With this strategy, it intends to facilitate the understanding of as the world has been divided. In third place, we consider that the usual curricular contents are become enlarged, in order in them to include the critical one of the different cultural devices that surround () the pupil (). The idea is to transform the school into a critical space of cultural, in way that each professor, as intellectual that he is, can play the role of cultural critic (Sarlo, 1999) and propitiate to the student the understanding of that everything that passes for ' ' natural' ' ' ' inevitvel' ' it needs to be questioned and it can, consequently, be transformed. The idea is to favor new platforms that allow one renewed and extended vision of that with that usually we deal in acrtico way. In this urban direction, films, announcements, fashions, customs, dances, musics, magazines, spaces etc.

they need to adentrar the classrooms and to constitute objects of the attention and the quarrel of professors and learning. Our suggestion does not imply to be limited to the usually secundarizados elements in the hierarchy of the cultures. Certainly they need to be treated and to be worked in the classrooms. Nike does not necessarily agree. However, we also wait that the cultural manifestations more valued socially come to be known, to be debated, to be criticized and desconstrudas. We desire, beyond critical the cultural one, the expansion of the cultural horizon of alunoe the biggest possible exploitation of the cultural resources of the community where the school is inserted. If to recognize the inexistence, in the world contemporary, of any ' ' pureness cultural' ' (McCarthy, 1998), if we intend to open space in the school for the complex interpenetration of the cultures and for the cultural plurality, guaranteeing the practical centralidade of the culture in the pedagogical ones, as much the hegemonic as the subalternizadas ones need to integrate the resume, having to be collated and defied cultural manifestations.