Keywords: Soundscape, Colombian Coffee Cultural Landscape, Immaterial Heritage, Methodology, Pedagogical Tools, Re-Signification, Sonic Identity
The purpose of this paper is to present the theoretical framework, methodology, and results of a laboratory developed in the Coffee Cultural Landscape, which had as the main objective to positively influence the quality of life of the communities through artistic and cultural practices from its sound dimension. The Coffee Cultural Landscape was proclaimed by UNESCO in 2010 as Cultural Heritage of Humanity. This is a reference framework that defines a region of Colombia from an economic activity that has shaped it culturally. This spatial unit suggests new strategies and tools for the knowledge and appropriation of this heritage. Therefore, the sound dimension as a fundamental expression of the identity of the regions is an essential element in the conformation of a territory
This article presents the theoretical framework, methodology, and results of a four-year Laboratory with the communities of the so-called Colombian Coffee Cultural Landscape from its sound dimension. The work was located in municipalities of Sevilla, Caicedonia, Riofrio and Trujillo, and carried out within the framework of the ‘Visual Arts Laboratories’ promoted and financed by the Ministry of Culture of Colombia, through which an interdisciplinary group of teachers and researchers linked to Icesi University developed a series of pedagogical workshops. Each laboratory has had the participation of very diverse groups: high school students, university students, artists and inhabitants of rural sectors. The diversity of participants has led us to develop particular methodologies that seek to understand the sensitivity of each group in order to appropriate the Coffee Cultural Landscape through listening and the representation of the sound. The overall objective of the laboratory program is to positively influence the quality of life of the communities through artistic and cultural practices. For the Ministry, it is fundamental to promote “cultural diversity, in the light of the contemporary artistic universe, particularly in relation to the concepts: artistic creation as a process of knowledge and research; aesthetic experience, artistic practice and interdisciplinarity; pedagogy as a source of criteria of value, management and social and cultural transformation” (Ministerio de Cultura, 2014).
- Joaquín Llorca. Architect and musician. He is a professor and researcher. He is in charge of courses on sound design and acoustic ecology, Universidad Icesi, Cali, Colombia
- Mauricio Guerrero. Sociologist, professor, and researcher with a masters degree in journalism. His academic interests are in the field of aesthetics, design, urban studies, and artistic representations. Universidad Icesi, Cali, Colombia
- Ana Garay. Anthropologist and researcher. His academic interests are in the field of aesthetics, urban studies, and phenomenology. Universidad Icesi, Cali, Colombia
- John Ordóñez. Bachelor of Visual Arts, Universidad Icesi, Cali, Colombia. His academic interests are in the field of aesthetics, documentary creation, and pedagogy. He currently integrates sound into his pedagogical work in art.
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