Pregrado Licenciatura en Artes Plásticas

URI permanente para esta colecciónhttp://hdl.handle.net/11634/43544

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La cerámica de la cultura tumaco-La Tolita, del periodo clásico (500 a C–500 d C): Un análisis comparativo visual y simbólico desde el arte contemporáneo colombiano.
(Universidad Santo Tomás, 2026-07-12) Quiñones Garcia, Yeseina Ester; Castro Arévalo, Jhon Franklin; Universidad Santo Tomás
This study analyzes the formal, technical, and iconographic characteristics of the ceramics of the Tumaco–La Tolita culture (500 BC–AD 500) through a comparative examination with contemporary Colombian ceramic art. The research addresses the limited scholarly literature that approaches this cultural heritage from the perspective of the visual arts, as most previous studies have focused on archaeological, anthropological, and historical perspectives, leaving a significant gap in the understanding of its aesthetic, symbolic, and conceptual dimensions. A qualitative, descriptive-comparative research design was employed, based on documentary review, iconographic analysis, and the systematic observation of thirty archaeological ceramic pieces from the collection of the Colombian Institute of Anthropology and History (ICANH), Tumaco branch. The analysis was complemented by the study of eighteen artworks created by nine contemporary Colombian ceramic artists. The analytical framework considered variables related to morphology, manufacturing techniques, surface treatment, iconography, spatial organization, functionality, and symbolism. The findings demonstrate that Tumaco–La Tolita ceramics constitute a sophisticated visual system integrating advanced technological knowledge, ritual practices, anthropomorphic, zoomorphic, and hybrid representations, as well as a profound relationship between nature, spirituality, and sociocultural organization. Furthermore, the study identifies processes of continuity and reinterpretation of this ancestral legacy in contemporary Colombian ceramic production, where artists reinterpret pre-Hispanic formal and symbolic elements through contemporary artistic languages. The study concludes that Tumaco–La Tolita ceramics transcend their archaeological value to become a living reference of Colombia's artistic heritage, contributing to contemporary artistic practice, the strengthening of cultural identity, and the preservation of historical memory from an interdisciplinary perspective.
La dicotomía de la belleza: discursos de poder y regímenes de representación en la configuración de la identidad y la percepción corporal en la juventud contemporánea (12-25 años).
(Universidad Santo Tomás, 2026-07-28) Zapata Leal, Kelly Tatiana; Valbuena Rojas, Cesar Jerome; Universidad Santo Tomás
In today’s hyper-connected landscape, the shaping of visual identity and body perception among young people—particularly those aged 12 to 25—is profoundly mediated by technological devices, consumer logics, and institutional aesthetic discourses. This undergraduate research project, titled *The Dichotomy of Beauty: Discourses of Power and Regimes of Representation in the Shaping of Identity and Body Perception among Contemporary Youth*, critically examines the unresolved tensions between the biological materiality experienced by young people and the idealized or virtual representations of them demanded on digital platforms. Employing a methodology rooted in the research-creation paradigm, this study problematizes how normative beauty standards operate as mechanisms of symbolic control and bodily discipline.The conceptual foundation of this research is built upon a multidisciplinary framework that engages with key theorists of embodiment, biopower, and contemporary aesthetics. On one hand, it draws on Michel Foucault’s postulates regarding biopower and anatomo-politics to unravel the mechanisms of microscopic body regulation. However, this analysis is updated for the digital environment through the work of Byung-Chul Han (2015), who defines the "aesthetics of the smooth" as an aseptic digital flatness that eliminates imperfections and physical otherness in favor of fluid visual consumption. Complementing this, Gilles Lipovetsky’s (2013) work on "artistic capitalism" allows for an analysis of how beauty has become massified as a market imperative, drawing subjects—with a particular focus on young women—into a new form of voluntary servitude dominated by self-surveillance and somatic optimization. Finally, Paula Sibilia’s (2005) theses regarding the "post-organic body" and "intimacy as spectacle," together with Susan Bordo’s (1993) historical analysis of bodily control, consolidate the critical framework necessary to interpret contemporary phenomena such as digital dysmorphia.This crisis of body dissatisfaction is not addressed solely through theoretical abstraction;the project is firmly rooted in the social context of Colombia and the city of Bogotá.Local statistics gathered during the research demonstrate the urgent need for a criticalintervention: daily exposure to algorithmic feeds leads 17% of young Colombians to sufferfrom body dysmorphic disorder, within an environment where surgical and cosmeticprocedures are increasing by 10% to 15% annually (ISAPS, 2025; Universidad de La Sabana, 2026).In the face of prevailing visual dematerialization and homogenization, this Fine Arts thesis establishes studio practice as a material epistemology and a space for political resistance. The resulting artistic proposal—comprising textured acrylic paintings, monumental ceramic sculptures, and altered face masks—intentionally draws upon transgressive aesthetic references such as Orlan, Amalia Ulman, Arvida Byström, and Cindy Sherman. Through the use of clay, rough textures, cracks, asymmetries, and exposed skeletal structures, the work deconstructs virtual smoothness and restores the constitutive wound of the real body. Ultimately, this introduction paves the way for a document that seeks not merely to passively record the somatic malaise of youth, but to generate embodied knowledge and counter-images capable of subverting the aesthetic panopticons of contemporary screens.
Cinco cajas para un adiós: Arte, duelo no reconocido y memoria. Representación plástica del duelo por la pérdida de una mascota.
(Universidad Santo Tomás, 2026-06-10) Hernández Almeida, Laura Viviana; Rivera Bernal, Leonardo Mauricio; Universidad Santo Tomás
This research-creation project addresses grief resulting from the loss of a companion animal as an emotional experience that is frequently overlooked and socially unrecognized. The objective was to transform a personal experience of grief into a symbolic artistic proposal that would contribute to its understanding and visibility. The study was conducted using a qualitative approach and a hermeneutic paradigm, integrating theoretical reflection with artistic production. As a result, five symbolic boxes inspired by the work of Joseph Cornell were created, representing the grief model proposed by Kübler-Ross and Kessler (2005) through techniques such as assemblage, painting, embroidery, acrylic engraving, wire sculpture, and photography. The proposal demonstrates that the visual arts provide a means of expressing, resignifying, and making visible the disenfranchised grief associated with the loss of a companion animal, fostering memory, reflection, and recognition of an emotional experience that is often minimized.
Desarrollo y promoción de la identidad visual y estética de contenidos para el programa radial virtual del Departamento de Humanidades (USTA)
(Universidad Santo Tomás, 2026-07-09) Burbano Cueltan, Raúl Darío; Godoy Acosta , Diana Carolina; Universidad Santo Tomás; https://scienti.minciencias.gov.co/cvlac/visualizador/generarCurriculoCv.do?cod_rh=0001576154; https://scholar.google.com/citations?user=N0Z2DYIAAAAJ&hl=es&oi=ao
This document is devoted to analyzing the senior thesis project—conducted as an internship—for the Bachelor of Fine Arts program at Santo Tomás University. This report serves as a critical reflection on the relationship between digital visuality and humanistic discourses, analyzing how the visual arts transcend technique to become an exercise in resistance and symbolic resilience through the systematization of artistic and professional practice. It highlights a pedagogical and cognitive exercise that puts into action all the knowledge and tools the program provides its students to contribute to a well-rounded education, addressing the current needs for training better professionals in the field of the visual arts. The guiding principles behind the main ideas that contribute to the development of these internships are fundamentally oriented toward a clear and precise goal: to improve the quality of education and strengthen the graduate profile of students in the Bachelor of Fine Arts program, therefore, this opportunity provides an ideal setting for engaging with artistic and critical practice, which, through interaction with the digital realm, can connect a world that needs to be in constant communication. This perspective takes on great significance in the field of research-creation, as it demonstrates how art can become a means of sensitive, critical, and reflective exploration of human and social issues. From an institutional standpoint, Santo Tomás University has served as an important space for the development of socially relevant themes, particularly due to its humanistic character. The education provided by the university promotes social and psychological support, while also encouraging an open approach to cultural and political issues explored through artistic and pedagogical practices. At the beginning of the educational process, students are encouraged to develop a thematic focus that leads to the discovery of their research interests. On this occasion, my interest and thematic focus, stemming from the arts, has always been to explore resistance and emotional resilience—concepts that align particularly well with my own work experience at the electrical resistor factory. Electricity became part of my life’s journey due to personal circumstances, but at the same time, I discovered a symbolic connection between this work and my research interests in the visual arts—an exploration that was strengthened and refined through the integrated Saturday workshop classes offered by the university. For these reasons, this internship report seeks to break down the factors that made the creative artistic activity possible, Although the university’s Bachelor of Fine Arts program required a stronger foundation in the training of future teachers and artists, it also remained attentive to the world’s ongoing changes and advancements in new forms of communication, recognizing that art can not only exist in the analog realm but that a digital presence is now a necessity. The goal is not only to describe the internship as an undergraduate option to strengthen the visual arts program both pedagogically and academically, but also to set a precedent for research, taking advantage of this opportune moment in which Santo Tomás University was able to contribute through its humanistic approach by carrying out this project.
Pasantía curatorial como herramienta formativa interdisciplinar: una experiencia en la galería de arte Humberto Hernández del centro cultural colombo americano de Cali
(Universidad Santo Tomás, 2026-07-04) Rivera Ortiz, Norma Constanza; Peñaloza Villalobos, Lineth Bibiana; Universidad Santo Tomás; https://scienti.minciencias.gov.co/cvlac/visualizador/generarCurriculoCv.do?cod_rh=0001898672; https://scienti.minciencias.gov.co/cvlac/visualizador/generarCurriculoCv.do?cod_rh=0002298712; https://scholar.google.com/citations?user=O40dvkoAAAAJ&hl=es&oi=ao; https://orcid.org/0009-0000-8300-6552
The internship program at the Humberto Hernández Art Gallery of the Colombo Americano Cultural Center in Cali is designed as a formative experience that integrates artistic practice with cultural management and education. This institution, officially recognized by the U.S. Embassy in Colombia since 1954, has established itself as a cultural landmark in the Valle del Cauca region for its work in promoting intercultural dialogue through art and education. In this context, the gallery serves as a meeting place where temporary exhibitions of visual, plastic, and media arts converge, accompanied by educational activities that foster reflection, memory, and identity. Therefore, curation is understood as a critical and reflective practice that brings together the artwork, the space, and the viewer, enabling contemporary interpretations of art from an interdisciplinary perspective that links creation, education, communication, and cultural management. The choice of this space as a setting for practical training stems from its ability to integrate the fields of arts education, curation, and cultural mediation. Its exhibition program fosters participation in real-world processes of research, conceptualization, installation, and communication of exhibitions, which allows students to link theory with practice and understand curation as an educational tool. Based on these experiences, the program promotes an interdisciplinary education that transcends the boundaries of the classroom and extends into cultural management as a professional field for artist-teachers. In line with the graduate profile of the Bachelor of Fine Arts program at Santo Tomás University—which describes graduates as professionals capable of creating, analyzing, and interpreting educational experiences related to education, art, and culture—this internship is designed as an opportunity to strengthen competencies that integrate creation with critical reflection and pedagogical practice. Thus, the experience at the Humberto Hernández Art Gallery at the Colombo Americano Cultural Center in Cali not only broadens the understanding of artistic practice but also reaffirms the graduate’s role as a cultural mediator committed to social transformation and the construction of knowledge through art. This experience helps consolidate their profile as an artist, emerging curator, and future graduate committed to culture and arts education. Furthermore, these types of experiences help strengthen the bond between cultural institutions, educational spaces, and the community, fostering networks of learning and participation through art.
"Creando cociencia ambiental a través del arte". Cartilla pedagógica basada en las artes plásticas para los niños de la comuna 8 de Villavicencio
(Universidad Santo Tomás, 2026-06-10) Galvis Olaya, Lina María; Godoy Acosta, Diana Carolina; Universidad Santo Tomás; https://scienti.minciencias.gov.co/cvlac/visualizador/generarCurriculoCv.do?cod_rh=0001576154; https://scholar.google.com/citations?user=N0Z2DYIAAAAJ&hl=es&oi=ao
The undergraduate project “Creating Environmental Awareness Through Art” aims to promote environmental awareness among children in Commune 8 of Villavicencio through artistic activities developed at the Social Outreach Center of Santo Tomás University. The research arose from environmental problems such as pollution, inadequate waste management, and the deterioration of green spaces, proposing art as a pedagogical tool capable of raising awareness, educating, and transforming attitudes toward environmental care. The work is theoretically grounded in concepts such as environmental awareness, environmental education, eco-art, social art, and contemporary art, highlighting art's capacity to strengthen ecological values and responsible behaviors. Methodologically, it was developed using a qualitative approach, with a socio-critical paradigm and action research methodology, employing instruments such as field notes, observation, and bibliographic records. During the teaching practicum, various creative activities related to the environment were implemented, allowing children to develop artistic skills, critical thinking, and pro-environmental attitudes. In conclusion, the project demonstrates that the integration of art and environmental education fosters the development of more conscious, sensitive, and committed children, empowering them to become agents of change capable of positively influencing their families and communities.
El arte como mediación pedagógica para la construcción de tejido comunitario: Sistematización de experiencias pedagógicas en contextos educativos
(Universidad Santo Tomás, 2026-05-08) Niachan Espinosa, Paula Andrea; Godoy Acosta, Diana Carolina; Universidad Santo Tomás; https://scienti.minciencias.gov.co/cvlac/visualizador/generarCurriculoCv.do?cod_rh=0001576154; https://scholar.google.com/citations?user=N0Z2DYIAAAAJ&hl=es&oi=ao
In contemporary educational contexts marked by social, economic, and cultural challenges, art serves as a space for encounter, expression, and the construction of collective meaning; however, a debate persists regarding its place in educational processes, creating tension between the aesthetic, the methodological, and the pedagogical, which raises questions about its ability to strengthen the community fabric. For this reason, the present study aims to analyze the contribution of the pedagogical practices of the Bachelor’s Degree in Fine Arts to the building of community fabric among children and adolescents in educational practice settings. The experience accumulated in the pedagogical practices of the Bachelor’s program demonstrates that artistic spaces engage participants beyond curricular requirements, becoming symbolic territories where emotions are processed, bonds are formed, and community is built. The research adopted a qualitative approach using action research methodology, relying on participant observation and the systematization of records, planning forms, and field journals. Experiences were collected and analyzed in four distinct academic settings: Didactics of the Visual Arts, Pedagogical Practice in Media and Mediation, Classroom Pedagogical Practice in the Visual Arts, and Community Pedagogical Practice in the Visual Arts. Each of these spaces has specific purposes based on its educational approach and scope; however, the analysis revealed common elements that demonstrate how the teaching of the visual arts can foster the development of community bonds.
La visibilización del arte en la era digital
(Universidad Santo Tomás, 2026-01-27) López Devia, Juan David; Villalobos Peñaloza, Lineth Bibiana; Universidad Santo Tomás; https://scienti.minciencias.gov.co/cvlac/visualizador/generarCurriculoCv.do?cod_rh=0001898672; https://scienti.minciencias.gov.co/cvlac/visualizador/generarCurriculoCv.do?cod_rh=0002197198; https://scholar.google.com/citations?user=O40dvkoAAAAJ&hl=es&oi=ao; https://orcid.org/0009-0000-8300-6552
At the Bachelor’s Degree in Visual Arts of Universidad Santo Tomás de Aquino, the absence of a digital space that compiles and disseminates the artistic production of students and graduates reveals an opportunity for action. Based on this, the internship carried out within this program aimed to design and manage digital exhibition environments that allow the dissemination of academic artistic production, strengthening its presence both within and beyond the institution. To achieve this, tools such as ArtSteps and its updated version, MetaSteps, were employed, along with dissemination strategies through the program’s official Instagram account, thus articulating curatorial practice with contemporary digital media. This project contributes to a critical reflection on the role of university art in the digital era, while also promoting the appropriation of technologies as pedagogical resources and tools for cultural mediation. In this sense, the study seeks to analyze how the creation of a virtual gallery can respond to the need to enhance the visibility of academic art and contribute to strengthening the artistic and educational identity of the program.
Las artes plásticas como un medio para fortalecer el desarrollo socioemocional en 1° y 2° de primaria de la institución educativa técnica Francisco de Paula Santander de Galapa
(Universidad Santo Tomás, 2025-12-06) Molinares Henao, Rosie Stephanie; Godoy Acosta, Diana Carolina; Universidad Santo Tomás; https://scholar.google.com/citations?hl=es&user=N0Z2DYIAAAAJ; https://orcid.org/0000-0002-1903-0854
Early childhood is a key stage for children's physical, emotional, and social development, so schools should offer experiences that strengthen all these areas. Visual arts are a valuable tool because they allow children to express emotions, stimulate creativity, and improve social interaction. However, at the Francisco de Paula Santander Technical Educational Institution in Galapa, these activities are not always consistently integrated, mainly due to a lack of teachers specializing in art, which limits their use in the early grades. Even so, various studies have shown that visual arts help strengthen socio-emotional skills such as self-esteem, empathy, and conflict resolution. Including them more frequently in first and second grade could improve the school climate, promote more positive relationships, and strengthen the bond between the school and the community. To make this possible, it is necessary to provide teacher training in arts education and socio-emotional development, allowing teachers to incorporate these practices with greater confidence and creativity.
Gritos silenciados: maltrato animal y extinción por la moda y medicina tradicional, una denuncia artística (1980-actualidad)
(Universidad Santo Tomás, 2025-12-23) Velásquez Colina, Ana María; Valbuena Rojas, César Jerome; Universidad Santo Tomás; https://scienti.minciencias.gov.co/cvlac/visualizador/generarCurriculoCv.do?cod_rh=0001592016; https://orcid.org/0000-0001-5407-242X
This research-creation project addresses the urgent and persistent problem of animal abuse affecting exotic and endangered species, focusing on the period from 1980 to the present. This period is considered crucial, as it marks the consolidation of two global economic forces: the fashion industry and traditional medicine, which have operated with systematic cruelty, often invisible, to the detriment of wildlife. The work is based on the articulating question: How can artistic expression raise awareness and promote the protection of wildlife against animal abuse in the fashion and traditional medicine industries, covering the period from 1980 to the present? It is guided by the general objective of developing an artistic proposal that highlights animal abuse in these industries, raising awareness about the protection of species. The body of the document is structured to give an account of the research and the creative process. After justifying the relevance of the topic and stating the problem, the theoretical framework is established. This includes the theoretical references that define the conceptual context of animal ethics, the aesthetic references that justify the formal decision of the work, and the legal and regulatory framework that supports the denunciation. Subsequently, the methodological design explains the four phases of Research-Creation that guided the project: Contextualization, Conceptualization, Production, and Socialization. The development of the project begins with a detailed historical account that contextualizes the issue since 1980. It continues with the experimental development phase, which narrates the methodological process, from two-dimensional experimentation to the three-dimensional materialization of the sculptural series Silenced Screams. This chapter concludes with a symbolic analysis of each of the three pieces, explaining the critique contained in the intervened trophy shield that unifies them. Finally, the conclusions demonstrate the satisfactory fulfillment of the general and specific objectives, verifying the effectiveness of the work in raising awareness and contributing to the ethical debate. The project, developed with the support of the Research and Creation Seedbed, stands as compelling evidence of art's potential to generate dialogue and awareness about the need to protect wildlife, while establishing a relevant methodological model for future teaching practice.
El Autoretrato Como Expresión de Experiencias Resilientes
(Universidad Santo Tomás, 2025-09-12) Novoa Torres, Lizeth Mariana; Rivera Bernal, Leonardo Mauricio; Universidad Santo Tomas; https://scienti.minciencias.gov.co/cvlac/visualizador/generarCurriculoCv.do?cod_rh=0001759333; https://scienti.minciencias.gov.co/cvlac/visualizador/generarCurriculoCv.do?cod_rh=0000244384; https://scholar.google.com/citations?user=GACpu88AAAAJ&hl=es&oi=ao; https://orcid.org/0000-0002-3165-6745; https://orcid.org/0000-0002-6980-5689
This research begins with a central question that guides the entire creative and reflective process: How does self-portraiture bear witness to the perception of a person’s resilient experiences? This question not only invites an exploration of self-portraiture as an artistic form, but also as a narrative and symbolic device that enables the translation of complex inner experiences into meaningful images. The study is situated at the intersection of visual creation, identity, and resilience—understood as a complex process of transformation in the face of adversity. The general objective guiding this work is to understand the relationship between the perceptions of resilient experiences and the possibilities of artistic creation supported by self-portraiture. From this, three specific objectives are proposed: to analyze how self-portraiture bears witness to such perceptions; to identify the theoretical aspects of resilience within the historical context of portraiture in the visual arts; and to understand the discourses that emerge when creating self-portraits as a form of personal exploration. The methodology, centered on research-creation, allowed for the integration of theoretical analysis with artistic experience through various plastic and symbolic exercises—such as photography, image transfer, and drawing. These exercises produced self-portraits that reveal not only the physical aspect of the subject but also elements of the self that shape their resilient journey. As concluded throughout the development of this monograph, self-portraiture proves to be a powerful artistic medium for expressing and channeling experiences, as exemplified in the final series of 10 works, “I Found My Balance: Resilient Portraits.” While resilience is a personal, open, and dynamic process, artistic creation provides a symbolic space where it can be visualized and re-signified. Nonetheless, the outcomes of such processes are neither replicable nor absolute: each work is a unique testimony, conditioned by the creator’s context, subjectivity, and narrative. Even so, the study shows that, even when the starting point is pain or chaos, the artwork can reach a visual balance that speaks of reconstruction and strength.
Pasantía Como Opción de Grado para Optar por el Título de Licenciada en Artes Plásticas, Desarrollado en el Instituto de Estudios Socio Historicos; La imagen Como Herramienta Artística para Introducir Textos.
(Universidad Santo Tomás, 2025-09-17) Bonilla Roa, Maria del Carmen; Godoy, Diana Carolina; Universidad Santo Tomás; https://scholar.google.com/citations?user=N0Z2DYIAAAAJ&hl=es&oi=ao; https://orcid.org/0000-0002-1903-0854
In the following internship, different forms of illustration were developed to assertively communicate texts related to the Universidad Santo Tomas magazine: Sol de Aquino. This demonstrates the interest and need to communicate social and educational issues within and outside the institution. A historical overview of the magazine was conducted, including its importance within the institution, its relevance to the educational community, and the reasons for serving in this capacity. After this process, a reading of the 2023 issue No. 11 was conducted. In it, some texts were found that generate awareness about the events that have emerged in recent years, including the 2020 pandemic, the challenges and alternatives faced by the educational community of Universidad Santo Tomas, and how, from the reader's perspective, we might be able to identify various social needs that pose challenges for the country. Each illustration is developed based on a visual reference, which allows for exploring different techniques related to the main idea of the text and, through this, capturing what the writer wanted to communicate in a less literal way.
Producción Plástica como Estrategia de Comunicación y Reflexión de la Desigualdad del Sistema Educativo Colombiano Apartheid Educativo
(Universidad Santo Tomás, 2025-09-10) Beltrán Roa, Martha Lucía; Valbuena Rojas, Cesar Jerome; Universidad Santo Tomàs; https://scienti.minciencias.gov.co/cvlac/visualizador/generarCurriculoCv.do?cod_rh=0001592016; https://orcid.org/0000-0001-5407-242X
Educational Apartheid uses visual art as a way to communicate and reflect on the inequality of the Colombian education system. It explores theories such as relational aesthetics and artivism, and analyzes the aesthetic references of various artists. It also presents a precise methodology for addressing the problem and reflects on educational inequality within the country. This project combines art and education to highlight social problems by connecting theory with artistic creation.
Representación Artística de los Indígenas Chitareros del Municipio de Málaga Como Aporte al Patrimonio Cultural de Santander Colombia
(Universidad Santo Tomás, 2025-09-07) Ramírez Joya, Omar Yesid; Rivera Bernal, Leonardo Mauricio; Universidad Santo Tomás; https://scienti.minciencias.gov.co/cvlac/visualizador/generarCurriculoCv.do?cod_rh=0000244384; https://scienti.minciencias.gov.co/cvlac/visualizador/generarCurriculoCv.do?cod_rh=0002162509; https://scholar.google.com/citations?user=GACpu88AAAAJ&hl=es&oi=ao; https://orcid.org/0000-0002-3165-6745
This research titled 'Artistic representation of the Chitarero indigenous people of the municipality of Málaga as a contribution to the cultural heritage of Santander, Colombia' arises from the need to build cultural identity that allows for the recognition of their history in a local and regional context, contributing to the preservation of cultural heritage in the form of cultural landscapes. It involves designing a visual plastic exhibition that represents the known history of the Chitarero indigenous people based on the vestiges of rock art at the tourist site of 'cueva pintada' in the municipality of Málaga, and it focuses on producing a series of plastic works related to the symbols of the rock art of the extinct Chitarera indigenous community located in the Pescaderito village of the municipality of Málaga, Santander.
El Arte Como Herramienta Terapéutica Para la Superación de Trastornos de Estrés Postraumático (TEPT) en los Procesos de Reincorporación a la Vida Civil de los Firmantes del Acuerdo de Paz de 2016 en Colombia.
(Universidad Santo Tomás, 2025-09-07) Bacca Piñeros, Noel Rolando; Godoy Acosta, Diana Carolina; Universidad Santo Tomás; https://scienti.minciencias.gov.co/cvlac/visualizador/generarCurriculoCv.do?cod_rh=0001576154; https://scienti.minciencias.gov.co/cvlac/visualizador/generarCurriculoCv.do?cod_rh=0002145664; https://scholar.google.com/citations?user=N0Z2DYIAAAAJ&hl=es&oi=ao; https://orcid.org/0000-0002-1903-0854
It is well known that various artistic collectives, academia, private enterprise, NGOs and above all the government, have carried out several cultural and artistic projects in the country to accompany the processes of reincorporation into civilian life of the signatories of the 2016 Peace Agreement in Colombia, more as a simple recreation or a strategy for rapprochement or détente. but unfortunately, the use of art as a powerful therapeutic tool for overcoming war traumas (better known as Post-Traumatic Stress Disorder PTSD) is dismissed, which would allow them to better understand themselves from the human point of view and treat in depth the psychological wounds left by violence. To mitigate this gap, this research proposes the design of a pedagogical strategy, in light of the documentary review of the artistic initiatives and projects carried out in Colombia between 2015 and 2024, to support the reincorporation of the signatories, in order to demonstrate the importance of expanding the use of art as a therapeutic support in this population. for overcoming war trauma (PTSD); investigating the contributions and characteristics of artistic creation and expression as a mechanism of catharsis and recognition of the emotions, thoughts and behaviors generated by the conflict, with the aim of transforming and strengthening those that bring them hope, with the accompaniment and direction of an interdisciplinary team of graduates in art, art-therapists, psychologists, social workers, etc., to achieve an effective and permanent result in the lives of this community.
Anatomía de un Silencio Roto: Narrativas Pictóricas Sobre el Abuso Sexual Infantil Como Medio de Sanación y Denuncia
(Universidad Santo Tomás, 2025-06-12) Acuña Medina, Deisy Victoria; Valbuena Rojas, César Jerome; Universidad Santo Tomás; https://scienti.minciencias.gov.co/cvlac/visualizador/generarCurriculoCv.do?cod_rh=0001592016; https://scienti.minciencias.gov.co/cvlac/visualizador/generarCurriculoCv.do?cod_rh=0002147436; https://orcid.org/0000-0001-5407-242X
This research-creation project addresses child sexual abuse from an artistic and therapeutic perspective. Through the creation of a series of oil paintings on acrylic canvases, it explores how art can facilitate emotional processing, anger management, and reconciliation with one’s own history in survivors of child sexual abuse. The project integrates poetic and technological resources, such as original verses and QR codes, to enrich the aesthetic experience and promote empathy and critical reflection among the audience. Using a research-creation methodology, it combines the subjective dimension of experience with academic rigor, proposing art as a tool for denunciation, awareness, and support. The results highlight the transformative potential of art to make silenced realities visible, generate social dialogues, and contribute to individual and collective healing.
La Técnica de Barniz de Pasto Como Herramienta Para la Revitalización de los Saberes Ancestrales Kamëntšá
(Universidad Santo Tomás, 2025-09-05) Maria Every Cabrera, Evelyn; Cesar Jerome Valbuena Rojas; Universidad Santo Tomas; https://scienti.minciencias.gov.co/cvlac/visualizador/generarCurriculoCv.do?cod_rh=0001592016; https://scienti.minciencias.gov.co/cvlac/visualizador/generarCurriculoCv.do?cod_rh=0002136698; https://orcid.org/0000-0001-5407-242X
This work explores the Barniz de Pasto technique as a tool for the revitalization of the ancestral knowledge of the Kamëntšá people, located in the Sibundoy Valley, Putumayo. Through the research-creation methodology, a process was developed that combined artistic practice with critical reflection and intercultural dialogue. The study included phases of contextualization, knowledge exchange with Barniz de Pasto artisans and members of the Kamëntšá community, as well as the production of visual artworks. As a result, three three-dimensional pieces were created, integrating symbols, colors, and forms from the Kamëntšá worldview, re-signified through the Barniz de Pasto technique. These works, exhibited in various cultural spaces, functioned as devices of memory and identity, raising public awareness about the importance of cultural preservation. The project demonstrated that art can act as a bridge between the ancestral and the contemporary, strengthening cultural identity and generating new possibilities for the transmission and safeguarding of ancestral knowledge in contexts of globalization.
Análisis Comparativo de los Planes de Gestión de Riesgo en Dos Unidades Académicas Universitarias: Un Estudio de Caso entre Colombia y Perú.
(Universidad Santo Tomás, 2025-09-03) Pérez Zabala, Leonor Cristina; Laverde Sánchez, Gustavo; Universidad Santo Tomás; https://scienti.minciencias.gov.co/cvlac/visualizador/generarCurriculoCv.do?cod_rh=0000470732; https://scienti.minciencias.gov.co/cvlac/visualizador/generarCurriculoCv.do?cod_rh=0001764737; https://orcid.org/0000-0001-9052-2205
The risk management plans of a university academic unit in Colombia and another in Peru are studied to identify similarities and differences between them. This approach is based on an interpretive epistemological approach, with a comparative qualitative design. Data collection is carried out using category-based documentary analysis, and data analysis is carried out using thematic analysis. It is found that both Colombia and Peru have established solid regulatory frameworks for disaster risk management, including universities. The structure of the risk management plans is very similar, given that both countries have signed the Sendai Framework and the Safe Schools initiative. The similarities are mostly evident in the more advanced elements not considered. The differences are presented as strengths of each plan.
Gamificación Educativa para la Promoción de la Gestión del Riesgo en Estudiantes de Educación Secundaria
(Universidad Santo Tomás, 2025-07-17) Patiño Zambrano, Jhosman Valentín; Florez Cruz, Tania Esther; Laverde Sánchez , Gustavo; Universidad Santo tomás; https://scienti.minciencias.gov.co/cvlac/visualizador/generarCurriculoCv.do?cod_rh=0000470732; https://scienti.minciencias.gov.co/cvlac/visualizador/generarCurriculoCv.do?cod_rh=0002303619; https://scienti.minciencias.gov.co/cvlac/visualizador/generarCurriculoCv.do?cod_rh=0001955158
The current proposal focuses on developing a gamified, fun tool for risk management learning for secondary school students, based on the premise that gamification strengthens motivation and facilitates educational acquisition. Through interactivity and the recreation of real-life scenarios, the dynamic seeks to enhance students' awareness and preparation for potential risk situations. This proposal uses a qualitative approach, based on an extensive literature review, with the central objective of examining previous studies on gamification in education and risk management. The methodology includes a classification of findings and triangulation of information, providing a means to measure the impact of educational dynamics on the understanding and use of prevention strategies. The results show that gamification increases student engagement, benefits decision-making in simulated environments, and improves the accessibility of learning related to prevention and safety. Likewise, challenges in teacher training and curricular integration are recognized, emphasizing the need for methodological strategies that promote the tool's incorporation in different educational institutions.
Crisálida, la Historieta Gráfica y sus Posibilidades Como Expresión Artística y Terapeutica
(Universidad Santo Tomás, 2024) Cortés Suárez, Laura Yovana; Rivera Bernal, Leonardo Mauricio; Universidad Santo Tomás; https://scienti.minciencias.gov.co/cvlac/visualizador/generarCurriculoCv.do?cod_rh=0000244384; https://scholar.google.com/citations?user=GACpu88AAAAJ&hl=es&oi=ao; https://orcid.org/0000-0002-3165-6745
The mental health of children and young people has become an increasingly concerning issue worldwide. According to UNICEF (2024), in 2020, 14 percent of young people globally (approximately 168 million) suffered from some type of mental disorder. In Colombia, according to the Ministry of Health, 66.3 percent of the population reported having experienced a mental health issue in 2023 (Minsalud, 2023). Among children and youth, this figure reaches up to 44 percent. Violence, poverty, inequality, social disintegration, and the use of psychoactive substances have all contributed to this grim outlook in the country. Anxiety and depression are the most common mental health conditions among young people in Colombia (Office of the Inspector General, 2023). In this monograph, I aim to design a pedagogical tool or device that, in addition to using graphic novels, incorporates art to help young people educate and express themselves regarding their mental health—but above all, to learn to trust themselves. Prevention and care at different stages are crucial, and in this regard, graphic art can be an important tool.

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