Pregrado en Artes Liberales en Ciencias Socialeshttps://repository.urosario.edu.co/handle/10336/5822024-03-28T11:32:56Z2024-03-28T11:32:56Z241Artice OnlineAriza Medaglia, Maria Paulahttps://repository.urosario.edu.co/handle/10336/423782024-03-23T08:03:28Zdc.title: Artice Online
dc.description.abstract: ARTICE.ONLINE is a digital tool aimed at middle school social sciences teachers in Bogotá, where they will find resources and activities to use in classrooms. These activities are focused on Colombian art, with the aim of giving visibility to local talent. The idea, which arises from the hypothesis about the invisibilization of Colombian art, has been strengthened by various authors and figures who affirm the importance of involving art in educational methodologies and dynamics, for the development of critical thinking and even economic development in the country. ARTICE.ONLINE is an easy-to-use tool, with the aim of reaching the largest population of teachers, including those who are not familiar with new technologies. Through filters, the teacher will be able to find topics based on the Basic Learning Rights (BLRs) and the type of art, to best adapt these tools to their class dynamics. Additionally, the platform seeks for educational spaces, in turn, to be spaces for the visibility of Colombian visual art, opening the possibility of a national market and cultural preservation. The interest of this proposal is to carry out the task of making Colombian art visible, through pedagogical resources, so by helping teachers to strengthen their class dynamics, they can give it a plus through the connection of reality. social with students in the classroom. Finally, it is appropriate to highlight, from the Liberal Arts, the interdisciplinary proposal throughout this project. A problem was identified: the invisibilization of art, which is not just a question of the market, or as colloquially pointed out: it is a question of a good manager; The various dynamics under which art is governed were identified; Furthermore, aesthetics were used in pedagogy as one of the ways to solve this problem. Therefore, the centralization and accessibility of information on a digital platform facilitates the process of covering the need to recognize national art.
dc.description: ARTICE.ONLINE es una herramienta digital dirigida a maestros de ciencias sociales de educación media en Bogotá, donde encontrarán recursos y actividades para usar en las aulas de clase. Estas actividades están enfocadas al arte colombiano, con el objetivo de darle visibilidad al talento local. La idea, que surge a partir de la hipótesis sobre la invisibilización del arte colombiano, se ha fortalecido de mano de diversos autores y personajes que afirman la importancia de involucrar el arte en las metodologías y dinámicas educativas, para el desarrollo del pensamiento crítico e incluso el desarrollo económico en el país. ARTICE.ONLINE es una herramienta de uso fácil, esto con el objetivo de alcanzar a la mayor población de maestros, incluyendo aquellos que no se encuentran familiarizados con las nuevas tecnologías. Por medio de filtros, el maestro podrá encontrar los temas basados en los Derechos Básicos de Aprendizaje (DBAs) y el tipo de arte, para adaptar de la mejor manera estas herramientas a sus dinámicas de clase. Adicionalmente, la plataforma busca que los espacios educativos, a su vez, sean espacios de visibilización del arte visual colombiano, abriendo la posibilidad a un mercado nacional y a la preservación cultural. El interés de esta propuesta, es llevar a cabo el cometido de visibilizar el arte colombiano, por medio de recursos pedagógicos, por lo que ayudando a los maestros a fortalecer sus dinámicas de clase, puedan darle un plus por medio de la conexión de la realidad social con los estudiantes en el aula de clase. Finalmente, es propio resaltar, desde las Artes Liberales, la propuesta interdisciplinar a lo largo de este proyecto. Se identificó un problema: la invisibilización del arte, que no es solo una cuestión de mercado, o como coloquialmente se señala: es cuestión de un buen mánager; se identificaron las diversas dinámicas bajo las que el arte se rige; además, se hizo uso de lo estético en la pedagogía como una de las vías de solución de este problema. Por lo que, la centralización y accesibilidad de la información en una plataforma digital, permite facilitar el proceso de cubrir la necesidad de reconocer el arte nacional.
Ariza Medaglia, Maria PaulaARTICE.ONLINE is a digital tool aimed at middle school social sciences teachers in Bogotá, where they will find resources and activities to use in classrooms. These activities are focused on Colombian art, with the aim of giving visibility to local talent. The idea, which arises from the hypothesis about the invisibilization of Colombian art, has been strengthened by various authors and figures who affirm the importance of involving art in educational methodologies and dynamics, for the development of critical thinking and even economic development in the country. ARTICE.ONLINE is an easy-to-use tool, with the aim of reaching the largest population of teachers, including those who are not familiar with new technologies. Through filters, the teacher will be able to find topics based on the Basic Learning Rights (BLRs) and the type of art, to best adapt these tools to their class dynamics. Additionally, the platform seeks for educational spaces, in turn, to be spaces for the visibility of Colombian visual art, opening the possibility of a national market and cultural preservation. The interest of this proposal is to carry out the task of making Colombian art visible, through pedagogical resources, so by helping teachers to strengthen their class dynamics, they can give it a plus through the connection of reality. social with students in the classroom. Finally, it is appropriate to highlight, from the Liberal Arts, the interdisciplinary proposal throughout this project. A problem was identified: the invisibilization of art, which is not just a question of the market, or as colloquially pointed out: it is a question of a good manager; The various dynamics under which art is governed were identified; Furthermore, aesthetics were used in pedagogy as one of the ways to solve this problem. Therefore, the centralization and accessibility of information on a digital platform facilitates the process of covering the need to recognize national art.Café Zelva, un café para todosVega Rueda, Álvaro Joséhttps://repository.urosario.edu.co/handle/10336/329052021-11-05T08:01:24Zdc.title: Café Zelva, un café para todos
dc.description.abstract: Café Zelva is a company of specialty coffee which value is to take coffee culture to those that are not experts. For this, Café Zelva makes kits and basic classes of how to prepare coffee and general coffee knowledge that are offered to companies and individuals. In this document is evidenced the business model, legal model, commercial model, financial model, and marketing model that constitute the verbalization and structuration of the project.
dc.description: Café Zelva es una marca de café especial cuyo valor radica en llevar la cultura del café a aquellos que no son expertos. Para esto, se desarrollan kits y talleres básicos de preparación y conocimiento de café que son ofrecidos a empresas y particulares. En el presente documento se evidencia su modelo de negocio, legal, comercial, financiero y de mercadeo que constituyen la verbalización y estructuración del proyecto.
Vega Rueda, Álvaro JoséCafé Zelva is a company of specialty coffee which value is to take coffee culture to those that are not experts. For this, Café Zelva makes kits and basic classes of how to prepare coffee and general coffee knowledge that are offered to companies and individuals. In this document is evidenced the business model, legal model, commercial model, financial model, and marketing model that constitute the verbalization and structuration of the project.Educación religiosa escolar: formar ciudadanos del mundoGuarín Vega, Maria Alejandrahttps://repository.urosario.edu.co/handle/10336/321772021-08-10T08:01:55Zdc.title: Educación religiosa escolar: formar ciudadanos del mundo
dc.description.abstract: The following article aims to draw attention to religious Scholastic Religious Education in Colombia. The article starts from the analysis of the importance of ERE and the legislation that governs it in Colombia. Likewise, the article reviews the proposals that have been presented to direct and set the guidelines for the ERE and it is presented an analysis of the proposal of global citizenship by Martha C. Nussbaum to link with reflection on this area of education. Finally, the article suggests a religious education in schools focused on strengthening the civic competences in Colombia.
dc.description: El presente artículo se enfoca en la Educación Religiosa Escolar (ERE) en Colombia ya que, pese a ser fundamental y obligatoria, no hay lineamientos claros sobre su propósito y genera poco interés en los educandos. Este artículo, parte del análisis de la importancia de la ERE y la normatividad que la rige en Colombia. Asimismo, se hace una revisión de las propuestas que ya se han presentado para encaminar y plantear lineamientos para la ERE y se expone un análisis de la propuesta de ciudadanía mundial de Martha C. Nussbaum para vincular con la reflexión sobre esta área de formación. Finalmente se propone una ERE enfocada en la formación de ciudadanos del mundo en Colombia, la cual esté orientada al fortalecimiento de las competencias ciudadanas.
Guarín Vega, Maria AlejandraThe following article aims to draw attention to religious Scholastic Religious Education in Colombia. The article starts from the analysis of the importance of ERE and the legislation that governs it in Colombia. Likewise, the article reviews the proposals that have been presented to direct and set the guidelines for the ERE and it is presented an analysis of the proposal of global citizenship by Martha C. Nussbaum to link with reflection on this area of education. Finally, the article suggests a religious education in schools focused on strengthening the civic competences in Colombia.El cabello como registro corporal y radiografía social. Aproximaciones a las experiencias de las mujeres crespas, afro y rizadasVenegas Arevalo, Carmen Danielahttps://repository.urosario.edu.co/handle/10336/381802023-03-04T17:55:49Zdc.title: El cabello como registro corporal y radiografía social. Aproximaciones a las experiencias de las mujeres crespas, afro y rizadas
dc.description.abstract: This document approaches the social construction of hair and the way in which it has become a place of difference that permeates the appearance of women. All this through the identification of historical aspects and colonial patterns, as well as the recognition of natural aesthetics in the private and public spheres.
dc.description: El presente documento se orienta a la construcción social del cabello y a la forma en la que este ha llegado a ser un lugar de diferencia que atraviesa la apariencia de las mujeres. Todo esto a través de la identificación de aspectos históricos y patrones colonialistas, así como el reconocimiento de las estéticas naturales en las esferas privada y pública.
Venegas Arevalo, Carmen DanielaThis document approaches the social construction of hair and the way in which it has become a place of difference that permeates the appearance of women. All this through the identification of historical aspects and colonial patterns, as well as the recognition of natural aesthetics in the private and public spheres.El teatro como generador de memoria colectiva: Una mirada al Centro Nacional de Memoria Histórica y al Festival Entreacto 2017López, Juana Gabrielahttps://repository.urosario.edu.co/handle/10336/313572021-05-05T08:03:08Zdc.title: El teatro como generador de memoria colectiva: Una mirada al Centro Nacional de Memoria Histórica y al Festival Entreacto 2017
dc.description.abstract: The virtue of theater is that it can take things out and show them through emotion. It is not a purely intellectual matter that forces people to memorize or follow a model to the letter. On the contrary, it offers the possibility of evaluating the story of a human being who stands in front of an audience, exposes himself and generates countless emotions. The interesting thing about all this is that in the theater of memory there is an intention of truth and of closeness to historical reality. This generates an additional effect. It moves viewers to wonder: "how come I didn't know about this?" People attend, observe, admire, and investigate, all simultaneously. This promotes an imperious will to come out of ignorance, and begin to see the world with critical eyes, and not veiled. In order to address the relationships and scenarios that are interwoven in the staging of memory through theater in the Entreacto Festival, the following degree project will be organized into six sections. In the first section, the generalities of the Historical Memory Center are described, namely, its research functions, publications, actions and initiatives. In the second section, an analysis of the theater is carried out as an action not only aesthetic, but also ethical and political, and the performative act is related to memory. In the third section, the field of collective memory, identity construction and staging are explored, with Ricœur as an interlocutor. Finally, sections five and six seek to explore the relationship between collective memory, emotion and staging at the Entreacto Festival as a tool for building and defending reparation.
dc.description: La virtud que tiene el teatro es que puede sacar las cosas y mostrarlas a través de la emoción. No se trata de una cuestión meramente intelectual que obliga a las personas a memorizar o seguir un modelo al pie de la letra. Por el contrario, ofrece la posibilidad de valorar la historia de un ser humano que se para frente a una audiencia, se expone y genera un sinnúmero de emociones. Lo interesante de todo esto es que en el teatro de la memoria hay una intención de verdad y de cercanía con la realidad histórica. Esto genera un efecto adicional. Mueve a los espectadores a preguntarse: “¿cómo es que no sabía sobre esto?”. Las personas asisten, observan, admiran e investigan, todo ello simultáneamente. Esto promueve una voluntad imperiosa de salir de la ignorancia, y empezar a ver el mundo con ojos críticos, y no velados. Con el fin de abordar las relaciones y escenarios que se entretejen en la puesta en escena de la memoria a través del teatro en el Festival Entreacto, el siguiente trabajo de grado se organizará en seis apartados. En el primer apartado, se describen las generalidades del Centro de Memoria Histórica, a saber, sus funciones de investigación, publicaciones, acciones e iniciativas. En el segundo apartado, se realiza un análisis del teatro como una acción no solo estética, sino ética y política, y se relaciona el acto performativo con la memoria. En el tercer apartado, se explora el terreno de la memoria colectiva, la construcción de identidad y la puesta en escena, teniendo como interlocutor a Ricœur. Finalmente, los apartados cinco y seis pretenden explorar la relación entre la memoria colectiva, la emoción y la puesta en escena en el Festival Entreacto como herramienta de construcción y defensa de la reparación.
López, Juana GabrielaThe virtue of theater is that it can take things out and show them through emotion. It is not a purely intellectual matter that forces people to memorize or follow a model to the letter. On the contrary, it offers the possibility of evaluating the story of a human being who stands in front of an audience, exposes himself and generates countless emotions. The interesting thing about all this is that in the theater of memory there is an intention of truth and of closeness to historical reality. This generates an additional effect. It moves viewers to wonder: "how come I didn't know about this?" People attend, observe, admire, and investigate, all simultaneously. This promotes an imperious will to come out of ignorance, and begin to see the world with critical eyes, and not veiled. In order to address the relationships and scenarios that are interwoven in the staging of memory through theater in the Entreacto Festival, the following degree project will be organized into six sections. In the first section, the generalities of the Historical Memory Center are described, namely, its research functions, publications, actions and initiatives. In the second section, an analysis of the theater is carried out as an action not only aesthetic, but also ethical and political, and the performative act is related to memory. In the third section, the field of collective memory, identity construction and staging are explored, with Ricœur as an interlocutor. Finally, sections five and six seek to explore the relationship between collective memory, emotion and staging at the Entreacto Festival as a tool for building and defending reparation.El valor del perdón en el proyecto del posconflicto colombianoPiedrahita García, María Adelaidahttps://repository.urosario.edu.co/handle/10336/135022021-06-03T05:48:14Z2017-01-01T00:00:00Zdc.title: El valor del perdón en el proyecto del posconflicto colombiano
dc.description.abstract: In this research project I defend the idea that the advocacy for reconciliation, in the context of a transitional justice project, has to be careful in various ways. One of them, is not to mistake a general disposition towards the reconstruction of the social structures -in which, one can acquire certain civic compromises- with a general disposition towards forgiveness, because, on the one hand, they’re not the same and, on the other hand, forgiveness is not a necessary condition for reconciliation.
dc.description: En este proyecto de investigación defiendo la idea de que el llamado a la reconciliación, en un contexto de transición política, debe ser cuidadoso en muchos aspectos. Uno de ellos es no confundir una disposición general orientada hacia la reconstrucción del tejido social -en la que pueden adquirirse una serie de compromisos cívicos- con una disposición general a la adopción de actitudes orientadas hacia el perdón, porque, por un lado, no son lo mismo y, por otro lado, esas actitudes no son condición necesaria para la reconciliación. Esta defensa está dividida en varias partes. En la primera, presento la interpretación del proyecto reconciliatorio colombiano en la que la reconciliación está atada a una disposición a perdonar. Luego, expongo algunas nociones, sobre el perdón y la reconciliación, en las que uno podría aceptar que la anterior es una postura apropiada. Enseguida, examino en qué sentido ese vínculo entre la reconciliación, el perdón y la paz se da de manera apresurada. Para ello expongo una teoría del perdón que permita revisar qué dimensiones del fenómeno se diluyen cuando la paz o la reconciliación están condicionadas a él. Por último, muestro por qué, en medio de este proceso de transición, es importante elaborar interpretaciones políticas y sociales en las que las actitudes orientadas hacia el perdón y la disposición a la reconstrucción del tejido social luego del conflicto armado no signifiquen lo mismo.
2017-01-01T00:00:00ZPiedrahita García, María AdelaidaIn this research project I defend the idea that the advocacy for reconciliation, in the context of a transitional justice project, has to be careful in various ways. One of them, is not to mistake a general disposition towards the reconstruction of the social structures -in which, one can acquire certain civic compromises- with a general disposition towards forgiveness, because, on the one hand, they’re not the same and, on the other hand, forgiveness is not a necessary condition for reconciliation.En contra de una ciudad gris : el grafiti-mural como herramienta estética en la renovación de espacio públicoFierro García, Ivánhttps://repository.urosario.edu.co/handle/10336/179542019-09-19T12:37:01Z2018-01-01T00:00:00Zdc.title: En contra de una ciudad gris : el grafiti-mural como herramienta estética en la renovación de espacio público
dc.description.abstract: The purpose of the text is to show how graffiti-mural renews public space. It is exposed through four artistic interventions a material and subjective resignification of the public space. This research presents graffiti-mural as an aesthetic tool that allows to approach other realities through the stories that expose themes related to nature, memory, non-forgetfulness, empathy and reflection, which are shaped by the content-message contained in the interventions. These other realities that are evident in the interventions are different from the daily life of someone who grew up or lives in the city. What these graffiti-murals rescue are stories that expose other non-city contexts, since they make visible situations that are not found in the city, such as fauna, people, different interpretations of the same fact that are in the memory of members of various groups or events that seek to be made visible as a means of information.
dc.description: El texto tiene como fin mostrar de qué manera el grafiti-mural renueva el espacio público. Se expone cómo por medio de cuatro intervenciones artísticas existe una resignificación material y subjetiva del espacio público. Esta investigación presenta al grafiti-mural como una herramienta estética que permite acercarse a otras realidades a través de relatos que exponen temas relacionados a la naturaleza, la memoria, al no olvido, a la empatía y reflexión, los cuales se configuran por el contenido-mensaje que contienen las intervenciones. Estas otras realidades que se evidencian en las intervenciones son diferentes a la cotidianidad de alguien que creció, vive o habita la ciudad. Lo que rescatan estos grafitis-murales son relatos que exponen otros contextos no citadinos, ya que visibilizan situaciones que no se encuentran en la ciudad, como fauna, personas, diferentes interpretaciones de un mismo hecho que están en la memoria de miembros de varios grupos o acontecimientos que buscan ser visibilizados como medio de información.
2018-01-01T00:00:00ZFierro García, IvánThe purpose of the text is to show how graffiti-mural renews public space. It is exposed through four artistic interventions a material and subjective resignification of the public space. This research presents graffiti-mural as an aesthetic tool that allows to approach other realities through the stories that expose themes related to nature, memory, non-forgetfulness, empathy and reflection, which are shaped by the content-message contained in the interventions. These other realities that are evident in the interventions are different from the daily life of someone who grew up or lives in the city. What these graffiti-murals rescue are stories that expose other non-city contexts, since they make visible situations that are not found in the city, such as fauna, people, different interpretations of the same fact that are in the memory of members of various groups or events that seek to be made visible as a means of information.Encuentros con el Aprendizaje Cooperativo como modelo pedagógico en dos colegios de BogotáGómez Parada, Diana Maríahttps://repository.urosario.edu.co/handle/10336/315792021-06-05T08:02:56Zdc.title: Encuentros con el Aprendizaje Cooperativo como modelo pedagógico en dos colegios de Bogotá
dc.description.abstract: This article responds to the reflection made on a vocational practice that I had in two schools throughout a semester, under the auspices of the Educational Alliance and the British Council, in a project called EFFMa. The schools shared cooperative learning as approach. We will see the description and analysis of this methodology from the reading of the theoretical bases of each school and, of course, the practice. The question that guides the work is how is Cooperative learning implemented in each of the schools with their strengths and challenges? The work leaves a series of challenges for the schools related to the volume and motivation of the students due to the way in which Cooperative Learning is applied in each school.
dc.description: El presente artículo responde a la reflexión realizada sobre una práctica vocacional que tuve en dos colegios a lo largo de un semestre, con el auspicio de la Alianza Educativa y el Consejo Británico, en un proyecto llamado EFFMa. Los colegios compartían el aprendizaje cooperativo como enfoque. Veremos la descripción y análisis de dicha metodología desde la lectura de las bases teóricas de cada colegio y por supuesto la práctica. La pregunta que guía al trabajo es ¿cómo se implementa el aprendizaje cooperativo en cada uno de los colegios con sus fortalezas y retos? El trabajo deja una serie de desafíos para los colegios relacionados con el volumen y la motivación de los estudiantes por la forma en que se aplica el Aprendizaje Cooperativo en cada colegio.
Gómez Parada, Diana MaríaThis article responds to the reflection made on a vocational practice that I had in two schools throughout a semester, under the auspices of the Educational Alliance and the British Council, in a project called EFFMa. The schools shared cooperative learning as approach. We will see the description and analysis of this methodology from the reading of the theoretical bases of each school and, of course, the practice. The question that guides the work is how is Cooperative learning implemented in each of the schools with their strengths and challenges? The work leaves a series of challenges for the schools related to the volume and motivation of the students due to the way in which Cooperative Learning is applied in each school.Escuela de formación docente en Colombia – EFMMA : un análisis crítico de la experiencia particularYunda Martinez, Sara Valentinahttps://repository.urosario.edu.co/handle/10336/200372021-06-04T19:40:02Z2019-01-01T00:00:00Zdc.title: Escuela de formación docente en Colombia – EFMMA : un análisis crítico de la experiencia particular
dc.description.abstract: This article presents how the internship Escuelas Formadoras y Maestros de Maestros (EFMMa) is constructive in a assertive way to learn about teaching, providing a targeted learning for students of different academic programs to get to know and implement the teaching profession at a school level. Based on the experience of the author in the internship, three axes of analysis are juxtaposed, which are constitutive of the learning process through training that are: the guiding role played by Teaching Standards, the companionship of the mentors to improve the knowledge over training and learning through reflective thinking. Being a training model that ventures in Colombia, a contrast is made between experience and theoretical postulates on the subject to identify its scopes, opportunities and challenges to contribute to the discussion of pre-existing forms of teacher training in Colombia.
dc.description: Este artículo presenta la forma en que la pasantía Escuelas Formadoras y Maestros de Maestros (EFMMa) es constructiva para generar una inmersión a la docencia de manera asertiva, brindando un aprendizaje dirigido para que estudiantes de diferentes programas académicos la conozcan y pongan en práctica en el nivel escolar. Con base en la experiencia de la autora en la pasantía, se yuxtaponen tres ejes de análisis, constitutivos del aprendizaje del maestro en formación que son: el rol orientador que ejercen los Referentes de Progreso, la labor de los mentores para garantizar la formación y el aprendizaje desde el pensamiento reflexivo. Al ser un modelo de formación que incursiona en el país, se realiza un contraste entre la experiencia y postulados teóricos sobre el tema para identificar sus alcances, oportunidades y retos para aportar a la discusión sobre formas preexistentes de formación docente en Colombia.
2019-01-01T00:00:00ZYunda Martinez, Sara ValentinaThis article presents how the internship Escuelas Formadoras y Maestros de Maestros (EFMMa) is constructive in a assertive way to learn about teaching, providing a targeted learning for students of different academic programs to get to know and implement the teaching profession at a school level. Based on the experience of the author in the internship, three axes of analysis are juxtaposed, which are constitutive of the learning process through training that are: the guiding role played by Teaching Standards, the companionship of the mentors to improve the knowledge over training and learning through reflective thinking. Being a training model that ventures in Colombia, a contrast is made between experience and theoretical postulates on the subject to identify its scopes, opportunities and challenges to contribute to the discussion of pre-existing forms of teacher training in Colombia.Esther Forero, de caminante pionera a novia domesticada : la resistencia de una mujer en el canon de la música tropical colombianaCura, Danielahttps://repository.urosario.edu.co/handle/10336/184562020-02-04T13:19:41Z2018-01-01T00:00:00Zdc.title: Esther Forero, de caminante pionera a novia domesticada : la resistencia de una mujer en el canon de la música tropical colombiana
dc.description.abstract: Based on a analysis of the discourse, documents and interviews, this study examined the way in which the composer, singer and folklorist Esther Forero (1919-2011) managed to incorporate the feminine perspective in an androcentric musical canon such as Colombian tropical music, where she was practically the only female composer. Songs from two different periods of her career were examined: the first period corresponds to the international tour of the beginning of her career that ran from 1949 to 1959; the second, the period that starts with her return to her hometown in 1960 until her death. The results showed that the artist implemented discursive strategies to avoid her gender identity from standing out, and that in order to do this she used elements such as humor and theatricality to introduce the feminine perspective in said musical canon. Comparing the discourse that she implemented in the songs of both stages of her career, one can see that he went from an empowerment discourse in her first stage to one that shows a process of domestication in the second. Once Esther Forero was domesticated, adapting the lyrics of her songs to be more acceptable to the conservative society of the time, she obtained her greatest recognition and consolidated herself as one of the emblematic figures of her native Barranquilla.
dc.description: A través de un análisis del discurso, documentos y entrevistas, este estudio examinó la manera en que la compositora, cantante y folclorista Esther Forero (1919-2011) logró insertarse como mujer e incorporar la perspectiva femenina en un canon musical androcéntrico como lo es el de la música tropical colombiana, en donde ella era prácticamente la única compositora. Se examinaron canciones de dos períodos distintos: el primero corresponde a la gira internacional de principios de su carrera que transcurrió de 1949 a 1959; el segundo, al período transcurrido desde su regreso a su ciudad natal en 1960 hasta su muerte. Los resultados mostraron que la artista implementó estrategias discursivas para evitar que su identidad de género sobresaliera, y que utilizó elementos como el humor y la teatralidad para introducir la perspectiva femenina en dicho canon musical. Asimismo, comparando el discurso que manejaba en las canciones de ambas etapas de su carrera, se puede ver que pasó de un discurso de empoderamiento en su primera etapa a uno que muestra un proceso de domesticación en la segunda. Una vez Esther Forero fue domesticada, volviendo las letras de sus canciones más aceptables para la sociedad conservadora de la época, obtuvo su mayor reconocimiento y se consolidó como una de las figuras emblemáticas de su natal Barranquilla.
2018-01-01T00:00:00ZCura, DanielaBased on a analysis of the discourse, documents and interviews, this study examined the way in which the composer, singer and folklorist Esther Forero (1919-2011) managed to incorporate the feminine perspective in an androcentric musical canon such as Colombian tropical music, where she was practically the only female composer. Songs from two different periods of her career were examined: the first period corresponds to the international tour of the beginning of her career that ran from 1949 to 1959; the second, the period that starts with her return to her hometown in 1960 until her death. The results showed that the artist implemented discursive strategies to avoid her gender identity from standing out, and that in order to do this she used elements such as humor and theatricality to introduce the feminine perspective in said musical canon. Comparing the discourse that she implemented in the songs of both stages of her career, one can see that he went from an empowerment discourse in her first stage to one that shows a process of domestication in the second. Once Esther Forero was domesticated, adapting the lyrics of her songs to be more acceptable to the conservative society of the time, she obtained her greatest recognition and consolidated herself as one of the emblematic figures of her native Barranquilla.