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Aguardiente is consumed in straight shots by the young and old alike. Guayabo is the noun, hangover, while estar enguayabado means to be hung over. Parche — This word, whose literal definition would be 'patch', is used to describe a group of friends or any type of social outing or event involving them. At the other end of the spectrum, estar desparchado means that your social calendar is very empty, and generally implies that you are feeling down as a result.

Pola — another word for a beer. There is also an alcoholic soda on sale in the country called Cola y Pola; a bizarre mixture of beer with a cola drink. It can also be made into a verb rumbear. Using the Spanish verb salir , to go out, does not convey to the same degree as in the English that you went out to party.

So someone who gets robbed of their expensive jewelry while walking on their own in a rough neighborhood at night, is said to have been dando papaya. Darse picos — An expression meaning to kiss someone. Generally used to describe the first hook-ups between people e. Echar los perros — This phrase, literally translating as throwing dogs, means to come on to someone.

In Colombia the common usage is much closer to being sad, upset or depressed about something e. Responding that you are will always be well received. Estar buena — A, not entirely respectful, way to say a woman is good looking. You are most likely to hear this used between a group of male friends e. It is not wise to say this to a woman directly. Estar bueno can be used in much the same way to describe attractive men. Thus hagamos una vaca para pagar el ron means that everyone needs to put some cash in to buy some rum.

It is used to express disagreement and mock offence to something someone has just said e. Yo siempre llego a las 8. You always get to work late don't you? Listen to this one! I'm always here at 8. Parar bolas - Means to pay attention to something or someone e. Used in an almost identical way to por si acaso. In Colombia however, it is the most frequently used form of saying sorry.

What a pain. The phrase ser rico , to be rich, is most frequently heard when described tasty food. Berraco — This one has so many meanings, we've had to dedicate the explanation a whole other post. Depending on the context, it can mean awesome, highly capable or intelligent, angry, grumpy or complicated.

Read more here. Cantaleta - Cantaleta describes a telling off, or a nagging. Quit your nagging, I'm doing it already". Charro — In Antioquia charro is very commonly used to say something is funny, in the sense of amusing. Shall we meet there at 7pm? OK, cool. Oxford: Basil Blackwell, La memoria hechizada. Barcelona: Icaria, Camus, Albert.

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Margaret Waller. New York: Columbia UP, Minogue, Valerie. Edinburgh: Edinburgh UP, Navarrete, William. February 4, Ortega, Julio. Ortiz, Ricardo.

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Elazar Barkan and Marie-Denise Shelton. Stanford: Stanford UP, Rojas, Rafael. Educational theatre 35 is an underdeveloped theme conceptually; however, it could be defined - briefly - as a teaching methodology that uses different techniques stemming from performing arts - mainly regarding the dramatic game and sensory-perceptive and interactive dynamics - to develop learning processes.

The participants of these processes are also actors: spect-actors; and thus they can interact with what is narrated what is put on stage , being themselves the protagonists of the stories dramatized. This is why spectators integrate various perspectives or positions , which differ from the usual ones, to their own vital experience. Thus, the methodological proposal consisted in a communicative and pedagogical device formed by a performance-intervention and participatory dynamics in the format of a workshop forum theatre, interactive communication, and cognitive, perceptive and movement experiences.

As stated before, the racial issue is deeply interwoven with emotional situations which are difficult to be tackled exclusively with words. That is the reason why those methodological strategies were chosen, as they allow other ways of reading, both verbal and non-verbal, which open questions without closing meanings or laying out closed answers. The work concludes with an opening to debate through different questions that invite to a reflection on the categories of discrimination and exclusion based on ethnic-racial origin, and which are naturalized in the national context.

In a second stage, we would address daily situations referred to by the participants themselves to - from there - present some key theoretical categories such as racism, ethnic groups and race. Finally, playful and expressive tools would be provided to allow the possibility of collaboratively imagining and developing alternatives for the transformation of those realities.

During the whole process, the team of students undertook participatory observation, field records, and photographic and audiovisual records.


This material was later used to socialize and disseminate the results of the project. The work with the students was carried out in two stages: the first one took place after the performance and in that we sought to open up the game of the map. As previously stated, in the final scene of the performance, three skirts are spread out on the floor and on top of them there are shells being placed according to their color and, in relation to this, they are given a job, occupation or social role. In this way, a kind of social map is formed and organized according to the social sectors and their job opportunities, showing the correspondence between the darker shells and the most precarious and informal jobs.

The trigger questions were: Do we agree that it is like this? Which examples could we think of? Which could these be? The idea was to take one of those examples and, in case they did not emerge, to propose them. We took as options for classification: from different activities, grouping the shells people according to whether they liked sports, physical activities, crafts, trade, cooking In a second instance, we asked students to group according to classifications with which they identified the most.

The task was to take a shell from the ones placed on the skirts, the one they liked the most, and to name themselves showing the shell and to put it back in that new map according to the chosen category. Finally, we proposed linking exercises among the different subgroups which would imply movement and expressivity: how they would greet the other group, which movement or gesture would they choose that would represent their group, how would they convince the other group to move to their own, etc.

The closure of the first stage of the workshop consisted in the making of a circle that dissolved the subgroups and that would call, through a percussion rhythm, to share a similar movement. In this way, we made a tour, shorten in 8 sequences, of the whole performance, which the kids first observed and later were invited to mimic. In this way, we looked for a corporeal way to recall the work, which would enable other perceptions, sensations, emotions and memories.

The work consisted, first, in everyone mimicking the moments together and later, we invited the students to choose the gesture that they most liked to repeat it. Next, we proposed an introspective moment in which they could close their eyes and take some minutes to think about some situation in their lives that the work had reminded them of. And, finally, which word or words could they give to that situation; a word which we later asked them to write on the chalkboard. Each group had to develop a performance with all the elements we had worked with, and then show it to the others.

In order to speed up the work with the students, as we feared they would have certain resistance, we agreed that the same team members participated actively throughout the workshop. That was very helpful, as we found more resistance than we had imagined. At first, it was a real challenge to break the classroom space: to move the seats and clear the space was an uncomfortable situation, a little violent and invasive for many team members. The kids, as they had not been informed about what and how we were going to work, seemed a little confused and suspicious at first. The second barrier we had to overcome was that of feeling shy, manifested principally as laughter or as introspection channeled through the screens of telephones.