Arte Danzario
URI permanente para esta colecciónhttp://hdl.handle.net/11349/26
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Ítem Valledupar, tierra de danzas y acordeones(2021) Manjarres Acuña, Lilieth; León Bohórquez, Diana Lucía; Manjarres Acuña, LiliethEste documento incluye todo lo relacionado con la investigación y creación del material audiovisual Valledupar, Tierra de Danzas y acordeones, todo el recorrido y el trabajo que se hizo para recolectar la información incluida en la pieza audiovisual y su posterior realización. Además, resúmenes de entrevistas, charlas, anécdotas sobre la residencia en el municipio de Valledupar durante el semestre 2019 y relatos de personas que residen desde hace muchos años en el municipio de Valledupar. De igual manera, el guion del documental y el proceso de elaboración. Con esta investigación se buscó encontrar y reconocer las danzas valduparenses aparentemente invisibles en el territorio nacional, brindando así una herramienta creativa, corporal, visual y escrita para todo aquel que sea de su interés, cabe aclarar que la investigación se limita exclusivamente al estudio de las danzas del municipio de Valledupar también llamada Ciudad de los Santos Reyes del Valle de Upar, capital del departamento del Cesar.Ítem Huida, de la acción de caminar a la composición en danza.Aguilar Rodríguez, Paula Viviana; Salcedo Ortiz, JorgeIn this work I establish a kind of journey that connects two of my personal concerns that were fed throughout my university career. First, there is the interest in the characteristics that are observed in a body at the time of walking, because being in the daily study of my body, I begin to pose possible readings about the ways in which these characteristics may be related to the personal aspects of each subject. First from the sensitive and intuitive side, nurtured by the trade of dance, and then from the research of authors such as Pierre Giraud, Wataru Ohashi, and who supports in most media the present work Stanley Kelleman. These students of the body, from their disciplines, have developed works around the world of meanings that are generated from the human body; likewise, the way in which a corporal pattern is constructed according to each one of its particular situations to which the individual faces during his life, which are also framed within a context that determines a series of particular conditions for each circumstance.Ítem La subjetividad de la interpretación como eje de diálogo entre el cuerpo y el movimientoMesa Rodríguez, Luis Alejandro; Orjuela Parrado, Dorys HelenaThis paper titled "The subjectivity of the interpretation as an axis of dialogue between the body and the movement", is a research that is born from the analysis and evaluation of my progress as a dancer of contemporary dance in three choreographies (Other Side, Un Decir, Columbario) and how interpretation and technique have played an important role in these jobs, to generate a change in my body level. It is also the excuse to offer my experience as a dancer, and give inputs or generate the first steps of a possible methodology that allows dancers to have a few tools for the construction of different roles on stage.Ítem Entre imaginarios y escenarios: los marginados traspasando fronteras en los roles del género de la danza folclórica colombiana.Domínguez Contreras, Manuel Alejandro; Orjuela Parrado, Dorys ElenaThis research is situated in the tension existing in the spaces of the stage and backstage of Colombian folk dance, where masculinities and femininities take on a performative character depending on the space where they are performed. Homosexual male dancers, sometimes adopt behaviors that can be considered feminine during the time on the backstage, while for the scene they come out to perform they represent a type of masculinity corresponding to the “traditional Colombian man”. Which leads to some questions about the permanence of heteronormative as a model and relationship to current compositions and creations in colombian folk dance and leads this research to a journey through the cartographies in the life history of this same researcher. Furthemore, there is an ethnographic observation of the dance company Estesis Danza; with which the author will delve into categories such as Folk dance as the imaginary of the nation and the transit through the boundaries of the body and movement in territorial, relation and gender terms.Ítem Habitando la danza clásica una mirada hacia la experiencia como intérprete en la pieza coreográfica "vértice"Mora Valderrama, María José; Eljaiek Avendaño, Hernando JoséI start writing a little thesis of the reason why my questioning on this topic, and the motive which encouraged me to carry out this report at a personal and general level in the field of classical dance in Bogotá, Colombia. The fact that I decided to study ballet was the main reason why a developed the need to analyze the place that dance classic has had in me, as an interpret in the capital context. The starting point of these enquiries was having the opportunity of dance on the play: "Vertice". Since I had this experience, I made a brief narration of what happened in me, Maria Jose Mora Valderrama, as a classical dancer while I was dancing it. Mentioning some of the most important aspects of this process, in my opinion, that were not just a tool of interpreting but also made me stand out of my current position as a professional dancer trained on the ballet technique. As per the methodological process, I took account of my daily activities on a journal and also through active observation, which can tell the approach I had and tools I developed while creating the choreography for "Vértice".Ítem El último díaMora Méndez, Esteban Alejandro; López, Dora InésThis is the report about the creative process “The Last Day”, a dance work, which was created to fulfill the academic obligations in the curricular project Arte Danzario at the Francisco José de Caldas University. It was released the 18th of September of 2018 in the theatre of the Gilberto Alzate Avendaño Foundation. On the one hand, this creative process was carried out in the faculty of arts ASAB and in the cultural center Nueva SantaFé in a period of six months. It included the participation of artists belonging to the curricular project Arte Danzario, who support its creation and production. On the other hand, the techniques that were used for the creation process, were the contemporary dance and theater dance, having as a creative input the collective memory, the memory related to the process of nurturing and childhood, and as a narrative medium the romantic music of the seventies and eighties.Ítem La Búsqueda de la interpretación en la obra de danza contemporánea PneumaDiaz Albarracin, Ingrid Lorena; Morales Rodríguez, YudyThis report shows the process and performance of the Pneuma show, of the company of contemporary dance Sandrine Legends. It evidences the peculiarities of the creative, physical and interpretative development, as well as the reflective analysis of the dancer's role in his performance, following and recognising the proposed dialogue. Self-referencial emotive brushstrokes are narrated in search for the interpretation of contemporary dance as a theoretical, practical and contextualised concept, finding meaning and confirmation from the body.Ítem Un encuentro y conexión con mi yo en movimientoBecerra Buitrago, Robinson; Avellaneda Ramirez, Paulina; AVELLANEDA, PAULINA [0000-0001-7759-9347]This project focuses on the systematization of practical and didactic tools in dance contemporary in relation to the body and movement, in which improvisation is added As one of the main pillars for its development, there are other forms of exploration and appropriation for the members of the Vds foundation, which includes methods of study, discovery and expressiveness as a tool that provides an outcome and construction of a language in inclusive dance. In addition to this, the possibility of a more integral corporality and a more direct communication regarding the interrelation of each dancer within the learning space in relation to their companions. Therefore, all this tries to respond to the needs of a community that has people of ages, conditions (bodily and cognitive), and different life experiences, in which their bodies moving within the foundation, are in an interpersonal and collective elaboration and inquiry, giving a more broad and general feeling and experience.Ítem Las habilidades acrobáticas y su incidencia en la práctica dancísticaBarrera Aldana, Marcy Paola; León Bohórquez, Diana LucíaThis work of degree in modality internships gives account of the strong importance that have the acrobatic abilities in the dance practice of the Cabaret salsa, of the children of the Foundation Funcade, through the implementation of an acrobatic training model which allows us to see how acrobatics are incorporated into dancers' bodies and their transformation.Ítem Interpretación en “Regocijo” en la búsqueda de recursos para una metodología en danza teatroDevia Téllez, Sergio Alejandro; Orjuela Parrado, Dorys HelenaThis report summarizes the reasons, objectives, questions and methods of data collection, monitoring and conclusions of participation of the student Sergio Alejandro Devia of the specialization in Dance Theater in "Regocijo" degree setting of specialization in Contemporary Dance of the Danzario Art Curriculum Project (Proyecto Curricular Arte Danzario), as a personal research laboratory with the interest in studying the methodologies of creation, composition and interpretation used by the choreographer Daniel Fetecua. Decenting what are the methodologies of the german dance theater that were transmitted from his experience like choreographer, dancer and direct student of teachers of the Folkwang University of the Arts like Pina Bausch; at the same time as it recognizes which interpretive tools proper of the dance and what theatrical tools were used associating them with authors and methodologists theater that are few studied directly in the dance and on how the dialogue was initiated between diverse resources: dance-theater and technique-interpretation in a contemporary dance language. Making a parallel between the stories that are studied by separate from dance and theater.Ítem Investigaciones Corporales, La MatíaStaaden Mejía, Vivian Lucía; Orjuela Parrado, Dorys HelenaThis creative work will seek to recognize the possibilities of movement and dramaturgy that as creative were managed to contribute within the framework of a theme defined by the director of the work. Being a space of creative laboratory that allowed to influence in the ways of creating, taking into account the different exposed bodies within the development of the work.Ítem EVARodríguez Estupiñán, Jeny Carolina; León Bohórquez, Diana Lucia; LEON, DIANA LUCIA [0000-0002-7338-424X]This degree project is the result of a dance creation process that covers the concepts of woman and feminine, triggering an audiovisual project entitled “Eva”, which is developed in a SOLO format composed of structures and choreographic devices acquired in the direction emphasis. Its conceptual construction borns out of the question what does it mean to be a woman in our society and what is it to be a woman? Finding a number of factors that have established the feminine perception and -in some way, determining the must be of it. In other words, this is an artistic proposal that reflects several aspects and roles that women play today.Ítem Danza contemporánea y break dance. Configuración de un lenguaje danzario particular.García Osma, Samuel; Ospina Espitia, Martha EsperanzaThis monograph states an investigation that emerged from the inquiries and interests provoked by the knowledges acquisition of the body and movement, converted in an own necessity that glimpses the sense's breed and development, the construction of the creative statuses meaning fed from the experience and the reflection about my dancing practice. I seek to reflect about the influence that the break dance has on my performance as contemporary dance dancer, furthermore, identify and analyze consciously my training processes and technical learning that has been established from the academic and autonomous spaces that with the time have been modifying and transcending each other. The contemporary dance and the break dance, are the dance styles that, conjugated in my body, incite me constantly to study, assess and evolve my dancing ways; so, they summon me to realize this movement autoethnography, guide by the interest of recognize me and analyze me as dancer. In this vein, I realized and analiced three audiovisual registers, in wich I show two important moments for this investigation and for my professional dancing practice: the contemporary dance language learning cycle and appropriation through the work of some technical aspects that composed it (in the academy) and exploration and creation work from the break dance language and the cohesion with the acquired of the contemporary dance (autonomous work). In this way, was possible for me, to realize a comparative analysis about the technical aspects of movement shown in the registers, from wich, was possible for me, to start a selfreflexivity study that further on, considering the constant evolution of the dancing world, it could be considered as a collectives study, from the dance practices. Danza contemporánea y break dance. Configuración de un lenguaje danzario particular, contributes in an important way to the dance investigation, in and for the break dance and the contemporary dance, showing an experience from the body’s knowledge and its speech as of the analysis of the aspects that make a dance interpreter of these styles: the dance techniques and the trainig.Ítem Transformación y afirmación en la ruta de un danzanteSeguro Rodriguez, Luisa María; Eljaiek Avendaño, HernandoThis monograph is constructed from the transit made from Pereira to Bogotá, where a series of factors arise in the geographical, social, cultural and economic, which generate problems leading to a process of adaptability. I, as well as many students of the Art Danzario Curriculum Project (PCAD) of the ASAB Faculty of Arts, of the Francisco José de Caldas District University (FAASAB-UD), settled in the capital, where a process of adaptability was developed. allows us to mobilize, flow and interact with the different spaces and areas in "the new city". In principle, an acknowledgment of geographical, family and academic precedents is made in the city of provenience, I make a series of descriptions about given experiences, which have shaped my body geography, behaviors and behavior. Second, there is a parallel reading between both cities (Pereira and Bogotá) and address one by one the problems that some students face, socially, culturally, emotionally and geographically, according to this, I explain the incidence of these factors mentioned in the adaptation process, having as reference the interviews carried out, the own experience and the development of the concept of Adaptability as a transversal condition to all the traffic carried out. Finally, the self-ethnographic approach is considered as a methodology that made possible the weaving between significant experiences starting from the birth to the encounter with other different contexts, the corporal pattern as a container of those experiences and the adaptation mechanisms according to what it is brought and acquired in displacement. This articulation generated new questions regarding the methodologies, strategies and contributions that the university could offer to students who come from other regions and do not deviate their life projects, that is, the goal with which they arrived at the race, for reasons of survival.Ítem MovlabZaraza Murillo, Juan Sebastián.; Eljaiek Avendaño, Hernando JoséMov lab is an exploration laboratory where the main questioning is to be able to see, interpret and understand the corporal manifestations of dancers when their movement is stimulated by the music genre: Folctronic. All of this based on a paradigm of cognitive sciences called enactivism.Ítem Hibridaciones una reflexión sobre procesos de creación colectiva en la danza clásica y danza contemporánea.Ortiz Zamora, Carlos Augusto; Eljaiek Avendaño, Hernando JoséAbstract This interpretation report is a description and analysis of my experiences in the process of creating the choreographic piece Arreboles, with the purpose of finding relationships or distinctions between what we know as classical dance technique and the expressive search for dance contemporary This paper exposes how two dance languages dialogue in the same space of creation, between dancers, music and staging, from the perspective of a director who has traveled a path full of concerns and personal searches, and knowledge of Different transversal lines of art. So, I perform an analysis, which is crossed by my experiences in my training process with the Francisco José de Caldas District University, there I build and create stories that support and support the dramaturgical idea of the choreographic piece. This reflexive process also aims to show the results obtained during the course Assembly of Integrated Degree in the curriculum, to establish a first written approach on the processes performed there and generate an initiative for future related research.Ítem Producción como acto creativoGoldstein Rendón, Yaniv; Bermúdez Arias, Carolina Esther; Martínez, Carlos AndrésIn any artistic endeavor, production is a fundamental element on which the success of an event, artistic work, or any activity involving artistic creation largely depends. As dancers, we are not immune to the influence of production, although we are often unaware of its importance, forgetting the significance it has on our projects and creations. For this reason, we decided to engage in an immersive research exercise by participating in the 24th version of the University Festival of Contemporary Dance, which took place at the Jorge Tadeo Lozano University as the main venue, in conjunction with the Pontificia Javeriana University and the University of Los Andes, from October 24th to 28th, 2022. During this practical exercise, we assumed different production roles required for the event in all spaces where the different activities took place, such as head of the room, artistic producer, logistics, and academics. We went through this experience from our perspective as dancer-creators, immersed and interested in the field of production, which led us to deeply reflect on how production and the danced creative act interact to successfully put together an event of this magnitude. All of the above led us to analyze production at different levels, taking as conceptual axes communication, service, constant conflict resolution, the different relationships involved, and the alliances that are forged around the production of the festival.Ítem Diseño metodológico para la formación del Hip Hop Freestyle con cualidades de la danza contemporáneaCabezas Briceño, William Ferney; Marín Díaz, Dora LiliaThis document supports a teaching method in Hip Hop Freestyle based on the different formative processes seen in contemporary dance and making a comparison between non-formal processes of urban dance institutions in the city. The pros and cons of each field are identified to formulate a general methodology but applicable to a formal space. The acquisition of the Groove is proposed from qualities of movement and general sensations of dance that are deepened in the practice of contemporary dance for improvisation, acquisition of sensations and fluency that are fundamental in the guided exploration and freestyle needed in the style of Hip Hop dance.Ítem Experiencias como intérprete bailarina en un festival artístico en BogotáZarate Bello, Laura Daniela; León Bohórquez, Diana Lucía; 0000-0002-7338-424XInternship is one of the options available to students upon completing their academic training. This approach empowers students to fully apply their learning in a real-world context, allowing them to assess and measure the skills acquired in their education, while also enriching them in the practical setting. Additionally, this experience enables students to compare the expectations created in the classrooms with the realities of their profession. In this internship, focused on cultural management, as a dance interpreter in the Dance Art curriculum of the Bogotá Superior Academy of Arts, I participated in the pre-production, production, and post-production stages of the XIV International Showcase of Performing Arts "Movimiento Continuo," directed by Rafael Acero and Felipe Páramo. The breadth and variety of tasks undertaken—set design, lights, sound, makeup, choreography advice, dance interpretation, purchasing, filming, various tasks, cleaning, inventory, and makeup, among others—allowed me, as a student, to experience firsthand the complex framework surrounding the cultural management required for organizing and implementing a festival of this nature. In this document, from an artistic perspective, I narrate the daily life of this process, recording it through a log or field journal, noting each event through writing and drawing, thus constructing a visual memory of the tasks I performed and the emotions experienced at each stage of the process. One of the fundamental lessons the internship provided me was the opportunity to engage in activities that were not anticipated. I never imagined that the events that led to these activities would occur in an arts festival, which undoubtedly serves as evidence of the reality artists face in the endeavor of creating and spreading culture in this city.Ítem Movimiento, interpretación y colectividad . construcción conjuntaLuque Reyes, Jayver Leonardo; Orjuela Parrado, Dorys HelenaThis work searches to show certain elements of “TOC TOC” (a creation made at the UAQ in 2018) that allowed its construction, the creation of the conductive thread and the interpretive line. Taking in a count that the creation can start from multiple places, it seems pertinent to talk about the creation of the interpretive line from the group movement and the four criteria that the researcher believes that it is relevant to the creative process. Within the construction of a contemporary dance performance, there are different ways for the performer and the director to carry out an idea that ends up being represented in a play. As each choreography contains its compositional universe, it is important to unravel or describe the processes that made its staging possible. and in this case, the construction of the interpretative line of thought.