6 Brain Gain Strategies and Lessons Learned .
    [Show full text]
  • Colombian Nationalism: Four Musical Perspectives for Violin and Piano
    COLOMBIAN NATIONALISM: FOUR MUSICAL PERSPECTIVES FOR VIOLIN AND PIANO by Ana Maria Trujillo A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts Major: Music The University of Memphis December 2011 ABSTRACT Trujillo, Ana Maria. DMA. The University of Memphis. December/2011. Colombian Nationalism: Four Musical Perspectives for Violin and Piano. Dr. Kenneth Kreitner, Ph.D. This paper explores the Colombian nationalistic musical movement, which was born as a search for identity that various composers undertook in order to discover the roots of Colombian musical folklore. These roots, while distinct, have all played a significant part in the formation of the culture that gave birth to a unified national identity. It is this identity that acts as a recurring motif throughout the works of the four composers mentioned in this study, each representing a different stage of the nationalistic movement according to their respective generations, backgrounds, and ideological postures. The idea of universalism and the integration of a national identity into the sphere of the Western musical tradition is a dilemma that has caused internal struggle and strife among generations of musicians and artists in general. This paper strives to open a new path in the research of nationalistic music for violin and piano through the analyses of four works written for this type of chamber ensemble: the third movement of the Sonata Op. 7 No.1 for Violin and Piano by Guillermo Uribe Holguín; Lopeziana, piece for Violin and Piano by Adolfo Mejía; Sonata for Violin and Piano No.3 by Luís Antonio Escobar; and Dúo rapsódico con aires de currulao for Violin and Piano by Andrés Posada.
    [Show full text]
  • The Negritude Movements in Colombia
    University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations Dissertations and Theses October 2018 THE NEGRITUDE MOVEMENTS IN COLOMBIA Carlos Valderrama University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_2 Part of the Folklore Commons, Other Political Science Commons, and the Sociology Commons Recommended Citation Valderrama, Carlos, "THE NEGRITUDE MOVEMENTS IN COLOMBIA" (2018). Doctoral Dissertations. 1408. https://doi.org/10.7275/11944316.0 https://scholarworks.umass.edu/dissertations_2/1408 This Open Access Dissertation is brought to you for free and open access by the Dissertations and Theses at ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. THE NEGRITUDE MOVEMENTS IN COLOMBIA A Dissertation Presented by CARLOS ALBERTO VALDERRAMA RENTERÍA Submitted to the Graduate School of the University of Massachusetts-Amherst in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY SEPTEMBER 2018 Sociology © Copyright by Carlos Alberto Valderrama Rentería 2018 All Rights Reserved THE NEGRITUDE MOVEMENTS IN COLOMBIA A Dissertation Presented by CARLOS ALBERTO VALDERRAMA RENTERÍA Approved as to style and content by __________________________________________ Agustin Laó-Móntes, Chair __________________________________________ Enobong Hannah Branch, Member __________________________________________ Millie Thayer, Member _________________________________ John Bracey Jr., outside Member ______________________________ Anthony Paik, Department Head Department of Sociology DEDICATION To my wife, son (R.I.P), mother and siblings ACKNOWLEDGMENTS I could not have finished this dissertation without the guidance and help of so many people. My mentor and friend Agustin Lao Montes. My beloved committee members, Millie Thayer, Enobong Hannah Branch and John Bracey.
    [Show full text]
  • INTERVIEW for Cartel Urbano Magazine We Wanted to Simply Sell Some T-Shirts, We Had No Budget to Put up a Real April 5
    INTERVIEW for Cartel Urbano Magazine we wanted to simply sell some t-shirts, we had no budget to put up a real April 5. 2010. media campaign, we resorted to street marketing basics, such as stickers and graffiti. Then, we abandoned the idea of “creating fashion”, just out Questions by Paula Ricciulli of simple lack of interest and market saturation. Even so, we remained with the webpage and lots of stickers. At that point we started to get How do you describe Bazuco? What is this project about? some media attention (alternative and mass), and always got a kind of negative reaction to the fact that we were not selling anything and did not Bazuco is a media company based in Bogota, with cells in Venezuela, belong to any of those graffitti rebel-gangs. Like, there was some sort of the United States and the Netherlands. Although Bazuco is a unit based disappointment at not finding in us the next Che Guevara. It personally in the tradition of performance art, it also plays with the production of made me think about how there wasn’t, at that time in Colombia, a media popular media (radio, music and video) and commercial products (books, outlet that (re)presented the cultural reality of the youth of Bogotá. There cds, skateboards, shirts). The idea, basically, was to create a brand was, of course , an over-romanticization of the urban phenomenon, that represented an “international idea” coming from a context seen as where the “new alternative media” portrayed any weekend gang thug “underdeveloped” or “Third World”, as is contemporary Colombia.
    [Show full text]
  • Colombian Bambuco, Pasillo, and Porro and the Role of the Tuba in These Traditional Genres By
    Colombian Bambuco, Pasillo, and Porro and the Role of the Tuba in these Traditional Genres by David López, BA, MM A Project In TUBA PERFORMANCE Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF MUSICAL ARTS Performance (Tuba) Approved Kevin Wass Chair of Committee James Decker Andrew Stetson Mark Sheridan Dean of the Graduate School May, 2016 Texas Tech University, David López, May 2016 Copyright 2016, David López Texas Tech University, David López, May 2016 ACKNOWLEDGMENTS I want to thank my parents Heriberto López and Carmen González for their unconditional support, and my siblings Cristian López, Mariana López, and Sara López for all their love and kind words during my DMA. Thanks to my first music teacher Juan Felipe Arias Villa who not only taught me fundamentals in music but also to have big dreams and to always do my best. Special thanks to my tuba mentors Professor Donald Little and Dr. Kevin Wass for believing in me and instructing me not only musically but also as a person and as a professional. You are my inspiration to get better every day. Thanks to Professor Alan Shinn, Dr. Andrew Stetson, and Professor James Decker for being part of my committee. Your input has been very valuable for me. Thanks to Santiago Baena, my good friend and colleague who has always has always cheered me up in this process and with whom I have made beautiful music. Thanks to Colombian historian William Fortich who kindly provided me with his research about porro, to composers Carlos Andres Restrepo for composing “Quartet for Clarinet, Tuba, Vibraphone, and Drum Set” for me and my colleague Santiago Baena, and Alfredo Mejia Vallejo for arranging his piece “San Juan de la Vega” for tuba and clarinet.
    [Show full text]
  • F4-Meridian EB CB DW.Indd
    Blood Eblis Álvarez (centre) with Meridian Brothers in Bogotá, July 2017 Relatives 26 | The Wire | Meridian Brothers In 2011 Meridian Brothers were invited to perform at and the fact that this music was rejected among our Jazz Al Parque in Colombia’s capital city Bogotá. Due friends,” recalls Álvarez. Mario Galeano, who joined to its name, the festival – as well as siblings like Rock them on bass, adds: “We used to live very far away Al Parque and Hip Hop Al Parque – always generates from the university and we always had to take a one plenty of debate. What is jazz? What is rock? In the hour ride in the morning, and then a one hour ride in case of Meridian Brothers, a small cache of purists the afternoon… the kind of vallenato that you heard on raged against them on social media. How could their public buses was a very cheesy 90s type that was the abstract take on Colombian folk rhythms possibly be origins of vallenato romántico, so we decided to do our deemed pure enough for the jazz canon? take on that cliche sound, of this mainstream sound on The group responded by writing “El Jazz Del the radio, and do our own noisy, atonal version.” Chupasangres” (“Bloodsucker’s Jazz”). Imitating With Álvarez on electric guitar and vocals, Morales a 1950s jazz trio, with an additional B movie horror on accordion, María Angélica Valencia on saxophone guitar riff and a keyboard line that chatters gloriously and Galeano on bass, plus various percussionists, throughout, the song goes, “Vengo, vengo, chupar Ensamble Polifónico De Vallenato (Polyphonic la sangre del pueblo” (“I come, I come, to drink the Vallenato Ensemble) played their first concert in 1999.
    [Show full text]
  • IJREE – International Journal for Research on Extended Education 2
    Free Contributions Dancing Ethnicity: A Qualitative Exploration of Immigrant Youth Agency in an Ethnically Specific Program Claudia G. Pineda & Michael J. Nakkula Abstract: This article addresses a conceptual gap in the Out-of-School Time literature by offering a framework to study the relationship between ethno-cultural components in pro- grams focused on youth ethnic culture (ESPs) and ethnic identity development among long- term participants. Using qualitative methodologies, it examined the meaning-making of eight Colombian immigrant youth participants in ColDance, an after-school program focused on Colombian culture in Boston. Findings suggest ColDance played a powerful role in foster- ing a positive connection with youth’s ethnic heritage crystallized in tangible dancing skills and specific knowledge about Colombian traditions. It provided and nurtured cultural bro- kers who eased youth’s adaptation process. Further, it suggests that a performance-oriented program may expose youth to receptive audiences that function as social mirrors fostering positive self-concepts. Keywords: After-school programs, ethnic identity, immigrant youth, Colombian youth, positive youth development. Out-of-School Time (OST) programs are considered key contexts for the positive development of diverse children and youth (Vandell/Pierce/Dadisman 2005). Stud- ies suggest that OST programs geared to minority children are most effective when they are culturally relevant. Although research on OST has made great strides in assessing the effects of different programming modalities, less is known regarding the effects of programs that are organized around youth ethnic culture. Some argue that programs geared to minority youth, including immigrant youth, have been too focused on the prevention of risk behavior rather than on the promotion of positive development (Villarruel/Montero-Sieburth/Dunbar/Outley 2005).
    [Show full text]
  • Afro-Colombian Hip-Hop: Globalization, Popular Music and Ethnic Identities
    AFRO-COLOMBIAN HIP-HOP: GLOBALIZATION, POPULAR MUSIC AND ETHNIC IDENTITIES DISSERTATION Presented in Partial Fulfillment for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Christopher Charles Dennis, B.A., M.A. ***** The Ohio State University 2006 Dissertation Committee: Approved by Dr. Abril Trigo, Advisor Dr. Ileana Rodriguez Dr. Fernando Unzueta Advisor Graduate Program in Spanish and Portuguese ABSTRACT As scholars around the globe debate the shortcomings and virtues of economic and cultural globalization, I approach Afro-Colombian hip-hop as a form of testimony to study what young black Colombians – as representatives of a generation at a global crossroads – reveal about the challenges presented by globalization. Evidence indicates that globalization and neoliberal reform have aggravated socio-political ills through intensified warfare, poverty, income inequalities, massive displacement, and violence, among others. These circumstances, in turn, inform much of the Afro-Colombian testimony channeled through hip-hop. I maintain that the content of Afro-Colombian rap, and the circumstances that inspire it, support those who argue that ethnic-racial minorities in the peripheries of the world do not benefit from economic globalization and its anticipated rising tide of wealth and spread of human rights. The dissent and frustration expressed in this music point to youths who are aware that promises of economic distribution, democracy, tolerance, and cultural respect are not and cannot be for everyone. Globalization has also led to cultural transformations and changing ethnic identities, which are very evident among Afro-Colombian urban youth integrated into processes of economic modernization and cultural modernity. I examine various factors ii that currently interpellate Afro-Colombian ethnic identities constructed through music and its practice.
    [Show full text]
  • Cycling Landscapes and Cultural Representation in Colombia, 1930-1958
    UNIVERSITY OF CALIFORNIA SAN DIEGO Impossible Roads: Cycling Landscapes and Cultural Representation in Colombia, 1930-1958. A dissertation submitted in partial satisfaction of the Requirements for the degree of Doctor of Philosophy in History by Manuel Morales Fontanilla Committee in charge: Professor Christine Hunefeldt, Chair Professor Robert Edelman, Co-Chair Professor David Serlin Professor Eric Van Young Professor Daniel Widener 2018 © Manuel Morales Fontanilla, 2018 All rights reserved. SIGNATURE PAGE The Dissertation of Manuel Morales Fontanilla is approved, and it is acceptable in quality and form for publication on microfilm and electronically: Co-Chair Chair University of California San Diego 2018 iii DEDICATION Para Marta, Julia y Pedro. iv EPIGRAPH El ciclismo es dolor, soledad, pero también alegría por la victoria. Nairo Alexander Quintana Rojas v TABLE OF CONTENTS SIGNATURE PAGE ............................................................................................................ iii DEDICATION ..................................................................................................................... iv EPIGRAPH ........................................................................................................................... v TABLE OF CONTENTS ...................................................................................................... vi LIST OF FIGURES ............................................................................................................... x LIST OF MAPS ..................................................................................................................
    [Show full text]
  • Consuming the City in Passing: Guided Visits and the Marketing of Difference in Cartagena De Indias (Colombia) Elisabeth Cunin, Christian Rinaudo
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Hal-Diderot Consuming the city in passing: guided visits and the marketing of difference in Cartagena de Indias (Colombia) Elisabeth Cunin, Christian Rinaudo To cite this version: Elisabeth Cunin, Christian Rinaudo. Consuming the city in passing: guided visits and the marketing of difference in Cartagena de Indias (Colombia). Turist studies, 2008, 9 (2), p. <ird-00565063> HAL Id: ird-00565063 http://hal.ird.fr/ird-00565063 Submitted on 10 Feb 2011 HAL is a multi-disciplinary open access L'archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destin´eeau d´ep^otet `ala diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publi´esou non, lished or not. The documents may come from ´emanant des ´etablissements d'enseignement et de teaching and research institutions in France or recherche fran¸caisou ´etrangers,des laboratoires abroad, or from public or private research centers. publics ou priv´es. Turist Studies, 2008, 9 (2) Elisabeth Cunin (IRD) [email protected] CIESAS Peninsular Calle 61 #443 entre 50 y 52 Centro, Mérida, CP 97000 Yucatán, México Christian Rinaudo (IRD-URMIS, Université de Nice-Sophia Antipolis) [email protected] URMIS, Pôle Universitaire Saint-Jean d‟Angely 24, avenue des Diables Bleus 06357 Nice cedex 4 (France) Consuming the city in passing: guided visits and the marketing of difference in Cartagena de Indias (Colombia) Abstract: This article treats the performance of difference in the tourist presentation of Cartagena de Indias, on the Colombian Caribbean coast.
    [Show full text]
  • Ana Orduz Essay
    - Integrating contemporary world music into our teaching: discussion on the pedagogical value and performance practice of seven commissioned pieces by four Colombian composers. Orduz, Ana Maria https://iro.uiowa.edu/discovery/delivery/01IOWA_INST:ResearchRepository/12730699620002771?l#13730796010002771 Orduz, A. M. (2011). Integrating contemporary world music into our teaching: discussion on the pedagogical value and performance practice of seven commissioned pieces by four Colombian composers [University of Iowa]. https://doi.org/10.17077/etd.joohfway https://iro.uiowa.edu Copyright © 2011 Ana Maria Orduz Espinal Downloaded on 2021/09/23 19:00:06 -0500 - INTEGRATING CONTEMPORARY WORLD MUSIC INTO OUR TEACHING: DISCUSSION ON THE PEDAGOGICAL VALUE AND PERFORMANCE PRACTICE OF SEVEN COMMISSIONED PIECES BY FOUR COLOMBIAN COMPOSERS by Ana Maria Orduz An essay submitted in partial fulfillment of the requirements for the Doctor of Musical Arts degree in the Graduate College of The University of Iowa 1 May 2011 Essay Supervisor: Associate Professor Alan Huckleberry Copyright by ANA MARIA ORDUZ 2011 All Rights Reserved 2 Graduate College The University of Iowa Iowa City, Iowa CERTIFICATE OF APPROVAL _______________________ D.M.A. ESSAY _______________ This is to certify that the D.M.A. essay of Ana Maria Orduz has been approved by the Examining Committee for the essay requirement for the Doctor of Musical Arts degree at the May 2011 graduation. Essay Committee: __________________________________ Alan Huckleberry, Essay Supervisor __________________________________ Rene Lecuona __________________________________ Mary L. Cohen __________________________________ Jennifer Iverson __________________________________ Nicole Esposito To Carmelita, Carlos, Nora, Esteban, Tom, and Diego 2 ii ACKNOWLEDGMENTS I wish to thank my parents and brother for their unending support and my grandmother Carmelita for being a source of constant inspiration.
    [Show full text]
  • Colombian Migrants in Australia
    Colombian Migrants in Australia: Their Positioning Processes and Identities in Narratives of Lived and Imagined Experience Liana Mercedes Torres Casierra School of Languages and Cultures Department of Spanish and Latin American Studies Faculty of Arts and Social Sciences A thesis submitted in total fulfilment of the requirements for the degree of Doctor of Philosophy at The University of Sydney 2017 Table of Contents Abstract v Statement of Originality vii Acknowledgments viii List of Abbreviations x List of Graphs, Tables and Figures xi Transcript Notation xii Preface 1 Introduction 3 Research Questions and Theoretical Framework 10 Latin American Studies Scholarship in Australia 15 Research on Colombians in the Diaspora 21 Thesis Structure 23 Chapter 1 Dis-engaging and Dis-locating Colombian Migrant Narratives: An Ethnography on the Identities of a Growing Community in Australia 26 The Insider/Researcher Position and the ‘Accumulating Layers’ of Knowledge 29 Dis-engaging and Dis-locating Narratives of Migration 35 Mixed Narrative Sources and Mixed Spaces of Telling 38 From Identity Theory to a Multivoiced Identities Theory 43 In Dialogue with the Self and with Others: Dialogical Self Theory 50 Colombian Identities in Australia Seen Within a Global South Perspective 55 Chapter 2 Australia’s Composition as a Country of Immigrants and as an Emerging Preferred Destination for Latin Americans and Colombians 59 Australia, a Country of ‘Settlers’ and Immigrants as Planned by the State 63 The Idealized Images of Australia’s Multiculturalism
    [Show full text]