Arte Danzario
URI permanente para esta colecciónhttp://hdl.handle.net/11349/26
Examinar
Envíos recientes
Ítem Somos "De la dualidad del moralismo"Baquero Alonso, Ingrid Geraldine; Ospina Espitia, Martha Esperanza"Somos: The Duality of Moralism" is a duet performance that explores the fusion of various dance languages, including salsa, tango, sexy style, and acrobatics, with contemporary dance serving as the connective thread. Contemporary dance facilitates movement across and transformation by other techniques. This work is the result of a creation and research lab aimed at addressing complex social issues such as corruption and morality, creating a piece with a critical character. Somos reflects a society that normalizes mere survival rather than living fully, where injustice and double standards become a commonplace landscape, and corruption is embraced as a way of life.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 Entretejer : una oportunidad para explorar el campo laboral en la Fundación Artística y Cultural Donaldo Lozano MenaVidal González, Lina María; Guzmán Urrego, Edwin ArmandoThis document contains the internship report of student Lina Maria Vidal Gonzalez with which we wish to share the process where the internship was allowed to develop with active participation in the Donaldo Lozano Mena Artistic and Cultural Foundation. In which, through the use of the knowledge acquired in the Dance Art Curriculum Project of the Faculty of Arts ASAB of the Francisco José de Caldas District University, it was sought to support the processes of training, administration, circulation and cultural management, as preparation for working life.Ítem Propuesta de diagnóstico y aplicación de los conceptos técnicos del ballet a las danzas de proyección en Danza KapitalCarrillo Romero, Karenn Milena; Orjuela Parrado, Dorys HelenaThis summary addresses the development of physical qualities in students of the Danza Kapital company, following the aesthetic principles and guidelines of classical dance, in interaction with folk dances. To achieve this objective, the implementation of psychomotor diagnostic tests is proposed to identify the main needs of the participating groups, pre-infant from 3 to 8 years old and youth from 15 to 20 years old. Based on these tests, a work scheme will be structured based on specific methodologies focused on the appropriation of technical concepts of Ballet, as well as the implementation of pedagogical strategies that facilitate the teaching and learning process. These methodologies, focused on the implementation of Ballet as a tool for the development of physical qualities, will be used as a crucial support for the formation of body awareness and the stylization of movement, thus contributing to the development of proprioceptive skillsÍtem Hasta abajo sin miedoBedoya Rodríguez, Laura Yuliana; Leon Bohorquez, Diana Lucia; Leon Bohorquez, Diana Lucia [0000-0002-7338-424X]The creation of the first twerk play in Bogotá "Down without fear" was created by Laura Yuliana Bedoya Rodriguez, director and founder of Subverbooty, the group that serves as the main cast of the play. Made up of diverse people in terms of gender, age, profession, and ideals and who in twerk have found a safe place of expression in the face of different episodes of physical and/or psychological attacks that they have gone through with respect to their body and their movements. This group approaches twerk as a place of enunciation of diverse bodies, capable of expressing through the movement of the hips and buttocks the enjoyment of this dance, giving value to the discovery and appropriation of its sensuality and eroticism, promoting a safe space for those bodies. who seek a place of recognition and practice of this technique, with the aim of bringing this dance out of the clandestinity caused by its stigmatization, inhabiting and proclaiming the place that has been denied to us in society, even in public spaces.Ítem Informe “La danza contemporánea como instrumento para fortalecer las habilidades interpretativas y creativas en bailarines de la escuela salsa y ritmo latino.”Hernandez Romero, Luisa Fernanda; Lopez Molina, Dora Inés; Lopez Molina, Dora Inés [0000-0002-2967-1487]Within the field of multiple dance has been the research that addresses the study of methodologies to strengthen creative and interpretive skills in a dancer. Each research has sought to establish a route that allows finding answers or findings for the dance practice in order to enrich the theoretical and practical inputs for artists. Now, within dance there are multiple dance styles and in turn these enjoy different qualities, each one focuses on strengthening certain specific skills both at the interpretive level, physical and creative for each case, That is, each one has a question or a search within the interpretation and each dancer has the opportunity to travel through each of these genres and find in them a mythological richness to strengthen as an artist. The above approach, is part of one of the findings found in the development of the present internship in which there was a constant search to establish and build a methodology guide that would enhance the interpretive and creative skills in a group of salsa dancers, making use of the research and study that has been carried out throughout history in relation to contemporary dance, as well as my experience as an undergraduate student of the curricular project Art Dance of the ASAB Faculty of Arts. Throughout the research, different approaches were proposed for this group of dancers with different ages, levels, and dance experience; all of the above making use of different practical theoretical concepts of both genders (salsa and contemporary dance). And in turn these routes generated new states of body consciousness and theory in the interpreters addressed. The proposal presented here shares some of the proposed ways to intervene in the dance processes in which the practice or execution of a particular dance genre predominates; all this making use of dialogue between techniques and self-discovery, to generate not only a growth of the individual as an artist and as a person, but also an enrichment of the investigative line of dance, and an enhancement of its role as intervener and builder of social knowledge.Ítem El adulto mayor inmerso en la técnica del balletJiménez Torres, Laura Sofia; Cárdenas Garzón, John MarioThis internship report contains the results of the analyses carried out and some questions about the experience lived in the Colombia Amiga Folk Dance Company directed by maestro Gustavo Malagón, who aims for a more technical development of his dancers and a projection of their dance art. In this space, the intern was allowed to carry out her work as a ballet teacher for the senior group (older adults).Ítem Un viaje al interior del serAlba Casallas, Laura Valentina; Martínez Medina, Carlos AndrésStyle, poetic, nucleus of dramatic conviction, staging goal, image dramaturgy and other various mystery and horror scenes, are analyzed and covered from a very intense and conscious observation through my point of view as direction’s assistant in the Antigona’s (elegía) production and circulation process, on its dancistic and voiceless version. It is looking forward to understand how this concepts may be fundamental when you are starting a creative process, specially when you are a novice creator, contributing to the process of methodologies of creation belonging to the studies group “Circular, saberes y prácticas danzarias” (Circular, knowledges and dance practices), lead by the master Carlos Andrés Martínez.Ítem Del estigma a la admiración el Pole Dance como practica de reivindicación y empoderamiento femeninoTriana Vásquez, Monnika Lucia; Ospina Espitia, Martha Esperanza; Ospina Espitia, Martha Esperanza [0000-0002-6555-0180]The following monograph seeks a correlation between the history of Pole and the real testimony of female empowerment that 4 women experienced in the city of Bogotá from the laboratory called Pole Dance for Life; which took place over 8 weeks with 16 sessions; where these women were analyzed, from field diaries, logs from their descriptive narratives, initial interview and videos in order to argue why POLE DANCE empowers women and vindicates them.Ítem Y el rave en tablasLópez Delgado, Nicolás Alejandro; Martínez Medina, Carlos AndrésThe report presented is developed in order to find an appropriate methodology for the creation of a workshop and to strengthen concepts such as the qualities of movement (time, flow, space and force) which are part of the curriculum for dancers in the Faculty of Arts ASAB of the Universidad Distrital de Colombia, specifically with the collective Corpus Novum through a culture little studied in artistic terms and in the field of dance as is the Rave and electronic music. In this way, a working time with the collective of 2 hours during 6 days is proposed, and during this time specific exercises are developed, as a result of a table work in the rave events and inquiries made to participants of these parties. By means of studies carried out by Rudolf Von Laban as the theory of effort, results of the movement of these parties are obtained, which we take advantage of and investigate with the group emphasizing those qualities of the movement that prevail in these events. In the same way from the musical support and specific elements of this culture, it is possible to have the ability to understand the content of these parties, creating a festive and enjoyable atmosphere to enter into the ritual of the rave. Thanks to this process I find new routes with which to arrive at established concepts through the analysis made to a "free" culture not only in the studies but in its movement and in its way of thinking, giving way to a workshop based on the Raves.Ítem Corpografía de los afectos como metodología de construcción en danzaRoa, Julián; Williams, Corin; Martínez Medina, Carlos Andrés; Martínez, CarlosThis research-creation project was developed in the Circular Knowledge and Dance Practices Research Group, where seven students participated as performer-creators, collaborating in a joint construction process. This process aimed to integrate emotional and personal experiences with tools provided by technology. Our research focus centered on the description of the methodology, considering it a fundamental tool for the development of methods in the creation and construction of academic dance. During the research group, we identified that the description of prior and personal knowledge served as the foundation for developing the creation method that guided each of the physical-emotional laboratories and the exercises proposed in the creative space. Through these laboratories, we discovered how our personal and emotional experiences not only facilitated but also enriched and inspired new forms of creation in our process. This realization led us to pose the question: Why is it crucial to describe the construction method in detail in a research and creative process in dance? As performer-creators, we aimed to clarify, highlight, and describe the methodology that emerged as appropriate for our research process, incorporating our personal experience. This resulted in an effective organization of emotions and choreographic products that emerged in each session, developed in parallel with the creation method proposed by three key authors: Jerzy Grotowski, Konstantin Stanislavski, and Pina Bausch, who explored the construction of the physical, emotional, and sensitive body of the performer for theater and dance.Ítem Salsa y control: donde la danza clásica y la salsa convergenRestrepo Ordoñez, Angie Katherin; Eljaiek Avendaño, Hernando JoseNowadays, Latin rhythms are avant-garde in dance championships around the world, which has been encouraging high levels of practice and education. Versatility and awareness to execute are essential within the current bodily demands of dancers from various techniques. Ballet and Salsa are two dance genres with different origins, however, from a technical perspective and considering the evolution of both throughout the years, they both meet at the interpreters’ performances when searching for body stability and technical execution, according to settings’ demands. The following work shows evidence from the creation process of seven salsa choreographies, performed by nine dancers at an international championship context. This project was developed by a Training Laboratory, designed to integrate Ballet technique and Salsa dance technique. The methodological approach for this process was a qualitative assessment about the dancers’ individual performances, through participant observation, aiming to identify the development of the dancers regarding versatility and body awareness.Ítem El Power Break como técnica para la prevención de lesiones de rodilla en bailarinesBeltrán Parra, Katherine; Jara Ramírez, Ana ManuelaThis degree thesis proposes a training for dancers, which mixes elements of the Urban dance style Break Dance and body conditioning training Pilates. She develops a somatic dance practice called Power Break and which has as its purposes to contribute to the well-being of dancers and prevent knee injuries through the strengthening them. From Break Dance the principles of Toprock1 are taken , Footwork2 , Power Moves3 ,Freezes. 4 This training method is chosen since it brings many benefits to the dancer; because this dance uses the whole body, works resistance, strength, creativity and dissociation bodily. In relation to the Pilates technique, the following principles are considered: breathing, control, concentration, fluidity of movement and centralization to develop experiences from the sensation and awareness of the body, in order to enhance learning of dance and provide tools to the dancer for their body strengthening. To verify that the proposal of this monograph effectively contributes to the strengthening of the dancer's knees, two evaluations were made before and after the training, which yield quantitative and qualitative data that are analyzed to find the impact of this technique on the physical abilities of the dancer.Ítem Huellas de soledadHuertas García, Janis Alejandra; Vélez Jaramillo, Juan David; Eljaiek Avendaño, Hernando JoséThe present inform of interpretation - creation of "HUELLAS DE SOLEDAD" in English "Traces of Loneliness", a short film that unites dance, acting and digital tools. Its purpose is to dramatize the psychological and emotional alteration of a woman in her life after displacement and upon returning to her origin. Constantly reliving memories of the armed conflict generates grief, guilt and loneliness. But new meaning must be discovered from those memories to achieve resilience, calm and hope. Terms that the Colombian population needs.Ítem La ética de creerCorredor Ramos, Daniel Esteban; Rozo Hurtado, Natalia Natalia; Martínez Medina, Carlos AndrésThis creation process is added to the research developed within the framework of the CIRCULAR SABERES Y PRÁCTICAS DANZARÍAS (CIRCULAR KNOWLEDGE AND DANCE PRACTICES) seedbed, which was under the direction of Carlos Martínez, and where an exploration was carried out from the perspective of the body as a creative composition. In the seedbed we were playing different roles throughout the construction of the work, "La Ética de Creer" (The Ethics of Believing). From this, our particular interest in investigating the impact and role that affects have in the creative process, focusing on the conception of the body as a means to compose dance works. From the role of interpretation arises a constant conversation with our body, which leads us to examine in depth how emotions, feelings and affective states influence the gestation, composition and evolution of a choreographic piece. Our degree work is based on a qualitative approach that combines theoretical analysis with the practical experience of the dancer-performer as creator-choreographer in the staging of this specific work. Various theories on the relationship between affect and artistic creation are examined, as well as key concepts around the body as a site of expression and communication. This work offers an enriching perspective on the role of affect in the construction of the dancer's interpretation in the work "The Ethics of Believing", emphasizing the importance of the body as a channel for artistic expression and composition.Ítem Informe de pasantía: “El relato del gesto en la danza tradicional colombiana: didácticas para el entrenamiento físico e insumos para la configuración del gesto corporal en bailarines de la tercera edad”Garzón Morales, Diana Carolina; Guzmán Urrego, EdwinThe present internship report, presented as Dance Art graduation project, traditional folk dance specialty, is a pedagogic module-stipulated model for the physical training of elderly traditional folk dancers. The scope group were the elderly dancers that are part of Centro Cultural Bacatá'sdance school.Ítem De Cuerpo Presente: El cuerpo como archivo de recuerdos y memorias para la creación de una puesta en escena de Danza-TeatroRamírez Ordóñez, Luis Fernando; López Molina, Dora Inés; 0000-0002-2967-1487The investigation-creation Present body – The body as an archive of memories and remembrances to make an artistic creation in dance-theatre is an autoethnographic work that explore the body as a dispositive full of memories and remembrances that build it as a human being, revealing concepts such as memory, the cyclical, past events and own narratives form the performer to make and artistic creation. This works occur from and investigation, based on texts about the main topics already mentioned, a creation laboratory and the creation itself that provides the solo piece De cuerpo presente (The embodied mind). Some of the topics in this investigation are: memory, archive, body-archive, striptease, go-go, the body as an experience of life, the myth of Sisyphus as a stretch relation in the vision of the life cycle and the application of techniques focused on dance-theatre such as: limón, ballet, improvisation, body and voice, stretching, gaga and the elements in the relationship between body-object.Ítem El efecto que tiene la danza contemporánea en un bailarín de danza folclóricaRamírez Ballesteros, Wendy Tatiana; Orjuela Parrado, Dorys HelenaThis work observes and analyzes the skills that contemporary dance brings to folkloric dancers. The main motivation to develop this project comes from a personalinterest in a dialogue with contemporary dance and folkloric dance that have been part of my personal, artistic and professional training, connecting the appropriate knowledge during my time at the Faculty of Arts ASAB where I have evidenced from my bodyexperiences the transformation thatmy body and my dance have had, my interpretation and my position towards dance as a place of enunciation from contemporary dance, that is why this project focuses on bringing folkloric dancers closer to some body experiences proposed by contemporary dance to enrich their knowledge and enhance their skills for abetter performance in their execution and interpretation,taking into account that contemporary dance has concepts, emotions, sensations and tools that provide the dancer for the staging, for their movement and their way of thinking and doing dance.Ítem El Bullerengue: práctica inmersa en la reflexividad emocionalAlfonso Lozano, Viviana Carolina; Morales Rodríguez, Yudy del Rosario; 0000-0003-2859-2717This work seeks to explain the internship process conducted by two students of the Danzario art curricular project, from the Distrital University, Francisco José de Caldas, ASAB arts faculty, linked to this project from the internship modality as degree work and who develop workshops from their knowledge and appropriate learning in the undergraduate process. The internship takes place within the district education framework of the city of Bogotá, at the educational institution, Colegio Juan Evangelista Gómez located in the 20 de Julio neighborhood, specifically with the sima group, made up of young people from 13 to 16 years old, a job in which pedagogical and experiential accompaniment was carried out through awareness raising and bullerenguera practice, as a conduit to generate processes of evocation of experiences and emotional reflections, from the corporal penetration, which allows it to overflow to the students of the collective, feelings, that they can be communicated in a dance way and thus improve relational aspects with their social environment.Ítem Experiencias como intérprete bailarina en un festival artístico en BogotáZarate Bello, Laura Daniela; León Bohórquez, Diana Lucía; 0000-0002-7338-424XInternship is one of the options available to students upon completing their academic training. This approach empowers students to fully apply their learning in a real-world context, allowing them to assess and measure the skills acquired in their education, while also enriching them in the practical setting. Additionally, this experience enables students to compare the expectations created in the classrooms with the realities of their profession. In this internship, focused on cultural management, as a dance interpreter in the Dance Art curriculum of the Bogotá Superior Academy of Arts, I participated in the pre-production, production, and post-production stages of the XIV International Showcase of Performing Arts "Movimiento Continuo," directed by Rafael Acero and Felipe Páramo. The breadth and variety of tasks undertaken—set design, lights, sound, makeup, choreography advice, dance interpretation, purchasing, filming, various tasks, cleaning, inventory, and makeup, among others—allowed me, as a student, to experience firsthand the complex framework surrounding the cultural management required for organizing and implementing a festival of this nature. In this document, from an artistic perspective, I narrate the daily life of this process, recording it through a log or field journal, noting each event through writing and drawing, thus constructing a visual memory of the tasks I performed and the emotions experienced at each stage of the process. One of the fundamental lessons the internship provided me was the opportunity to engage in activities that were not anticipated. I never imagined that the events that led to these activities would occur in an arts festival, which undoubtedly serves as evidence of the reality artists face in the endeavor of creating and spreading culture in this city.