Sistema Regional de Información
en línea para Revistas Científicas de América Latina,
el Caribe, España y Portugal

Religious tourism or pilgrimage tourism is one of the activities that generates a considerable economic impact in the state of Jalisco. One of the sites of great importance that the state has is the municipality of San Juan de los Lagos, which is more than 400 years old with the celebration of February 2 the so-called Candlemas festival and which receives about 700 thousand pilgrims from different parts of Mexico and foreigners. Therefore, its activity generates or fosters an identity that is reflected in the graphic resources applied to the promotion, communication and dissemination of products or services of the place, these show an eclectic style that provides a personality that is evident in the particular characteristics of its visitors, which add a variety of nuances, since they come from different social classes. It also integrates the personality of its inhabitants who are from different communities, which influence the identity of the people. It is interesting to identify and analyze the way in which the identity of the municipality is constituted, by means of the sum of different factors that are reflected in graphic pieces or graphic elements, that dress the environment of the municipality

The process of assigning attributes allows citizens to provide themselves with schemes to interpret topics, situations or actors who make the surrounding reality understandable. In this sense, the “image” we have about politicians stems mainly from the mediation carried out by the media, but also from the dialogue and the messages issued by the different protagonists of political communication on social media and that the community itself tends to assimilate and interpret. This paper reviews the theory of agenda melding and the need for orientation in the context of the digital society, where social media complement a hybrid ecosystem of information marked by the supremacy of television for the consumption of political information, with increasingly important platforms such as Facebook, Twitter or Instagram.

The popular graphic is a communicational phenomenon that is generated in urban environments and represents the graphic imagination of a society as well as the essence of its culture. The analysis and study of the plastic and aesthetic elements that are part of the popular Mexican graphic are fundamental to understand the identity of the graphic design of this country. This research documents and analyzes the main graphic references that make up the broad universe of urban popular graphics, its actors, its needs and the sometimes involuntary contribution to a unique and differential aesthetic as a piece of a culture that identifies and distinguishes itself for its colors and the drama in its images to the rest of the other countries. This research is carried out based on the historical - logical and analytical - synthetic methods. Its characteristics, peculiarities and direct and indirect effects are shown in Mexican graphic design. The results of this research can help to build a historical and referential framework of the fundamental traits that gave rise to the current graphic design, as well as help to understand the context and needs that originated it and on which a large part of its identity rests.

A City Branding can contribute to a metropolis to reposition itself in diverse planes: cultural, social, economic, tourist, among others. Most of the time, these plans have international projection as their function. However, the most important thing should be that they conform from an integrating and intercultural vision, thus constituting a City Branding that really translates the identity with a goal from and for its citizens; That shows the heart of the city, and from this integrating vision, it could then be transferred to different fields and interests. This paper analyzes the contributions of various work teams in which projects are proposed to redesign and position cities for a better life. Establishing the role of design from an integrating perspective, with a transdiciplinary and intercultural role that can be able to enrich the urban environment and the daily life of citizens, at best. And they will also consider how bad decisions and failed implementations of these projects are translated into cities in decomposition and with an identity that is shown disfigured, fragmented and in many cases weak and incongruent with cultural wealth: case of some Latin American countries.

The article aims to make a comparative study of the visibility regimes and the ways of representation that are organized around the Argentine national State in the celebrations for the Bicentennials of the May Revolution (May 25, 2010) and Independence (July 9, 2016). On the one hand, seeks to identify the official images, their dominant aesthetics and the ways of organizing their staging and mediatization, in events organized by two administrations with different political sign and with dissimilar ideological orientations, Frente para la Victoria and Cambiemos. On the other hand, it seeks to analyze in each case the meaning production mechanisms and its power in the construction of different groups.

This issue of Cuadernos del Centro de Estudios en Diseño y Comunicación publication is part of a research line in Political Communication, aimed to reflect on the various transformations experienced in the government-citizenship relations in Latin American countries from the 1990s to the present day. All articles received are grouped into three axes. The first one focuses on the political discourse and its manifestations, analyzing the ways in which mediatization intervenes in the processes of production, circulation and consumption of political phenomena. Likewise, it explores the incidence of digitization in the transformation of communication modalities between political actors and citizens. The second one reconstructs and systematizes the tensions between the political forces of (center) left and (center) right, analyzing the narratives used by each one to capture votes and remain in power. The third one focuses on the enunciative strategies and styles of public presentation of candidates from the (center) right, whose electoral boom in recent years constitutes a phenomenon of growing interest for studies in political communication.

During recent years, the massive use of new technologies enabled immediate communication and information channels, which, at the same time, had consequences on the forms of production, circulation and consumption of humor. Among others, different forms of humor were popularized, the well-known “memes”, which consist of images intervened as a parody, satire or ridicule of public figures, from presidents to religious leaders and different political spaces referents. The objective of this article is to analyze the contents of right-wing memes as an expression of social moods and political climates in Argentina and Brazil between 2015 and 2019. In particular, we worked with memes that circulated through social networks such as Twitter, Instagram and Facebook, between 2015 and 2019 in Brazil and Argentina. To organize our analysis, we selected some political events that had the greatest media impact during the period. Finally, we outline a reflection on political memes as new humorous formats, the moments in which they arise, their immediacy and short-term effect and their contribution to the reproduction of certain social moods

The Mexican cultural identity, with its pre-Hispanic values and ethnic wealth, is a vast source of conceptual, symbolic and visual references for the construction of communication pieces, graphic identity and packaging design for products and services of national origin, however, this resource is usually taken advantage of only when it is oriented towards the tourism sector, since its use in consumer products is usually considered to be of lower value or quality by the consumer. This analysis aims to highlight this situation, as well as to contrast the creative and commercial potential that can be derived from the use of national identity references in package design and communication. At present there are few cases in which this potential is exploited in the design of pieces that will be distributed on a daily basis in the Mexican national territory, being the most common to find goods that replicate visually and conceptually various graphic tendencies emanated or used in the North American market, having an impact on a limited and sporadic creation of value through brands with Mexican cultural identity, diluting the possibility of endowing them with a high symbolic, historical and communicational value.

The work tries to think about the construction of identities and legitimacies from the practice of dress of the cult of the Virgin of Urkupiña in the city of Salta-Argentina. The inquiry returns to the approaches in communication and culture of Latin America, cultural studies, semiotics and on religiosity from anthropological, historical and sociological aspects. The objective of the article is to look at the way in which the legitimate tastes of the agencies are configured in the practice of dressing the image: in the case of Urkupiña it has a rhizomatic and community configuration that is also registered in an industry of belief of the devotion. This process enables us to understand how certain aesthetic forms speak of some interstices of what is considered “popular art” which is woven in and from disputes, answers and consents to the logics of domination in close relation to the forms in which they are expressed and re-affirm social and religious identities.

: The Wixárica or Huichol people is one of the oldest indigenous communities in Mexico, and they are popularly associated with various myths, such as considering them the last guardians of authentic pre-Hispanic traditions or believing them to be a people of shamans due to the ritual use they make of them. a hallucinogenic mushroom they call hikuri. Based on the experiences resulting from the use of this hallucinogen and its own cosmogony, the Wixárika have developed a psychedelic aesthetic that manifests itself in various artistic expressions that are highly appreciated for their technique, complexity, beauty and mysticism that they seem to keep. This art has allowed them to become visible in a nation that does not tend to attend to their native peoples and has also been the “signature” they have presented in their struggles against the dispossession of their lands and Wirikuta, an extensive territory considered one of the sites most sacred to this culture, and that is at risk of disappearing under mining interests. The purpose of this article is to describe this particular style of wixárika art and the value it has had as a sign of identity in the defense of Wirikuta and its entire culture.