The following article propose an appreciation exercise regarding the artistic interventions of a two-dimensional nature, which recently have had a main role in the urban landscape and the mainstream art transcending both the clandestine and vandalistic stigmas, starting from the relationship that exists between the processes of construction of art in the contemporaneity and the possible elements of value that those artistic interventions possess.

This article proposes an exercise in appreciation of two-dimensional artistic interventions, which in recent times have been the protagonists of city spaces and the art mainstream, which transcends the stigmas of secrecy and vandalism, based on the relationship that exists between the processes of construction of art in contemporary times and the possible elements of value that said artistic interventions possess.

This article seeks to find the place the body in Western twentieth century dance through the approaches of canonical figures in the history of the discipline. For this purpose, it offers a tour of François Delsarte that culminates in Pina Bausch and where you see how each choreographer of the time was reformulating the visions of body that inherited. The article concludes that the authors (dancer-choreographers) are the construct of a changing century that leaves the body as creator not only of techniques that enable today understand the language, but as a vehicle of creation itself.

The article presents the experience developed during the project Ex situ / in situ prácticas Artísticas en Comunidad, held in the commune 4 of Medellin, and coordinated by the team work of the Cultural Development Center Moravia. Castillo Soñado is an artistic proposal that allows debate and publicize the links of patrimonial activation made permanently by artistic practices. The experience was expanded considering the participation of women leaders from the neighborhood, their symbolic capital that comes to define dynamic social and political power within the neighborhood, generated this with the pretext to remember and bring the relevant objects present in the lives of those women.

This article is the synthesis of a public interview that was held at the Cultural Centre of the Province of Buenos Aires, Argentina, in 2009, in order to establish some lines of discussion to question the design of a public policy referred to different offers of musical activity and, in particular choral activity for which in other characteristics, have its livelihood and permanent replacement in vocational and amateurism, which inevitably transforms it into a container that transcends the artistic to venture into fields of social study.Eduardo Correa (*), the interviewee, was then the Coordinator of the Development Coral activity Program in the Province of Buenos Aires, which has the largest population (14,000,000 inhabitants) and the largest agro-industrial production. Between 2006 and 2010, and ahead of the body, developed various courses of action that boosted the activity in a qualitative sense. In 2009 boosted the development program under the Argentina “Punta a Punta” program of the Ministry of Culture of the Nation.

0 artigo trata-se de um desdobramento da pesquisa realizada pela autora entre os anos de 2011 e 2013 no âmbito do mestrado acadêmico do Programa de Pós-graduação em Artes Cênicas da Universidade Federal da Bahia (Brasil) e que resultou na dissertação intitulada “Composições Esperpênticas: o grotesco como estratégia cênico-dramatúrgica na desestabilização do feminino”. No trabalho aqui apresentado, a autora propõe uma abordagem teórica dos esperpentos – composição artística e literária desenvolvida pelo escritor espanhol Ramón del Valle-Inclán (1866-1936) –, enfocando suas discussões na presença e utilização do espelho côncavo, nas características básicas da proposta e na potencia subversiva que se pode extrair dos estereótipos com os quais o autor trabalha para construir seus personagens.

Current academic worries are not just interested in scientific subjects. They also allow thinking about matters related with humans and the way they construct realities based on cultural, anthropological and esthetic symbolic issues. From this point of view, the article pretends contributing to a reflection about the city and those representative symbols implicated in human realities; it pretends to see the city walls as a skin that has scars, narrates stories and saves the memories of its unofficial history, especially things about women that are excluded from the social speech. So, we can see the city walls as a mirror that reflects all the elements that took them (women) to the social exclusion. This view at the city’s skin finally ends with a construction based on five walls located in Envigado that inspired five marginalized women stories. These stories turned into a song that tells about their own aesthetic manifestations. All this matter is supported by the writings of several authors who, from literature, sociology, anthropology and philosophy, give the theoretical acknowledgment to this kind of work.

This article is proposed display the Technology School of Arts Debora Arango as a legacy to future generations, impellers milestones of education, the development of art and expression of culture; Mark reasons, justifications and recognition to the person, the artist, the work and the struggle of who lent her name to the institution and it is today concerning future generations are the purposes of this article to propose that the slogan “We are all Debora “ is a real builder of the deborianos values.

This text is a chronicle that narrates the experience of putting together the final montage of the Integrating Pedagogical Proyect (PPI for its acronym in Spanish) Hexahedron 2015, of Debora Arango Technological College of Arts. I based the chronicle on Katia Mandoki`s (2006) concept of Estesis. The experience took place on the 16th and the 17th of June of the same year.