Revista Académica Estesis

31

Authors: John Manuel Restrepo Rueda

His work is a consequence of the search, from the role of musical educators, of pedagogical routes located in an epis-temic diversity beyond the Western tradition and its terri-tories of colonial influence in Latin America, Colombia and Antioquia in Particular. In our context, forms of music ed-ucation derived from the modern civilisational project have been institutionalized, which has determined learning strat-egies and their educational models for music. As a result, both central-European conservatory music and popular and traditional music have been immersed in the same logic of construction and symbolic production Thus, in higher ed-ucation prevails a universalizing and conservative gaze, which conceives the issue of musical practice preferably in terms of the object, that is, of the work, highlighting aspects as relevant as symbolic transactions, the cultural imagi-naries, identity, narratives, estesis and arrays of reality, as well as the ontologies that support their entire construction. For this reason, it is necessary to propose a different route that explores musical formation from the dimension of be-ing as the central axis of it, re-incorporating the body as a receiving element of knowledge that favors the connection between the emotional states and the building the musical sense in his practice. Imagining, shaping and fostering vital and diverse experiences aimed at strengthening, expanding and complementing pedagogical practices for music, with other tools, strategies and resources based on the estesis

55

Authors: Ana María Restrepo Arteaga Teresita Ospina Álvarez

This article unfolds from the research titled Composition of formative gestures from the porous condition of the bodies, developed in the Master of Education Sciences at the Univer-sidad de San Buenaventura, Medellín. This project is artic-ulated to the research line in Cultural Studies and Contem-porary Languages which belonged of the ESINED research group. Methodologically, the research focused its objective on Arts-Based Research, ABR-, and from there it implemented the action called creation-invention laboratory, with the pur-pose of giving rise to a series of formative gestures that pass through the porous condition of the bodies

89

Authors: Oscar Cornago Bernal

This article studies the forms of research in the arts from three levels: the narrative of the research, the practices on which it is based and the desire that moves it. As a case study, the project For rent. Live archive of the actor, devel-oped by the stage director and interpreter Juan Navarro in collaboration with Óscar Cornago, is used. The objective is to analyze the qualities of practical knowledge and from there the ways of working in the arts against the institu-tional horizon of theoretical knowledge

113

Authors: Luz Elena Acevedo Lopera

The following article is the result of participating in the seminar; Epistemology of materialities: an approach to the performativity of objects in research, making a bodi-ly experience possible; affects and percepts. Therefore, the article approaches the answer to the question: What is the epistemological potency and bodily involvement that mate-rialities in the research process organize? This is how the most important ideas that emerge within the experience are highlighted, as well as others that have been developing in the PhD process. Finally, these reflections are incorporated into the research proposal, entitled: “Andariega's pedagogy of walking", seeking to embody the powers as the affecta-tions, an important invitation made by the seminar

27

Authors: Maria Alejandra García Cartagena

Bandoneon, instrument that evokes bohemian feelings in tango, a genre that came into being masculine because it was exclusive for men as well as the bandoneon, until the argentinean Francisca Bernardo play the instrument at the beginning of the 20th century, a feat for the liberation of the feminine gender the tango. That first step that Francisca took, or “Paquita” as it is known, opened the opportunity to many other women who came to play the bandoneon.One of those great bandoneonists is Carla Algeri who, in addition to play the instrument, is a composer, director and arranger in tango; cultural ambassador of tango in Buenos Aires City and cultural manager. Among her great works is the writing of tango as heritage of humanity for Unesco, be-sides being a disciple of one of the forts in the bandoneon as the master Rodolfo Mederos

61

Authors: Monica Alexandra Herrera Colorado

This work presents a techno-aesthetic analysis (Simondon, 2017) of three singing styles - the lyric, the popular and the folkloric - through a comparative study of their morphologi-cal characterization and the audio waves that each of them emits. To sustain our study empirically, we have drawn on two feminine musical referents in Colombian tropical mu-sic: Totó la Momposina and Doris Salas. For this, we have designed an interface that allows comparing the similarities and differences between this type of vocalities through its sound modulation, with which we observe not only its aes-thetic but also its technical dimension.

79

Authors: Diana Camila Salazar Cortés

This text is one of the evidence of the process that have been taking place on the investigation group CorpoTango which focus around tango and his social, cultural and musical as-pects. It’s propose a traking about the tango-dance as a way to inhabit a new space, highlighting some historical events like inmigration on it consolidation. The tango-dance then arise as a way of resistence and evocation, standing out the need of an individual to feel that belongs somewhere

99

Authors: Yoni Alexander Osorio

This text pretends to do a reflection about how the glance, being practiced, can draw attention to hidden stories in the territories, generating memory, identity and consciousness of oneself. It is an exploration through the hidden stories behind what the eyes judge as obvious; it suggests an ex-ercise to try to see beyond the senses, to accept that the untold is more important, what is not said and is behind each occurrence and keeps a whole memory about territory, body and identity