Este artículo tiene como objetivo estudiar el hôxwa, cómico ritual de la etnia Krahô, ubicada en el estado de Tocantins, en la región norte de Brasil. Además, presenta una propuesta pedagógica que se despliega apartir de los juegos creados por la investigadora y artista desde la práctica cómica indígena Krahô. Para ello, se realizó un estudio de campo y una etnografía del ritual PÀRTI o Jàtjôpi (Fiestade la batata), en la que el “protagonista” es el hôxwa y cuyo objetivo es revivir y restaurar un universo de comunidad y libertad, con los elementos del juego, la fiesta y la risa. La revisión de la literatura se basa en un horizonte multirreferencial que involucra conceptos y teorías de disciplinas asociadas con distintas áreas de conocimiento, incluidos el arte, la antropología y la pedagogía. Entre los autores, autoras y maestros indígenas que se destacan en esta propuesta están: Ismael Ahpracti Krahô, Getúlio Cruacraj Krahô, Freire, Lima, Levi-Strauss, Melatti, Dal Galloe Schiavini. Esta propuesta práctica y reflexiva tiene como objetivo contribuir con los educadores, educadoras de teatro y artistas en la inclusión de la historia y culturas indígenas en las escuelas brasileras, obligatoria, según lo sancionó la Ley 11.654de2008.

PASILLO PARA MANDOLINA, TIPLE Y GUITARRA

The city is a space that has stopped being an urban setting-up to become a symbolic body full of narrative phenomenons; those phe-nomenons are just perceived by those who are enticed by the city’s cadaveric shapes, which are printed in its streets and walls. They invite people to poeticize about the city’s decomposition, about necrotic matters, to do magic with its sick body’s bowels. Only the man who is touched by the urban morbid charming, inhabits the city and is urged to wander through it, finding a whole dramatic load, reading its signs as diverse portrayals of the human fables, expanding the subjectivi-ty without any break, as if the death of the established was his function; this meeting with the city’s dramaturgy is a find from the orphic gaze, that is a chance, not a sickness. It is a maker force, because it unveils and in-carnates the lost spirit, recognizing that only in the inhabiting experience it is possible to find the charming of the showmanship in the human existence.

Documents that will influence significantly the music movement in terms of the bag-pipes after years in Bogotá, Are the ones used by Contreras in his ongoing teaching about Tovar. The students had the chance to know more about this Caribbean legend, whom at the time was not mentioned reg-ularly within the music.

This article presents an approach to ex-perimental music through the characteri-zation of the processes of musical creation of Pedro Rincon Ortiz, creator of the “Rota-ry Lab” project. It is part of a reflection on the concept of experimental music through different authors who have researched the field of musical creation. Also, some refer-ences art from local, national and interna-tional level are taken into account. For the characterization of the processes of musical creation of Pedro Rincon, applied case study, technique that allowed the approach the composer through some meetings that were conducted semi-structured interviews and spontaneous conversations that emerged different senses and meanings associated with his own result experiencia. Como of the study proposes a characterization of the creative process which the composer con-ducted through experimental procedures in your music production. Expected with this work, contribute to the understanding of such creative processes, which have been taking important compositional search of some musicians in the city of Medellin and its metropolitan area.