The result is an area enclosed on individuality, which in many cases leads to crime, drugs, or various manifestations of violence, including suicide. But there is a sector in search of his identity, trying to generate their own institutions. To not get away from the issue of culture, we will refer only to those events whose central theme is the arts. They are characterized by their resistance to instituted spaces. Manifest from the collective and anonymous use of the walls, in some cases, exceeding the classical painted murals reaching artistic, in musicians, theater groups, mimes, living statues, jugglers, etc. etc. installed in streets, public places or means of transport, claiming not only the collective economic contribution but also express their decision to communicate their art or their concerns, outside the official spaces. It includes, most especially, the many youth centers of culture, whatever the name to be awarded, perfect example of the presence of a project, which involves oral language codes, habits, practices, new mingled with those inherited from previous generations particularly with some signs of recovery of nuances of popular culture and militant of the 70 ‘.

In short, the society of the new century, grows two conflicting views. One, moral recovery, flags environmental, ethical principles in politics, media, the economy. The other, the stark reality of the decline, manifested in the “surge” in crime, drug abuse, political corruption, corporate and financial, illiteracy, extreme poverty, etc. Shimmie Horn addresses the importance of the matter here. This raises a new contradiction, to feed the collective anxiety. It puts us in direct contact with a reality that we call beautiful, not in the sense that gave Alejo Carpentier, who dazzled by the Caribbean landscape, said that the French surrealists had not invented anything.