PRÁCTICA DE EXPRESIÓN CORPORAL EN TIEMPOS DE CUARENTENA: EL MOVIMIENTO #VIDLOP

Lara-Aparicio, Mar; Mayorga-Vega, Daniel; López-Fernández, Iván

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ESSAYS • Movimento 27 • 2021 • https://doi.org/10.22456/1982-8918.105802 copiar

PRÁCTICA DE EXPRESIÓN CORPORAL EN TIEMPOS DE CUARENTENA: EL MOVIMIENTO #VIDLOP

Autoría SCIMAGO INSTITUTIONS RANKINGS

Resumen

La situación provocada por la nueva enfermedad del coronavirus ha afectado a la educación en todo el mundo, por lo que es urgente la aplicación de programas que promuevan la actividad física en el hogar y el uso responsable de dispositivos conectados a internet. El presente trabajo presenta una propuesta didáctica de Expresión Corporal (EC) para practicar desde casa, adaptable a diferentes niveles educativos, y útil también como una valiosa experiencia educativa online o presencial, incluso cuando la crisis del coronavirus acabe. Esta propuesta se basa en el Análisis del Movimiento de Laban, en el Teatro del Oprimido y en el Lipdub. Busca desarrollar el lenguaje corporal artístico propio, la inteligencia emocional, comportamientos saludables de actividad física y la conciencia social de los alumnos, además de promover la creación de un nuevo movimiento social (#VIDLOP), utilizando arte y medios de comunicación populares como canales democráticos y de poder para construir un mundo mejor. En conclusión, esta puede ser una propuesta prometedora para el desarrollo de la EC y la conciencia humana en escenarios desafiantes y en diferentes entornos educativos.

Palabras clave:
COVID-19; Aislamiento social; Educación Física; Salud

Dimensions	Contents
Dimensions	Generals	Specifics
Expressive	Expressive alphabet	Research and awareness of: - movement depending on the body parts involved - support surfaces of the bodily attitudes and movement - muscle tension degree - gravity feeling - movement possibilities depending on spatial concepts - body rhythm (inner-outer) - Laban’s Effort qualities - body sound (vocal, non-vocal and instrumental) - objects’ use and experience
Expressive	Inner world
Communicative	Communicative alphabet	- Gestural language - Sound communicative components (intonation, intensity/volume, pause and speed) - Gestural and sound communicative rhythm
	Outer world	- Body simulation of moods, ideas, feelings or situations - Organization of the action with a beginning, development and end - Bodily symbolization - Object’s symbolization - Presentation of oneself before others
	Personal interaction	- Body dialogue - Synchronization - Complementarity
	Discursive exchange
Creative	Creative alphabet	- Fluidity - Flexibility - Originality - Elaboration
	Bodily creative techniques	- Bodily brainstorm - Body improvisation - Body synectics
	Creative process
Aesthetic	Aesthetic alphabet	As long as allows communication: - balance-unbalance - composition-decomposition - harmony-disharmony
	Aesthetic process	- More associated with discovery than with the reproduction of the current fashion - An element of expression and communication
	Aesthetic sensitivity

Component	Definition	Subcomponents-Practice
Body	It represents the movement’s background fabric and it is where the movement is born	Segments (e.g., head or torso), centers (e.g., of expressiveness or strength), actions (e.g., walking or turning), functions (e.g., receiving weight or driving movement), movements (e.g., flexion or rotation), shapes (e.g., elongated or round) and postures (e.g., open or tense)
Space	The body defines space by its mere presence and evolves in it	Directions (e.g., front or up), levels (high, medium and low), paths (e.g., curved or straight), dimensions (large-small) and categories (near-general)
Time	It manifests itself in the rhythm and sets the sequence of the development of each movement	Metric structure (e.g., pulse or accent) and non-metric structure (e.g., fast or slow)
Energy	Gives dynamism and contrast to movement	Time (sudden-hold), weight (heavy-light), exit (free-controlled) and space (direct-indirect)
Interrelation	From two participants	Role played (e.g., forming pairs or doing the same), relationship in the group (form-point of contact), in time (e.g., unison or canon) and in space (e.g., face-to-face or meeting)

Universidade Federal do Rio Grande do Sul Rua Felizardo, 750 Jardim Botânico, CEP: 90690-200, RS - Porto Alegre, (51) 3308 5814 - Porto Alegre - RS - Brazil
E-mail: movimento@ufrgs.br

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[1] CONFLICT OF INTERESTS

The authors have declared that this work involves no conflict of interest.