Doctorado en Estudios Artísticos
URI permanente para esta colecciónhttp://hdl.handle.net/11349/30015
La Colección Doctoral del Proyecto de Doctorado en Estudios Artísticos de la Facultad de Artes ASAB de la Universidad Distrital Francisco José de Caldas, incluye ensayos, resultados de investigación, monografías y libros de referencia, cuya reflexión teórica y crítica sobre una materia específica aporta al debate público y a la comprensión de los desafíos que enfrenta la sociedad actual.
Examinar
Examinando Doctorado en Estudios Artísticos por Título
Mostrando 1 - 20 de 21
- Resultados por página
- Opciones de ordenación
Ítem Aprender, crear, sanar: estudios artísticos en perspectiva decolonial(Universidad Distrital Francisco José de Caldas) Walsh, Catherine; Lambuley, Edgar Ricardo; Gómez Moreno, Pedro PabloArtistic studies are an inter and transdisciplinary space of knowledge proposed from the field of the arts for the broad field of culture and society. They are the result of name practices, epistemic, aesthetic, political and ethically committed to the needs of social transformation and people's living conditions. It is a space that has been taking shape for almost a decade as a result or a series of possible encounters, crossroads and non-disciplinary, epistemic and aesthetic impulses. Although it is a space that is organized from the university, its practices are not confined to it, since its intervention spaces are inside and outside of it, in all the places where coloniality affects bodies, dehumanizes people. , controls the power and determines the knowledge destroying nature and life.Ítem Corporeidades, sensibilidades y performatividades. Experiencias y reflexiones(Universidad Distrital Francisco José de Caldas) Niño Morales, Santiago; Martínez Medina, Carlos Andrés; Ospina Espitia, Martha Esperanza; Ramos, Francisco; Eljaiek, Hernando; Castillo, Sonia; León, Jainer; Avellaneda Ramírez, Paulina; García Schlegel, María Teresa; Cárdenas Garzón, Jhon Mario; Orjuela, Doris; Cortés Severino, Catalina; Niño Morales, Santiago [0000-0002-9415-3512]; Ospina Espitia, Martha Esperanza [0000-0002-6555-0180]; Castillo, Sonia [0000-0001-7044-1889]; León, Jainer [0000-0002-3452-5089]; Avellaneda Ramírez, Paulina [0000-0001-7759-9347]; García Schlegel, María Teresa [0000-0002-0744-7011]The development of this line of research in "Critical studies of corporeities, sensitivities and performativities" is one of the results of the inquiry processes carried out by teachers and students of the ASAB Faculty of Arts. of the Francisco José de Caldas District University, in the context of the development of the professional and postgraduate academic programs that conform it, in their order: Plastic and Visual Arts, Performing Arts, Musical Arts, Dance Arts and Master's Degree in Artistic Studies. This line of research in particular questions how the political condition of existence participates in the configuration of the intersensitivities that are set in motion through artistic and prosaic poetic practices of everyday life (Mandoky, 2006), assuming that, in any case, said bodily condition, for this is the way life manifests itself. Here the meaning of "condition" has extended meanings that try to capture the vital dynamism of "going being" or "going existing", which characterizes the bodily experience as situated and contingent. of existence.Ítem Cruce de caminos(Universidad Distrital Francisco José de Caldas) Bustos Gómez, Marta Lucía; Peñuela, Jorge; Romero Rey, SandroFirst of all, this volume opens with a text in which Professor Marta Bustos establishes models to castigate the lendable ideas that exist regarding culture and peace. For many years there has been an instrumentalization of art and, in a broader environment, it has been considered in the abstract that the levels of well-being of Colombian society lie in the number of civilized injections that we can apply to the social fabric. In the present text, a tour is made of the evolution in our history of norms, the steps have been taken to understand the way in which cultural processes are integrated into the need for "the longed-for peace", as it has been called in many documents. official and academic reflections. The big problem with a canonical idea of culture is that it ends up becoming a thousand-headed monster that ultimately loses the deep resources that derive its essence from it. Peace needs culture in rhetorical terms but, when it begins to be implemented, it seems to disappear in the ambiguity of the desks. According to Marta Bustos, the new definitions of the different criteria of culture and their relationship with the reconciliation processes in Colombia began to be designed systematically from the 1990s. In the text, you can see different stages lived in the governments from the decades of transition to the new millennium until, as the peace process gained ground, the idea of culture began to be systematized.Ítem El cuerpo en el siglo XXI: Aproximaciones heterodoxas desde América Latina(Universidad Distrital Francisco José de Caldas. Facultad de Artes ASAB. Doctorado en Estudios Artísticos) Cáceres, Juan Fernando; Olivier Toledo, Carlos; Olvera Rabadán, Alejandra; Céspedes, Ronald; Piñeros, Ángela; Bustos Gómez, Martha Lucía; Arias Peñuela, José David; González Álvarez, Alexandra; Guio Vega, Adriana Patricia; Larraondo Franco, Emilia; Rodríguez Silva, Laura Angélica; López Martínez, Miguel Ángel; Rojas González, Oscar; Rojas González, Oscar; Ortega Garzón, Sandra María; Amaya Ríos, Felipe Andrés; Castelblanco Montañez, Julieth Natalia; Plazas Forero, Parsifal David; Urtubia Arancibia, Francisco; Martínez Molina, Leidy Yolima; Rincón, Christian; Batres Gaytán, Atzin; Hernández Peña, Yolanda; Ramírez Sánchez, Nohora Aydée; Urrutia Gómez, Andrea Carolina; Ariza Montañez, Vladimir Alejandro; Amaya Velasco, Hermann Omar; MORENO COLLAZOS, JORGE ENRIQUEThe book titled The Body in the 21st Century. Heterodox approaches from Latin America, responding to the project being carried out in a network by research teachers from the Iztacala Faculty of Higher Studies of the National Autonomous University of Mexico, the Popular Faculty of Fine Arts of the San Nicolás de Hidalgo Michoacan University, the Faculty of Arts -ASAB of the Francisco José de Caldas District University and the San Francisco Xavier University of Chuquisaca. In addition to this publication, the project has to its credit the realization, until 2020, of ten international congresses, which have brought together notable researchers and creators from the region, coming from different fields of study and whose focus of inquiry is the body, the which highlights the relevance of this as an object and means of study today.Ítem Entre ensayos y performatividad: Los estudios del performance y la política de la práctica(Universidad Distrital Francisco José de Caldas. Facultad de Artes ASAB. Doctorado en Estudios Artísticos) Hunter, Lynette; Bolles, Dylan; Castillo Ballén, Sonia; Palau, María del Carmen; Hernández, Álvaro Iván; Castillo Ballén, Sonia; García Schlengel, María Teresa; Ramos Cuncanchún, FranciscoTranslation project resulting from research of the line of research in Critical Studies of Corporeities, Sensitivities and Performativities, and of the Research Group for Artistic Creation attached to the Doctorate program in Artistic Studies of the Francisco José de Caldas District University , ASAB Faculty of Arts. Result of the International Seminar on Artistic Studies, and the presentation of performance studies that Professor Lynette Hunter made as a guest professor in the academic spaces of the Nuclear Seminar II and Laboratory Workshop II of the Doctorate program in Artistic Studies.Ítem Estudios artísticos: conversaciones desde Abya Yala(Universidad Distrital Francisco José de Caldas. Facultad de Artes ASAB. Doctorado en Estudios Artísticos) Gómez Moreno, Pedro Pablo; Valencia Cardona, Mario Armando; Lozano Lerma, Betty Ruth; Estévez Trujillo, Mayra; Cárdenas Plaza, Cleverth Carlos; Pagano Fernández, Carlos MaríaArt studies are a border space where the knowledge of the arts, sensitive knowledge, scientific disciplines and ancestral and popular knowledge can be found, to criticize the reasons and complicity of scientific knowledge and aesthetic knowledge with the configuration of the coloniality of power and to broker the creation of knowledge and symbolic forms that subvert the epistemic and material order imposed by contemporary capitalism.Ítem Estudios artísticos: Trayectos y contextos(Universidad Distrital Francisco José de Caldas) Niño Morales, Santiago; Lambuley Alférez, Édgar Ricardo; Gómez Moreno, Pedro Pablo; Romero Rey, Sandro; Casimir, JeanA journey is a journey with a beginning and an end. That is, with a point of. That point of arrival, for its part, tacitly implies an encounter. A meeting of filiations and distances that, from different routes, constitutes the reason for a trip in which reflection is the essential tool to establish connections and, why not, new questions to configure the territory covered. On the other hand, there are the contexts, the baggage, the past that explains and, at the same time, determines the distances or the proximity of the respective paths in which the travelers realize that the journey is not alone. And much less when these paths are traced within the parameters of art and culture. There is, if you will, a kind of generational imprint through a journey in which denominations such as academia, thought, society, capital or development are questioned and redefined from the perspective of a group of thinkers who give them return to their respective experiences to find, in the framework of their questions, a new field for action.Ítem Género y destino: la tragedia griega en Colombia(Universidad Distrital Francisco José de Caldas. Facultad de Artes ASAB. Doctorado en Estudios Artísticos) Romero Rey, SandroFour elements have been installed in the title of this study. Four elements that continuously cross the fence of their own limits. “Genre”, “Destiny”, “Greek Tragedy” and “Colombia” seem to be, of course, the protagonists of the lines that follow. But the necessary ambiguity that is installed in the representative arts of the new millennium forces us to establish a series of precisions with respect to the meaning that these categories acquire in these times. it is In the first place, it is necessary to take into account that Gender and destiny: the Greek tragedy in Colombia focuses, in the first instance, on the world of theater. And when we talk about "Gender", we are using a denomination that is affected by that "confusion of terms" which, at the time, Patrice Pavis put forward in the explanation of the concept, in his famous Dictionnaire du theater.Ítem Haceres decoloniales : prácticas liberadoras del estar, el sentir y el pensar(Universidad Distrital Francisco José de Caldas) Gómez Moreno, Pedro Pablo; Donis, Alex; Chavajay, Benvenuto; Chávez, Daniel B.; Benfield, Dalida María; Ochshorn, Robert M; Carrillo Can, Isaac Esau; Muñoz Gómez, Jesús Holmes; García, Lia; Cárdenas, Marisol; Roa, Martín Alonso; Ferrera-Balanquet, Raúl Moarquech; Tisoy Tandioy, RosaHD: Decolonial doings: liberating practices of being, feeling and thinking is the sixth title of the Doctoral Collection of the Faculty of Arts ASAB- from the Francisco José de Caldas District University. In the book considers theoretically what a decolonial act is and, at the same time, time is reflected from and with decolonial artistic practices made by artists, thinkers and activists in various places of the world. In this task, the book collects the memories of the exhibition called HD: Decolonial Actions that took place in August 2015, in the ASAB Exhibition Hall, in Bogotá Colombia. construction own memories is key to the projection of horizons that they go beyond the single narrative of Eurocentric modernity.Ítem Investigaciones sobre el cuerpo : Relatorías del encuentro “El giro corporal”(Universidad Distrital Francisco José de Caldas) Castillo, Sonia; Vejarano Soto, Elizabeth; Arbeláez Grundmann, María José; Calero, Solón; Rivera, Carmen Cecilia; Amaya García, Natalia; Rodríguez, Linna; Gilette Medellín, Celia; Rodríguez Vergara, Elsy; Bejarano Ochoa., Natalia; Noguera, Martha Judith; González, Fredy; Villalba Labrador, Raimundo; García Schlegel, María Teresa; Ospina Espitia, Martha Esperanza; Cáceres Jaramillo, Juan Fernando; Borrero, Juliana; Ferreira, María Cándida; Cardona, Hilderman; Carantón, Josué; Castillo, Leyla; Arango, Ana María; Aranguren Romero, Juan Pablo; Escobar, Manuel Roberto; Yáñez Canal, Carlos; Orozco Marín, Angela María; Castillo Ballén, Sonia; Castillo, Sonia [0000-0001-7044-1889]; Villalba Labrador, Raimundo [0000-0003-3978-0617]; Ospina Espitia, Martha Esperanza [0000-0002-6555-0180]; Cáceres Jaramillo, Juan Fernando [0000-0002-9971-1704]; Aranguren Romero, Juan Pablo [0000-0001-5892-2153]; Orozco Marín, Angela María [0000-0003-3282-9000]The First National Meeting of Research on the Body: The Corporal Turn has as its main objective to bring together researchers of the body in Colombia, to learn about various theoretical, methodological and research positions on the subject, as well as the routes and approaches that have been proposed to the study of different aspects that make up the body condition, such as emotions, representations, agencies, mentalities, languages, practices and techniques, genres, gestures, relationships and interactions, pedagogies, symbols, etc. The meeting aims to strengthen a national interdisciplinary network of studies on the body from which research on bodies in our local intercultural contexts is promoted, developed and disseminated.Ítem Piedra, ficción, memoria: Etnografías del lugar memorativoSerna Dimas, Adrián; Gómez Moreno, Pedro Pablo; 0000-0002-0180-0945; 0000-0002-9651-7682This research is an exploratory effort to clarify the memorial place as a symbolic form aimed at processing the memory and forgetting of an event within the public world, understood as the world shared with the stranger. In other words, it is an effort to establish what allows a place to organize the memory of an event by objectifying and subjectifying it simultaneously, not based on a story or a narrative (or not fundamentally), but based on the presence same of those who occupy or use it, which involves the bodies, the corporal and spiritual dispositions, the hexeis, ultimately, the habitus. These habitus, coming from the currents of everyday life, are those that in their sympathy, in their sensitivity to contagion or imitation, can link individuals with the place and with the social practices specific to it, making it possible for the mnemonic to transcend. in anamnesis. For the contagious or imitative relationship to occur, it is required that the memorial place as a symbolic form unleash fictionality, understood not as something opposed to factuality, nor as a rhetorical resource or a solely performative effect, but as the result of the modes of communication of the material-objective, the sensory-mental and the social-metaphysical. In this sense, fiction is understood as the effect of the concurrence of what is believed with what is created and its power, which we have called fictional power, the specific symbolic power of symbolic forms, such as that which derives from the ability to fuse belief. with creation, so much so that it can derive an event, even positivize it, in the condition of a thing, icon, sign, allegory, figure or symbol, with all that this implies in terms of its preservation, its transmission and its assimilation.Ítem Porque la cultura importa: Políticas culturales en una polifonía de vocesGarzón Martínez, María Teresa; Gómez Londoño, Ana María; Bustos Gómez, Marta; Gómez, Pedro Pablo; 0000-0001-5355-2536; Bustos Gómez, Marta [0000-0001-5355-2536]It matters because it explains life to us, our realities, giving support to both hegemonic projects of domination as well as local stories of transformation of power systems as long as it can be defined—always in a provisional, although strategic—like that: “repertoire of symbols and signs that are constitutive, in their discursive facet, of reality, [accounting for] what people think, feel, desire and imagine” (Garzón, 2018, p . 86). Political definition, without a doubt, that invites us to return to the analysis of daily life in relation to its various configurations of power, and in particular, to ask how collective stories are written, whose only function is to hope, with the aim of designing cultural policies that allow us to survive in this world lived as humans (Gutiérrez, 2017; Grossberg, 2009). And much more so in this current moment of infinite mourning after the SARSCoV-2 health crisis, which has cost thousands of lives and which implies renewed searches for meaning or, at least, the promise of dying fighting. In that sense, the statement that gives the title to this book that we present to you, with emotion and humility, is an accurate answer: Why does culture matter? Because culture matters. Accurate answer yes, although misleading since it is apparently presented as singular, although in reality it is plural since cultural politics is thought here from a polyphony of female voices, reflective experiences, places of enunciation, geopolitical coordinates and musical genres that one day become found to continue reflecting on the relationship between culture and politics.Ítem Potencial político de lo festivo : Aprendiendo de la descolonización(Universidad Distrital Francisco José de Caldas) Romero Flores, Javier Reynaldo; Gómez Moreno, Pedro PabloIn the pages of this book, a journey is made through what we can call the decolonial turn in the investigation of the festive, which ranges from a critical perspective to the construction of a decolonial perspective and methodologies. This is how in the thought of the festive broader relational categories appear, such as exteriority, decolonizing horizon, situated thought, among others, which show the transition from the subject/object epistemology and the so-called "paradigm of consciousness" towards a decolonial, which ignites culture not as something given, but as an unfinished, progressive and gerund ideological battlefield, from which an intercultural horizon can be projected. For this decolonizing purpose, it is necessary to know the constitution and camouflage of colonizing subjectivity such as being a conqueror, being a colonizer, being white, as well as the use of a series of devices, such as the pedagogy of alienation, demonization, folklorization and patrimonialization, which are nothing more than forms of the coloniality of the festival and the festive. The author is not satisfied with the analytical unmasking of the devices of festive coloniality; on the contrary, it gives clues for the construction of decolonizing devices, that is, the pedagogical, epistemic and methodological tools for the ethical-political interruption of coloniality.Ítem Reconstitución estética decolonial(Universidad Distrital Francisco José de Caldas) Mignolo, Walter D.; Gómez Moreno, Pedro PabloThis book is located in the trajectory of aesthetic decoloniality, a ruca that in its conceptualization began a little over a decade ago in the Doctorate in Latin American Cultural Studies, directed by Catherine Walsh at the Universidad Andina Simón Bolívar, in Quito, in which The authors of this work and other colleagues with whom a conversation and a series of long-term collaborations began take part. One of the central purposes of this book is precisely to update that conversation based on the path traveled, the experiences lived and the fruits of the sowings of Catherine and other members of the Modernity/Coloniality/Decoloniality Network. Among the results of the epistemic, ethical and aesthetic sowing of the aforementioned network is the training of around a hundred doctors who currently work from their places in various countries, to continue developing new perspectives of analysis and understanding of the cultural in relation to the social, the political, the economic, the epistemic, the aesthetic and the existential. Another important result is the Doctorate in Artistic Studies at the Francisco José de Caldas District University in Bogotá, created by a group of professors made up of several graduates of the aforementioned doctorate at the Simón Bolívar Andean University, with the strong support of Catherine, Walter Mignolo, Adolfo Alban, among others. And it is precisely the inaugural lecture of this doctorate, held in October 2019 by Walter Mignolo, the basis of the first chapter in which the meeting between epistemic reconstitution and aesthetic reconstitution is proposed.Ítem Requiem/ruinas : (restos mortales)(Universidad Distrital Francisco José de Caldas) Romero Rey, SandroIn 2009 he decided to write a text about death. A kind of dramatic poem about fatality. He had already brought to light a work on the Greek tragedy in the cinema and had mounted an Electra with an international cast. Driven by the Requiem of the Caleño composer Antonio María Valencia, I put an end to the work in a few days. Then I presented it to a creation contest of the Higher Academy of Arts of Bogotá (ASAB) and I was awarded. One issue led to another. I decided to put it on stage with a group of close collaborators and, after three months of rehearsals, it was premiered one starry night in the central courtyard of our cloister, accompanied by the choirs directed by maestro Carlos Pinzón, who set to the task of staging an exquisite version of the Valencia Requiem. requiem/ruins had a short life, as happens with many plays. But the text, the photos and a work diary remain. I have reviewed everything with the lenses of time and the material has excited me again. In some way, it represents the reflection of a group of desperate and curious creators, not exempt from humor and impatience, who carry out a high-risk staging. This publication is an exercise in reconstruction, reflection and complicity where theater, music, design and photography meet to the rhythm of their respective correspondences.Ítem Reverberar: Arte y acontecimientoColectivo Reverberar; Chaverra Brand, Ángela María; Castillo Ballén, Sonia; Aguirre Sepúlveda, Jannet Fernanda; Benet Domingo, Pilar Isabel; Gómez Varón, Johana Marcela; Galvis Orozco, Nora Gabriela; Puerta Cano, Violeta; Ortega Urrego, Jennifer Johana; Tejada Pérez, Valentina; Montoya Rodas, Andrea; Cardona, Marcela; Rodríguez Ortiz, Linna Carolina; Piedrahita Quiceno, Sebastián; Rodríguez Silva, Angie Andrea; Arroyave Barco, Karen Andrea; Iral Múnera, Carlos Sebastián; Benet Domingo, Pilar Isabel; Jaramillo Ramírez, Carlos Mario; Colectivo Artístico El Cuerpo HablaBook resulting from research, from the call Invitation to present Research-Creation projects in the Arts InvestigARTE 2019. Thematic line of Visual Arts of the National Program for Science, Technology and Innovation in Human, Social and Education Sciences of the Ministry of Science, Technology and Innovation , Ministry of Science, Republic of Colombia. This book brings together a series of writings, the product of the meetings of the Reverberar Collective that took place during the years 2020 and 2021 in virtual mode, within the framework of the Research-creation project Reverberar: Art and Event (2020-2022). Their distribution responds to four major themes, or sensations, that aroused the reading of the texts before the task of finding a narrative that would allow telling the experience of the Collective to carry out its creative and investigative processes around the event, the body, art and performance; in the midst of a global order pandemic situation and national social protest.Ítem Teatro aplicado: cuestiones epistemológicas y estudios de caso(Universidad Distrital Francisco José de Caldas) martinez thomas, monique; Castillo Ballén, Sonia; Pinzón Sánchez, Diana (Traductora); Ait-Ali, Cédric; Astier, Marie; Bordetas Bonilla, Alba; Aussel, Lucie; Descombe, Benoit; Besson, Rémy; Péran, Bruno; Melo Felgueres, Camila; Mayer, Camille; Ferré, David; Tuchowski, Fanny; Garcin-Marrou, Flore; Ramos, Francisco; Laborde, Gilles; Jacinto, Gilles; Morillon, Laurent; Debien, Marie-Christine; Pouget, Matthieu; Plana, Muriel; Ruiz Álvarez, Rafael; VILLALBA LABRADOR, Raimundo; Rodríguez, LinnaIn a country -France- where the field of theater has been culturally structured for decades, Applied Theater is a notion that often appears as an ancillary, in the face of an institutionalized, even mirified, art. On the one hand, there would be the Theater, pure, noble, authentic and on the other, there would be its ups and downs: company theater, theater for personal development, theater for pathologies, etc. If they have the same source, their consanguinity does not stop frightening. How can some artists who create far from any external coercion belong to the same theater family as some actors or directors who "obey" a commission, in a specific context, with an audience that is often workshop participants... are they therefore prisoners, in a certain way, of an instrumented art? To this ethical problem, this book tries to respond, through concrete examples, for a greater intercultural understanding France/ Colombia.Ítem Territorio encarnado: ejercicios de soberanía visual. Visualidades, textualidades y estéticas situadas en la producción artística indígena en Abya YalaRojas - Sotelo, Miguel; Rocha - Vivas; Sánchez Martínez, Juan; Urbina Rangel, Fernando; Gómez, Pedro Pablo; Rojas - Sotelo, Miguel [0000-0001-6129-7782]This text is the result of multiple reflections in which cultivators from the indigenous world of Abya Yala meet in intercultural dialogues. The text is plurivocal, multiple and collective. Its authorship is not unique but communal, It is not possible to write about these phenomena in isolation and, therefore, the body is also compromised, since it is in this way, active and participatory, from where these reflections are produced. It is an embodied, performative, participatory and, in a certain way, liberating reflection that tries to show the emergence of situated forms of cultural production in the indigenous world. With emphasis on visual, audiovisual and textual practices particularly in the Colombian territory, also in other territories of Abya Yala. My personal vision, being an Andean individual who works from an academic institution in the United States —in and out of the region—, particularly interested in the nexus between race, environment and the humanities, is to emphasize three areas overlapping: 1) holistic critical theory (a return to the humanities), specifically the marriage of critical natural and cultural studies; 2) critical pedagogy, particularly the fusion of natural and cultural studies pedagogies, including efforts to recognize teaching as action and expanding the classroom as a field of opportunity and decolonizing the classroom through intercultural encounters and education environmental; 3) cultural renaissance, the struggle for mother earth, cultural and natural conservation, including critical analysis of resource management, relationality, and life cycle assessment. The main task of this vision has been to encourage critical action on, in, of, from and within these three aspects equally. However, in the future, I seek to make an increasing effort to move from ecocriticism to ecoaction, to mobilize (radical) change “on the ground”, by reinforcing work on new and diverse sources of knowledge (the archive embodied), disseminate counter-narratives to the colonial matrix of power, allow human, non-human and beyond-human voices to express themselves openly, in the hope of (re)building communities and possible and dignified places for life. This, of course, is not a small company. In the indigenous worldviews of the Americas, the conception of linear time does not correspond to their vital and relational experience. For the Mayans of Mesoamerica, for example, what is in front is not the future, but the past (the ancestors), what is seen is the experience lived in long-term counts (each long cycle, the baktun is around 394.26 years, 144,000 days). Thus, the future does not exist in the same way that it cannot be seen from behind (Álvarez, 1997, p. 91). The Yucatecan Mayan writer and artist, Isaac Esaú CarrilloCan (1983-2017), in his performance Uj’ (2014), presents this dichotomy. At the start of the event, Carrillo-Can is dressed in urban clothing, makes a movement and with a song (in Mayan) begins to walk backwards, takes out what he carries in his pockets (passport, telephone, watch, money) and leaves a trail on the ground with them. Then, one by one, they abandon their clothing and with it all contact with the Western world. He walks slowly and in space demarcates the four cardinal points (east, lik'in; north, xamam; west, chik'in and south, nohol) while he sings, in Mayan, lullabies (those his grandmother sang) and tells origin stories.Ítem Tiempos migratorios: VIII bienal ASAB(Universidad Distrital Francisco José de Caldas) Benfield, Dalida María; Gómez Moreno, Pedro Pablo; Jurado, Andrés; Gómez González, Adrián Edgardo; Rengifo, Sandra; Benfield, Dalida María; Bratton, Christopher; Fukushima, Annie Isabel; Dizon, Michelle; Angulo Cortés, Astrid Liliana; Gutiérrez, Ana María; Kaisen, Jane Jin; Sondin Kung, Guston; Dalena, Kiri; Ferrera-Balanquet, Raúl Moarquech; Ontiveros, Camilo; Tapia, JavierThe ASAB Biennial is an exhibition that has been held since 2003 in the ASAB Exhibition Hall. It is an artistic event that aims to locate and document the most recent debates in contemporary art, its relationship with local contexts and its repercussions on global realities. This eighth version of the Biennial is carried out in conjunction with the Migratory Times Project, proposed by the Institute of (Im)possible Subjects, directed by Dalida María Benfeld. This collaboration has been made possible by the complementarity of the biennial's objectives with those of the aforementioned project. In this sense, the need we have today to understand the historical context and the current present of the multiple flows of culture, objects and ideologies that cross the countries of the global North and South is evident. Likewise, it is important to investigate the dimensions of gender, race, nationality or class that determine the political actions and forms of production of subjectivity of migrants and/or displaced persons. Also, the dimension of global climate change is a spectral presence that announces itself through "nature" and its catastrophes. The denaturation that is necessary to understand nature is one of the paradoxical methodologies that confront us. These dimensions, which are the result of the reconfiguration of the world order through the demarcation of new borders, new wars, and new violences that update the old violences of all kinds and the injustices that are concomitant to them, become visible as contemporary versions of epistemic, political, aesthetic, environmental, biosocial, race and gender coloniality.Ítem TramasRomero Rey, Sandro; Gómez Moreno, Pedro PabloThe actors line up on stage. Theater directors acquire their tools as attentive spectators. The playwrights emerge from a curious mix between literature and stage practice. For many years dramatic writing was considered to belong to the world of paper, publishing houses, and books. In the 20th century, thanks to all the transformations experienced outside the walls of artistic creation, the text built from dialogues and stage directions is a tool to coexist with interpretation, lights, music, choreography, in short, with the staging. The texts that make up this volume were written in the heat of academic training in the city of Bogotá. HE They were conceived for specific interpreters or teachers, according to their needs and were transformed according to their urgency. Five dialogue pieces were written for students of the National School of Dramatic Art. Three, for workshop Casa Ensamble and five more for different creative moments of the Performing Arts Program of the Faculty of Arts-ASAB. His author, Sandro Romero Rey, has combined his literary and audiovisual work with the labyrinths of the scene and the rigor of the artistic formation. In the pages that follow there are two examples of how one can write based on groups of actors and actresses who are in the process of consolidating a vocation. After thirty years of work at ASAB, Romero Rey brings together here some unpublished examples of his passion for word scenarios.