This text reviews the relationship between citizenship and culture. Exploring social science literature on these terms to analyze particular social subjects, both in their action and their conceptualization, has led us to consider that citizenships are diverse, heterogenous and with unequal positions in regard to other citizens and in their relationship with the sphere of the State. Each group of citizens lives and models its social action based on its own identity configurations, codes and cultural dispositions, all of which are affected by power, gender, class and ethnicity relations. Citizenships express -through their actions, emotions, and thoughts - the social, political, economic and cultural diversity of our contemporary conflictive societies. Two considerations develop in this text: first, the discussion is addressed from citizen practices; a second look highlights the cultural dimension that these practices express about specific citizen rights.

BAsado in the documentary Over the Wall / Sobre el muro (El Colef, 2019), this text discusses some social effects from the transformations of the barriers and divisions that have demarcated the border of the states of California, the United States and Baja California, Mexico, until the construction of fences and border walls promoted by the last four US federal administrations. Based on interviews with specialists in migration and borders, residents, and an investigation of archives and documents around the wall and its effects on the Tijuana-San Diego border, this documentary captures periods of change and border reinforcement by States. States, as well as the recent situation with the arrival of new migratory flows such as the caravans of Central American migrants to Tijuana and the challenges for this border.

Parents looking for traces of their children in vacant lots. Journalists who have nightmares in which they are executed by high-powered weapons. Young people who testify to obtain recognition of forced disappearances in Mexico before international actors. Human rights activists who keep track and record of the invisible victims of the so-called war on drug trafficking, that is, displaced people. These themes make up the four texts in this dossier, which were written by women who move between academia and activism. In them the dehumanization of discourse and militaristic actions are exposed, the meanings of those who suffer and resist such circumstances are illuminated, and the cruel way in which Mexican society has been hit by the militarization of public security is evidenced.

WThis article analyzes the coercion exercised against the press in northeastern Mexico during the so-called war against drug trafficking, based on the experiences of 10 communicators displaced between 2010 and 2015. It shows the struggle of armed groups in contention to control the editorial line of the media, as well as the vulnerability of the heralds for being in the middle of the line of fire, for the lack of security protocols developed by the companies, and the existing links between public officials and organized crime. In this context, where homicides and disappearances of journalists go unpunished, initiatives are emerging that seek to redress their high professional vulnerability.

In this dossier we think about the importance of approaching visual cultures, in the plural, to know the multiple constructions of reality that are crystallized in images in various social settings. Today not only an immense amount of images invades and represents us, but digital options and social networks build in real time the material and symbolic world in which we live. This dossier explores the term visual culture in its plural form, visual cultures, to highlight the existence of a diversity of them.

Wn the framework of discussion on multiple visual cultures, I describe the self-portraits that an indigenous community takes and the selfies twenty years later, from the arrival of the smartphones. Based on a selection from the archive of 6,000 photographs taken by young Wixaritari, I seek to raise questions about visual cultures in the plural and their relationship with western and hegemonic visual culture.