Narración gráfica, laboratorio de objetos, cartografía digital y mediaciones en experiencias con comunidades de artistas migrantes

Abstract

The thesis titled Graphic Storytelling object laboratory, digital mapping and mediations in experiences with communities of migrant artists, explores how graphic storytelling can communicate negative experiences and representations of migrants, which are often invisible and silenced. explores how graphic storytelling can communicate migrants' negative experiences and representations, often rendered invisible and silenced. Through a long-term creative laboratory and a collaborative workshop with migrant communities in Bogotá and Valledupar conducted during and after the COVID-19 pandemic, visual methodologies such as drawing, photography, printmaking and mapping were used, offering a space for deep expression of migrants' experiences. The research focuses on how Graphic Storytelling can transform these negative representations, adopting a methodological approach of research-creation, which is articulated in dialogue with two perspectives: the re Creation researcher of the ECCSP research line of the Doctoral Program in Artistic Studies, and the Applied Research Creation (ICA) of the TransMigrARTS Project. The study engaged with collectives such as Trazos y Bordes, created from this experience, and the Women's Juntanza from Cesar, which facilitated the process's application in Valledupar's Casa Caribe Afirmativo, in this place the experiences face precariousness and social rejection, especially in women and LGBTIQ+ people. The methodology was structured in five phases: (1) a genealogy of the researcher's previous experience, making visible the vulnerabilities and his own condition as a grandchild of families formed by migrants in Colombia, in addition to the identification of fundamental components in the experience with the graphic narration that allowed migrants to express what they cannot say verbally: their fears, uprooting, fears and longings. (2) the encounter between recurrences to strengthen the theoretical framework of graphic narration, differentiating between narration (Storytelling) and narrative, and exploring the visual, textual and contextual components; (3) the application of the “image-text-context” tool in the process carried out with the Trazos y Bordes collective, where the narrative of the experience emerges as a recurring theme of this process and complements the tool, giving way to NarratoGraphy; (4) the application of the “image-text-context” tool in the process carried out with the Trazos y Bordes collective, where the narrative of the experience emerges as a recurring theme of this process and complements the tool, giving way to NarratoGraphy. (4) for the TransMigrARTS workshop in Valledupar, this tool, NarratoGrafía in Imagen-Texto-Contexto-Vivencia, was applied, where the themes of uprooting and exclusion were analyzed; experiences where, in addition, negative characters that hinder the migratory process were discovered, such as coyotes, trocheros, extortionists and merchants that take advantage of the migrants, thus revealing hidden theatricalities of migration; and (5) the consolidation of theoretical and graphic findings obtained throughout the research, presents the contributions on the effectiveness of NarratoGraphy as an artistic and social methodology as it is a Applied research creation tool to value the unspeakable in these two experiences developed with migrants marked by the post-agreement contexts, the exodus of Venezuelan migrants to Colombia in the context of the COVID-19 pandemic.