Sistema Regional de Información
en línea para Revistas Científicas de América Latina,
el Caribe, España y Portugal

“Sed de Piel” es una obra de danza contemporánea de la agrupación Bacanal Colectivo, dirigida coreográficamente por Vivian Romo Jara e interpretada por Melisa Maturana y Andrés Millalonco, estrenada el 24 de septiembre del 2021, en Espacio Arte La Vitrina. La obra plantea, desde los códigos de la danza contemporánea, reflexionar acerca de los afectos, los que se traducen en manifestaciones corporales vinculantes, y cómo estos se transformaron, a raíz de la pandemia que vivimos desde el año 2020.  Sin embargo, la propuesta convoca a una extensión que va más allá de la contingencia, realizando cruces e interpretaciones que guardar relación con las visiones y tensiones respecto de las relaciones socioafectivas en el contexto contemporáneo. El siguiente texto, ofrece posibles lecturas de la obra, tomando como matriz creativa, la anatomía y composición biológica de las capas dérmicas; esta perspectiva dialoga con el título del montaje y propone figuras para reseñar la estructura de la pieza escénica.

This study proposes a set of concepts and themes to ponder if dance is a way of existing in the world. Through a hermeneutic foundation and select literature (Maurice Merleau-Ponty, Jean-Luc Nancy, and Paul Valery) we use phenomenology, ontology, and poetic aesthetic essay to reflect on the relationship between dance and the philosophy of existing. Dance as body, movement, gesture, silence, rhythms, harmonies, and disharmonies searches for a possibility of being in the world. Because dance is condemned by meaning, it reflects on its search, even beyond the conventionalities of language. As such, dance becomes corrective to the modern dynamics of how to understand life as a pursuit of settled paths.

This work represents an approach to show a close relationship between art and science, this through historical, artistic and scientific elements of judgment, its central axis is the bioethics to which both are subject, the insertion of science in art meant a paradigm shift from the use of imagination only, to an objective practice. The study was carried out in a comparative way, taking as an axis the questioning of the scientific method as an absolutist truth, opening new visions, where a free proceeding prevails, in the same way that an artist understands and exercises it, reaching a vision of Everything Goes. The study proposes a close relationship between both branches, reaching the conclusion that from a modern epistemology, science should be seen as art and vice versa. Art and science can generate much closer links with social, political, and ethical perspectives, reinterpreting the understanding of reality.Technology and technoscience are constantly used for the manipulation of living organisms, bringing into discussion discourses of family, art, science and ethics, their application is a debate of current and future importance.

The anamorphic project is an academic exercise that explores the didactic potential of anamorphosis in the teaching of architectural drawing. It is a working model conceived to stimulate a better understanding and application of the different projections (orthogonal, axonometric and central) as well as the layout on a one-to-one scale. The applied methodology is essentially drawing as a geometric resolution system for the anamorphic image, using the direct perspective graphic system – bidirectionally – and layout planimetry; all this gathered and articulated in a single sheet drawn by hand with traditional techniques. This is followed by the phase of graphic intervention in the space organized as a collaborative work. The exercise operates as a laboratory of the design exercise, in the three versions tested, and offers students empirical corroboration of the functioning of these canonical models of architectural representation, creating a spatial intervention that stimulates reflection on the conditions of perception under an attitude playful, collaborative and creative.

This paper presents an approach to the field where theatre and research meet, considered from an educational perspective and a socio-critical position in relation to procedures in knowledge generation, its uses and transferability. Accordingly, we start with a critical review on central concepts to the field, which, complemented by a review of relevant literature, will allow us to analyze some lines of work, outcomes and benefits that could derive in the areas of teaching, learning or creation.

Today, given the means available and the importance of the magnitude of the task, it becomes difficult for teachers or parents to invent new ways to free young people from the ways of their peer culture, fueled by marketing. and conformism or, for others, being able to get them out of the feeling of not feeling happy. Etymologically, educating means “driving outside of oneself”, escaping from oneself to open up to the world of the other, towards a universe of amplified meaning that the subject must be able to evaluate and think about knowing that they are part of others.

What if museums could be community spaces that elevate local stories, histories and futures? What if contemporary art could be used in museums to encourage the co-creation of knowledge through dialogue and experimentation while centering equity? What if there was a recognition that we all have knowledge to contribute, share and shape with while decentering the idea of ‘the expert’? This work will showcase the dialogue between two researchers interested on a new reality for museums and exhibition spaces, from the perspective of contemporary art and science. The above three stimulations will be explored through biomimicry, contemporary art and sustainability, as a frame to work with rural schools. We come from the premise that, in order to conceptualize equitable education, we must explore and implement reciprocity, collaboration and commitment, just as decolonial pedagogy has suggested. We believe these concepts offer alternative ideas as to what a museum can be; a space where the community holds the decision-making power in managing their cultural heritage and its place in history. Our work will demonstrate how community museums and contemporary arts can build spaces that offer more than exhibitions by representing local voices through co-creation. In doing so, we aim to provide the answers to the overarching provocation: What if museum spaces worked for a bigger social equity in their territories?

  El cuerpo es una construcción social. política y cultural, la cual hoy se ve definida con raíces del modelo cartesiano, donde cuerpo y sujeto pueden comprenderse de manera aislada entre sí. Esta concepción dual se reproduce como saber a partir de la mediación discursiva que generan las instituciones socializadoras como la escuela. La presente investigación indaga los discursos de saber del cuerpo desde la perspectiva de las y los docentes de educación escolar, los cuales a partir de una reflexión sobre su quehacer y su entorno generan percepciones de realidad, lo cual se conoce como saber pedagógico. Surge la presente problematización desde la pedagogía en danza, toda vez que su saber disciplinar involucra directamente al cuerpo; y como saber cada vez más inserto en los espacios de educación escolar formal, genera la interrogante en relación al cuerpo como saber pedagógico en los espacios educativos. El siguiente artículo expone las principales líneas discursivas del cuerpo desde el saber pedagógico, las cuales se elevan de las entrevistas realizadas a docentes de educación escolar de diversas asignaturas, interrogándolas desde la danza y su práctica pedagógica.

  Entrevista a Antonia Fernández Vergara. Doctoranda en Ciencias sobre Arte, Universidad de las Artes. Máster en dirección Escénicas, Universidad de las Artes. Licenciada en Artes Escénicas con especialización en Actuación, Instituto superior de Arte. Habana, Cuba. contacto@antoniafernadezvergara.org

This essay aims to present a proposal for a Confirmation itinerary for young people from the horizon of the announcement of the kerygma inserted in the paradigm of Christian initiation together with education in the faith from the formation of cognitive, procedural, attitudinal and spiritual skills. The initial question refers to how to design a confirmation catechesis that articulates kerygma and Christian initiation according to the new guidelines of the Directory of Catechesis and, at the same time, develops certain skills of faith. The proposal seeks to articulate the stages of Christian initiation from the time of the primitive catechumenate and recovered by the Ritual of Christian initiation for adults, along with promoting some fundamental skills of a mature Christian such as understanding the fundamental truths of the Christian faith, learning to manage certain techniques to scrutinize the Scriptures, pray and discern the signs of the times, recognize some attitudes typical of believing praxis and value the Christian experience as a horizon of meaning. This proposal seeks to contribute to the design of renewed Confirmation itineraries considering the new catechetical orientations in addition to some fundamental formative minimums that Christian initiation demands.