Pregrado Licenciatura en Artes Plásticas

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

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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.
“Voces de Resistencia: el Papel del Arte en la Visibilización de la Violencia hacia la Mujer"
(Universidad Santo Tomás, 2025) Prada Tovar, Mytsy Jeanette; 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=0001764866; https://orcid.org/0000-0001-5407-242X
Violence against women constitutes a persistent violation of human rights that severely affects millions of women worldwide. In Colombia, gender-based violence remains an alarming issue. According to recent figures, 75% of reported cases of violence in 2024 correspond to women (retrieved from "guía_prevencion_vbg"), which reflects the urgency of addressing this phenomenon from different perspectives. In this case, we will focus on visual arts as a means of denouncing this scourge that affects us as a society and as human beings. The Gender-Based Violence Prevention Guide (2023) emphasizes that gender-based violence not only includes physical aggression, but also psychological, sexual, economic, and symbolic violence. These forms of violence perpetuate the discrimination and subordination of women within society (retrieved from "guía_prevencion_vbg"). To combat this issue, it is necessary not only to strengthen public policies, but also to use tools such as art to raise awareness and mobilize society.
La Preservación y el Respeto de la Cultura Indígena Embera Katio Arizapono en Montelíbano Córdoba, desde las Prácticas Artísticas Escultóricas
(Universidad Santo Tomás, 2024) Osorio Martínez, Karelis; 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=0002136803; https://orcid.org/0000-0002-3165-6745
In the context of Colombia's cultural diversity, where multiple ethnicities converge and enrich its social fabric, the preservation of the identity of indigenous peoples is a vital challenge. This research exercise seeks to give visibility to marginalized communities and raise a cry for the respect and preservation of their legacy, focusing on the Embera Katio Arizapono culture of Montelíbano, Córdoba. Recognizing the multiple threats they face, this proposal analyzes the impact that Western models have had on their worldview, customs and ancestral values, which, although they have stood the test of time, are being irreversibly transformed by historical, socioeconomic and cultural dynamics. The project focuses on promoting respect and preservation of this indigenous culture through artistic sculptural practices, integrating symbolic elements that represent their identity and tradition. The creation of sculptures not only functions as an artistic expression, but also as a vehicle for telling stories, highlighting struggles and achievements, and raising awareness in society about the importance of cultural diversity and the rights of indigenous peoples.
Sistematización de Información sobre Trabajos de Grado de la Licenciatura en Artes Plásticas Desarrollados Entre los Años 2015 y 2023
(Universidad Santo Tomás, 2024-09-10) Diazgranados Cala, Aura Cristina; 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=0001415934; https://scholar.google.es/citations?hl=es&user=GACpu88AAAAJ; https://orcid.org/0000-0002-3165-6745
Apropiacionismo en el Arte Contemporáneo Implicaciones Culturales de la Escultura del Señor Caído de Monserrate en Bogotá
(Universidad Santo Tomás, 2024) Torralba Loaiza, Yudy Alejandra; Rivera Bernal, Leonardo Mauricio; Universidad Santo Tomás; https://scienti.minciencias.gov.co/cvlac/visualizador/generarCurriculoCv.do?cod_rh=0000244384; https://orcid.org/0000-0002-3165-6745
This research examines the practices of sacred cultural appropriation in the context of contemporary art in Bogotá, focusing on the sculpture of the Fallen Lord of Monserrate. It analyzes how these practices have influenced the reinterpretation and resignification of this emblematic religious work, as well as the creation of contemporary artistic proposals and their cultural commercialization. The study addresses the interaction between religious traditions and external influences, highlighting the tensions and negotiations that arise from these dynamics. Qualitative and comparative methods are used to explore the cultural and artistic implications of appropriation, employing a theoretical framework based on coloniality and syncretism. The research provides a deep understanding of how these practices shape the cultural and aesthetic identity of the Bogotá community.
Procesos de Expresión Artística Realizados por Comunidades Durante el Paro Nacional en Colombia 2021
(Universidad Santo Tomás, 2024-08-21) Mendez Corchuelo, William Hernando; Castro Arevalo, John Franklin; Universidad Santo Tomás; https://scienti.minciencias.gov.co/cvlac/visualizador/generarCurriculoCv.do?cod_rh=0001592115; https://scienti.minciencias.gov.co/cvlac/visualizador/generarCurriculoCv.do?cod_rh=0002009195; https://orcid.org/0000-0001-5962-44
Mosaico del Rostro Artístico de la Ciudad de Bogotá a Través de la Fotografía “de Museos a Arte Callejero”
(Universidad Santo Tomás, 2024-03-13) Herrera Cubides, Heidy Daniela; 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=0002003461; https://scholar.google.es/citations?hl=es&user=GACpu88AAAAJ; https://orcid.org/0000-0002-3165-6745

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