Arte Danzario
URI permanente para esta colecciónhttp://hdl.handle.net/11349/26
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Ítem HIENAS. Corporeidad monstruosa y mariconeo: Laboratoria de creación colectiva(Universidad Distrital Francisco José de Caldas) Azul , Azul; Ridríguez Molina , Andrea CarolinaThis report analyzes the experience carried out by a tenth semester student of Dance Art at the Francisco José de Caldas District University as an intern at the Lxs Locxs Foundation, in which she created a space where transgender women sex workers participated in a creation laboratory where through contemporary dance, performance, improvisation, vogue, corporeal exploration. This intervention allowed meeting spaces where trans women identified novel ways of interacting with art and the narrative of their life experiences as a gender dissident community that is permeated by violence. Therefore, this is a compilation and strengthening of the processes that have been created throughout the years 2021 to 2023.Ítem La importancia de una retroalimentacion(Universidad Distrital Francisco José de Caldas) Daniel Eduardo Coba Gomez , Daniel Coba; JOHN MARIO CÁRDENAS GARZÓ, JOHN MARIOThe representation and appropriation of a dance, encloses the cultural and artistic richness of the dancer as well as the origins, traditions, histories and forms of each context; hence the importance of these artistic encounters in which these expressions are carried out that account for the apprehension of these cultures and traditions, translated into movements, techniques, disciplines and other factors that make the dance competitions no less than passion, dedication and history told through the body. In this way, this project seeks to contribute to the improvement of these important practices, this through analysis, experience and the valuable intention of making a contribution that strengthens the above mentioned, as well as the possibility of conceiving the evolution and growth of the world and its needs. This is how this project aims to propose and develop a problem associated with the processes and forms of evaluation in the Latin rhythms competitions, whose criteria on several occasions are not clear to participants and judges; this problem arises from the experience of being part of the competitions both from the logistics organization, as from the quality of competitor, which has allowed me not only to demonstrate the difficulty presented here, but to propose an evaluation tool that involves aspects that allow clarity and explore the possibility of generating contributions. Translated with DeepL.com (free version)Ítem Paso a pasito(Universidad Distrital Francisco José de Caldas) Castiblanco Ceballos , Michel Andrea; Jara Ramírez , Ana ManuelaThis project seeks to establish a space in the Kennedy area where children can learn the fundamentals of dance. The initiative aims to positively influence the youth of the community. To do this, a schedule will be set up at the Revolution Latin Dance academy, where I will oversee, promote and direct classes for children where art is promoted in a healthy way and as a tool for exploration and personal expression. With the aim to do a presentation show of the progress of young people and their personal growth, motivating other parents and children to get involved in dance, thus changing the current perception about dance classes in schools and generating awareness about the importance of this discipline.Ítem Aproximación a un método basado en la escritura para la composición en danza en la elaboración de la obra Alejandra, del otro lado de la noche(Universidad Distrital Francisco José de Caldas) Monje Olaya, Laura; Martínez Medina, Carlos AndrésThe present report compiles the research-creation process carried out around the construction of a creative method based on writing for dance composition and the procedures carried out for the writing of the dance text, a type of structure that proposes to contain the dramaturgy writing of a dance work and useful categories to carry out a process of assembly and subsequent choreographic composition. On the structure of the dance text is written the work Alejandra, del otro lado de la noche, whose methodology is consigned in this report and denominated as a creative writing laboratory, contains the procedures according to which the literary work is adapted to a scenic format and some findings of analysis about the poetics of the author Alejandra Pizarnik according to the dramaturgical and narrative needs of the work. This report also compiles the methodology used in the process of staging the work in a later stage called creative laboratory of scenic staging, focused on the scenic materialization of the work and its translation from dance text to body, movement and choreography, as well as the final result of the staging and the aspects of production, management and circulation of the result. All this in a constant reflection on the relationship between what is written and what is experienced in the staging and the transformation that the text undergoes in this translation process.Ítem Raíces en movimiento: Del pasado al presente y pasado vivo. Un viaje ancestral(Universidad Distrital Francisco José de Caldas) Rivas Vidal, Laura Camila; Guzmán Urrego, Edwin ArmandoRaíces en movimiento: del pasado al presente y el pasado vivo. Un viaje ancestral. Is a work that arises from the exhaustive research on dance and its impact on me through a series of interviews and audiovisual analysis. Exploring the ancestral journey from the past to the present, allowing viewers to immerse themselves in the cultural richness and expressiveness of the currulao. This piece seeks to show how the use of currulao has taken a turn in contemporary society compared to its historical origin. It is a fascinating journey that highlights the importance of roots and how they intertwine with the present in a powerful way. This work is a summary of what was experienced in the line of deepening traditional Colombian dance in the Dance Art Curricular Project, of the ASAB Faculty of Arts of the Francisco José de Caldas University. A creative work that was born from his place of enunciation and his entire training process as a professional.Ítem Elegía indígena(Universidad Distrital Francisco José de Caldas) Barrera Sissa , Óscar Mauricio; Cárdenas Garzón , John Mariohis undergraduate thesis aims to explore and describe the significant connections between my formative experience as the author within the Proyecto Curricular Arte Danzario and the historical memory of the territory of Duitama, Boyacá, Colombia, through the legendary figure of the Cacique Tundama. Based on the concept of esthesis proposed by Katia Mandoki, this work offers a sensitive reflection on how contemporary young bodies can re-signify, through dance, the resistance, dignity, and indigenous identity of their territory. Mandoki's notion of everyday aesthetics allows for an understanding of the aesthetic as something not limited to formal art, but as embedded in the gestures, habits, and symbols that shape daily life. In this sense, choreographic creation becomes a space where the ancestral and the contemporary intertwine, enabling dancers—through movement—to revive and embody their ancestral memories. This choreographic process is carried out with students from El Dorado Ballet Folclórico, where I serve as a teacher and choreographer. The process integrates creative laboratories as spaces for academic deepening and historical research, including documentary review in the town’s public library. The resulting dance piece seeks not only to revive the memory of Cacique Tundama as a symbol of resistance, but also to generate an aesthetic experience that bridges ancestral tradition and contemporary expression through movement. This project proposes a personal esthesis—that is, a way of knowing through sensitive creation—that affirms artistic practice as a valid form of knowledge production and cultural resistance.Ítem Lapsus — Cuerpos en Gravedad(Universidad Distrital Francisco José de Caldas) Yopasa Beltrán, Andrés Felipe; Martínez Medina, Carlos Andrés"Lapsus" is a contemporary dance piece presented in a videodance format that explores the law of gravity as a physical phenomenon and a creative material from an interdisciplinary strategy. Thought the visual manipulation of the camera and bodily interaction on pltfomrs or aclined architectures, within a creative laboratory that integrates emotional crisis by the self-fiction of intense emotional experiences —such as migration, depression and loneliness— of each of the performers, it develops a dynamic in wich they are able to subjectively deform the space-time perception though a state of crisis that allows us to use gravity not only as a physical notion, but a creative premise that Will be the backbone of the whole piece, this reconfiguring our precerpción of reality. The research proposes a methodology that intertwines the physical-technical training of the performer, the dramaturgical construction, the choreography composition, the realization —recording—, the interpretation and the edition of the work, as a final resulto f the process of creation in danzario art in dialogue with the audiovisual arts, thus promoting the generation of laboratories and interdisciplinary teams, developed by a group of members from the Emergente Dance Company on the city of Bogotá, Colombia.Ítem Street dance y danza contemporánea. La calle y la academia con todas sus posibilidades(Universidad Distrital Francisco José de Caldas) Castillo Quintero, Nicolle Marcela; Angulo Soledad, Jenny AngélicaThis report explores the interests and motivations that drove the creation of the dance video El Encuentro. It begins with an analysis and reflection on my personal experience in Street Dance and Contemporary Dance, which generated new perspectives on learning and movement interpretation as I began my academic journey. These insights were integrated to give rise to other forms of dance execution and to the main idea behind the creation of this dance video. Although both disciplines seem to have different conceptions regarding learning and interpretation, which are also related to the contexts of academia and the streets, there are points of convergence that allow the exploration of different movement possibilities. These points of convergence were the foundation for the bodily exploration through the integration of elements from both disciplines, which generated different pathways for dance interpretation and guided the creation of the dance video El Encuentro. The exploration of these commonalities was the basis of the creative process; however, the purpose of this project was also aimed at recognizing in the performers the impact that different experiences and knowledge have on the formation of individual and collective identity woven around dance. Contemporary Dance and Street Dance were the main techniques for the conception and creation of the project. However, during the exploration and experimentation process, the idea of replicating the fusion between different dance styles or techniques emerged, as performers with experience in ballet and contact techniques joined the project. Therefore, these four dance styles were present both in the creation labs and in the creative decisions for the production of the dance video, all while maintaining the premise of seeking common ground between disciplines. This was done through recognizing elements or fundamentals of each style and then merging them with other influences to explore new movement possibilities based on each performer’s bodily identity.Ítem Academia legacy: dejando huella al bailar(Universidad Distrital Francisco José de Caldas) Marín Rueda, Rut Alexandra; Orjuela Parrado, Dorys Helena; Orjuela Parrado, Dorys Helena [0009-0002-9252-4399]This thesis aims to establish the Legacy Dance Academy in the Olivos 1 sector of Soacha, intended for children aged 6 to 14 years. The academy will primarily provide training in classical and urban dance, contributing to the holistic development of children in a vulnerable community. To achieve this objective, a comprehensive entrepreneurship proposal was developed, which includes a detailed business plan, organizational structure, necessary resources, pedagogical methodology, and strategies for promotion and sustainability. In conclusion, this project not only describes the positive social, economic, and cultural impact but also presents an attractive opportunity for investment and job creation in the Soacha sector. Furthermore, it lays the groundwork for the future implementation and scalability of the venture.Ítem Recurrencias(Universidad Distrital Francisco José de Caldas) Chiquiza Robayo, Tatiana; Ospina Espitia, Martha Esperanza"Recurrences" is a partner dance piece set to the rhythm of the pasillo de salón, drawing upon research on the dances performed, as well as the customs and traditions of Santa Fe de Bogotá in the late 19th century. This research-creation process highlighted how memory, technique, and stage dramaturgy intertwine in the construction of a dance work, emphasizing the impact of training and preparation on the technical and aesthetic development of the body. The study seeks to answer the question: What is the relevance of implementing technical elements of classical dance in the creation process of a dance piece based on the Santafereño pasillo de salón? The chosen methodology was a creative laboratory in which two performers explored the relationship between classical and folk dance techniques and examined how training shapes the body's plasticity. This process resulted in a choreographed stage performance based on creative exploration and the findings from the research. One of the most significant discoveries was the way in which each performer's technical background influenced the construction of their character. It was observed that a body trained in classical ballet constantly seeks elevation and lightness, while a body trained in folk dance technique exhibits a closer connection to the ground. An additional factor that added complexity to the process was the pregnancy of the dancer-performer, which introduced new bodily and ideological tensions. A pregnant body requires a different approach to weight management and presents certain limitations in movement execution. The piece was presented to the public in a single performance in October 2024, made possible through self-management and community-based stage production. Various contributors shared their expertise, spaces, and technical and aesthetic resources, enriching the artistic processes within Bogotá’s performing arts community.Ítem El torbansillo: vestigios danzados de la obra escénica Crizneja(Universidad Distrital Francisco José de Caldas) Domínguez Farías, Leidy Natalia; León Bohórquez, Diana Lucía; León Bohórquez, Diana Lucía [0000-0002-7338-424X]This work presents the musical and dance research conducted during the creation and premiere of the stage production Crizneja, a degree project resulting from bodily inquiries developed throughout the artistic training at the School of Artistic Formation of Tocancipá (EFAT) and the undergraduate program in Dance Art of the Faculty of Arts ASAB, Universidad Distrital Francisco José de Caldas. The central focus is the research process of bambuco, salon pasillo, and torbellino, rhythms of the metropolitan environment, as a starting point for the creation in music and dance within the same time and space. To this end, a sound and bodily study of these rhythms is proposed, establishing a simultaneous work between musical composition and the bodily work in the creative laboratory, in order to explore whether it is possible to create a choreographic piece from diverse musical metrics (bambuco, torbellino, and salon pasillo) under a single sound constant.Ítem Diosas en movimiento: De cómo la danza eleva el bienestar humano(Universidad Distrital Francisco José de Caldas) Pineda Herrera , Jasson Alejandro; Ospina Espitia , Martha Esperanza; Ospina Espitia,Martha Esperanza[0000-0002-6555-0180]The present study explores how dance practices contribute to human well-being, with an emphasis on feminine energy. The objetive was to demonstrate the effects of dance on the well-being and empowerment of women through the workshop "Diosas: Connecting with Feminine Energy," conducted over eight sessions featuring movement, reflection, and expression dynamics. Using a qualitative approach, narratives were collected at the end of each session, alongside photographs and videos that documented the process. The results reveal that participants experienced a strengthening of their identity, a reconnection with their bodies, and an increase in confidence, as reflected in statements such as "I felt my body alive" and in images of powerful postures. These findings are organized into three axes: "A Thousand Ways of Being," "The Dancer’s Skin," and "Feminine Empowerment." The research concludes that dance, by integrating body and emotion, is an effective tool for enhancing human well-being, particularly for women seeking healing and self-affirmation. This study provides a practical perspective on the link between dance and personal transformation, opening pathways for future explorations in similar contexts.Ítem Levando el ballet a un nuevo territorio(Universidad Distrital Francisco José de Caldas) Beltrán Molano , María Paula; Cardenas Garzón, John MarioThis internship report collects the results of the experience, by bringing some knowledge of classical dance to a group of five students from the culture house of the municipality of Peñón Cundinamarca, who have not had an introduction to ballet but who dance folklore. in their free time, this with the purpose of generating concerns, knowledge and improvement in technique and interpretation, for their performance in danceÍtem Construcción de mi corporeidad danzaria: Una autoetnografía como bailarín intérprete del folclor y el contemporáneo(Universidad Distrital Francisco José de Caldas) Erazo Burbano , Jefferson Steven; Ospina Espitia, Martha EsperanzaThis autoethnographical investigation explored the transformations of my body and the length of my training in contemporary dance at the Facultad de Artes ASAB and its impact in my desempeño in the folk dance of production for the scene. Through the registration of a personal bit, an interview applied to the director of the company Danza Colombia International (DCI) and the analysis of images of my corporate evolution, examination of the transformation of my body like the technical and expressive principles acquired at the Faculty of Arts ASAB (Academia de Artes Superior Bogotá) is influenced by my body of performance from the scenic folk. It is evident that training in contemporary dance has amplified my corporal awareness, expression and technical dominion, allowing it to integrate new performances into the folk dance of proyección. Elements like the fluidity of movement, the use of weight and the bodily disassociation are enriching my scenic design, favoring a greater organicity in the interpretation of folk repertoires within a context of artistic production. This work reflects on the importance of interdisciplinary training in dance training and how the dialogue between different dance languages (traditional dance and contemporary dance) offers new possibilities for artistic and scenic development. Autography allowed me to understand the interaction between academic training and professional practice, revealing the transformative potential of dance education through the construction of new corporate and expressive identities in the scene.Ítem Coincidunt(Universidad Distrital Francisco José de Caldas) Gómez Ramírez , Jean Carlo; Contreras Villamizar, Luna; Eljaiek Avendaño, Hernando JoséThe project of creation and interpretation of a Grand Pas de Deux that fused Neoclassical and Contemporary Ballet aimed to foster dialogue between two distinct but complementary dance styles. The Grand Pas de Deux, being a Ballet piece, was reinterpreted by integrating new approaches to movement and expression, which allowed the dancers to develop technical skills and understand the creative process in a broader way. This work encompassed not only choreographic research and partner work, but also the ability to integrate diverse dance languages and to be in dialogue with new trends and contemporary approaches in order to meet the challenges of a dance world that requires flexibility and innovation.Ítem Contactarnos(Universidad Distrital Francisco José de Caldas) Marín Delgado, Shelomith Ell Shalem; Orjuela Parrado, Dorys Helena; Orjuela Parrado, Dorys Helena [0009-0002-9252-4399]This internship project, entitled "Contacting Us," describes the process of introducing students in the Mayeutico Institute's Transition program to a specific field of dance, contact dance, based on the projection of general and specific objectives, a work plan, and a schedule. The work was carried out with students between the ages of 3 and 6. This document demonstrates three stages of work: Stage 1, focused on body recognition based on individuality; Stage 2, introducing pair work; and Stage 3, deepening partner and group work. Interviews were among the elements used to monitor the process; a total of three were conducted at the beginning, during, and at the end of the process. Another strategy used during the internship was the individual logbook, which the students completed at the end of each meeting. At each stage, training focused on flexibility and muscle strengthening was maintained to ensure proper development of contact technique.Ítem Microempresa textil para la diversidad artística en Bogotá(Universidad Distrital Francisco José de Caldas) Pineda González, José Luís; Rodríguez, Andrea CarolinaZer0_control: LGBTIQ+ Entrepreneurship in Bogotá Zer0_control is a venture in Bogotá that creates specialized clothing for the LGBTIQ+ and non-binary community. It started in a small workshop in Ciudad Bolívar and is primarily promoted through Instagram, responding to a growing demand for clothing that reflects diverse identities. With an initial capital of $4,500,000, the brand aims to finance itself through product sales and cultural events. The good location of the workshop facilitates access and event organization, while the positive perception from customers and strong customer service are key strengths. However, competition, high production costs, and limited capital present significant challenges. Despite this, the growing acceptance of the LGBTIQ+ community offers opportunities to expand into the Anglo market and customize products. Adverse economic conditions and social stigmas are threats that could affect the business's viability. To mitigate these risks, Zer0_control should focus on differentiating itself through authentic proposals and personalization while reinforcing its commitment to inclusion. In summary, Zer0_control is well-positioned for growth and to generate a positive impact in its community.Ítem El bullerengue; práctica inmersa en la reflexividad emocional(Universidad Distrital Francisco José de Caldas) Baquero Muñoz, Karen Julieth; Morales Rodríguez, Yudy del Rosario; Morales Rodríguez, Yudy del Rosario [0000-0003-2859-2717]The internship takes place in the school I.E.D Juan Evangelista Gómez, specifically with the members of the collective Okima Danza y Territorio Teatral with whom a series of experiential and creative acts of their experiences are deployed through the practice of bullerenguera in its three traditional airs, sentado, chalupa and fandango. This is done through different transits; an initial one that evokes memories, allowing the overflowing of any type of feeling that is generated there and that is translated into free movement, without any type of restriction. In the second stage of the project we will approach the teaching of the bullerengue technique as a dance, basic steps, speed, male and female roles and context, with highly significant contributions by experts of the territory that accompany this space. For the third stage will come the own creation intervened by the themes previously seen and that starts from the here and now, that in terms of tradition we would call this moment "the wheel", drums that beat, voice that shouts, skirts that move, totuma that shines and a sentient body will be the components that will accompany in a substantial way this last stage. We want to tell the student that the Bullerengue is at the service of whoever needs it and that each of the experiences and feelings shared are totally valid. Finally, the experiences of the students with the internship are systematized through the logs that during the course of the internship are recorded in the form of a logbook.Ítem Diseño de la iluminación como elemento de la dramaturgia escénica del movimiento danzado(Universidad Distrital Francisco José de Caldas) Bravo Borja , Laura Lucía; Ospina, Martha EsperanzaThis research process seeks to reflect on the scenic and dramaturgical dialogues of dance and lighting. It addresses my artistic concerns and my experience on stage, as a dancer, choreographic director and lighting designer, bringing together the first stage of my interdisciplinary artistic exploration between dance and the plastic arts from the specific needs of the dramaturgy of light for movement. danced. It seeks to look at the importance of these questions in the dialogues of the agents of the dance scene, the importance of interdisciplinary dialogues that enrich scenic reflection and the technical and conceptual qualification needs necessary in the local environment. It starts from building a “scenario” that introduces us to the research topic, and then poses a “problem” or motivation that is named in the question: How is the lighting design related to the dramaturgical creation processes of the dance director in the local context? Both participant observation and interview are the tools used to shape this analysis of the uses of lighting in dramaturgy and stage design of dance. It is concluded around its formative importance and the compositional relevance that it could generate for the qualification of the generation of dance works.Ítem Clave de salsa en Sindrome de Down(Universidad Distrital Francisco Jose De Caldas) Acevedo Soacha , Luis Carlos; Eljaiek Avendaño, Hernando JoseSalsa Key in Down Syndrome is a theoretical and practical internship report by student Luis Carlos Acevedo Soacha, which took place at the Agailao dance company and is based on teaching Salsa to people with Down’s Syndrome. The objective of this project is to facilitate these individuals learning of the art of dance, which in turn teaches them important aspects of everyday life, such as self-improvement and motivation. It also seeks to strengthen their bodies, increase creativity, and improve extrasensory abilities through all the dance exercises. Once the benefits of dance were recognized, the next step in this project was to create a methodology that best suited the learning experience of this population, thus generating a classroom mechanism that works for dance learning. To end the project, a final staging was arranged. The results led to reflect on the learning progress for this group and to understand the scope of inclusion and enhance it through salsa, based on studies on dance and Down syndrome.