Arte Danzario
URI permanente para esta colecciónhttp://hdl.handle.net/11349/26
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Ítem A oídos sordosAcosta Benavides, Hugo Alexander; León Suárez, Juliana PatriciaThis is a degree project whose research question is: How can we communicate and express ourselves between listeners and non-listeners for a dance staging ? Carried out with the fourth grade children of the Colegio La Saburía. We take dance as a means of communication, finding a pedagogy for a diverse children's population (deaf, hard of hearing, autistic and hearing). We found a result of healthy coexistence between children and different media that gave us the creation of a dance performance on the stage.Ítem Academia de baile la danseCastro Romero, Laura Valentina; Orjuela Parrado, Dorys HelenaLa Danse Dance Academy is the result of the consolidation of a specialized project for teaching ballet, with two years of experience. Throughout this time, it has provided training in various dance techniques to children and youth from the municipality of Soacha, Cundinamarca. The academy emphasizes key aspects such as objectives, values, and budgets to ensure a proper and high-quality education for its students.Ítem Academia de baile Revolution Latin Dance(Universidad Distrital Francisco José de Caldas) Camargo López, Jefferson; Orjuela, DorysThis project presents a comprehensive business plan for Revolution Latin Dance Academy. Embracing a dance-conscious teaching, the academy seeks to cultivate social transformation through the medium of dance. The plan encompasses a detailed account of the academy's history, diverse dance styles, objectives, marketing strategies, competition analysis, and budgetary considerations. With an established presence in Bogota, the academy aims to establish itself as a distinguished institution in Kennedy Town, providing greater accessibility to the captivating salsa dance.Ítem Academia de Baile Tra DanceAguilar Peña, Paula Andrea; Barrera Arévalo, Camila Andrea; León Bohórquez, Diana Lucia; León Bohórquez, Diana Lucia [0000-0002-7338-424X]In the present work we developed a business model for a dance academy in the city of Bogotá, in the town of Ciudad Bolívar focused on 3 of the neighborhoods that compose it, having as a starting point a previous experience of how to start and boost the operation of a dance academy. This led us to make improvements to increase the viability and success of our venture, with a second opening opportunity. In addition to this, it is essential to expose the dance techniques in which the enterprise is focused and achieve reflect our interests and desires through the project.Ítem Al paso de la experiencia en Bogotá capital danceMelian Morales, Oscar; Jara Ramírez, Ana ManuelaThis report is the result of the internship I did in the Bogotá Capital Dance ballet company directed by Jaime Otálora, as a Degree Work modality. It details the process and the activities carried out, as well as the technical training received in the company as a dancer interpreter of the classical dance language. The reflections of the learning of the lived experience are also collected from the dialogue of prior knowledge with a specific process, in a specific place and time. I executed the roles of executing participant in class and observer/participant in the company and as a teacher at the Lombardía school in the town of Suba in Bogotá D.C. During the development of this internship I expanded my knowledge in ballet technique and class methodology. I was struck by the pace with which the classes take place, demanding the maximum from the participants and pausing exclusively to give corrections or mark a new exercise. I also appreciated the requirement and importance for the teacher of punctuality and discipline in the class. The experience with the school allowed me to deepen my pedagogical skills for teaching dance. In summary, I achieved the objectives set for the internship and I consider that it contributed to the culmination of my professional training both technically and methodologically for the performance of the functions of dancer, interpreter and teacher.Ítem Alcances del estudio y práctica de la danza tradicional colombiana en la configuración de identidades culturalesPineda Peña, Tania Rocio; Guzmán Urrego, Edwin ArmandoThis research focuses on the study of traditional Colombian dance and its relationship with the formation of cultural identities. A methodology that included semi-structured interviews, documentary analysis and an ethnographic and participatory approach was used. The results showed that the students and graduates of the curricular project of dance art of traditional dance had a variety of previous experiences in traditional dance, but limitations were also found in terms of diversity of styles and lack of historical and cultural contextualization. The choice to study traditional Colombian dance at ASAB was influenced by role models, the curriculum, the influence of teachers, economic accessibility and personal interest. Practice of traditional Colombian dance in the academic program contributed to strengthening the participants' cultural identity, their sense of belonging to Colombia and their appreciation for cultural diversity. Participants emphasized the importance of preserving and promoting traditional dance, as well as the need to innovate and overcome challenges to keep it alive and constantly evolving. Their academic training has enabled them to teach and disseminate traditional dance to new generations, contributing to its transmission.Ítem Análisis del dispositivo de experiencia danzadaFlores Moreno, Wendy Lorena; Sánchez Sabogal, Andrea Alexandra; Martínez Medina, Carlos AndrésThis research process is developed within the framework of the CIRCULAR SEED OF DANCE KNOWLEDGE AND PRACTICES, directed by teacher Carlos Andrés Martínez and of which 7 students, who are performers-creators, are part of a system of joint creation. In this hotbed we have creative work from the role of interpretation, composing and studying the body, taking into account our strongest emotional experiences and integrating new technologies as a tool for creation. Our personal study and contribution to this research hotbed is aimed at exploring unusual ways in which we can relate to viewers and, likewise, construct an analysis that allows us to understand how this creation process manages to generate other devices of relationship with the public. In this way we will be able to show if, with the final product of the project, it is possible to transform the perceptive and interpretive capacity of the spectator to the usual formats in dance. We seek to be an incentive for new investigative processes, generated from innovation-creation. We have been experiencing the integration between the body and technologies, this as a study that has served as the basis for building a proposal that redefines the place of creation in the dance work with other products associated with movement and technology, thus creating different . ways to connect with much broader audiences, and it will be possible to understand the creative circuits that would allow the founding of a place where dance productivity has a greater impact.Ítem Anhelante un respiro de la verdadTellez Forero, Yeiner Camilo; Vargas Robalino, John EdwinAbstract This document focuses on the compilation of the process of creating a dance piece that reflects the experiences of the LGBTIQ+ community in the context of the armed and social conflict in Colombia. Based on the "Truth is Rainbow" section of the final report of the Truth Commission, recalling 50 years of oppression and in turn the forms of community resilience that were generated, by integrating the authentic voices of the community and the artistic expression of dance, the project aims to create impactful performances that transcend the limitations of language. This multidisciplinary research aims not only to enlighten and raise awareness, but also to foster dialogue on inclusion and diversity in complex social and political contexts. The resulting work is meant to be a living testament to a community's ability to resist and thrive in the midst of challenges.Ítem Aprendizaje de la danza contemporánea lírica para jóvenes de secundaria en un colegio privado de Bogotá D.CCarbonell Guillén, María Alejandra; Jara Ramírez, Ana ManuelaThe present proposal of a degree project, done as an internshiph, has the intention to develop a work plan to encourage dance learning, using the dance style of lyrical contemporary dance, for high school students of Gimnasio Aspaen Iragua, a private all-female school in the city of Bogotá. The age of the students ranges between 16 to 17 years old and they are in the ninth and tenth grades of high school. The dance learning space for the students was successfully managed within the class schedule and the author of this project assumed the roles of teacher, director, choreographer, dancer, and researcher documenting the entire process, which was carried out over a period of six months. The final outcomes showed not only progress in the dance skills of the studentes but also a deeper emotional connection with the choreographed dance pieces and these are the main results of this internship.Ítem Aprendizaje de un bailarín tardíoSanabria Salazar, Jesús David; Cárdenas Garzón, John MarioFrom discipline and constant self-reflection, it is possible for a late dancer to transform his body in an accelerated manner, trying to level his learning in relation to the achievements acquired by dancers who have begun their training since childhood. This is analyzed and questioned from a permanent training in the vocational school of Ballet - Ballarte. Dancers from this school have interacted since childhood with this kind of dance. This type of experience makes a late dancer to experience a number of situations that question him as an artist, dancer and subject, forcing him to reflect in order to transform himself mentally, physically and emotionally as an individual and dancer.Ítem El aprendizaje y métodos más utilizados por (4) bailarines en el montaje de grado unoveratusAmaya Sánchez, María Fernanda; León Bohórquez, Diana LuciaEste trabajo se basa en el estudio de los métodos de aprendizaje utilizados por los cuatro estudiantes escogidos en el montaje de grado UNOVERATUS, permitiendo desde el trabajo de campo y experiencia en la danza realizar un análisis, que permita tomar este informe como modelo para los bailarines que deseen replicar los métodos de aprendizaje expuestos, o aún mejor que genere un antecedente sobre el tema y pueda realizarse una investigación más avanzada para que sea replicada por los bailarines.Ítem AquíAlzamora Arévalo, María Elvia; López Molina, Dora InésThe present writing is presented as evidence and reflection of the process carried out in the performance “AQUÍ” –a dance piece performed in 2016 to obtain the degree in Artes Escénicas – Línea Terminal Danza Contemporánea. This experience was possible thanks to the academic exchange between the Universidad Autónoma de Querétaro in México and Universidad Distrital F.J.C. of Bogotá, within the frame of its Curricular Project Arte Danzario. This report is also an analysis of the creative process developed for the composition of the show. The approach departs from the methodological point of view developed by the director Francisco Córdova: “Body-action < > movement-relation and physical action as scenic construction”. In this case Córdova’s approach is used to reflect on the question of being a woman in dance performance. It’s a dissertation about the achievements and experiences accumulated during the staging of an international dance project but also about the methodological, creative and interpretative findings. It deals with the relationship between Stanislavski’s theatrical method and the traditional dance methodologies for composition of corporal narratives and scenic dramaturgy.Ítem ARA ORI INURodríguez Leguizamón, Linna María; Morales Rodríguez, Yudy del RosarioThis report is a description of some of the experiences lived in Raíces Profundas Folk Dance Company, and it was made in order to record how their workouts are proposed, by extracting the most important aspects of them, the way in which their training is planned, extracting the most important aspects of them: the foundations of their folk technique; the order in which their training exercises are raised; the way they prepare to interpret the music and to interpret each orisha; as well as the relationship between training and its creative processes.Ítem Auaypa kurkuj tusuykunaTisoy Jacanamijoy, Alex Eduardo; Ospina Espitia, Martha EsperanzaThis creative research work, called "Auaypa Kurkuj Tusuykuna- Weaving dancing bodies", is a dance work that stages dance practices inspired by the uses and customs of the Inga Indigenous community, having as its main dramaturgy the weaving of the chumbe and in this way to be able to connect and show in each scene the worldview of the knowers, how they are building and weaving the thought and history in the Ingas; from medicine, words, planting, weaving, curing, carving, dancing, in this way to be able to transcend to new generations, making it known that the tradition of the Ingas can be woven from different fields and thoughts , to continue strengthening and continue to survive.Ítem La ausencia de los límites, entre cuerpos diversosFernández Romero, Tatiana; Calderón, Dora Inés; Calderón, Dora Inés [0000-0003-1187-6668]The interest of the research arises from the importance of knowing how is the learning process in early and inclusive education in the field of dance. In relation to the aforementioned, the dance workshop begins as a didactic unit proposed for deaf and hearing children of initial levels, between 6 and 10 years of age, in the Filadelfia school and in the IED República Dominicana; where it is sought that the dance corporal expression favors the self-recognition of the body in a conscious way, generating in this way an accessible and affective learning environment for all.Ítem El autoreconocimiento del danzante una revisión de vidaBernal Carvajal, María Del Pilar; López, DoraAs a student of the curricular project of dance Art of the Faculty of Arts ASAB I was interested in developing a research project on the self-recognition of the individual and the impact he has in his process of training in dance. Considering that it is an issue that not only crosses me as a dance student but a large part of the community of the curriculum project of dance art.Ítem El bailarín y la delgada línea dramatúrgica: informe interpretativo - obra “la comunidad de las libres”Salgado Rubio, Leidy Vanessa; Guzmán Urrego, Edwin ArmandoThe dancer and the thin dramaturgical line is a report that details the creation process of the work "The community of the free", it is sought through a field diary to obtain questions, memories, reflections and interviews of individual and collective speeches addressed from the dramaturgy in dance concept to identify the tools, strategies or elements that were contributed and found throughout the process for the construction of my interpretive role in the work. With the purpose of generating methodologies for the creation of future scenic works and guidance for performers/creators, directors and other agents in the field, they can find detailed inputs that strengthen the creative process in a scenic proposal.Ítem El baile deportivo y sus aportes en la formación universitaria en danzaForero Rodríguez, Julián Guillermo; Cárdenas Garzón, John MarioContributions of ballroom dance sport in to universitary formation in dance. This research is based on self-ethnography and the experience of a sportman in ballroom dance sport. This is also a result of the interweave between an exploration and the academic education at a university degree in dance in Bogotá, Colombia. Throughout the following text, I briefly present the story and the development of this dance genre in Bogotá’s context, to recognize the cultural and social aspects that this kind of practice includes in the national sport scene. Even though the ballroom dance sport is and emergent sport, nowdays it counts with oficial institutions that support the development of this practice, creating spaces to form and divulgate the different scenaries and contests that allow people to recognize the corporal resources used in this practice and its importance as a sport. Finally, this research shows a comparison between the training and experience in ballroom dance sport and the academic education I was given at Proyecto Curricular Arte Danzario at Universidad Distrital Francisco José de Caldas in Bogotá, Colombia.Ítem El Ballet a través del juego, como alternativa para la reconciliación e inclusión social de la primera infanciaSotelo Ocampo, Lady Esmeralda; Eljaiek Avendaño, Hernando JoséBased on the classical dance, this work was directed towards the searching of pedagogical alternatives to find, from the game and the animals imaginaries, a methodological strategy which motivates and promotes respect, both individually and collectively, from an infant population between three and five years old, in the FUNDEHI intuition, located in the community four at Soacha municipality. Therefore, ballet classes were proposed.Ítem "Betsabe Espinal" El poder femenino en un ballet colombianoGarcia Muñoz , Luisa Fernanda; Cardenas, John MarioThe present monograph has the main objective of encouraging creation of ballets with Colombian content, investigating and highlighting the little -known stories, such as that of Betsabé Espinal, from the perspective of a feminist dancer that can nurture the interpretive content of Colombian dancers and dancers. Additionally, the creation of a script with the history of a revolutionary woman will mobilize the female role because I seek An interesting reading for the reader