las primeras versiones de este texto fueron delatando mi tendencia a la rectitud. toda la vida quise corregir mis palabras. me sentía mal porque siempre que quería expresarlas, ellas se torcían. y entonces intentaba enderezarlas. ¿en qué momento empezó a gestarse esa desconfianza? tal vez fue en la facultad de filosofía. no sé si el mundo puede entender lo que se siente cuando alguien dice que tus palabras no sirven. es como si nos dijeran que nuestro corazón es inadecuado y que, para tener vida, tenemos que cambiarlo por uno nuevo. ¿y si la inadecuación no fuera un error, sino la condición misma de la frontera? ¿de la frontera vital? ¿de la no-frontera? me gustaría arriesgarme a pensar aquí mismo que esta revista puede ser ese lugar que todavía no existe, un ‘espacio entre’ que, como artistas, renueve y torne fecunda nuestra relación con las palabras. deseo que sea un tratado de escucha hacia mi [tu, nuestra] propia práctica artística. que el cuerpo y la vida que lo atraviesa se expandan en la escritura.
This article analyzes the way in which the concept of rhizome, coined by Gilles Deleuze and Féliz Guattari, takes shape in contemporary artistic praxis within the creative methodology of Emilio García Wehbi. The article expands on the rhizomatic principles of connection, heterogeneity, multiplicity and asignifying rupture, comparing them with García Wehbi’s thought regarding theatrical creation — his principles of dehierarchization, his concept of the accident as a motor for creativity, and his practice of appropriation and remixing as authorial practices. Finally, the article analyzes the staging of Provisional Atlas of Buenaventura (orig. Atlas Provisorio Bonaverense), a writing, performance and installation device performed in Colombia in 2016 as a paradigmatic case [study] that shows how rhizomatic logic operates in practice, integrating territories, bodies, time, writing and language in a collective process in which theory and action mutually contaminate each other.
In this article, I present the possibilities of documentary theater, particularly the use of verbatim as a methodological and creative tool for disseminating personal research within the social sciences. To achieve this, I show the creative process of a play entitled Beyoğlu: Los sonidos de Estambul (Conchi Mateo Pacheco, 2021), which premiered in Spain in 2021 as the result of anthropological fieldwork undertaken years before in the Turkish city, with the support of the Völkerkundemuseum (Zürich) and the Center for Advanced Studies in Music (MIAM, Istanbul). Through the analysis, which took place as part of a university thesis in Dramatic Arts, of three plays within the documentary theater genre, instructions are extracted which may be used to generate theater art that oscillates between reality and fiction, inviting us to engage with interdisciplinary transversality and the use of our creativity. Drawing on this example, I reflect on aspects intrinsic to the social sciences, such as documentary rigor and the role of the anthropologist in research, as well as aspects of theatrical performance and creation, including distancing in autofiction and character construction. In this way, while contributing the use of the term “sound ethnography” and with active listening as the sensory motor of artistic and social creation, I present a case which might serve as an open bridge towards dissemination through art that results from academic research.
Numerous examples demonstrate how the presence of artworks can enhance our perception of workspaces, making them more pleasant and, above all, more human. Color, visual elements, and spatial harmony contribute to a sense of well-being while also fostering productivity and strengthening interpersonal relationships, thereby humanizing the workplace and cultivating a sense of community. From the perspective of occupational health and employee well-being, art appears to have considerable potential to improve health and well-being within companies and institutions. This study presents the first findings of an artistic project developed at Universidad Loyola Andalucía (ULA) to enhance employee well-being through the incorporation of artworks—primarily contemporary works—into both academic and administrative spaces. Since 2019, work and recreational areas across the university, particularly on its Seville campus, have gradually been transformed into art-enriched environments through collections built from works acquired in ULA’s art competitions as well as through other acquisitions. This initial study, based on a survey of employees who regularly use these spaces, reveals that participants perceive improvements in their overall mood, increased job satisfaction, reduced visual fatigue, and greater concentration. In addition, the findings provide valuable evidence of a possible relationship between visual engagement with artworks and the promotion of collaboration and teamwork.
This article proposes aguaje — a concept, native to the Colombian Pacific, of the particularity of sound in different areas of land — as a situated epistemology for analyzing ongoing negotiation between tradition and globalization. Through a sound ethnography of music group Cantares del Pacífico, it is shown that aguaje operates as an aesthetic, political, and methodological category. Aesthetically, the concept bases musical creation on the rhythms of water and mangroves. Politically, it functions as a tool for cultural resistance against folklorization, reconfiguring gender roles and reaffirming a bond with the land. Methodologically, it reveals itself as an ethical principle for decolonial research. Our analysis shows that the group’s participation in global circuits does not imply a rejection of their roots, but an active negotiation that creates intergenerational dialog, female agency and embodied memory. Thus, aguaje becomes a keystone for understanding how regional musical genres legitimate themselves, how they circulate and persist in transnational contexts without diluting their communitarian roots.
