Maestría en Estudios Artísticos

URI permanente para esta colecciónhttp://hdl.handle.net/11349/2062

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Herederas de troya
Cobos González, Lellar Alfredo; Cáceres Jaramillo, Juan Fernando; Cáceres Jaramillo, Juan Fernando [0000-0002-9971-1704]
Dear Argonaut,From this moment on, you will find yourself inside a small and trans-twisted travel journal—an exploration of gender and transformism through the maricotopic practices of a theater group made up of art-loving amateurs. These performers play with the transition between characters, opening dialogues with the daily confrontations they face in their acts of deconstruction against social norms. They break through the collective utopias of heteronormativity and navigate dystopias with the fierce desire to be and exist in difference.
Las nuevas músicas colombianas como espacio de intercambio cultural: trayectorias, mestizajes y prácticas musicales de la agrupación Kanayas Afro-Chibcha
(Universidad Distrital Francisco José de Caldas) López Vanegas , César Augusto; Niño Morales, Santiago; Niño Morales, Santiago [0000-0002-9415-3512]
This research-creation investigated musical practices and the dynamics of musical identity in the so-called New Colombian Music (NMC) based on the experience of the Kanayas Afro-Chibcha group. It analyzed how the musical styles developed by its three members were interwoven with the cultural practices of traditional gaitas and drums music and chirimía flute bands in Bogotá. From a perspective that combined autoethnography, analysis of cultural encounters from music and musical practice, the difficulties and possibilities of inhabiting popular cultural diversity were explored, as well as the process of redefining cultural and sound fusions in the NMC. The results show that the NMC constitute a field of symbolic dispute in which narratives of tradition and modernity are reconfigured, and that the experience of Kanayas Afro-Chibcha makes sound experimentation visible as an exercise in identity construction and cultural dialogue in the contemporary urban context.
Imaginar y experimentar para habitar el mundo: Una experiencia pedagógica con infancias en el barrio Santafé de la localidad Mártires, Bogotá D.C
(Universidad Distrital Francisco José de Caldas) Morales Leal, Paula Andrea; Bustos Gómez, Marta Lucía; Bustos Gómez, Marta Lucía [ 0000-0001-5355-2536 ]
This thesis constitutes an exploration of the teaching experience with children, focused on a reflection onaffections, emotional impacts, and the emotional implications of the pedagogical act. Through this inquiry, the aimis to "metaphorize" the pedagogical act, addressing it not only as a cognitive process but also as an event thatinvolves an emotional exposure and vulnerability of the teacher, as they make themselves open to the unfolding ofthe experience. Additionally, it proposes the integration of artistic practices not merely as a didactic tool, but as aspace for encounter and reflection, where affections and emotions play a fundamental role in shaping theeducational experience.
Estallido corporal de 2021 en Colombia
Novoa López, Lorena; Morales López, Pedro
This research reflects on Colombia's 2021 social uprising from the perspective of artistic studies, employing the junctural analysis methodology proposed by Hugo Zemelman and Herbert De Souza to examine the bodily movements and artistic practices that emerged during this period. The investigation structures the uprising into three bodily mo(ve)ments: In crescendo, Descenso, and Reducción, tracing how mobilized Colombian youth experienced a process of political subjectivation through predominantly spontaneous repertoires. Through testimonies from the Transfeminist Marikón Resistance Front and experiences in the Barbukana percussion ensemble, the study demonstrates that artistic practices transcended the mere "embellishment" of protest to become disruptive exercises of political praxis where spontaneity functioned as a creative moment. The work concludes that during this conjuncture, a field of possibilities opened for the democratization of artistic production. It proposes continuing to conceptualize the body as a political laboratory from a symbiotic perspective that emphasizes the defense of life in all its forms, overcoming frameworks of war, androcentrism, and cis-normative gender production.
De la colonialidad en la escuela a diseñar la escuela como práctica de emancipación: reflexiones desde la praxis educativa y los estudios artísticos
(Universidad Distrital Francisco José de Caldas) Vásquez Coronado , Nohora Lorena; Gamboa Medina , Alejandro; Gamboa Medina, Alejandro [0000-0002-3395-2636]
This research-creation presents the experiences, reflections and proposals that arise from the aesthetic and phenomenological problematization of the practice of being a Social Sciences teacher throughout my trajectory in some basic and secondary educational contexts in Bogotá. Here, the role given to narration from a biographical and experiential perspective reveal, through gestures, corporalities and affections, the center from which alternative routes will be explored that enable thinking and agency for the decolonization of being in school contexts through a permanent reflexivity on the everyday practices found their in. In this way, it aims to interrogate the existential implications of the profession of being a teacher and the ways in which relationships between people are woven in school contexts, In order to generate educational spaces that point towards emancipation rather than domination. The research-creation is based on findings that in the educational institutions where I experienced my teaching practice, a series of practices operate which demonstrate the existence of a colonial power matrix that perpetuates and cooperates in maintaining strongly hierarchical relationships aimed at the domination of being through a technology referred to here as routinization, limiting the autonomy, fullness, and creativity of students and educators. In light of this panorama, Artistic Studies present themselves as an option from which to problematize experience, which in turn allows for challenging and interrogating these normalized colonial practices in school contexts. Furthermore, the proposal stands out for its focus on emancipation as a possibility and not as a utopia. It offers a critical and dialogical vision of education that invites a rethinking of the roles of teachers and students in schools, thus serving as a reference for other teacher-researchers who seek in education an option to transform themselves and to transform the legacy that coloniality has left in school contexts in a society like Colombia.
Mirada prismática: múltiples posibilidades fotográficas en el contexto de explosión social
(Universidad Distrital Francisco José de Caldas) Gómez García, Diana Carolina; Diez Marulanda, Jhon Alexander
This research presents and reflects on the specific features of the creation and composition of a series of photographs that proliferated during the social protests at the end of 2019 in Colombia, Ecuador, and Chile. These images are grouped under a form of enunciation referred to as “photography in the context of social outbreak,” focusing on the photographic records of Luis Carlos Ayala in Colombia and Eric Allende in Chile and Ecuador. The study explores the possible distinct elements and characteristics of these images through a methodological metaphor called the “prismatic gaze,” which enhances multiple perspectives derived from the photographic act as a relational action. Using the prism as a metaphor, a visual archive of 432 photographs is systematized and analyzed from three facets or viewpoints: thematic recurrences, composition, and chromatic sensitivity. These angles come together to reveal how the photographers’ ethical and aesthetic decisions, combined with the immediacy and fleeting nature of the social outbreak during the protests, shape the creation of the photographs and, consequently, generate alternative narratives as an act of visual resistance.
En búsqueda de un nos-otras. Tejiendo la resignificación de ser mujer en mi familia, con una madeja de duelo y memoria
Giraldo Moreno, Yutcy Dayana; Garcia Schlegel, María Teresa; Garcia Schlegel, María Teresa [0000-0002-0744-7011]
This document studies the reflections on the conception of love as a unique way of feeling, perceived as an ideal that configures the ways of being a woman in my family. It explores how this term, known in the theoretical field as “romantic love”, contributes to the construction of identity and permeates the daily lives of these women. However, the main objective of this study is to recognize the diverse forms of love experienced by the women in my family. It considers an emerging universe of labors and practices that demonstrate that love is not simply a noun, but a verb that manifests itself in diverse ways, impacting the corporealities (Ballén, 2015) of these women and making possible the creation of new dreams and goals.
CONSTRUCCIÓN ESTÉTICO-SENSIBLE DE LA CULTURA EN EL TERRITORIO RURAL DE LA VEREDA PUENTE DE PIEDRA DEL MUNICIPIO DE MADRID-CUNDINAMARCA
CASTILLO RODRIGUEZ, SANDRA PATRICIA
The research proposal, explores, interprets and understands the everyday aesthetic, in the rural community of Stone Bridge Township Madrid-Cundinamarca path, opening the possibility to understand the everyday aesthetic, from the perspective of a researcher who approaches and integrates the community to bring forward the opportunity to be together, in a theoretical approach that builds society, turning attention to everyday aesthetic practices, which are able to influence decision-making and community identities, making the study of aesthetics a political framework in which the aesthetic effects break the habit of repetition, to cause movement of the academic, cultural and morally accepted as aesthetics, was the vernacular aesthetics of everyday life and generating community and culture. for subsequent investigations open the way to generating art education curricula targeted at rural populations in similar land conditions.
Entre quimeras y realidades: acercamiento a una contragenealogía del cansancio contemporáneo: la sirena por fin grita.
(Universidad Distrital Francisco José de Caldas) Martínez Plazas, Lina María; Cáceres, Juan Fernando
The project presented below is based on a research-creation model proposed by the Master’s program in Artistic Studies at the Universidad Distrital Francisco José de Caldas. It outlines reflections derived from my experience with exhaustion, an emotion I describe as the main manifestation of an internal time bomb that my body, mind, and spirit have felt for years. This process challenged my well-being and led to a research study on my own fatigue, as well as that of five women close to me. It examines how exhaustion arises, how it alters our lives, how it encapsulates our agony, and, most importantly, how it creates a need for intervention to alleviate this exhaustion. Thus, questions arise such as: What is exhaustion and why does it occur? What are the main reasons why the contemporary world faces mental health issues? These questions intersect with the research focus of the Master’s program, exploring artistic writings and transdiscursive pleasures. The methodology employed involves creating a counter-genealogical archive of exhaustion through personal fanzines. With these fanzines, I aim to generate new ways of creating and distributing academic knowledge, based on personal reflections and life experiences related to exhaustion.
Metáfora del grito como proceso de sanación: la búsqueda a la salida de la subalternización
Mora Gómez, Diana Maryory; Esguerra Muelle, Camila; Esguerra Muelle; Camila [0000-0002-6600-0324]
This work delves into a personal and academic journey exploring the metaphor of the scream as a process of healing and liberation from subalternization. Throughout the text, I reflect on the struggle with societal expectations and the weight of being a woman and a premature mother. Through insomnia and emotional pain, I discover the scream as a metaphor for the struggle to express and release repressed emotions. The methodology of this research explores the concept of "duologue" as an element involving the emotional interaction between two people to explore and heal sensitive experiences. This duologue becomes a vehicle for delving into the emotional cracks and the boxes that confine our experiences. Through the interaction between the duologants, a space is created for genuine expression and the exploration of emotional and sensitive themes. The aim is authenticity and connection with the viewer on a deeper emotional level. The text reflects a journey of self-discovery and healing, using the metaphor of the scream as a tool to break the silence and connect with personal and collective authenticity.
Javier a través de Cris, Igor y Migue
Olaya Sosa, Javier Mauricio; Diez Marulanda, Jhon Alexander
This research focuses on analyzing and reflecting on my affective bonds with Cris, my sentimental partner, Igor, our non-human animal companion, and Migue, my former student, the three of them in relation to my artistic practices, understanding them as a whole, where I do not conceive of a separation between life and art. Through an ethnographic and autoethnographic approach, complemented by creative approaches, I seek to situate how my artistic practices are intertwined with the affective manifestations and daily sharing with Cris, Igor and Migue, and how these dynamics have influenced my identity construction. This creation-research doesn’t work creation as a final product, but rather proposes everyday life as the artwork itself. Through an analysis of political and relational aspects, this research is aligned with the Cultural Studies of the Arts Research Line.
Una infancia perdida
Barragan Rodriguez, Dayana Katherinne; Castillo Ballen, Sonia; Castillo Ballen, Sonia [0000-0001-7044-1889]
This research-creation project gathers, through genealogy and a dramaturgical creation proposal, the experience of lost childhood within my family. This experience manifests as a recurring theme across three generations, interrupted only in my own childhood. The genealogical study involved interviews and the examination of family documents and photographs. The process of theatrical creation, stemming from this research-creation, employed elements of absurd theatre alongside my own experiences as an actress and playwright. Throughout this process, I uncovered that lost childhood is a recurring condition in economically, socially, and culturally vulnerable communities, where children must sacrifice their childhood for child labor and to support their families. This thesis draws on theoretical frameworks from critical studies of performativity, delving into the intersubjective aspects shaping the childhood experiences, particularly within the life histories of three women: my mother, my grandmother, and myself. I discovered that the loss of childhood, due to children assuming responsibilities to meet basic needs and ensure family survival, is an experience of confinement. This confinement unfolds in limited spaces such as rooms, chambers, cubicles, or boxes. This work pays tribute to the struggles undertaken by these three women for the survival and future of their children's lives. The experiences of children during the current stage of capitalist development, which has deeply marked Colombia since the 1950s, diminish the possibility of fully enjoying childhood. Furthermore, it has subjected women to conditions of permanent migration, prostitution, forced labor, starvation-induced abortions, and poverty. The confinement of children as a protective measure and the continuous, extended caregiving work imposed on women make their lives incredibly challenging to bear.
El viaje que no se hizo. Una des-composición de las prácticas dancísticas
Duarte Castro, Leidy Constanza; García Schlegel, María Teresa; García Schlegel, María Teresa [0000-0002-0744-7011]
This work aims to explore the rupture I experienced in my dance practices, both in my artistic and professional life, which arose when reconstructing the journey I did not take due to my pregnancy. Additionally, I seek to decipher this rupture and recognize it as a common experience among dance artists in my environment. The passage through the Master's Degree in Artistic Studies has demystified the dance field and revealed what is not visible on stage. It served as the catalyst for understanding certain logic and practices in dance: representations, ductus, training, techniques, identities, and aesthetics. These insights shed light on the invisibility of motherhood in this field, self-exclusionary decisions, and their relationship with other contexts, such as academia and everyday life. Through layered narration, I share personal stories and life experiences of dancers who are also mothers. These narratives highlight fundamental themes that, although subtle and sensitive, are often normalized and hidden. Therefore, this work is proposed as a subject of debate and reflection, aiming to contribute to constructing more inclusive spaces within the artistic environment.
El artista cegatón
Silva Bustos, Jhosed Nicolas; Morales López, Pedro
This document studies the creative-artistic work of short-sighted subjects (living with low vision or very low vision), the origins of such condition, their development contexts (family, professional), to analyze the creative potential that emerges, individually, in each of these subjects, considering how low vision can lead to unique forms of perception and artistic expression, how these forms can enrich our understanding of art and creativity. We reflect on the construction of knowledge from the sensitive and the sensitive from the experiences of blind people as an invitation to reconsider such notions, as well as to value more the forms of knowledge that are based on the senses and emotions.
La teatralidad en los espacios expandidos: emocionalidad y sensibilidad del “quehacer teatral” en una mirada interdisciplinar desde la pandemia
Bernal Pabón, Angela Cristina; Niño Morales, Santiago
This Project, which began as a personal concern about the creative practices of Theatre during the lockdowns of the pandemic, expands, stretches and contracts around the events, experiences and testimonies of other Theatre agents who, like me, experienced the need to create, learn and live Theatre in these times when digitality gave us permission to be together, to gradually return to the theatres, to continue making theatre. Here I approach some thinkers of the performing arts that allow me to question the classic concepts of Theatre and review these experiences during the pandemic to understand if what we were doing was Theatre or not, if by connecting by creating and agreeing on theatricality we were expanding the academic concepts of practices or it was just a fleeting moment. I review this collective journey that included many human emotions and that rethought the way of doing Theater, I review the changes that this brought and what remained as well as what only appeared for a moment through people from the Theater who through talks shared their experiences and feelings and thanks to what I lived with the companies and collectives with whom I worked during the pandemic as a professional of the plastic and visual arts in art direction, set design, characterization, props and lighting design for Theater. The Theater is trans and interdisciplinary, it goes to other areas of knowledge and knowledge to materialize its scenes, this became more evident during the pandemic, since we found ourselves with learning challenges to be able to put the Theater to inhabit virtuality and digitality in a way that, although forced, was daily in those days. From this review today I know that resources such as live broadcasts, video casting, trailers of works for marketing, virtual meetings and Theater records are here to stay. We have changed as people, we have changed as professionals, our tasks and our practices have changed, but this is the essential dynamic of human beings and their cultures. Link to the documentary that accompanies this Research – Creation https://youtu.be/pD9c_6l3CSg
Tendedero de la Memoria
Vargas, Erika Johana; García Schlegel, María Teresa
Crecí rodeada de una diversidad musical que iba desde los sonidos andinos, tropicales, baladas, cumbias y música clásica, que mi madre compartía conmigo, hasta los ritmos del Pacífico que mi padre aportaba. Mi hogar estaba lleno de instrumentos: timbales, congas, bongós, clarinete, trombón, teclados, entre otros, lo que despertó en mí un profundo amor por la música y la literatura creIwuaju ATIva. Sin embargo, a pesar de estar rodeada de música, mi padre me negó la posibilidad de desarrollarme como mujer en este ámbito. En lugar de aprender a tocar instrumentos, me enseñaron primero a planchar camisas y a limpiar la casa, reforzando roles de género que limitaban mis aspiraciones. Desde pequeña, supe que era lesbiana, o como me decían mis hermanos, "machorra" o "marimacho", apodos que cargaban burlas y estigmas. Era la "negrita" de la casa, una identidad que aún mantengo, pero ahora más arraigada en lo que amo y en quien soy. A pesar de las limitaciones impuestas, encontré en la música una vía de escape y resistencia. Fui parte de una banda de ska-punk y de una batucada lésbica, donde ser lesbiana y activista me permitió fortalecer mi autonomía y explorar esos espacios donde puedo reconocer mi identidad negra, de la que nunca se me habló y que tanto me costó comprender. Mi viaje artístico y político me ha llevado a abrazar múltiples identidades: soy insurgente, racializada, lesbiana, mujer popular del sur de Botá, Kulumbia. Estas etiquetas, lejos de limitarme, han forjado mi camino como artista y activista, o como me gusta llamarlo, "arti-vista". Mi cuerpo, mi vida, y mi lucha pasan por esta multiplicidad de ser, lo que hace de mi existencia una acción política en sí misma. Este proyecto de investigación-creación, que realizo para obtener el título de Magíster en Estudios Artísticos, nace del transitar entre la calle, la casa, la música, la escuela, la academia y las batucadas. En este trabajo, exploro mi experiencia como mujer del sur de la ciudad, Botá, una investigación que se enraíza en mi vivencia personal y donde me reconozco y me nombran desde una corporeidad lésbica, racializada, periurbana, y como "ñera ilustrada". A través de esta investigación, analizo mi relación familiar, mis vivencias y la manera en que la sociedad nos impone a las mujeres una única forma de existir, alineada con la construcción blanco/mestiza, heteronormada, hegemónica y universal. En el ámbito de las artes musicales, estas imposiciones se traducen en la relegación de las mujeres a roles subalternos, donde deben ser dóciles, cosificadas y muchas veces marginadas por ser insurgentes y artistas. Las violencias que he vivido, que van más allá de la identidad y género, han marcado mi estética y mi cuerpo desde niña. Estas violencias estructurales las he combIwuaju ATIdo desde mi vida como artista, feminista, racializada y lesbiana, respondiendo a mi resistencia. Mi historia de vida, marcada por el género, las artes y la lucha por la paz, encuentra un lugar central en esta investigación. Este proyecto se nutre de mi participación en el programa "Promover la igualdad de oportunidades y derechos para las mujeres en el proceso de reincorporación económica, política y social de Reincorporación", donde busco contribuir a la paz desde las artes y el enfoque de género. Aquí, la Hora Cultural se convierte en un espacio de resistencia y esperanza, donde las artes no solo embellecen, sino que construyen paz y transforman realidades.
Máquinas de silencio contenido. Engranaje que estabiliza
Castañeda Mejía, Melissa Daniela; Cáceres, Juan Fernando
We live in a world ensnared by the rush of productivity, shaped by mass media, and as a society burdened with a history steeped in violence. We have learned to fill voids, cover cracks of loneliness, and navigate the noise pollution of our lives with words. In this relentless pursuit of temporal control, multitasking beings ultra-positive individuals grow under the pressure of constant accomplishment. This perpetual struggle entangles us in a loop of activities, causing us to lose awareness of our breath. The approach to the silence of words, gestures, and movements is scarce; silence has been relegated and is now lived according to necessity. Faced with an excess of noise, sound, and words, there arises an anxiety about plunging into overwhelming silence. This text presents an analysis of three types of silence: aphonic silence, dysphonic silence, and symphonic silence, interwoven with different types of breathing: dyspneic breathing, apneic breathing, and deep breathing. I will propose immersing ourselves in recognizing the importance of silence-space, breathing, water, and vibration to establish communication with our inner selves. This communication encompasses thoughts, words, and actions, becoming a starting point for establishing communication with the external world. Finding peace and calm in a world contaminated by noise, this emphasizes that we are vibrations that resonate, share frequencies, and can adapt to generate a more conscious life in the use of sound and silence.
Murales expandidos
Bernal Riaño, Sebastian; Pinzón Ramirez, Maritza
The text "Expanded Murals" examines the practice of community muralism as a means to democratize urban spaces and foster subjective experiences within the city. The main thesis centers on the transformative power of community muralism and the redefinition of the relationship between individuals and their urban environment. Through a combination of artistic expression, social commitment, and historical reflection, muralism emerges as a vital tool for reclaiming public spaces and amplifying the voices of marginalized communities, thereby promoting a sense of belonging and empowerment in the city.
Tras mi payasa o la manera cómica de aceptarme y valorarme
Hernández Guerrero, Dora Bibiana; Garcia Schlegel, María Teresa; 0000-0002-0744-7011
“Beyond My Clown: Exploring the Duality of Being a Woman and an Artist” is a transdisciplinary research-creation project that employs methodological approaches including autoethnography, ethnography, genealogy, performance, and clown techniques, as seen through the lens of Clownetnography (King, B., 2017, p. 28). This project investigates the duality I face as a woman and artist, specifically the tension between being a mother and being an actress, and reveals the meanings of success associated with these roles. These meanings are shaped by societal norms and academic expectations regarding success in my environment and artistic training. Through these methodological and transdisciplinary resources, and by writing and reminiscing about my experiences during my undergraduate education and my professional and artistic career, I recognize writing as a form of research. This process leads to the development of a personal creative path for discovering and utilizing the comedic resources of my clown persona, resulting in a practice that is emergent, creative, distinctive, and feminist. In this exploration, the language of the clown is revealed as a crucial tool, described by Barnaby King as Clownetnography, which coincides with the discovery of the Colombian Clown Network. This network serves as a platform and research space for female clowns, providing me with the validation and confidence to explore new artistic expressions.
Mujer diosa. Autoficción, petroglifos y performance: la herencia ancestral de una familia integrada por mujeres.
Neira Alvarado, Diana Neira; Corredor, Andres
The present study is born from the interest in placing myself in a place in research in the arts; discover my roots in my existential evolution, the legacy of my family's memory and the impact that my place of origin had at the beginning of my career and my vocation as an artist. For this reason, I set myself the objective of making a sensitive approach to some petroglyphs from Cundinamarca as archetypal expressions of human worldviews and self-fiction based on the ancestral memory of a woman belonging to a family made up of women, in order to create an artistic dance expression or performance. For this, first of all, I identified, in some Cundinamarca petroglyphs, the archetypal content of human worldviews and their potential for the representativeness of dance art. Secondly, I reconstructed, from recollection exercises, the ancestral memory of my family made up of women, this as a basis for the creation of an autofiction text; finally, create an artistic dance expression or performance, based on autofiction and its sensitive relationship with some petroglyphs located in Mesitas del Colegio, in order to highlight ancestral and family memory. The methodology that I used was, on the one hand, to make a life story where I capture key moments in my training as a person and as a professional; On the other hand, I made a visit to several municipalities of Cundinamarca, especially Mesitas del Colegio, where I grew up; This tour helped me to complement the life story, but also to have a sensitive encounter with the petroglyphs of the area, a fundamental input of this proposal; Based on this, I narrate an autofiction, which serves as the main element for the performance.

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