A legacy still alive: between tradition and contemporaneity
The configuration of a bachelor’s program in performing arts (previously a bachelor’s degree in arts education with an emphasis on dance and theater) promotes the constructionof a field of study that is recent in our country. In that sense, building alegacy implies recognizing our own face in the mi...
- Autores:
- Tipo de recurso:
- Article of journal
- Fecha de publicación:
- 2017
- Institución:
- Universidad Antonio Nariño
- Repositorio:
- Repositorio UAN
- Idioma:
- spa
- OAI Identifier:
- oai:repositorio.uan.edu.co:123456789/10876
- Acceso en línea:
- https://revistas.uan.edu.co/index.php/papeles/article/view/495
https://repositorio.uan.edu.co/handle/123456789/10876
- Palabra clave:
- legado
maestro-artista
artes escénicas
tradición
contemporaneidad
legacy
teacher-artist
performing arts
tradition
contemporaneity
cultural construction
- Rights
- License
- https://creativecommons.org/licenses/by-nc-sa/4.0
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dc.title.en-US.fl_str_mv |
A legacy still alive: between tradition and contemporaneity |
dc.title.es-ES.fl_str_mv |
Un legado que permanece vivo: entre la tradición y la contemporaneidad |
title |
A legacy still alive: between tradition and contemporaneity |
spellingShingle |
A legacy still alive: between tradition and contemporaneity legado maestro-artista artes escénicas tradición contemporaneidad legacy teacher-artist performing arts tradition contemporaneity cultural construction |
title_short |
A legacy still alive: between tradition and contemporaneity |
title_full |
A legacy still alive: between tradition and contemporaneity |
title_fullStr |
A legacy still alive: between tradition and contemporaneity |
title_full_unstemmed |
A legacy still alive: between tradition and contemporaneity |
title_sort |
A legacy still alive: between tradition and contemporaneity |
dc.subject.es-ES.fl_str_mv |
legado maestro-artista artes escénicas tradición contemporaneidad |
topic |
legado maestro-artista artes escénicas tradición contemporaneidad legacy teacher-artist performing arts tradition contemporaneity cultural construction |
dc.subject.en-US.fl_str_mv |
legacy teacher-artist performing arts tradition contemporaneity cultural construction |
description |
The configuration of a bachelor’s program in performing arts (previously a bachelor’s degree in arts education with an emphasis on dance and theater) promotes the constructionof a field of study that is recent in our country. In that sense, building alegacy implies recognizing our own face in the mirror of history. Although German historiography - so important in the nineteenth century - stopped at the historical as a narrative of great stories and heroics, in the XX and XXI centuries the Annales School will investigate the fleeting, the transitory and the allowance. History is constituted by those intimate and fragmentary stories that help to consolidate the destinyof nations. Thus, our story starts with building a memory that allows us to leave sensitive evidence of the construction of a field that is vanishing nowadays: tradition. Thecrisis of representation, the anguish of images, the passion aroused by networks, the virtuality and the desire for permanent technological innovation, seem to leave outthe constitution of the historical personality, for that reason our program promotes a controversial field between tradition and contemporaneity. The tradition, thought from a wide perspective, is not conceived as everything that remains static and probably cornered and closed in the walls of the museum. Tradition was not a becoming;it remains being as a cultural construction that defines us as humans although the speed of our present time insists on subjugate us. What we are today comes from faraway, in the Hegelian sense of recognizing the historical trajectory as the unfolding of the spirit. Our traditions are legacies that remain alive and that continue up tobe built in an open look to the future. Therefore, we insist on our program to leave evidences of a memory that we have built for thirty years. |
publishDate |
2017 |
dc.date.accessioned.none.fl_str_mv |
2024-10-10T02:35:03Z |
dc.date.available.none.fl_str_mv |
2024-10-10T02:35:03Z |
dc.date.none.fl_str_mv |
2017-04-12 |
dc.type.none.fl_str_mv |
info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion |
dc.type.coar.fl_str_mv |
http://purl.org/coar/resource_type/c_2df8fbb1 |
dc.type.coar.spa.fl_str_mv |
http://purl.org/coar/resource_type/c_6501 |
dc.type.coarversion.none.fl_str_mv |
http://purl.org/coar/version/c_970fb48d4fbd8a85 |
format |
http://purl.org/coar/resource_type/c_6501 |
status_str |
publishedVersion |
dc.identifier.none.fl_str_mv |
https://revistas.uan.edu.co/index.php/papeles/article/view/495 10.54104/papeles.v9n18.495 |
dc.identifier.uri.none.fl_str_mv |
https://repositorio.uan.edu.co/handle/123456789/10876 |
url |
https://revistas.uan.edu.co/index.php/papeles/article/view/495 https://repositorio.uan.edu.co/handle/123456789/10876 |
identifier_str_mv |
10.54104/papeles.v9n18.495 |
dc.language.none.fl_str_mv |
spa |
language |
spa |
dc.relation.none.fl_str_mv |
https://revistas.uan.edu.co/index.php/papeles/article/view/495/424 |
dc.rights.en-US.fl_str_mv |
https://creativecommons.org/licenses/by-nc-sa/4.0 |
dc.rights.coar.spa.fl_str_mv |
http://purl.org/coar/access_right/c_abf2 |
rights_invalid_str_mv |
https://creativecommons.org/licenses/by-nc-sa/4.0 http://purl.org/coar/access_right/c_abf2 |
dc.format.none.fl_str_mv |
application/pdf |
dc.publisher.en-US.fl_str_mv |
UNIVERSIDAD ANTONIO NARIÑO |
dc.source.en-US.fl_str_mv |
Papeles; Vol. 9 No. 18 (2017); 73-85 |
dc.source.es-ES.fl_str_mv |
Papeles; Vol. 9 Núm. 18 (2017); 73-85 |
dc.source.pt-BR.fl_str_mv |
Papeles; v. 9 n. 18 (2017); 73-85 |
dc.source.none.fl_str_mv |
2346-0911 0123-0670 10.54104/papeles.v9n18 |
institution |
Universidad Antonio Nariño |
repository.name.fl_str_mv |
Repositorio Institucional UAN |
repository.mail.fl_str_mv |
alertas.repositorio@uan.edu.co |
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1814300351200755712 |
spelling |
2017-04-122024-10-10T02:35:03Z2024-10-10T02:35:03Zhttps://revistas.uan.edu.co/index.php/papeles/article/view/49510.54104/papeles.v9n18.495https://repositorio.uan.edu.co/handle/123456789/10876The configuration of a bachelor’s program in performing arts (previously a bachelor’s degree in arts education with an emphasis on dance and theater) promotes the constructionof a field of study that is recent in our country. In that sense, building alegacy implies recognizing our own face in the mirror of history. Although German historiography - so important in the nineteenth century - stopped at the historical as a narrative of great stories and heroics, in the XX and XXI centuries the Annales School will investigate the fleeting, the transitory and the allowance. History is constituted by those intimate and fragmentary stories that help to consolidate the destinyof nations. Thus, our story starts with building a memory that allows us to leave sensitive evidence of the construction of a field that is vanishing nowadays: tradition. Thecrisis of representation, the anguish of images, the passion aroused by networks, the virtuality and the desire for permanent technological innovation, seem to leave outthe constitution of the historical personality, for that reason our program promotes a controversial field between tradition and contemporaneity. The tradition, thought from a wide perspective, is not conceived as everything that remains static and probably cornered and closed in the walls of the museum. Tradition was not a becoming;it remains being as a cultural construction that defines us as humans although the speed of our present time insists on subjugate us. What we are today comes from faraway, in the Hegelian sense of recognizing the historical trajectory as the unfolding of the spirit. Our traditions are legacies that remain alive and that continue up tobe built in an open look to the future. Therefore, we insist on our program to leave evidences of a memory that we have built for thirty years.La configuración de un programa de licenciatura en artes escénicas (antes licenciatura en educación artística con énfasis en danza y teatro) promueve la construcción de un campo de estudio que en nuestro país es reciente. En ese sentido, construir un legado implica reconocer nuestro propio rostro en el espejo de la historia. Si bien la historiografía alemana – tan importante en el siglo XIX – se detenía en lo histórico como narración de los grandes relatos y las heroicidades, en los siglos XX y XXI la Escuela de los Annales va a indagar en lo fugaz, lo transitorio y lo contingente. La historia se constituye de esos relatos íntimos y fragmentarios que ayudan a consolidar el destino de las naciones. Así, nuestro relato parte de construir una memoria que permita dejar evidencia sensible de la construcción de un campo que se desvanece: la tradición. La crisis de representación, la angustia de las imágenes, la pasión que despiertan las redes, la virtualidad y el afán de innovación tecnológica permanente, parecen dejar por fuera la constitución de la personalidad histórica, por ello nuestro programa promueve un campo polémico entre la tradición y la contemporaneidad. La tradición, pensada desde una perspectiva amplia, no se concibe como aquello que permanece estático y probablemente acorralado en las paredes del museo. La tradición es un devenir que no fue, sino que permanece siendo, es decir: la tradición es una construcción cultural que nos define como humanos, aunque la velocidad del presente insista en avasallarnos. Lo que somos hoy viene de lejos, en el sentido hegeliano de reconocer la trayectoria histórica como el despliegue del espíritu. Nuestras tradiciones son legados que permanecen vivos y que se siguen construyendo en una mirada abierta al futuro. Por ello insistimos en nuestro programa en dejar evidencias de una memoria que hemos construido durante cuarenta años.application/pdfspaUNIVERSIDAD ANTONIO NARIÑOhttps://revistas.uan.edu.co/index.php/papeles/article/view/495/424https://creativecommons.org/licenses/by-nc-sa/4.0http://purl.org/coar/access_right/c_abf2Papeles; Vol. 9 No. 18 (2017); 73-85Papeles; Vol. 9 Núm. 18 (2017); 73-85Papeles; v. 9 n. 18 (2017); 73-852346-09110123-067010.54104/papeles.v9n18legadomaestro-artistaartes escénicastradicióncontemporaneidadlegacyteacher-artistperforming artstraditioncontemporaneitycultural constructionA legacy still alive: between tradition and contemporaneityUn legado que permanece vivo: entre la tradición y la contemporaneidadinfo:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionhttp://purl.org/coar/resource_type/c_6501http://purl.org/coar/resource_type/c_2df8fbb1http://purl.org/coar/version/c_970fb48d4fbd8a85Llerena Avendaño, Francisco AlexánderNieves Gil, Angélica del PilarSepúlveda Medina, Carlos EduardoGuzmán Urrego, Edwin Armando123456789/10876oai:repositorio.uan.edu.co:123456789/108762024-10-14 03:46:40.958metadata.onlyhttps://repositorio.uan.edu.coRepositorio Institucional UANalertas.repositorio@uan.edu.co |