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El Dance Hall Como Elemento Dinamizador En El Aprendizaje Del Mapalé. Una Propuesta Didáctico-Creativa Para El Ámbito Escolar Urbano

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El Dance Hall Como Elemento Dinamizador En El Aprendizaje Del Mapalé. Una Propuesta Didáctico-Creativa Para El Ámbito Escolar Urbano EL DANCE HALL COMO ELEMENTO DINAMIZADOR EN EL APRENDIZAJE DEL MAPALÉ. UNA PROPUESTA DIDÁCTICO-CREATIVA PARA EL ÁMBITO ESCOLAR URBANO. Autor: LEIVER ALFONSO ARDILA BARBOSA COD.20112103003 Tesis para optar por el título de MAGISTER EN ESTUDIOS ARTÍSTICOS Director: Pedro Morales López UNIVERSIDAD DISTRITAL FRANCISCO JOSÉ DE CALDAS FACULTAD DE ARTES-ASAB MAESTRÍA EN ESTUDIOS ARTÍSTICOS BOGOTÁ 2013 1 AGRADECIMIENTOS A mis padres, hermanas y hermano, por su apoyo, fe incondicional y palabras en los momento precisos. A mis estudiantes, verdaderos maestros de la vida docente, sus risas, su amistad, sus palabras espontaneas materializadas en movimientos. A mi maestro Pedro Morales, por su paciencia, confianza, amistad y por la claridad de sus consejos. A mis maestros en didáctica danzaria Marisol Bentéz Molano y Hanz Plata Martínez, por las muchas ventanas que abrieron a mi constante aprendizaje docente. 2 RESUMEN Los docentes en danza que desarrollan su trabajo en los colegios públicos de Bogotá, constantemente se ven enfrentados a las reticencias de sus estudiantes frente a las expresiones corporales de índole tradicional o folclórico, debido a la aparente distancia espacial, generacional y sensible entre las danzas que cotidianamente interpretan y las memorias populares que Colombia posee. Dicho abismo educativo tiene su origen en una educación conductual dedicada al aprendizaje de temáticas claramente importantes para el conocimiento cultural e identitario de las tradiciones que forjan ciertas comunidades colombianas. Las formas como se intenta llegar a ese conocimiento poco vinculan la cotidianidad del estudiante y sus manifestaciones corpóreas urbanas, visibilizando las tradiciones danzarias colombianas como una temática memorística más, dentro de lo que la escuela “debería enseñar”. El presente documento pretende generar un vínculo entre la cotidianidad corpórea del estudiante y las danzas tradicionales de Colombia, a través de una propuesta didáctico-creativa que logra escuchar las lógicas musicales del adolescente materializadas en el dance hall, y su directa relación afrodescendiente con otras dinámicas corporales como el mapalé, en pro de un entendimiento amplio de sociedad, otredad y, en consecuencia, las posibilidades disímiles de existencia. PALABRAS CLAVE Didáctica, aprendizaje, ambiente educacional, relación profesor-alumno, danza urbana, danza tradicional. 3 ABSTRACT The dance teachers who develop their job in public schools at Bogota frequently are in difficult situations with their students. According to the corporal expressions of traditional and folkloric kind, because the special, generational and sensible distance between dances which nowadays represent popular memories that Colombia has. That topic has its origins in an education dedicated to the learning of topics clearly important for the cultural knowledge of the traditions which forge some Colombian communities. However, some ways which people try to obtain that knowledge few link the daily living of the students and their urban corporal manifestations, looking Colombian dance traditions as another memory inside a school corresponds or “must teach”. The present document pretends to generate a link between the corporal daily expressions to the students and traditional Colombian dances for an educative proposal, which achieve listening and understanding musical logics of teenagers materialized in the dance hall and their direct relationship African descent with another Colombian corporal dynamics. It agrees with a big knowledge of society and it critics according to the possibilities of existence. KEYWORDS Teaching, learning, learning environment, teacher-student relationship, urban dance, traditional dance. 4 RESUMO Os professores de dança que atuam em escolas públicas de Bogotá, constantemente confrontados com a relutância de estudantes contra tais expressões corporais de tradicional ou popular, devido à distância espacial aparente entre gerações e danças sensível diariamente interpretar e popular memórias Colômbia possui. Esta lacuna educacional tem a sua origem na educação comportamental dedicado a aprender questões claramente importantes para o conhecimento cultural e da identidade das tradições que moldam certas comunidades colombianas, no entanto, as maneiras que você tentar chegar a ele, muito pouco ligando aluno de todos os dias e suas manifestações corporais tradições urbanas visíveis as apresentações de dança da Colômbia como um sujeito rote mais, dentro da escola "ensinar". Este documento tem como objetivo criar um elo entre o aluno corporal todos os dias e danças tradicionais da Colômbia, através de uma proposta didática criativa consegue ouvir e compreender a lógica musical adolescente incorporada no salão de dança e sua relação direta com outra ascendência Africano dinâmica do corpo na Colômbia como mapalé, em favor de uma compreensão ampla da sociedade, alteridade e crítica contra possibilidades diferentes de existência. PALAVRAS-CHAVE Ensino, aprendizagem, ambiente de aprendizagem, relação professor-aluno, dança urbana, dança tradicional. 5 CONTENIDO Págs. Introducción 8 Capítulo 1. Referente teórico-conceptual de la investigación 21 Capítulo 2. Dance hall y mapalé. Contextos históricos y rasgos técnicos 30 Capítulo 3. El Colegio Jaime Hernando Garzón Forero de la Localidad de Kennedy, y sus adolescentes amantes de la danza 46 Capítulo 4. Propuesta didáctico-creativa para la enseñanza del mapalé a partir del dance hall, en el Colegio Jaime Hernando Garzón Forero 60 Conclusiones 98 Bibliografía y otras fuentes consultadas 104 Anexos 109 GRÁFICOS Grafico 1. Movimiento de torso 42 Grafico 2. Movimiento de pelvis 43 Grafico 3. Movimiento de brazos 44 Grafico 4. Postura extremidades inferiores 45 Grafico 5. Extroversión en la escena 67 Grafico 6. Acostar e incorporar 70 Grafico 7. Triangulo de percepción 71 6 Grafico 8. Figuras en el espacio 74 Grafico 9. Puesta en público 78 Grafico10. Mapalé en comunidad 88 7 INTRODUCCIÓN Una vez enviaron a un lobo a la escuela para que le enseñaran a leer. El profesor empezó por pedirle que repitiese después de él las primeras letras del alfabeto: -Alef, Ba, ta…. Pero el lobo siempre contestaba: -Oveja, cabrito, cordero… Y es que estas criaturas de carne vivían en su pensamiento y no se las podía quitar de la cabeza. Las mil y una noches La danza en la educación de los colegios de Bogotá está orientada hacia unas temáticas de aprendizaje que corresponden, como se indica en los Lineamientos curriculares en educación artística, a la necesidad de “contribuir a que las comunidades educativas colombianas desarrollen su sentido de pertenencia cultural en la trama de la interculturalidad que se vive en el mundo contemporáneo” (Ministerio de Educación Nacional, 2011, numeral 5.5). Así, muchas de las instituciones de educación primaria y básica fundamentan sus tópicos en la instrucción de bailes típicos colombianos, contenidos de tradición, ritualidad, significado y trascendencia identitaria, en pos de favorecer el reconocimiento cultural de las múltiples constumbres que habitan en conjunto en la urbe bogotana. Aunque el objetivo es claro y preciso, existe una contradicción en cuanto a la metodología que se utiliza para llegar a él, pues las nuevas generaciones de estudiantes coexisten en un ambiente multicultural cargado de experiencias aparentemente muy alejadas de las tradiciones dancísticas que el currículo pretende impartir. Acostumbrado a bailar ritmos urbanos (dance hall, ragga, regaetton, suffle, jumpstyle), el adolescente se enfrenta de manera abrupta con temáticas sin aparente relación, o sin relación directa, con el contexto propio. Ese adolescente hace parte de una generación que se opone a todo tipo de restricciones, que no guarda silencio ante el ejercicio de la autoridad por parte de adultos o instituciones educativas. 8 Dicha actitud es entendible en la medida en que las condiciones actuales permiten el accionar y re-accionar inmediatos desde una permanente y ágil comunciación, a través de redes sociales y otros medios, con base en una competitividad extrema en cuanto al desempeño en diversas áreas. Representantes de estas nuevas generaciones crecieron en un mundo urbano y globalizado, abrumado por músicas y expresiones corporales, fruto de un híbrido entre complejas interacciones sociales que ellos desconocen, y que los lleva a olvidar con facilidad el origen de sus ritmos. Aunque la mayoría de estos estudiantes vienen de un linaje familiar muy lejano al territorio bogotano (Santander, Boyacá, Córdoba, etc.), la inmigración a la urbe en pos de una estabilidad económica, generaciones atrás, también es fruto del desplazamiento que sufrieron muchos de sus parientes. Con el tiempo, estos prescindieron de sus tradiciones, bailes o características expresivas corporales, adoptando otras perspectivas de mundo, afines a los modos de vida citadinos, a la globalización y al comercio de músicas populares y otras formas de cultura de masas. En este sentido, las nuevas generaciones de escolares en el contexto urbano, visualizan de manera desencantada el mundo de la danza tradicional, pues no encuentran una directa relación entre los conceptos que se manejan en el colegio (danzas tradicionales de Colombia) y las necesidades contextuales que experimentan. Al plantear esto, se hace referencia a bailes como el dance hall y el ragga, presentes en la cotidianidad del adolescente, aunque este en muchas ocasiones ignore incluso el nombre del ritmo que ejecuta y prefiera generalizarlo llamando a todo lo que baila “reggaetón”.
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