Zona escolar, imaginación comunicativa de la escuela en la radio. Programa: "La fe y la razón en el mundo contemporaneo"

Abstract

The program opens with a tribute to Monsignor Óscar Romero through the song "El Padre Antonio y su Monaguillo Andrés" by Rubén Blades, which tells the story of the death of a priest and a child in a context of violence. The idea is presented that while bullets can kill people, they cannot kill ideas. The discussion focuses on the diverse forms of belief in Latin America, which often go beyond traditional religious institutions. The hosts and collaborators debate: Religious Syncretism: The show mentions practices like Santería and the worship of folk deities such as María Lionza in Venezuela and La Santa Muerte in Mexico. It is explained that these beliefs, far from being witchcraft, are a syncretism of African religions and Catholicism that connect people to nature and their culture. Worship of Death: The program reflects on how death is viewed in different Latin American cultures. In the Colombian context, a festival is described where people visit cemeteries to celebrate their deceased loved ones, while in the worship of La Santa Muerte in Mexico, death is not something to be feared but rather a figure to whom favors are asked. The show criticizes the stigmatization and demonization of these beliefs by the media and cultural industries. Faith in Humanity: The song "Mañana todo cambiará" by the Hermanos Lebrón is used to argue that even an atheist can have faith—not in a supreme being, but in humanity's capacity to improve and do good. The program features an interview with Diego Rojas Pulido, aka Diego Microphone, who discusses the "Hip-Hop Politics" movement. This segment addresses the disconnect between the hip-hop community and traditional politics, as well as the need for artists to get involved in decision-making. The Need to Participate: Diego explains that while hip-hop recognizes the importance of politics, disillusionment with electoral processes prevents its members from active participation. However, he argues that political decisions directly affect artists, as in the case of organizing festivals like Hip Hop al Parque. Critique of Public Policies: Diego denounces that public policies, often designed by technocrats, do not understand the real needs of the hip-hop community. He uses the example of unequal compensation, where a graphic designer (with a university degree) receives significantly more pay for creating a poster than a hip-hop group does for their performance, despite the latter's long career. The Role of Political Activism: The goal of the "Hip-Hop Politics" movement is not to transform the system overnight, but to ensure that a voice exists to question and monitor decisions that affect their community. The aim is for artists to have active and fair participation, for their experience to be valued, and for them not to be stigmatized as criminals. The segment concludes with a message of activism and a call to action against oppression and injustice.