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LA BOMBA DEL CHOTA, Una Explosión De Saberes, Propuesta Para El Aprendizaje Integral

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LA BOMBA DEL CHOTA, Una Explosión De Saberes, Propuesta Para El Aprendizaje Integral PONTIFICIA UNIVERSIDAD CATÓLICA DEL ECUADOR FACULTAD DE CIENCIAS DE LA EDUCACIÓN ESCUELA DE EDUCACIÓN MUSICAL ALVARO MIGUEL ROSERO PONCE LA BOMBA DEL CHOTA, una explosión de saberes, propuesta para el aprendizaje integral. Director: Dr. Fernando Palacios Mateo. PhD QUITO, febrero 2019 PONTIFICIA UNIVERSIDAD CATÓLICA DEL ECUADOR DECLARACIÓN y AUTORIZACIÓN Yo, ALVARO MIGUEL ROSERO PONCE, C.I.100152111-9 autor del trabajo de graduación titulado: “LA BOMBA DEL CHOTA, UNA EXPLOSIÓN DE SABERES, PROPUESTA PARA EL APRENDIZAJE INTEGRAL”, previa a la obtención del grado académico de LICENCIADO EN CIENCIAS DE LA EDUCACIÓN MENCIÓN EDUCACIÓN MUSICAL en la Facultad de Ciencias de la Educación: 1.- Declaro tener pleno conocimiento de la obligación que tiene la Pontificia Universidad Católica del Ecuador, de conformidad con el artículo 144 de la Ley Orgánica de Educación Superior, de entregar a la SENESCYT en formato digital una copia del referido trabajo de graduación para que sea integrado al Sistema Nacional de Información de la Educación Superior del Ecuador para su difusión pública respetando los derechos de autor. 2.- Autorizo a la Pontificia Universidad Católica del Ecuador a difundir a través de sitio web de la Biblioteca de la PUCE el referido trabajo de graduación, respetando las políticas de propiedad intelectual de Universidad. Quito, 14 de febrero de 2019 DIRECTOR: Dr. Fernando Palacios Mateos, PhD LECTORES Mgtr. Fernando Avendaño León. Mgtr. Marcelo Luje Morales. Agradecimientos Con este trabajo de investigación agradezco la gran oportunidad de estudiar y la generosidad con la cual me fueron compartidos muchos saberes, valores y conocimientos. A las personas que formaron parte de esta propuesta: dirigiendo, escuchando, leyendo, conversando, escribiendo, corrigiendo, fotografiando, tocando, jugando, soñando, construyendo, grabando para todos un abrazo. Al arte por darme siempre nuevas rutas para ser feliz. A la Bomba y sus saberes. Dedicatoria Dedico esta propuesta para el aprendizaje de los saberes de la Bomba del Valle del Chota a todos quienes sueñan despiertos, bailan hasta dormidos, tocan un instrumento como si fuera un arcoíris, a los cultores de la Bomba de todos los tiempos, a los educadores populares y sus ganas de cambiar el mundo, a David Lara que se liberó para tocar la Bomba. Resumen El presente trabajo de investigación es una propuesta para el aprendizaje integral de los saberes de la Bomba del Valle del Chota, tales como: música, danza, tambor y memoria histórica, como un aporte en la construcción de la identidad cultural ecuatoriana. Es importante conocer dichos saberes desde una mirada intercultural, debido a que el fenómeno migratorio, por un lado ha permitido difundir la cultura afrochoteña, no obstante, se ha perdido el carácter ritual integrador del aprendizaje. Por lo tanto, esta propuesta contempla de manera creativa a dichos saberes, a partir del diseño de una serie de “encuentros culturales” donde las actividades lúdicas nos adentran en la historia y cultura de los habitantes del Valle del Chota, utilizando para esto los aportes de: la pedagogía del oprimido, la educación no formal, la etnoeducación, la pedagogía del cuerpo y del juego. Además, se busca una apropiación afectiva de esta manifestación cultural del Valle del Chota como un bien intangible patrimonial del Ecuador. Palabras clave. Bomba, saberes de la Bomba, tambor Bomba, música Bomba, danza Bomba, aprendizaje de la Bomba. Abstract This investigation is a proposal for the integral learning of the knowledge of "La Bomba del Valle del Chota", such as music, dance, drums and historical memory, as a contribution in the construction of the Ecuadorian cultural identity. It is important to know this knowledge from an intercultural perspective, since migration, on one hand has allowed the "afrochoteña" culture to spread, but on the other hand, the integrating ritual character of learning has been lost. Therefore this proposal contemplates this knowledge in a creative way, through the design of a series of "cultural meetings" where the ludic activities take us into the history and culture of the inhabitants of the Chota Valley. For this purpose the constributions of the pedagogy of the oppressed, the non-formal education, the pedagogy of the body and the game have been used. Besides, this investigation also tries to encourage the affective appropiation of this cultural manifestation of the Chota Valley, as an intangible Ecuadorian asset. Keywords: Bomba, Bomba knowledge, Bomba drum, Bomba music, Bomba dance, Bomba learning El significado del término diáspora quiere decir sembrar a través de, hace alusión al proceso por el cual los africanos, brutalmente desarraigados de todo lo que conocían, echaron nuevas raíces, produciendo nuevos frutos en las tierras donde se encontraron. En todas las Américas estos sobrevivientes, migrantes involuntarios, después de un trauma tan enorme, tuvieron que empezar inmediatamente, en una situación de opresión inimaginable, a crear nuevas identidades y crear nuevas culturas. Las fundamentaron en los saberes que trajeron de África en sinergia con lo que se encontraron en su nueva tierra, creaciones que marcaron con su originalidad las sociedades de todas las Américas. (Walker, 2010, pág. 6) ÍNDICE Consideraciones Generales ....................................................................................................... 1 1. MODELOS PEDAGÓGICOS ........................................................................................... 6 1.1 Pedagogía del Oprimido .................................................................................................... 6 1.2 Educación No Formal. ....................................................................................................... 9 1.3 Etnoeducación ................................................................................................................. 12 1.4 Pedagogía del cuerpo y el juego ...................................................................................... 16 1.5 Aprendizaje Integral ......................................................................................................... 18 1.6 Interculturalidad ................................................................................................................ 20 2.LOS SABERES DE LA BOMBA ..................................................................................... 23 2.1 MEMORIA HISTÓRICA ................................................................................................ 23 2.1.1 Introducción ................................................................................................................... 23 2.1.2 Éxodo de africanos a América. ...................................................................................... 23 2.1.3 Esclavitud en el Valle del Chota: Concertaje y Huasipungo ......................................... 26 2.1.4 Manumisión en el Ecuador ............................................................................................ 30 2.1.5 Ley de Reforma Agraria de 1964 ................................................................................... 32 2.1.6 La migración de afrochoteños ........................................................................................ 35 2.1.7. Significados del término Bomba. .................................................................................. 36 2.1.8 Patrimonio Cultural Inmaterial ...................................................................................... 38 2.2 LA BOMBA COMO DANZA ............................................................................................. 40 2.2.1 Introducción ................................................................................................................... 40 2.2.2 La danza el lenguaje artístico del cuerpo ....................................................................... 41 2.2.3 La Bomba una danza ancestral de la comunidad ........................................................... 43 2.2.4 Aprendiendo a bailar la Bomba. .................................................................................... 47 2.3 LA BOMBA UN GÉNERO MÚSICAL .............................................................................. 50 2.3.1 Introducción. .................................................................................................................. 50 2.3.2 Historia de la música Bomba del Chota. ........................................................................ 50 2.3.3 Descripción musical de la Bomba del Chota. ................................................................ 52 2.3.4 Elementos musicales de La Bomba del Chota. .............................................................. 52 2.3.5 La forma musical de la Bomba del Chota. ..................................................................... 53 2.3.6 Ritmo de la Bomba del Chota. ....................................................................................... 56 2.3.7 La armonía de la Bomba del Chota ................................................................................ 58 2.3.8 Los recursos estilísticos musicales de la Bomba del Chota ........................................... 59 2.3.9 Función de los instrumentos musicales en la Bomba del Chota .................................... 60 2.3.10 Formatos e instrumentos en la Bomba del Chota ........................................................ 61 2.3.11 Melodía en la Bomba del Chota .........................................................................................
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