Transitional justice, demobilization, and peacebuilding amid political violence: Examining individual preferences in the Caribbean coast of Colombia

The conventional wisdom in the transitional justice literature is that there is no one-size-fits-all approach. This article suggests that this may also be true within a given state. The current paper reports on quantitative and qualitative data from 184 participants in a survey conducted in the Caribbean coast of Colombia. Results suggest widespread support for transitional justice mechanisms – such as perpetrator accountability, public acknowledgement and structural change – but dissatisfaction with national-level initiatives, specifically the 2005 Justice and Peace Law. Yet, despite a distrust of the national government and protracted conflict, individuals report social trust, community cohesion and reliance on local government institutions. These attitudes and behaviours suggest that decentralised transitional justice mechanisms may be more effective in meeting victims' needs. Moreover, analyses indicate that individual preferences are influenced by community factors, such as the presence of demobilised paramilitaries, which can be addressed through more localised approaches to promote peacebuilding. The paper concludes with best practices derived from the findings.

Beyond Attribution: Responsibility of Armed Non-State Actors for Reparations in Northern Ireland, Colombia and Uganda

This chapter explores the responsibility of armed non-state actors for reparations to victims. Traditionally international law has focused on the responsibility of the state, and more recently the responsibility of convicted individuals before the International Criminal Court, to provide reparations for international crimes. Yet despite the prevalence of internal armed conflict over the past few decades, there responsibility of armed groups for reparations has been neglected in international law. Although there is a tentative emerging basis for armed groups to provide reparations under international law, such developments have not yet crystallized into hard law. However, when considering the more substantive practice of states in Northern Ireland, Colombia and Uganda, a greater effort can be discerned in ensuring that such organizations are responsible for reparations. This paper finds that not only can armed non-state actors be held collectively responsible for reparations, but due to the growing number of internal armed conflict they can play an important role in ensuring the effectiveness of reparations in remedying victims’ harm. Yet, finding armed groups responsible for reparations is no panacea for accountability, due to the nature of armed conflicts, responsibility may not be distinct, but overlapping and joint, and such groups may face difficulties in meeting their obligations, thus requiring a holistic approach and subsidiary role for the state.

Impact of political violence, social trust, and depression on civic participation in Colombia

Civic participation is important for peacebuilding and democratic development; however, the role of mental health has been largely overlooked by policymakers aiming to stimulate engagement in civil society. This study investigated antecedents of civic participation in Colombia, a setting of protracted political conflict, using bootstrapped mediation in path analysis. Past exposure to violence, experience with community antisocial behavior, and perceived social trust were all significantly related to civic participation. In addition, depression mediated the impact of past exposure to political violence and perceived social trust, but not community antisocial behavior, on civic participation. In this context, findings challenged depictions of helpless victims and instead suggested that when facing greater risk (past violence exposure and community antisocial behavior), individuals responded in constructive ways, taking on agency in their communities. Social trust in one’s neighbors and community also facilitated deeper engagement in civic life. Relevant to the mediation test, interventions aiming to increase civic participation should take mental health into account. Limitations and possible future research are discussed.

Reconstructing the Social Fabric amid On-going Violence: Attitudes toward Reconciliation and Structural Transformation in Colombia

Given the increase of reconciliation processes initiated amid on-going violence, this study focuses on community reconciliation and its relation to structural transformation, or social reconstruction through reforming unjust institutions and practices that facilitate protracted violent conflict. Drawing lessons from the Caribbean coast of Colombia, mixed method analyses include eight in-depth interviews and 184 surveys. Four key dimensions of reconciliation – truth, justice, mercy, peace – are examined. In the interviews, participants prioritize reconstructing the truth and bringing perpetrators to justice as essential aspects of reconciliation. Notions of mercy and forgiveness are less apparent. For the participants, sustainable peace is dependent on structural transformation to improve livelihoods. These data, however, do not indicate how this understanding of reconciliation may relate to individual participation in reconciliation processes. Complementing the qualitative data, quantitative analyses identify some broad patterns that relate to participation in reconciliation events. Compared to those who did not participate, individuals who engaged in reconciliation initiatives report higher levels of personal experience with violence, live alongside demobilized paramilitaries, are more engaged in civic life, and express greater preference for structural transformation. The paper concludes with policy implications that integrate reconciliation and structural transformation to deepen efforts to rebuild the social fabric amid violence.

Es teatro vuestra oración: Santa Teresa’s performed confession in Juan Mayorga’s La lengua en pedazos

Juan Mayorga’s La Lengua en Pedazos (2010) strikes at the heart of the compositional circumstances of St Teresa's Libro de la Vida– staging, and arguably heightening the origins of her rhetorical strategies, the sense of awareness of readership and potential censure we encounter within the Libro de la Vida. His inquisitor refuses to be complicit in the tacit agreement that the word spoken in the theatrical space can conjure new realities –insistent on underscoring the textual origin of the visions painfully and partially offered up for his and our scrutiny. I will suggest that the persistent undertow towards a meta-commentary on the unmaking and remaking of the autobiographical text creates an unresolved tension between Teresa’s eloquent ability to take the spectator to a place beyond language, and our awareness that we are in the presence of a consummate performer, the textual source for the script itself produced with a supreme awareness of audience scrutiny. The play reflects ongoing lines of inquiry in our evolving understanding of the cultural production of Teresa and other holy women of the Early Modern period.

Grupos étnicos de Colombia: Etnografía y bibliografía

El presente trabajo quiere presentar un panorama de los grupos étnicos indígenas que hoy pueblan el territorio colombiano. La "visión etnológica sobre los grupos étnicos indígenas actuales de Colombia con su bibliografía" tiene como objeto presentar la riqueza étnica de las minorías indígenas que, junto con los negros y blancos, conforman el pueblo colombiano. Como lo indica el título, esta no es una investigación profunda sobre cada grupo, pero es una recopilación de datos, informes y libros ya existentes para dar una visión de cada grupo étnico mencionado, aunque sobre algunos los datos son escasos, por varias razones que especialmente debido a la poca literatura eústente en la etnología actual. Después del índice, la introducción y agradecimientos, se encuentra la bibliografia general, a la cual sigue la presentación de los deparamentos, intendencias y comisarías donde existen los resguardos y las reservas indígenas, complementados al final del trabajo con su respectivo mapa; en cada resguardo o reserva aparece entre paréntesis el número bajo el cual se puede buscar en el mapa. A continuación se éncuentta la clasificación de los grupos étnicos por familias lingüísticas y la descripción de cada uno, ordenados alfabéticamente, divididos en subtítulos como nominación, o bajo cuales nombres se conoce el grupo, localización, resguardos y/o reservas indígenas, lengua y/o familia linguística a Ia cual pertenece, vivienda, economía, vestidos y adornos, organización socio-política, creencias y rituales, aculturación. Aunque los subtítulos no se compaften siempre, debido a la escasez de trabajos sobre algunos grupos y/o a su falta de disponibilidad, espero que aún de este modo el presente trabajo será de utilidad y por ello despuás de cada gupo se menciona la bibliografía de los trabajos existentes sobre el mismo, para quienes quieran profundizar sus conocimientos sobre el tema.

Técnica de canto lírico e de teatro musical: práticas de crossover

O presente trabalho tem como objectivo estudar as práticas de crossover entre as técnicas vocais que os cantores líricos e de teatro musical utilizam, assim como as técnicas vocais subjacentes às referidas práticas. Descrevem-se as técnicas vocais utilizadas no canto lírico e no teatro musical por pedagogos que fundamentam o seu trabalho com as descobertas da investigação na área da voz, e comparam-se as referidas técnicas para entender quais os pontos comuns e quais os pontos divergentes. Devido à elevada percentagem de pontos comuns às duas técnicas concluiu-se que são muito próximas entre si, o que faz sentido por serem executadas pela mesma estrutura fisiológica. Apresentam-se as entrevistas efectuadas a cantores profissionais de canto lírico e de teatro musical sobre os aspectos fundamentais das técnicas vocais que utilizam e como fazem o crossover entre as mesmas. Dos resultados dos inquéritos concluiu-se que a maioria dos cantores utiliza habitualmente práticas de crossover na sua performance. A segunda conclusão retirada dos resultados do inquérito foi que a execução das referidas práticas é intuitiva na maioria dos casos, e não conscientemente efectuada. Apresenta-se um caso de aplicação em contexto performativo das práticas de crossover: o papel do soprano na cantata cénica "Moby Dick - Aos Peixes". A utilização tecnicamente consciente das práticas de crossover permitiu estabilizar a execução vocal desde o início dos ensaios e obter posteriormente uma performance consistente mas versátil, sem fixar a execução vocal ao longo da carreira do espectáculo. Os apêndices incluem informação anatomofisiológica útil para este estudo, um resumo dos métodos de estudo científico da voz, o questionário utilizado no inquérito, as tabelas dos dados obtidos, a partitura anotada de "Aos Peixes" e o DVD do espectáculo realizado no Centro Cultural de Belém, em Lisboa. ABSTRACT: The present work aims to understand the crossover mecanisms that the classical singers and the musical theatre singers use, and the vocal techniques underlying those practices. This work describes the vocal techniques taught in the lyrical singing and in the musical theatre singing by teachers who base their pedagogy on the findings of scientific investigation of voice and singing. The techniques used in both fields are compared to understand their similarities and diferences. This process led to the conclusion that both techniques are very close, due to the high percentage of common items found, and this makes sense since both techniques are produced by the same physiologic struture: the vocal system. Professional singers from the lyrical and the musical theatre scene were interviewed to explain the basic foundations of their vocal technique and how do they do the crossover between those styles, from a technical point of view. The results of these interviews led to the conclusion that the majority of the singers performs crossover actions in their singing. The second conclusion is that for the majority of singers these crossover actions are intuitive, inspired by the music, the text or the dramatic context, and not informed by technically conscious actions. It is presented a case study of how these crossover methods were used in a staged cantata: the soprano role in "Moby Dick - Aos Peixes". The use of conscious technically informed crossover practice allowed to stabilize the vocal execution right from the beginning of rehearsals and obtain afterwards a performance which was both consistent and versatile, not fixed, during the running of the show. The appendixes include useful anatomical and physiological information, a summary of the methods of the scientific study of voice, the formulary used in the enquiry, the data tables of the field work, the annotated score of "Moby Dick - Aos Peixes" and the DVD from the play filmed at Centro Cultural de Belém, in Lisbon.

Para estudar o teatro do Renascimento italiano. A questão da tragédia (explorações)

Em Para estudar o teatro do Renascimento italiano. A questão da tragédia (explorações) estabelecem-se as pistas para o reconhecimento do fracasso italiano na elaboração quinhentista de textos trágicos, equacionando as causas desse fracasso e assinalando alguns dos textos e autores cuja produção marcou esse trajecto.

A menina de papel : reflexão sobre um projeto de teatro musical e sua implementação na comunidade

O presente trabalho propõe-se refletir sobre um projeto de teatro musical, A menina de papel, realizado por uma comunidade educativa constituída por professores e alunos do Conservatório de Música de Felgueiras e da Artmusic- Berço da Cultura da Lixa, levada a cena na Casa das Artes de Felgueiras no dia 26 de julho de 2013. Este trabalho centra a sua intervenção em torno de dois eixos: música na comunidade e o teatro musical baseado no conto infantil A menina de papel. Na presente dissertação propus-me ainda conhecer e analisar a instância educativa e tudo o que lhe é intrínseco para através de um diagnóstico da situação, e da elaboração de um plano de trabalho que fosse de encontro às necessidades pessoais e profissionais das instituições já referidas. Tendo em atenção os objetivos propostos para este projeto, este documento descreve os principais conceitos teóricos que enquadram esta pesquisa, expõe o processo criativo da obra de teatro musical A menina de papel, da conceção ao palco, relatando os motivos da escolha do conto, as experiências vivenciadas durante cada etapa até às apresentações públicas, terminado com uma análise e avaliação dos resultados.

Curso: Teatro del Siglo de Oro Góngora y Calderón: culteranismo y renovación barroca en el género dramático. Análisis de textos

Un estudio del teatro español del Siglo de Oro, que pretenda ofrecer un panorama más o menos completo de lo que es el género dramático en esta importantísima época, debe abarcar la segunda parte de la llamada Comedia Nueva, creada por Lope de Vega. Es por ello que este curso comprende el análisis de los textos teatrales de Calderón de la Barca (1600-1681), quien recreó y a la vez renovó la comedia en boga en el siglo XVII, y la dotó de nuevas características que toman en cuenta los avances tecnológicos del arte escenográfico. Sin embargo, antes de abordar el estudio del teatro calderoniano, se estudiarán dos textos teatrales del gran poeta Luis de Góngora y Argote (1560-1627), cuyo teatro es muy poco leído y estudiado en las aulas, a pesar de que se le ha considerado de una perfección indiscutible. De este modo, será posible comprender la influencia que en cuanto a lenguaje y estructuras poéticas ejerció Góngora sobre Calderón y otros dramaturgos de la escuela de éste último escritor.

Intervenção da Escola Superior de Tecnologia na reabilitação estrutural do Teatro Lethes

O presente artigo descreve duma forma sumária a cooperação estabelecida entre a Universidade do Algarve (UAlg), através da Escola Superior de Tecnologia (EST), com a Delegação Regional do Algarve do Ministério da Cultura, no processo de reabilitação do Teatro Lethes, em Faro (Figura 1), levada a cabo pela empresa S.T.A.P. – Reparação, consolidação e modificação de estruturas, S.A.

Um olhar sobre o teatro para crianças no Algarve

Dissertação mest., Estudos Artísticos, Universidade do Algarve, 2009