Zona Escolar
URI permanente para esta colecciónhttp://hdl.handle.net/11349/98359
Examinar
Envíos recientes
Ítem Zona escolar, imaginación comunicativa de la escuela en la radio. Programa: "Carnaval y la fiesta como espacios de encuentro, celebración y crítica social"(Universidad Distrital Francisco José de Caldas. Emisora LAUD 90.4 F.M.) Universidad Distrital Francisco José de Caldas; Emisora LAUD 90.4 F.M.Through a mix of music segments, interviews, and student participation, the program analyzes how cultural expressions break down hierarchies and build identity. The show begins with songs by Nelda Piña y La Boa and Juan Piña, musicians who symbolize Colombia's carnival and festive spirit. The segment "Piedra de Página" features journalist John Jairo Rodríguez interviewing the Danish band Vampire Blow. The band, who visited Colombia, expresses their amazement at the country's musical culture. They highlight the role of independent festivals, like the one organized by the group 1280 Almas, in creating cultural bridges. The program reflects on how carnivals, such as the Carnaval de Blancos y Negros in Pasto, are spaces where people can critique those in power playfully and without fear of reprisal. It's emphasized that culture and politics are intrinsically linked, and popular festivals are fundamental for building a collective identity and expressing social criticism. The discussion then turns to the nature of parties in Bogotá, contrasting them with the idea of a traditional carnival. While Bogotá doesn't have a massive carnival, its festive spirit is more sectoral and familial, manifesting in neighborhood gatherings where people share with their neighbors. However, a loss of this tradition is observed among higher social classes, where celebrations are more private and exclusive. The concept of Mikhail Bakhtin is mentioned, according to which the carnival is a space where the sacred and the profane coexist. In carnival, roles and hierarchies are broken, allowing people to express themselves freely. Alcohol and masks (sometimes symbolic) create an "other" that facilitates interaction and criticism. The program interviews leaders of the collective "El Callejón del Hip Hop" from the Suba area of Bogotá. This collective aims to create a space for expression and empowerment for young people in their community. The Hip-Hop Festival: The collective organizes an annual festival that serves as a platform for local artists. It also integrates popular education to foster political and social awareness. The importance of creating spaces for training and culture that focus not only on art but also on the real needs of the neighborhood is highlighted. The festival has managed to attract national and international artists, demonstrating its impact and ability to create networks. The program concludes that even though the official concept of carnival has been modified in Bogotá, neighborhood parties and community festivals like the one organized by El Callejón del Hip Hop keep the essence of carnival alive. These events are seen as acts of resistance and tools for building identity and social criticism from the grassroots.Ítem Zona escolar, imaginación comunicativa de la escuela en la radio. Programa: "Saberes del campo y saberes de la ciudad"(Universidad Distrital Francisco José de Caldas. Emisora LAUD 90.4 F.M.) Universidad Distrital Francisco José de Caldas; Emisora LAUD 90.4 F.M.The program starts with the songs "La ciudad parece un mundo" by Ismael Serrano and "Ustedes, mi país" by Jorge Velosa, which set up the contrast between urban and rural life. The concept of rural knowledge is introduced, not just as technical skills (like cultivating or plowing), but as a way of living and being, of connecting with nature and the land. The show welcomes a group of students from Colegio Colombia Viva, a school with an on-site farm—a "green oasis" in the middle of Bogotá. The students describe their experience with the farm, recycling, and animal care, highlighting how these activities are integrated into their biology and geography classes. This segment is dedicated to city arts and culture. Journalist John Jairo Rodríguez presents an interview with Chilean actress Camila Valenzuela, director of the play "Melolagnia." Melolagnia: The play, which explores a paraphilia where sexual pleasure is obtained through music, is presented as an example of the unique knowledge and experiences built in cities. The interview highlights the intimacy and challenge of the work, which is performed for a single audience member at a time and uses music as a central element. Rural vs. Urban Knowledge: A testimony from an American journalist living in Bogotá, Brendan Lawler, is included. He praises the city's cultural offerings but also values the authenticity of its independent cultural expressions. The segment concludes with a reflection on the importance of narrating rural knowledge and the stories of country folk to prevent them from being lost, especially in a country like Colombia with its rich oral tradition. The program welcomes students from Colegio Eugenio Díaz Castro, located in the village of El Charquito, to discuss their own rural knowledge. History and Tradition: The students share the story of Bochica and the origin of the Tequendama Falls, a mythical and sacred place that has unfortunately been stigmatized as a suicide site. They also talk about the "clean river" tradition, a custom practiced in December where families gathered to fish and have barbecues on the riverbanks—a tradition that was lost 30 years ago. The Origin of "El Charquito": They explain that the name of the village comes from a slang term used by hydroelectric plant workers. They called the area "el charco" (the puddle) because of the large number of water puddles that would form, a name that became popular and has remained to this day.Ítem Zona escolar, imaginación comunicativa de la escuela en la radio. Programa: "La memoria y el olvido"(Universidad Distrital Francisco José de Caldas. Emisora LAUD 90.4 F.M.) Universidad Distrital Francisco José de Caldas; Emisora LAUD 90.4 F.M.The program begins with the song "Memoria para el olvido" (Memory for Oblivion) by Atahualpa Yupanqui, which serves as the foundation for the main theme. The discussion focuses on how memory is essential for the historical subject to recognize themselves and project into the future, thereby preventing the forgetting of past events. The show reflects on October 12th, Día de la Raza (Day of the Race), arguing that it should not be a celebration but a moment for reflection on the disappearance and violence against indigenous peoples. The song "Desapariciones" (Disappearances) by Los Fabulosos Cadillacs reinforces this idea, highlighting the imprint of forced disappearances on the continent. A new segment called "Piedra de Página" is launched, dedicated to exploring journalism and its role in society. Journalist John Jairo Rodríguez presents an interview with Mexican journalist Carmen Aristegui, who won an award for her investigation into President Peña Nieto's "Casa Blanca" scandal. The program criticizes the lack of visibility of Colombian journalism in these awards and reflects on the journalist's role: they must be close to power to portray it, not to align with it. The importance of new technologies is discussed, but it is emphasized that content and truthfulness must remain the priority. The work of Chequeado.com, an Argentine platform that fact-checks public discourse, is mentioned as a way to teach journalists how to work with rigor and to help citizens avoid blindly believing everything they see. A collective of students from the Instituto Tecnológico del Sur participates to address the topic of memory in the peace process between the Colombian government and the FARC. They highlight the importance of the Truth Commission, an independent, extrajudicial body that seeks to clarify the facts of the conflict, dignify the victims, and promote non-repetition. The students explain that the peace process faces challenges, especially regarding forgiveness and forgetting, as society—and victims in particular—are not yet ready to forget the atrocities of the conflict. The Truth Commission is seen as a crucial step to guarantee victims' right to the truth and to facilitate the country's reconciliation.Ítem Zona escolar, imaginación comunicativa de la escuela en la radio. Programa: "La fe y la razón en el mundo contemporaneo"(Universidad Distrital Francisco José de Caldas. Emisora LAUD 90.4 F.M.) Universidad Distrital Francisco José de Caldas; Emisora LAUD 90.4 F.M.The program opens with a tribute to Monsignor Óscar Romero through the song "El Padre Antonio y su Monaguillo Andrés" by Rubén Blades, which tells the story of the death of a priest and a child in a context of violence. The idea is presented that while bullets can kill people, they cannot kill ideas. The discussion focuses on the diverse forms of belief in Latin America, which often go beyond traditional religious institutions. The hosts and collaborators debate: Religious Syncretism: The show mentions practices like Santería and the worship of folk deities such as María Lionza in Venezuela and La Santa Muerte in Mexico. It is explained that these beliefs, far from being witchcraft, are a syncretism of African religions and Catholicism that connect people to nature and their culture. Worship of Death: The program reflects on how death is viewed in different Latin American cultures. In the Colombian context, a festival is described where people visit cemeteries to celebrate their deceased loved ones, while in the worship of La Santa Muerte in Mexico, death is not something to be feared but rather a figure to whom favors are asked. The show criticizes the stigmatization and demonization of these beliefs by the media and cultural industries. Faith in Humanity: The song "Mañana todo cambiará" by the Hermanos Lebrón is used to argue that even an atheist can have faith—not in a supreme being, but in humanity's capacity to improve and do good. The program features an interview with Diego Rojas Pulido, aka Diego Microphone, who discusses the "Hip-Hop Politics" movement. This segment addresses the disconnect between the hip-hop community and traditional politics, as well as the need for artists to get involved in decision-making. The Need to Participate: Diego explains that while hip-hop recognizes the importance of politics, disillusionment with electoral processes prevents its members from active participation. However, he argues that political decisions directly affect artists, as in the case of organizing festivals like Hip Hop al Parque. Critique of Public Policies: Diego denounces that public policies, often designed by technocrats, do not understand the real needs of the hip-hop community. He uses the example of unequal compensation, where a graphic designer (with a university degree) receives significantly more pay for creating a poster than a hip-hop group does for their performance, despite the latter's long career. The Role of Political Activism: The goal of the "Hip-Hop Politics" movement is not to transform the system overnight, but to ensure that a voice exists to question and monitor decisions that affect their community. The aim is for artists to have active and fair participation, for their experience to be valued, and for them not to be stigmatized as criminals. The segment concludes with a message of activism and a call to action against oppression and injustice.Ítem Zona escolar, imaginación comunicativa de la escuela en la radio. Programa: "Resistencia, diversidad y poder en diferentes escenarios"(Universidad Distrital Francisco José de Caldas. Emisora LAUD 90.4 F.M.) Universidad Distrital Francisco José de Caldas; Emisora LAUD 90.4 F.M.The program starts by paying homage to Monsignor Óscar Romero, a priest who was assassinated for defending the rights of his people in El Salvador. The song "El Padre Antonio y su Monaguillo Andrés" by Rubén Blades is used as a starting point for this segment. The program highlights Romero's bravery in confronting the army and police, urging them not to obey orders that threaten life, and his role as the "voice of the voiceless." The show's hosts and collaborators, including students, define several key concepts from various perspectives. Diversity: This is understood as the recognition of differences among people, cultures, and species. The discussion covers cultural, ethnic, and environmental diversity, emphasizing the importance of defending both ecosystems and the communities that depend on them. Resistance: This is defined as opposition to domination, perseverance, and the defense of life. It's presented as a process of survival and an act of rebellion against the logic of the system. The program also discusses how the body and territory become places of struggle and memory. The Body: The program mentions the play "Antígona, Tribunal de Mujeres," which uses the bodies of women who are victims of armed conflict to transform trauma into poetry and resistance. It also alludes to an investigation into the bodies of those who disappeared during the Colombian armed conflict, highlighting the importance of historical memory. Territory: The example of anti-mining struggles in Colombia is used. It's emphasized that indigenous communities and other local populations defend their territories as a fundamental part of their identity and survival. In some cases, they've succeeded in having the State Council halt mining projects due to a lack of prior consultation. The program starts by paying homage to Monsignor Óscar Romero, a priest who was assassinated for defending the rights of his people in El Salvador. The song "El Padre Antonio y su Monaguillo Andrés" by Rubén Blades is used as a starting point for this segment. The program highlights Romero's bravery in confronting the army and police, urging them not to obey orders that threaten life, and his role as the "voice of the voiceless." The show's hosts and collaborators, including students, define several key concepts from various perspectives. Key Concepts Diversity: This is understood as the recognition of differences among people, cultures, and species. The discussion covers cultural, ethnic, and environmental diversity, emphasizing the importance of defending both ecosystems and the communities that depend on them. Resistance: This is defined as opposition to domination, perseverance, and the defense of life. It's presented as a process of survival and an act of rebellion against the logic of the system. The program also discusses how the body and territory become places of struggle and memory. The Body and Territory as Sites of Struggle The Body: The program mentions the play "Antígona, Tribunal de Mujeres," which uses the bodies of women who are victims of armed conflict to transform trauma into poetry and resistance. It also alludes to an investigation into the bodies of those who disappeared during the Colombian armed conflict, highlighting the importance of historical memory. Territory: The example of anti-mining struggles in Colombia is used. It's emphasized that indigenous communities and other local populations defend their territories as a fundamental part of their identity and survival. In some cases, they've succeeded in having the State Council halt mining projects due to a lack of prior consultation. The program intersperses its discussions with various songs that reinforce the message of resistance and diversity: "El Padre Antonio y su Monaguillo Andrés" by Rubén Blades: This song opens the program to introduce the story of Monsignor Romero. "Guantanamera" by José Martí: Performed in a version by the "Play for Change" initiative, it's used to discuss diversity and musical resistance. "Chambacú" by Aura Castillo: This piece represents the resistance of working-class neighborhoods and the importance of music as a source of inspiration and memory. Music by Ricardo Lenngoy and Koran Recopic: These are used to show how music transcends borders and interweaves different cultures, such as African rhythms and salsa. The program also includes interviews with members of the Coordinadora Antifascista de Bogotá, who clarify misunderstandings about their group, their political stance, and the role of women in their movement. The conversation concludes with a defense of liberty, respect, and diversity as the pillars for building a more just society.Ítem Zona escolar, imaginación comunicativa de la escuela en la radio. Programa: " El saber ¿para qué?"(Universidad Distrital Francisco José de Caldas. Emisora LAUD 90.4 F.M.) Universidad Distrital Francisco José de Caldas; Emisora LAUD 90.4 F.M.This episode focuses on the theme of "knowing what for," exploring the relationship between institutional and emerging knowledge. The program begins with the song "Sobreviviendo" (Surviving), performed by an Argentine band. This song, which speaks about resilience and the harshness of life, serves as a backdrop for the discussion. The hosts, Dana, Hugo, and Darwin, welcome the audience and explain that this is the final season of the year, which has been particularly productive with the theme "Knowledge, Power, and Diversity: A Look at the Contemporary World." The main debate revolves around the historical separation between intellectual and practical work. The hosts question why these two types of knowledge have been divided and how they can be connected for deeper reflection. The program highlights the participation of several guests: An animal rights group that will address the topic of animal cruelty. Singers Javier Álvarez and John Henry Beltrán, musicians who work in Cartagena's Plaza de Santo Domingo and will share their experiences. Journalism students from the Universidad Distrital who will present their communication proposals on Colombia's post-conflict. Milena Maecha, a student who will share her experience in radio. In summary, the program is a space for dialogue that seeks to unite different perspectives, from music to journalism, to analyze the social, cultural, and political reality of Colombia, giving a voice to those who usually don't have one.Ítem Zona escolar, imaginación comunicativa de la escuela en la radio. Programa: " Cultura y el patrimonio de los pueblos "(Universidad Distrital Francisco José de Caldas. Emisora LAUD 90.4 F.M.) Universidad Distrital Francisco José de Caldas; Emisora LAUD 90.4 F.M.The central theme of the program is the culture and heritage of the people, with a focus on food, flavors, and music. The program begins with a song highlighting the culture of the Colombian Pacific. The hosts emphasize the importance of discussing cultural traditions and their resilience in the face of loss of identity. They argue that food, with its ancestral flavors and recipes, is a fundamental part of who we are culturally, a knowledge that is passed down from generation to generation. In the "Footnote" section of the program, there is an interview with Maia Castro, a prominent tango and milonga singer and composer from Montevideo, Uruguay. She describes her music as a blend of River Plate genres, such as tango and milonga, fused with other styles such as rap and rock. She mentions her influences, including figures such as Carlos Gardel, Alfredo Zitarrosa, and Chavela Vargas. Castro, who has toured Europe and other countries several times, expresses his desire to visit Colombia, a country he perceives as joyful and one that has made progress despite its history of conflict. The interview highlights the value of alternative and cultural music, often ignored by mainstream media, and the importance of cultural exchange between Latin American countries.Ítem Zona escolar, imaginación comunicativa de la escuela en la radio. Programa: " Conmemoración del Día de la Madre y del Día del Maestro "(Universidad Distrital Francisco José de Caldas. Emisora LAUD 90.4 F.M.) Universidad Distrital Francisco José de Caldas; Emisora LAUD 90.4 F.M.On this occasion, the program focuses on the commemoration of Mother's Day and Teacher's Day. The program begins with the song "Madre" by Venezuelan artist Gabilonia, which pays tribute to hardworking mothers. Through their interventions, the hosts discuss how Mother's Day has become a commercial holiday, where the value of filial love is measured with material gifts. They criticize this view and defend the idea that love and appreciation for mothers should be expressed every day. Furthermore, the program establishes a connection between the role of the mother and the role of the teacher. The hosts, who are training as educators, compare themselves to mothers, as they are in the process of building and developing new individuals through education, just as a mother does with her children. They emphasize that while a mother's knowledge is based on everyday life and affection, a teacher's knowledge combines theoretical knowledge with emotional dedication. Finally, the historical origin of the celebration of Mother's Day in Spanish-speaking countries is mentioned, linked to the veneration of the Virgin Mary, which shows how its meaning has evolved and, to some extent, been distorted over time.Ítem Zona escolar, imaginación comunicativa de la escuela en la radio. Programa: "Saber cotidiano frente al saber académico"(Universidad Distrital Francisco José de Caldas. Emisora LAUD 90.4 F.M.) Universidad Distrital Francisco José de Caldas; Emisora LAUD 90.4 F.M.This episode of the program addresses the topic of everyday knowledge versus academic knowledge. The program seeks to be a space for debate about the contemporary world. To this end, the hosts introduce the song "Campesino de mi tierra" by Venezuelan artist Tania. They use this song to exemplify the wisdom of the peasant, which is acquired through daily experience and direct contact with the land. In doing so, they criticize the notion that the only valid knowledge is that generated in university classrooms. The program emphasizes that peasant knowledge, as popular knowledge, is as valuable as academic knowledge. Furthermore, the song also serves as a protest against the injustices suffered by farmworkers, a situation that, according to the hosts, remains relevant in countries such as Colombia, Peru, and Ecuador. The program concludes by announcing the participation of students and academic groups who will present their proposals on these topics.Ítem Zona escolar, imaginación comunicativa de la escuela en la radio. Programa: "Conmemoración del Día Internacional de los Trabajadores"(Universidad Distrital Francisco José de Caldas. Emisora LAUD 90.4 F.M.) Universidad Distrital Francisco José de Caldas; Emisora LAUD 90.4 F.M.The program was broadcast from the Bogotá International Book Fair, specifically from the university's booth, in commemoration of International Workers' Day. The program begins with a salsa song by Henry Fiol, "De la mano a la boca," whose lyrics reflect the harsh economic reality of ordinary people, where wages barely cover basic needs. This song is used to introduce the discussion about work and labor rights, a central theme of the program. The hosts point out how the mass media often simplifies the reality of the May Day marches, reducing them to violent conflicts instead of highlighting workers' demands. The program seeks to offer a different and deeper perspective on these issues. It features young people, students from the Master's program in Communication and Education, and other academic groups, who are there to discuss and propose ideas about everyday life in school, work, and communication. Throughout the program, poetic and musical interludes are heard that reinforce the reflection on the history of social struggles and the importance of memory.Ítem Zona escolar, imaginación comunicativa de la escuela en la radio. Programa: " Sabios, eruditos y genios en el mundo actual"(Universidad Distrital Francisco José de Caldas. Emisora LAUD 90.4 F.M.) Universidad Distrital Francisco José de Caldas; Emisora LAUD 90.4 F.M.The program began with a reflection on the Spanish poet Miguel Hernández, whose work, born from exile and war, represents the power of the word to transcend reality. This served as a starting point to argue that genius is not just a high IQ, but a quality that is lived out daily through creativity, reinvention, and the ability to dream. It was emphasized that wisdom resides in men and women who, whether from school or "non-school," inhabit the world with their words and actions. Music played a crucial role in the program's narrative. The song "El Sabio" by Héctor Lavoe was used to critique those who boast of knowledge but lack true wisdom, which is humility and simplicity. An audio fragment of the writer Eduardo Galeano on the "right to dream" reinforced the idea that genius is the ability to imagine a better world. Tribute was paid to the rapper Eazy-E from the group N.W.A., highlighting his role in denouncing police abuse through his music, showing the power of word and art as tools of resistance and social change. The song "La Sabia" by Mercedes Sosa was presented as an example of popular wisdom, where the artist uses music to convey ideas that change society and awaken the spirit of youth. The program featured the participation of students and a popular communication collective who debated the application of these concepts. Students from the South Technological Institute highlighted figures such as the mime Marcel Marceau and the writer Julio Cortázar as true geniuses and scholars, not only for their talent but for their ability to transform society and be misunderstood. An audio clip from the collective "Memoria y Saber Popular" (Memory and Popular Knowledge) presented a dialogue between a mother and her son, who wanted to be a scientist. This segment served to debunk myths about science, such as that it is exclusive to the rich or that it has no practical use. It was argued that science is for the people and that through it, community problems can be solved. The example of organic fertilizer created by Colombian engineers was mentioned. It was concluded that true wisdom and genius reside in the ability to be persistent, to not settle for mediocrity, and to use knowledge for the common good, regardless of whether it's done anonymously or with recognition.Ítem Zona escolar, imaginación comunicativa de la escuela en la radio. Programa: " El poder, ¿para qué?(Universidad Distrital Francisco José de Caldas. Emisora LAUD 90.4 F.M.) Universidad Distrital Francisco José de Caldas; Emisora LAUD 90.4 F.M.The program begins with the song "Señor Matanza" by Manu Chao, which evokes the figure of Pablo Escobar to illustrate the abuse of power and the violence that can be exerted over a country. It's highlighted how this power extends to all spheres of society, leading to disastrous consequences. In contrast, the song "Venceremos" by Inti-Illimani is presented, which speaks of "popular power" and the triumph of Salvador Allende in Chile. This example aims to frame power as a capacity for construction and unity, and not just as a destructive force. The critique of traditional power extends to the view of the school, where the teacher's power is often perceived as a tool for control, instead of a means to connect and strengthen the educational community. The central segment of the program explores the relationship between power and school through interviews and reflections from students and teachers in training. It discusses the Secretary of Education's campaign, "Education gives you power," which frames power as a resource for social and personal progress. However, the program questions whether this notion translates into practice. Teacher and Student Perspectives on Power The program delves into how power is exercised within the classroom. Teacher's Perspective: It is debated whether power in school is used to instill fear or to build trust. Pedagogy students point out that a teacher's power should be for uniting students and fostering community. A teacher on the program, Darwin, questions whether the campaign is more of a "marketing agency" than a reality, asking: "Power, for what?" It's suggested that teachers should avoid an "intellectual" and technocratic discourse to communicate more effectively, without resorting to vulgarity. Student's Perspective: The program gives a voice to young people, who demand to be seen not as the "future," but as the "present." They want a present in which their abilities are recognized, their differences are respected, and their culture is protected. They ask for teachers who listen to them and are not afraid to experiment and reflect with them, allowing them to be protagonists in their own education. Power in Society and Culture The program closes with the participation of young people from a school who address power from their own perspective. They discuss power in the military, judicial, political, and media spheres, pointing out the corruption and abuse that surround it. Despite this, they propose that well-exercised power should be used to "serve" and achieve the "common good." A power that is a true guide, that doesn't fear risks and that seeks human evolution. The program uses rap and cumbia ("Cumbia Poder" by Celso Piña) to reflect popular struggle and resistance, solidifying the idea that culture and art are also forms of power. In essence, the program concludes that power is not inherently good or bad; its value lies in its use. Education, in this sense, is seen as a tool to empower individuals, not only with knowledge, but with the capacity to transform their lives, communities, and country into a space of peace and justice, in contrast to a power that manipulates, corrupts, and dominates.Ítem Zona escolar, imaginación comunicativa de la escuela en la radio. Programa: " Mujer diversa, mujer de saberes"(Universidad Distrital Francisco José de Caldas. Emisora LAUD 90.4 F.M.) Universidad Distrital Francisco José de Caldas; Emisora LAUD 90.4 F.M.The program, produced by the Master's in Communication Education at the Distrital University, celebrates 12 years on air. In this new season, its goal is to "rethink the contemporary world" through the "knowledge, powers, and diversities" of society. The first episode is dedicated to "diverse women, women of knowledge," paying homage to their role and to those who have participated in the program's history. The "Zona Escolar" team emphasizes that March 8 is a date to commemorate and resist, not to receive flowers or chocolates. A poetic text is presented that asks for flowers, but not as a simple ornament. Instead, it’s a symbolic recognition of all the oppressions and violence women have suffered throughout history: from discrimination at birth, genital mutilation, lack of education, sexual and domestic violence, to workplace discrimination and femicide. The program stresses the importance of giving a voice to women's struggles, especially in a country like Colombia, which needs dialogue and communication among its citizens. The program uses music to reflect on the female struggle. The song "Machismo" by Gotas de Rap is featured, which directly addresses the social representations of women in a patriarchal and violent world. The song criticizes the idea of women as objects of use and mockery and denounces the lack of privilege and oppression they are subjected to. "Las mujeres del Cual" by Carlos Mejía Godoy is also played, a song that pays tribute to the Nicaraguan female guerrillas who supported the Sandinista National Liberation Front and were, as a result, victims of violence and repression. Finally, the role of women as protagonists of Latin American history, beyond politics, is highlighted. They are recognized as transmitters of culture, builders of nations, and agents of change in society. The Argentine dictatorship of Videla and the case of the Madres de la Plaza de Mayo are used to illustrate women's struggle. It is explained that these mothers, whose children were "disappeared" by the military regime, united in a resistance movement. Their initial fight to find their children evolved into a search for social justice, dignified work, and rights, demonstrating that their activism was not just for themselves or their families, but for a more equitable society. A moving audio clip of one of these mothers is aired, celebrating 20 years of struggle and calling on the youth to continue seeking justice, dignity, and education. The speech concludes with a powerful secular prayer to Che Guevara, which synthesizes the struggle for Latin American emancipation. The program highlights the importance of women in education, both in their roles as mothers and educators and in their ability to endure and overcome life's obstacles. It is argued that women have changed the course of history in politics, science, arts, and sports, despite society's attempts to limit them. The program reiterates that women are a "dominant gender" with exceptional qualities and deserve to be valued and cared for, and not just on a specific day.Ítem Zona escolar, imaginación comunicativa de la escuela en la radio. Programa: " Saberes emergentes de la escuela, educación popular, escuela alternativa y otros aprendizajes"(Universidad Distrital Francisco José de Caldas. Emisora LAUD 90.4 F.M.) Universidad Distrital Francisco José de Caldas; Emisora LAUD 90.4 F.M.The program begins by highlighting the interdisciplinary nature of cinema, which brings together writers, historians, and actors. Víctor Gaviria argues that film is an art of synthesis and a cultural encounter that reveals truths not accessible through academic essays. His work is based on dialogue with "natural actors"—people whose lives are the source of the stories. Through this process, he accesses a profound knowledge that comes not from study, but from lived experience. Gaviria explains that his cinema is inherently political and ethical. It is political because it makes the truths of marginalized populations visible, and it is ethical because it opposes "poverty porn," the morbid exploitation of poverty. The filmmaker responds to criticism for not making films about his own life by arguing that everyone is part of the same society and that it is crucial to establish a dialogue between the "excluded" and the "included." Cinema becomes a medium for breaking down stereotypes and the black-and-white view of "good and bad." Linguist Gustavo Pinilla complements the discussion by analyzing the language in Gaviria's films. He emphasizes how parlache (popular slang) is not just a way of speaking, but a reflection of a profound experience of exclusion and pain. The program highlights that consumer society has caused a "numbing" of human feelings, and that true humanity is often found in the voices of those who have been marginalized. The language of these characters, such as the use of the word "gonorrea" to describe life, contains a "profound experience" of seeing life as a "disease." The conversation also addresses the importance of urban geography in Gaviria's films, especially in the context of Medellín. It discusses how the director's cinema has revealed the reality of informal settlements and the "invisible borders" of the city. The journeys in the films are not just settings, but a way of visiting places through the experience of their inhabitants, showing a unique architecture that reflects a "social, ethical, and conceptual relativism." Towards the end, the question is raised of whether cinema and schools are indebted to Colombian youth. Gaviria responds in the affirmative, criticizing how schools, while they can "save" some, sometimes educate them in intolerance and selfishness. He advocates for a more "aggressive" school that respects emerging knowledge and shows solidarity with those who have been left "outside of institutions." In this sense, his cinema is presented as an attempt to break these molds and offer a more human and real perspective of society.Ítem Zona escolar, imaginación comunicativa de la escuela en la radio. Programa: "Independencia de Colombia y la identidad nacional"(Universidad Distrital Francisco José de Caldas. Emisora LAUD 90.4 F.M.) Universidad Distrital Francisco José de Caldas; Emisora LAUD 90.4 F.M.The program starts with the song "Era viernes y fue julio" by Roberto Camargo, which challenges the traditional narrative of the "cry for independence" and asks whether Colombia is truly a free and sovereign nation. Camargo's experience of visiting a school and seeing children sing his song is highlighted, demonstrating the importance of teaching history critically and not just through dates and idealized figures. The "Zona Escolar" team discusses how history is taught in schools, pointing out several issues: Teacher's Subjectivity: History is taught with each teacher's ideology. Curricular Fragmentation: The curriculum fragments history into events and dates without continuity, preventing students from connecting the past with their current lives. Idealization of Heroes: Figures like Simón Bolívar are idealized without addressing their contradictions or human flaws, such as their stance on slavery, which perpetuates an incomplete and decontextualized view. Uncritical Reproduction of Symbols: It is noted that children dress up as "liberators" for flag-raising ceremonies and memorize speeches without understanding the true meaning of these acts. Through an audio clip from "El Profesor Súpero," the figure of Antonio Nariño, one of the independence leaders, is explored. His life is detailed, from his participation in the Commoners' Rebellion to his intellectual activism with the translation of "The Rights of Man." The audio reveals the complexity of the character, his multiple captures and escapes, and his role as a politician and journalist, moving away from the simplistic "perfect hero" view that is often taught. The program criticizes the "masculine" nature of independence history. The figure of Manuela Sáenz, known as "the liberator of the liberator," is highlighted, whose role is often reduced to that of "Simón Bolívar's lover." It is argued that this invisibility of women in history demonstrates the ignorance and discrimination that still persist, and the program advocates for recognizing these figures as inspiring role models. Music is used to question Colombian pride and the meaning of identity. The song "Colombia Conexión" by Aterciopelados, which explores what it means to be Colombian and the elements that constitute it, is mentioned. Additionally, "Miss Colombia" by Sistema Solar is highlighted, a song that addresses the duality of wanting to leave the country and the pride of being Colombian, urging listeners to reflect on the reasons for leaving or staying, and to celebrate Colombia for what it is, not just for imposed festivities.Ítem Zona escolar, imaginación comunicativa de la escuela en la radio. Programa: " El saber de la naturaleza: desafíos, diversidades, riesgos y perspectivas desde lo ecológico"(Universidad Distrital Francisco José de Caldas. Emisora LAUD 90.4 F.M.) Universidad Distrital Francisco José de Caldas; Emisora LAUD 90.4 F.M.In this program, the ecological issue is addressed, which is often relegated in schools to specific dates like "Water Day," but deserves a deeper and more constant discussion. It is highlighted that environmental events sometimes generate more waste than benefits, and the idea that environmental awareness should be a daily practice is promoted. The discussion focuses on Pope Francis's encyclical, "Laudato Si'," which translates to "On the Care of Our Common Home." It is emphasized that this document has elevated the environmental discussion into the public and media spheres, generating a necessary debate, especially in the face of criticism from economic powers. The program underscores the importance of this discussion, which goes beyond a simple religious topic, and addresses the responsibility of everyone, including young people and industry. A fundamental question is posed: Is individual awareness, such as saving water at home, enough if large industries are the biggest consumers of resources? This "double standard" is questioned, and it is criticized that while citizens are educated to be conscious, corporations like Monsanto or Nestlé profit economically from water. The program includes a collaboration with the collective "Memorias Saber Popular," which defines climate justice as a concept that goes beyond simple ecology. It is a "balance" between mother earth, man, and the cosmos, where what is just from nature is used and what it needs is returned so it does not degrade. It is a "commitment to struggle, to demand, and to love for the planet," demanding that those who have destroyed it answer for their actions. The scarcity of drinking water is discussed, a global problem that primarily affects the most vulnerable populations. The privatization of water is criticized, arguing that, as a vital resource, it should be a right and not a commodity for which people are charged. The example of water utility companies that profit from consumption, even penalizing those who use more, is used. The program uses music to reinforce its ideas. Songs such as "El Marranito" by Jorge Velosa, which is used in schools to promote environmental awareness in children; "Madre Tierra" by Kulcha Candela, which generates a reflection on the "pacha mama"; and songs by bands like Mago de Oz and Aterciopelados that talk about the planet's deterioration are mentioned. The music serves as a call to action and a reminder that human beings are "self-annihilating." The episode concludes with a dramatic audio segment, a "horror dream," that personifies the Earth. In the dream, the Earth speaks and complains about the "wounds" humans cause it: the contamination of rivers, the cutting down of trees, and the death of animals. The Earth warns that if action is not taken soon, it could die, taking all of humanity with it. This segment serves as a strong final message to motivate the audience to become aware.Ítem Zona escolar, imaginación comunicativa de la escuela en la radio. Programa: "Balance de la temporada de 2015 y Fiestas de diciembre, carnavales y alegría"(Universidad Distrital Francisco José de Caldas. Emisora LAUD 90.4 F.M.) Universidad Distrital Francisco José de Caldas; Emisora LAUD 90.4 F.M.This broadcast of the program begins by reviewing the topics covered throughout the year, such as power, knowledge, and diversity. They thank the listeners and the entire team that participated in the program's creation. The phone lines are then opened for the audience to share their opinions on the season. Music plays a central role in the program, beginning with classic year-end songs such as "Las Cuatro Fiestas" by Adolfo Echeverría and "Pascua de Navidad" by Nelson y sus Estrellas. The program also highlights the music of Nariño groups such as La Bamba Rabanda and Los Ajíces de Sandoná, to discuss the Carnival of Blacks and Whites in Pasto. The second part of the program focuses on the armed conflict in Colombia. Guests Lina Merchán and Juliana Guatavita, students at the Unified Corporation of Higher Education (CUN), are introduced, and they present a communication proposal on the topic. The program intersperses New Year's music with a discussion about the conflict, creating a contrast. It discusses how Christmas music sometimes goes beyond joy, but also serves to remind and reflect on the country's realities. The panel shares personal anecdotes about how Christmas is experienced in their homes, highlighting the importance of popular music and the unity of the neighborhood in the celebration.Ítem Zona escolar, imaginación comunicativa de la escuela en la radio. Programa: " Balance año 2015 y Declaración del vallenato como patrimonio inmaterial de la humanidad"(Universidad Distrital Francisco José de Caldas. Emisora LAUD 90.4 F.M.) Universidad Distrital Francisco José de Caldas; Emisora LAUD 90.4 F.M.This episode of the program begins with vallenato music from the artists Calixto Ochoa, Alfredo Gutiérrez, and Juancho Polo Valencia. The musical choice is justified by UNESCO's recent declaration of vallenato as an Intangible Cultural Heritage of Humanity. However, the program's panel (composed of hosts Dan, Arwen, Hugo, and Daniela) questions this declaration, arguing that it shouldn't be a source of pride but rather of concern. According to them, UNESCO declares vallenato as intangible heritage precisely because it's in danger of disappearing, threatened by armed conflict, drug trafficking, and, above all, a new type of commercial vallenato that distorts the traditional genre and its essence. The program evaluates the season, highlighting the topics they covered, such as power, knowledge, and diversity. It emphasizes the participants' experience, many of whom had no radio experience, and how the program became a space for learning and growth. The program features a collective of students from the Instituto Tecnológico del Sur, who talk about their radio experience. They mention that the program allowed them to investigate, argue, and enjoy themselves beyond just academics. For them, the most significant topic was power, as it enabled them to analyze how it transforms people in both positive and negative ways and how it is exercised in school, university, and the country. The panel reflects on the topic of power as a possibility for dialogue and discussion. They underscore how the program allowed students to understand that power is sometimes used to legitimize injustices and how they, as young people, have a voice in building society. A new section, "Pie de Página: La realidad entre paréntesis" (Footnote: Reality in Parentheses), dedicated to cultural journalism, is mentioned. In this section, a report on the event "La Noche en Blanco" (The White Night) in the locality of Teusaquillo, Bogotá, is presented. The report includes interviews with artists and attendees, who highlight the importance of these spaces for the appropriation of the street and artistic expression in the city. The "La Noche en Blanco" report highlights the work of Manuel Tovar, "4 Ríos" (4 Rivers), which narrates massacres that occurred in Colombia. This leads to a reflection on the responsibility of art to narrate the conflict and tragedy of the country. The discussion about vallenato is revisited, noting that the traditional genre, unlike the commercial one, has been fundamental for narrating the reality of the Colombian countryside and the tragedies of its people. The program closes with the promise to continue exploring the topic of vallenato from a narrative and musical perspective.Ítem Zona escolar, imaginación comunicativa de la escuela en la radio. Programa: "El Barrio: un espacio dinámico y cambiante donde también se construyen saberes, identidades y experiencias"(Universidad Distrital Francisco José de Caldas. Emisora LAUD 90.4 F.M.) Universidad Distrital Francisco José de Caldas; Emisora LAUD 90.4 F.M.In this episode of the program, the topic of "the neighborhood" is approached from an everyday perspective, as a place on the corner or the street that shapes people. The program highlights the neighborhood's importance in Latin American history, where friendships are forged and the identity of its inhabitants is built. The participants share their personal experiences. They talk about the nostalgia for street games (soccer, hopscotch, dodgeball) and how the neighborhood was a gathering place. However, they also point out how things have changed, mentioning the decline of street games due to fear, insecurity, drug dealing, and violence, as well as new distractions like video games and cell phones. The program discusses how urban sprawl and new constructions have replaced the "potreros" or vacant lots where children used to play. It mentions the contrast between low-income neighborhoods and gated communities, noting that the latter limit socialization and community building. The program interviews Laura and Espat, members of the collective "Desde el Callejón" (From the Alley), a group of young people from the locality of Suba who work through art and culture. The collective considers itself part of a minority, as its work is not sufficiently valued or supported as an industry. However, they emphasize that the most important support comes from the people themselves and from community processes, not necessarily from government entities. They state that their work is political, not because of an affinity for a party, but because they are "subjects of action" who build social fabric and promote peace and reconciliation in their territories. The collective recounts a violent eviction by ESMAD (Mobile Anti-Riot Squad) of a house in the locality of Suba that had been converted into a cultural center. They describe the incident as proof that the Colombian state defends private interests more than the community, which gives the event a political character. The collective states that their work has been very well received in the Suba community, as hip-hop is a very strong movement among the young people of the locality. They highlight that people are attracted to community work and the possibility of building society.Ítem Zona escolar, imaginación comunicativa de la escuela en la radio. Programa: " El poder de las palabras, una reflexión necesaria sobre el lenguaje y la construcción de sentidos"(Universidad Distrital Francisco José de Caldas. Emisora LAUD 90.4 F.M.) Universidad Distrital Francisco José de Caldas; Emisora LAUD 90.4 F.M.In this episode, the show explores the power of words in their multiple dimensions, from poetry and literature to their use in music, academia, and everyday life. The show begins by reflecting on the word as a vehicle for expression and transformation. The program highlights how words build stories and realities. It uses the poetry of Octavio Paz and the text "The Story of the Gazes" by Subcomandante Marcos, read by Eduardo Galeano, to illustrate that language is not only oral, but also expressed through the skin, the gaze, and actions. Songs by artists like The Doors, Fito Páez, and the Colombian band 1280 Almas are used to show the power of words in music and their ability to connect with the audience and convey profound messages. The program addresses words from a critical perspective in the academic world. With guests, master's students Santiago and Ernesto, the show discusses the difficulty of publishing research due to the payment requirements of scientific journals and the hegemony of written production. The guests argue that academia imposes barriers that do not value the quality of the work, but rather the money for publication. In this sense, the need to open up spaces for the validation of alternative formats, such as audiovisual articles, is highlighted. These formats also require scientific rigor and can be more accessible and effective for the dissemination of knowledge. The "straitjacket" of citing multiple authors to validate an idea, which limits the construction of new thoughts, is criticized. The program concludes with an interview with Tomás León, an artist, producer, and cultural manager. He talks about rap as a genre that allows words to serve as a voice for those who do not dare to speak, especially in contexts like the Usme locality, where the artist lives. The discussion covers how cultural events, such as the "Hip Hop a la Torta" festival, are not only spaces for musical expression but also for cultural resistance and the recovery of the word. It is mentioned that although the event now has an entrance fee to dignify the artists' work, it remains a driver for the transmission of ideas and a connection with youth. The conversation ends with an excerpt of music from the Spanish rapper Ariana Puello.