The Virtual Bulletin Voz a vos is about the events, the production of the research-creation, the reflections, and the interviews by the Bachelor of Performing Arts of the Faculty of Education of the Antonio Nariño University. Its publication is semestral.
The present proposal arises as a need to innovate in teaching methodologies, within different artistic and pedagogical contexts. Constantly asks about the work of the artist and its different "crises" (understood as this creative process, which comes from a difficulty or problem), is why more than a simple element, the "rubber" is positioned as a powerful tool for intervention and answering different methodological questions that allows you to move into your own pedagogical languages. The objective of this methodology lies in the ability to transform sensitive experiences, providing the participant with a frequency and bodily states that confront the object or the proposed methodology. The didactics is structured in a logical progression that goes from an individual consciousness to the collective. The concept of "entanglement and unentanglement" is introduced as a metaphor for the "crisis," as ways and means of exploring and confronting bodies, that become a support and challenge, always respecting personal rhythms and motivations. Through exploration arises the need for group, collective work; rubber acts as a connector of movements, allowing sequences, rhythms, to evolve organically towards performance proposals. The process culminates in a space for pedagogical conversations, reflection is held on how the process generates mediation in contexts and fertile individuals; rubber is presented as a mediator that facilitates creation. alternatives for intervention in a corporeal and social reality of those who participate, this dynamic allows the artist-teacher to be filled with resources in their "crises" and have the possibility of constant discoveries.
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From experience to scene: Creation of festive characters. Case study - Character Quinde Colibri.
This presentation presents the process of creation and evolution of the character Quinde Hummingbird in the play Rumba Vital, a free version of Rumba Vida del Teatro Taller de Colombia, developed as part of the course Montaje Interdisciplinar Teatro, Fiesta y Carnaval 2025-I of the Licentiate in Performing Arts of the University Antonio Nariño. This research is situated in the field of research-creation and aims to present the artistic-pedagogical experiences that contributed to the construction of this festive character. The importance of experiential processes in the formation of master artist researchers is highlighted, understanding the carnival not only as a cultural manifestation, but as a pedagogical, political and creative space.
Technique and utopia and the body in the city
This text, was written in order to be interpreted as a lecture accompanied by performative gestures, it reflects on the relationship between body, city, and scenic practice through the research-creation process Tacto con-tacto, developed within the research group Técnica y utopía. In dialogue with contemporary thought, the project addresses issues such as hypercommunication and the naturalization of violence in everyday urban life. Through the training of techniques such as Suzuki, Viewpoints, and contact improvisation, the group proposes performative actions that interrupt urban routines and temporarily resignify public space. The process reveals the creative potential that emerges from exploring the body as both individual and relational within urban dynamics that often privilege productivity over affect, proximity, and physical contact.
Feeling/Interpreting: Staging accessible to community in the autistic spectrum.
The research-creation project in progress The Bull and the Bullfighter: Inquiries, Experimentation, and Reflections on Power Relations in Undergraduate Music Programs in Bogotá, Colombia, developed within the Master’s Program in Artistic Studies, questions the dominator/dominated power dynamics present in academia. As a driving element of this reflection, the stage performance Feel/Interpret was created, conceived to engage with audiences within the autism spectrum. The piece narrates the experience of a music student who faces a situation of stage fright during an examination before a teacher trained at a European academy, thereby placing tensions around authority, evaluation, and control at the center of the narrative. The staging articulates acting, lighting design, and sensory elements, using specific colored lights to represent the protagonist’s predominant emotions. This resource aims to facilitate emotional identification and empathy in individuals within the autism spectrum, particularly those who experience difficulties recognizing and understanding others’ emotional states. The presentation also explores the potential of the performing arts as a sensitive and inclusive means of communication with audiences within the autism spectrum, as well as the process through which the performance was conceived. Finally, it presents an analysis of the performances that have taken place and the reception of the work by audiences, reflecting on its impact and scope within the participating community.
The politically incorrect: The morbid art of auditory perversion.
This article reflects on the configuration of the category of "perversion" not as an intrinsic quality, but as a sociocultural and historical mechanism intended to delimit the boundaries between the normative and the forbidden. Through an interdisciplinary review that encompasses anthropology, sociology, and psychoanalysis, he examines how what is called perverse acquires a symbolic power that becomes morbid: a collective fascination and an insatiable curiosity for the transgressor. This research is central to the aesthetic experience of radio dramaturgy, "Perverse stories - morbid ears". This work proposes a shift from ocularcentrism - the hegemony of gaze in the Western tradition - to purely auditory immersion. Sound theater is here constituted as a political and pedagogical device that invites the viewer to confront the morally ambiguous.
The pleasure of inhabiting myself: body expression focused on sensuality, burlesque and pedagogy to heal from the stage.
This article explores body language focused on sensuality and therapeutic burlesque as pedagogical, artistic, and therapeutic tools for reframing trauma, building self-esteem and identity in older women who have experienced rejection in different areas (emotional, family, social, school, work), generating profound impacts on their relationship with their bodies, self-esteem, self-image, and sensuality. This reflection stems from the life story of Paula Andrea Beltran Garzon. From a critical and sensitive perspective, it aims to highlight how the performing arts and alternative body pedagogies can offer paths to self-discovery, emotional liberation, and individual and social transformation.
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Dance as a pedagogical and social practice for shaping life projects in the SENA Mosquera dance seedbed.
This research, currently underway as part of the Master's Program in Performing Arts Education at the Antonio Nariño University, analyzes dance as a performance space in the development of life projects for young people at the SENA dance school in Mosquera. It is based on the premise that dance is not only an aesthetic practice, but also a pedagogical and social space where memory, identity, and processes of community transformation converge. The research question originates in the context of Mosquera, Cundinamarca, where urbanization and cultural homogenization have weakened traditional references, affecting youth participation in artistic expression. Given this situation, the question arises: how can dance, through the construction of performance spaces, contribute to the life projects of the students at the dance school, recognizing and highlighting the group's collective memory? The theoretical framework is based on categories such as the body as a living archive (Taylor, 2003), the constitutive imaginary (Castoriadis, 1975), collective memory (Ricoeur, 2000), critical pedagogy (Freire, 2005), and dance as a social and political practice (Schechner, 2002; Lepecki, 2006). Methodologically, a qualitative and participatory approach is proposed, integrating creative workshops, mapping exercises, and reflective journals. The results are expected to strengthen the understanding of dance as a tool for holistic development, memory, and social transformation.
Dance as a means to accompany the migratory challenge faced by students about to graduate from the I.E.D. Republic of Korea of ​​La Peña, Cundinamarca.
My research proposes the articulation of dance with a social issue such as youth migration in rural contexts. The dance is not only as a repetitive act, but as a pedagogical and transformative tool capable of generating bonds, strengthening identities, and emotionally supporting young people who face migratory processes. The objective is to understand how dance practice can serve as a means of sensitive and emotional accompaniment, allowing students to narrate and re-signify their migratory experiences, build collective memory, and find spaces for the expression of their cultural identity. This approach seeks to go beyond mere spectacle, positioning dance as a resource for emotional and social containment. “At the methodological level, the research adopts a qualitative approach based on Participatory Action Research. This methodological choice seeks to ensure that students are not merely subjects of study, but rather protagonists in the creation of knowledge. Several possible data collection strategies are considered, such as dance workshops, interviews, field journals, and participatory observation, which could enable the collective construction of experiences and knowledge.” The participants are students about to graduate from the I.E.D. República de Corea, especially those who have migration in their life plans or are already in the process of migrating. The participation of different actors from the educational community is also contemplated, with the purpose of enriching the analysis, planning the accompaniment, and monitoring the implementation of the proposal. This research arises from the need to respond to a social issue identified in La Peña, particularly at the I.E.D. República de Corea: the emotional, sentimental, and cultural challenges students face in the context of migration, often without adequate institutional or family support. Furthermore, its scope is directed not only at migrant students and their families, but also at educational institutions and organizations that seek to promote emotional well-being and youth social cohesion.
Play, expression and collectivity: a joint children's stage creation experience.
This research aims to create a children's theater play based on emotions, developed within a theatrical creation laboratory with children aged 9 to 12 from the institutional theater group at Instituto Diversificado Albert Einstein, located in Mosquera, Colombia. The study seeks to understand how the process of creating and performing theater, centered on emotional exploration, contributes to the development of creativity, imagination, and expressive skills in a school context. The project is structured in progressive stages, beginning with a sensitization phase that includes literary and audiovisual references (The Color Monster, Inside Out, and Jack and the Cuckoo-Clock Heart), followed by dramatic play activities guided by open-ended questions that lead participants to create characters and situations. These creations form the basis of a collective dramaturgical proposal, culminating in a public performance for the school community. The research adopts a practice-as-research (research-creation) methodology, which recognizes artistic creation as a valid form of situated and sensitive knowledge production. Data collection is carried out through reflective field journals, audiovisual records, theatrical exercises, and group discussions, allowing an experiential understanding of the creative process.
Folk dance as a pedagogical strategy for educational inclusion.
The purpose of this research is to design a pedagogical strategy based on folk dance that promotes the integral development of students with disabilities from eighth to eleventh grade at Miguel Antonio Caro Educational Institution in Funza, Cundinamarca. Inclusive education in Colombia, supported by regulations such as the General Education Law 115 of 1994 and Decree 1421 of 2017, poses the challenge of ensuring meaningful learning and the full participation of all students in regular school environments. In this context, the institution has implemented folk dance as a pedagogical strategy that not only fosters the development of motor, cognitive, and socio-emotional skills. The methodology adopted corresponds to the systematization of experiences under the qualitative paradigm, following the proposal of Jara (2001). For this purpose, techniques such as participant observation, interviews with teachers and students, and the analysis of institutional records and community workshops are employed. This approach allows for the reconstruction and analysis of the process that began in 2009, when the institution integrated students with disabilities into regular classrooms, encouraging active participation and coexistence. Partial results show that folk dance has contributed to social inclusion, emotional development, and the strengthening of values such as respect, solidarity, and empathy among both students with disabilities and their peers. Thus, this research provides a practical and contextual contribution to inclusive education in Colombia, demonstrating that art, and particularly dance, can be a driving force for pedagogical and social transformation.
Review of the State of the Art on Self-Management, Sustainability, and Continuity of Dance Festivals in Bogota
This article establishes the categories of economy, culture, and independent dance festivals. These dimensions constitute the theoretical and conceptual focus. A mixed methodology (qualitative and quantitative) is used to conduct the study. This allows for the initial review and analysis of literature, revealing other topics such as territory, creative districts, cultural goods and services, and the creative economy, which are relevant to the research. Likewise, this document presents the initial results of the implementation of an instrument that provides guidelines for the design of organizational, systematization, and documentation mechanisms to help mitigate the sustainability issues faced by many of Bogotá's independent festivals. Initial findings corroborate the importance of analysis and the execution of studies that establish the concordance and articulation between economy, culture, and independent festivals, promoting strategies that enable self-management and sustainability.
The knowing, doing, and being in theatrical training.
This pedagogical reflection is about the importance of performing arts schools in our current context, where theater stands as an art with transformative potential. It emphasizes that acting training must integrate theory and practice organically, connecting knowledge, doing, and being, where the actor's trained body becomes an instrument of psychophysical expression. Through practical experimentation, confrontation with theory, and constant reflection, the performer develops a performing language, builds characters, and contributes to the political and transformative power of theater, learning primarily by "playing" in a collaborative and unique process.
Being children again: art, play, and memory in interdisciplinary creation
This article presents a reflection on the importance of interdisciplinarity in contemporary art, based on the creative process of the work "Jugando a ser hormigas" (Playing at Being Ants), a performance that articulates dance, music, and theater. It considers how the integration of different disciplines enables a horizontal dialogue between artistic languages, fostering collective creative processes that challenge the artist not only from a technical perspective, but also from a sensitive, symbolic, and vital perspective; an introspective encounter. The work, conceived as a tribute to the teacher, researcher, and artist Abelardo Jaimes, becomes an act of healing and a reconnection with the essence of the creative act: play, exploration, and constant questioning.
Intra-gender violence and the performing arts as a strategy for social transformation
Performing arts, as a pedagogical tool, hold transformative potential to make visible and reframe school coexistence dynamics. In contexts marked by intragender violence, such as the one observed at the Ciudadela Sucre Educational Institution – Sede B in Soacha, these artistic expressions can serve as a means to channel emotions, build collective narratives, and foster supportive bonds among female students. The presented research acknowledges the need to address bullying among girls through an approach that integrates sorority, understood as an ethical and political commitment to empathy, active listening, and mutual care. Through mixed methodologies, the study identifies Boletín Voz a vos 19 – enero a junio de 2025 26 how art can create safe spaces for dialogue and reflection, promoting key socioemotional skills for peaceful coexistence. In this sense, performing arts not only allow for the representation of conflicts but also their transformation, by nurturing the ability to see oneself in others. This experience invites us to view the school as a stage where, beyond learning academic content, students learn to coexist, to be with others, and especially to be with other women through respect, equity, and female solidarity.
The physical action as an experience in the creation process of “The House of the Lame”
This article seeks to present the results of the systematization process of the play "La casa de los cojos", produced within the University of Caldas, with the support of the Faculty of Arts and Humanities and the Vice-Rector for Research and Postgraduate Studies. The objective of the project was to understand the creative and educational possibilities offered by the exploration of classical dramaturgy through scenic experimentation with Physical Actions. The methodology complements the collective creation from a phenomenological perspective, introducing interviews with the acting team of the creative process. We present a taxonomic approach to the types of Physical Actions experienced by the actors during the creative laboratory process and a general perspective of the experience of the physical action experienced within the tour developed with the show in the “eje cafetero”.
Borderline artist: dissident, political, and transgressive
Understanding the role of a performing artist starts with recognizing ourselves as inhabitants of a specific context, from which we live the arts and the creative exercise. This writing expresses the convictions that, as an artist-teacher, move my work, from a political, emancipatory, rebellious, and transgressive position that questions the established devices of economic, artistic, and social power.
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A vulture that does not eat carrion: reflections on the character and our social realities.
The presentation explores the symbol of the vulture in the play Reino de Carroñeros as a representation of social and political disenchantment. Through the voices of Kelly Rojas, from seventh grade, and Salomé Cárdenas, from fourth grade, members of the ALCATOE theatre group from the Álvaro Camargo de la Torre ETB School, it examines how this character, tired of feeding on carrion, symbolizes the frustration of those who want a real change in their lives, instead of settling for the crumbs offered by the rulers. The analysis of the dramatic text reveals how the characteristics of the vulture reflect the struggle for dignity and the right to aspire to more, challenging the dynamics of power and claiming a space for hope and social action. The presentation also invites us to reflect on social expectations and the role that the characters play in the construction of collective reality. The importance of not resigning ourselves to the established order and of seeking new possibilities is underlined. In addition, the workshop discusses how theatre can function as a powerful vehicle for social criticism, promoting dialogue and awareness in the community.
Approaches to indigenous theatre in the contemporary scene
The question of whether or not pre-Columbian theatre existed is very important for the current state of Colombian theatre and society. Although there was no theatre in our territories similar to the western one we know, born from the Dionysian festivals or their Roman or medieval forms, we must recognize that thanks to the studies of Fernando González Cajiao, Rosario Jaramillo, Carlos José Reyes, and Marina Lemus, Liliana Alzate, Carlos Araque, Zapata Olivella, Floresmiro Masabel, among others, together with the multiple chronicles of Indians, archaeological, anthropological, linguistic and cultural discoveries as well as the relationship with Indigenous communities and their orality, that there did exist in pre-Columbian times multiple Indigenous communities that held festivals, celebrations, sacrifices, offerings, processions and ritual acts whose elements and intentionality resemble both the origin and the development of what we know today as theatre. The similarities and parallels found between the rituals to the god Dionysus and the dances, songs, and sacrifices of the Muisca God Fu, Fo, or Nemcatacoa are evidence of this. The festive, sacred, and community character of the theatre was revived in different ways in both territories. The pre-Columbian stage performances and their proximity to ritual, magic, medicine, orality, myth, anthropomorphism, and currently with a series of political and social demands in favor of inclusion, equality, and identity make the relationship between theatre – indigenous communities – education of fundamental importance in modern theatre and our present stage. Beyond making an exhaustive study of the aforementioned authors and their works that are available for public consultation, our interest is to recognize the importance of their works by revealing some resonances for the contemporary theater scene, by disseminating part of the scenic exploration of the Inti Amaru Artistic and Cultural Foundation, asking ourselves: What could be the role of professionals in the performing arts in the face of the current situation of ethnic communities? An inquiry that since 2019 led us to contemplate the creation of the concept of Indigenist Theater and with which we began a theatrical movement with actions such as virtual conversations, training laboratories, circulation seasons, publications, and the creation of the Indigenous and Afro-Colombian Theater Festival that celebrates its fourth version this year and to which you are cordially invited in Bogotá.
Strategic teaching approaches to overcome discrimination in vulnerable educational contexts
The need for a profound transformation in pedagogical practices to achieve a truly inclusive education is explored. It is emphasized that inclusion goes beyond the mere physical integration of students with disabilities or differences in the classroom. True inclusion implies a commitment to equity, social justice, and the appreciation of diversity in all its manifestations. A key aspect is the importance of critical pedagogy as a tool to question and transform traditional educational structures that perpetuate exclusion. Rather than adapting pedagogical methods after integration, it is proposed that inclusion should be integrated into pedagogical design from the beginning, to ensure that all students, regardless of their differences, have equal access to education. The need to restructure curricular content to reflect and value the diverse experiences, knowledge, and cultures of students is underlined. This approach must be intersectional, considering how factors such as race, gender, class, and disability interact and affect the educational experience of each student. Another key point is the importance of the active participation of students in their learning process. Listening to and valuing the voices of those students who have been historically marginalized is essential to building an inclusive education that responds to their needs and perspectives. Finally, although the implementation of inclusive education faces significant challenges, including institutional and cultural resistance, the need to persist in the fight for a more just education is highlighted. Redefining the concept of inclusion in the educational system is essential to creating an environment where diversity is celebrated and all students can fully participate in their education.
This dramaturgical text is the result of the permanent need to listen to the voices of those who, due to violence in our country and the world, have lost their lives at the hands of armed groups. It is the conversation of two hunks of men waiting in a common grave for someone to come and tell them what day it is. With a great Beckian influence and the song Bohemian Rhapsody by Queen written in 2011.
Relationships between festive theater and the theory of Dramatic Genres of Luisa Josefina Hernández
The festivities, the theater and the stage are a source of immense scenic wealth in Mexico. The so-called festivities popular have been presented since the time of the Colony and later in Mexico Independent, producing complex interactions between native cultures, European cultures, cultures Afro-descendants in addition to those come from the cultural industry of the century XIX and XX century, resulting in a dynamic cultural mix that conforms to the heritage of the so-called Popular Art. The festive theater, the street scene, the Mexican professional theater like living and moving traditions adapt, mix, and transmute into one enriched scene. When the old ritual is desacralized it tends to become theater normally inclined to the genre of the farce, whose mechanisms can be interpret and explain through theory of dramatic genres of the playwright, Mexican teacher and theorist Luisa Josefina Hernández, with her study of farce, seeking to contribute to clarifying these characteristics and operation through type or simple characters, tone holiday and replacement mechanism or symbolic to produce catharsis farsic.
The play Mystical Triptych. Polaroid, snapshots of a night, is the result of a project that evaluates the research-creation model proposed by the researcher, from the point of view of complexity. This evaluation takes place in a creative experience that starts from thinking about the construction of love and heartbreak in 6 actress-researchers who live between the 20th and 21st centuries. In this construction of the imagination about love, we arrive at the tarot, and through it, the fifteenth arcanum, The Devil. However, by collecting the data from the mental and mystical levels of the researchers, the devil, as a character, atmosphere, and essence of the work, is constructed as the festive devil of the carnival. This paper shows the trajectories of knowledge production that the researchers-creators have in the creation of the play.
Taboo themes and the festive in theater for children
This article is about some possible ways, first placing the importance of theater for childhood also called theater for children within the relevant subjects in the theater schools of our country, Mexico.
Copyright (c) 2024 María Elizabeth Vargas González https://creativecommons.org/licenses/by-nc-sa/4.0
In the academic program of Bachelor of Performing Arts; Acting and Contemporary Dance specialty (training of actors and dancers) of eight semesters, only two semesters are taught the subject Voice I and Voice II, the program of subject one, has the specific objectives: “You will manage your vocal expression through the creative interpretation of poetic texts, including bodywork in a consistent manner” and part of the thematic content states: “Creative interpretation (to be evaluated). Free verse: Analysis by ideas, Review of its sounds, Rhythm, Vocal exercises, The rest of the body in the poetic text; which implies a disadvantage for actors in training since they lack knowledge of Classical Baroque theater and its interpretation.
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A.N.S.A.Liminal dramaturgies of a bee in the city
This article can be read as a swarm of conclusions, reflections, experiences or political decisions that emerge from the current research developed from the Research/Creation modality and are installed in the dialogue of Art, Ethics and Politics of Master in Art, Education and Culture at National Pedagogical University. Relationships are established between the situated performative practices of the teacher-creator “I” and the urban public spaces, evidencing the life of the bees as a symbolic universe due to their ways of inhabiting and building their hive, the way they communicate, the work uninterrupted throughout its life and the “bee space” understood in this research as a place of transit in the hive, a Liminal space.
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Fuenteovejuna in the llanero style, between verses and joropos.
This paper is part of the memory of the systematization of the play Villaovejuna, a free version of the play Fuenteovejuna by Lope de Vega, the result of the Llanera Dance and Theater of the Middle Ages and Renaissance courses, of the Department of Performing Arts of the Antonio Nariño University at 2022-2. The analysis of this artistic-pedagogical experience was made from the systematization of the experiences of the creative process of the play. Which allowed us to recognize the fundamental strategies of the creation process; the work with the texts in its adaptation to the Orinoquia context and how to link the scenic action with the joropo, in the way that the verse will be transformed to images that were show in the stage, these were built each scene, then we reflect about the importance of scenic and pedagogical decisions for the understanding of the classics text in our context.
Urdimbrar is a transdisciplinary play of performative theater that aims to circulate the voices of LGBTIQ+ victims. To do this, three testimonies present in the Testimonial Volume of the CEV final report, published in 2022, were taken as a starting point. Five bodies on stage dance, sing, face each other, fall and get up, but above all, they express their voice of resistance to a society that has sedimented heteropatriarchal logics that have become death and annihilation. However Warping is not only lament - although it is appropriate to be so in this withered society - it is also a proposal to establish strong ties as a basis for the social fabric. Weaving is a call to action, to look at each other's faces, to feel our bodies, to recognize our differences.
Theater as an artistic and social language to dialogue against gender-based violence within the framework of the XXXII Festival of Women on Stage for Peace
Understanding theater as a critical language and enabler of peace, I attend the Festival of Women on Stage for Peace, held from August 4 to 13, created and directed by Patricia Ariza who is aware of the reality of the country and accompanied by a group of women. consolidates a meeting that has three factors that make it unique and important for society: women, theater, and peacebuilding. This festival has the participation of women and artists who seek to generate dialogues between the arts and the social responsibility that we all have as political subjects. This year was the thirty-second version, on this occasion eighty-five plays, dances, and performances were presented in ninety-five functions, involving thirty-two stages. Forty groups were from Bogotá, but it also had the participation of twenty-three national groups and nineteen international groups. In addition to the above, seven workshops, book launches, and a poetry recital were held at this women's festival. The closing event was the XII Polyphonic Meeting of Women and Peace in which leaders, artists, and women of all ages had the opportunity to meet, listen to, and recognize each other collectively, taking into account different knowledge and voices, to build proposals for advance peace with women from different countries and territories of Colombia. This meeting aims to reflect on the commitments, priorities, and challenges we have to achieve social, political, economic, and cultural transformations. I had the opportunity to attend ten plays and interview seven women actors, directors, playwrights, and artists, who contribute through art to generate social change. This research has been systematized in my degree work: Theater as an artistic and social language to dialogue against gender-based violence within the framework of the XXXII Festival of Women on Stage for Peace.
This research investigates the nature (here understood as essential principles) of creative actions (art), taking as inspiration and reference the Colombian National Natural Park “Serranía de Chiribiquete” and the rupestrian paintings it houses from 20,000 years ago to the present day. This context is contrasted with that of the city of Bogotá and its contemporary artistic processes, in order to trace transversal elements, as well as differences, about art and life. It is clarified that this work does not intend to make an exhaustive analysis of the cosmovisions of the indigenous communities that inhabit the territory of Chiribiquete nor of the biological conditions of the ecosystem. For this purpose, reference will be made to works that have been devoted to it. Rather, this ongoing project seeks to approach what we might call "fundamental components of creative action (art)". This is with the intention of returning to a more sensitive and creative quality in "art" and in everyday life, in order to bring about a Living Life. So far, it has been possible to identify some essential principles of living action that make it manifest itself with greater or lesser pulsation. It has also been possible to identify differences between the context of Chiribiquete and Bogotá. These distinctions allow us to glimpse the respective dynamics of the relationship between the territory that contains a community and the practical cosmovision of the community that inhabits that territory. This, in turn, allows us to appreciate the presence or absence of notions that operate as cultural pillars.
In 2023 - I Interdisciplinary Theater, Fiesta, and Carnival Assembly course, two EAPEATs were held, one at the Barranquilla Carnival and the other at the Black and White Carnival in Pasto, Nariño. Within the creation laboratory, each member chose a character, disguised or a dance from the different carnivals, and created litanies in relation to their characters, having as reference the Litany Festival of Barranquilla.