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The objective of this research is focused on the construction of the collective memory in the canton of Girón, using the tourist parador "El Chorro" as a representative symbol, due to its vital importance in the environment, characterized by the impressive waterfalls of natural water. The research is materialized through an ethnographic audiovisual documentary project, which incorporates the results of the research. The document is broken down into three chapters that outline both the general and specific concepts inherent in the production of a documentary of this nature. This exhibition is based on information gathered through interviews, personal experiences and existing documentary sources. In the concluding section, proposals for the production of audiovisual material are outlined, incorporating scripts, outlines, permits and attached documents. This approach aims to document the collective memory of the Girón canton and provide a reflective perspective, focused on the tourist parador "El Chorro" and its interrelations with the local community.

This article examines the impact of deculturation on the financial performance of microenterprises in the textile sector in Saraguro, Ecuador, focusing on the relationship between the abandonment of indigenous clothing and key financial indicators. It was observed that young people have a greater tendency to not use traditional garments, which affects local demand. The moderate negative correlation between deculturation and financial indicators (ROE, ROA, Profit Margin, and Sales) indicates that as deculturation increases, these indicators decrease. This phenomenon is attributed to the lack of transmission of traditional knowledge to new generations, which puts the competitive advantage of microenterprises at risk. Additionally, it was found that organizations lack financial statements and face difficulties in financial management and decision-making. Despite this, microenterprises have diversified their products to adapt to new market trends. The methodology used in this study is a mixed qualitative and quantitative approach, using descriptive and inferential statistical tools, as well as ethnography for the analysis of the Saraguro indigenous population and textile microenterprises. Statistical tests such as Pearson and Spearman correlation, as well as the Springate business fragility model, were applied to evaluate the financial situation of microenterprises. The research results suggest the need to preserve traditional culture and adapt to changing market demands to ensure the financial viability of microenterprises in Saraguro, Ecuador

The research "Representation of the cultural identity of the chola cuencana, in the journalistic photography of the newspaper El Mercurio of the city of Cuenca (2009-2019 decade)", had as a general objective to study the journalistic photographs, their titles and legends, published in newspaper El Mercurio, in the decade of 2009-2019, where the chola cuencana is published, to know how a narrative of cultural identity is built, within the framework of the Organic Law of Communication (LOC, 2013). The methodology used was a transversal study, with an interpretive and bibliographic review method, based on the case study of the Diario El Mercurio of the city of Cuenca. The corpus consisted of the review of 3650 copies of the ten-year newspaper library. The chola cuencana, in the ten years of study, appeared as the protagonist in 508 news items with photographs. It was concluded that the discourse is still managed by the media and official entities; It is necessary to manage a third discourse, one that comes from one's own voice, one that allows one to strengthen everything that their collective identity implies, as well as to make visible and vindicate the leading role of the chola cuencana in society, their problems and needs.

This study aims to analyze the social and cultural meanings of the artisanal production of adobe and brick, materials considered traditional, in the Balzay community in Cuenca. The research is based on a qualitative approach with the application of a simple case study, integrated as a methodological design. Various data collection techniques were used, such as semi-structured interviews, non-participant observation, and surveys, the latter not intended to create estimates. The results obtained allowed for the characterization of the producers in relation to their demographic, work, and economic data. Additionally, the context in which the artisanal production of adobe and brick takes place was characterized. Finally, social and cultural meanings reflected by the producers of artisanal adobe and brick in each stage of the production process were identified, including the factors before and after production, where social and cultural meanings are also present. Based on these results, it is concluded that artisanal production reflects, on the one hand, the cultural resistance of artisans in keeping their knowledge alive and their identity with their surroundings. It is also emphasized that artisanal production entails a high labor burden and requires thorough organization and planning. Despite this, the income generated allows artisans to meet their basic needs, although it does not fully reflect their effort. Nevertheless, producers find personal satisfaction and freedom in their work.

Archaeology, at a regional level, is characterized by its weak social insertion and, consequently, generates ignorance and little interest in the so-called archaeological heritage. This has been managed from different areas; However, this work focuses only on the political and socioeconomic aspects of the Sígsig canton. This is because the previous statements do not take into account the varied interpretations that each entity has about what constitutes cultural heritage and what is not. In this way, the formulation and execution of public policies aimed at safeguarding, preserving and managing heritage is considered. This task falls to government agencies, which influences the various ways in which cultural materiality is used and represented. For this reason, this work would serve as an interpretive basis to propose management plans for archaeological heritage. To do this, the social uses and representations that are built in both the political and economic spaces in relation to the archaeological heritage of the parish seat of Sígsig are identified. This, in turn, has an impact on collective memory and shapes both the present and visions of the future. As a result, the representations that arise from this relationship contribute to the economic potential of the region, since they become elements that generate identity. To achieve the purpose of this research, documentary and social network analysis is used, through interviews, collective mapping and use of the written press.

The inclusion of new learning tools in the education is essential to prevent educational environments from becoming monotonous spaces where the activities that are developed are carried out by obligation. This type of practice can cause children to generate rejection for important activities for development. Such as reading and even for the content related to the customs and traditions of our country. The objective of this project is to respond to this problem from the field of editorial design. Make use of the Pop-up book as a tool to present the legends of our country. To children of General Basic Education (GBE) and generate a direct interaction between the child and the content based on the methodology of creative process for troubleshooting of Bernd Löbach. Likewise, this seeks to promote interest in our culture, history, and traditions through the approach to children’s literature. At the end of this project, two Pop-up books with children’s legends will be obtained, which serve teachers as a complement to the existing material to teach and transmit ancestral knowledge through children’s legend.

The composition of the spaces planned for the teaching of art and culture is a topic to be explored in the next title project. When considering how interior design can contribute to any type of space, whether existing or projected for the future, applying techniques that optimize what can go overlooked or, in true cases, what can affect the health and comfort of the users. In art teaching institutions the importance of its application cannot be discarded, it is imperative to seek organizational logic, the improvement in the distribution of spaces, the optimization of work environments by applying equipment, furniture, aesthetic, and functional sense to each implemented element. Therefore, exploring these premises implies moving from research analysis to focus on a case study (existing space) to generate reliable solutions with a theoretical basis learned during the interior design career.

The cultural manifestations of the people of the city of Cuenca, are that invaluable intangible heritage, which at certain times has been in danger of disappearing, due to the unstoppable influence of the outside world or the phenomenon of globalization. The Pase del Niño Viajero, is one of the most powerful manifestations of the popular idiosyncrasy of the people, which has survived the passage of time and in turn, has taken much more strength with each generation. Observing this cultural phenomenon as an opportunity to generate belonging is very important in times of globalization and cultural massification. Taking as a tool one of themost influential disciplines of today as fashion, this project tries to highlight the importance of internal cultural recognition, the importance of looking inward and value our features and manifestations to enhance them outward, especially to show the younger generations, which today are more vulnerable to external cultural influences, that here, in their country, in their city, there are things as or more important that can easily compete with those from outside.

The objective of this work is to develop an intervention plan for the creation of spaces that promote the realization of cultural events that encourage the growth of cuencano’s artists and the rest of the country, said plan will serve as a visual tool that will achieve the dissemination of the various types of art in the City of Cuenca, an example of this we can cite various events held in the city, which have allowed to promote the development of art in the city. There are several artistic collectives that for several years have been holding public events where they have exhibited their art, which has allowed them to achieve important national and international recognition in various areas of artistic expression such as painting or also known as graffiti, music, dance among others. Therefore, based on this, it is proposed to carry out a work that is aimed at a transformation at a social and cultural level where public spaces can be used that allow the development of live art scenes that change the idea of what is aesthetically correct, Therefore, the creation of communication tools, as well as cultural marketing tools, has been proposed in the same way, which constitute important strategies that promote the consumption and appreciation of the artist, as well as his works, which exist as a manifestation in society and for it to build culture and identity.

El presente trabajo, basado en la investigación del Magister en Didáctica Proyectual, MADPRO “Identidad Cultural y Arquitectura. Emoción en la Realidad Intangible”, está referido al reconocimiento y rescate del carácter identitario que adquiere la atmósfera contenida en la arquitectura de tierra presente al Sur de Chile. El delicado trabajo de registro y restauración post-terremoto realizado por diversas entidades en las históricas viviendas en tierra cruda dañadas por el catastrófico fenómeno telúrico, denominado 27F, ocurrido el 27 de febrero de 2010 que afectó al Secano Costero (Ránquil y Cobquecura) es una experiencia de interacción social y académica, la cual se contrapone a otras lamentables reconstrucciones realizadas que, en un afán exagerado de garantizar estabilidad estructural y supuesta “modernización”, ignoraron sus sistemas constructivos y cualidades intrínsecas, distorsionando así su lenguaje y expresión arquitectónica propia. La opacidad, pesantez, dominio del lleno, color, textura y otras características naturales que posee esta materialidad y la espacialidad que configura su lógica constructiva presente en abandonadas casonas patronales de las haciendas rurales y de actuales viviendas urbanas – que aún resisten los continuos e históricos embates telúricos y el deterioro del paso del tiempo – otorgan una experiencia vivencial de alta pregnancia que permanece registrada en la memoria colectiva como un valor afectivo y cultural, una realidad latente no valorada que se desvanece, a punto de desaparecer. Este proceso interdisciplinario, en convenio con las autoridades locales, cambió la percepción de fragilidad de esta arquitectura, revalorizándola, constituyéndose en un paradigma de restauración que supo incorporar la sabiduría de técnicas constructivas ancestrales heredadas por maestros del lugar, lo que contribuyó a salvaguardar las claves que particularizan lo local, abriendo un nuevo horizonte en pos de habitar entornos más sensibles y de mayor coh

Waodani teke tipempoga go tipewa go tipempoga go tipewa go emempoke wadepo impa nani cowode tono be tini, mani wadepo bako wadani gidinani todo be tente wado ponente kedani wi ponente bai inkedanimpa ante kedanipa Waodani inanite, inkete wi manomai impa. Ñowo itede edenenani inani, memeidi tomenani tadomonkadanipa onomonka tepa wi kete awento, nano monkekeyede manobai edenenga moninke bakampa ome keka oinga onga ome gompote kewenga. anobai badonanipa yeyé oinga beye. Manomai edemenga eñegampa tapa tono omena keki, aye pikenani bate ate ñeña wempoka tono godogame godanipa omede ebano kete tapaka anobai ompaka ome enga wenogi ante

Monito keweñomo impa Omakaweno Yawatibe gameno, omede impa nani añomo tome emowo ananipa; Zona Intagible anobai wado emompa; Parque Nacional Yasuni Ongaidi tomaa me nani keweñomo mani beye tedenanipa kowe ingimpa waodani ome, adomai kewenani waodani Tadomenani tono Tageidi awene mani beye ñene nenanipa ome yawatibe. Mani beye ante adanipa nawaga in ante ebano in ante tededanipa godomenke nawanga impa ante, tomenani kin aye nenanitapa tomenani ki memeidi, ñeñeide neeni monito win ponenamai aye nemonipa kowen waomoni keweñomo yawatibe, kowe kete bemonipa, eme tede ñanonani monanipa, adomai, nanikabo ante tedenanipa godomenke waemo ebano in ante nani ma betedeyede wadepo ante (1956 ), kowe tano madiyede aye nenanitapa toma; tode beye, eme beye ñanongi beye, wadepo wadepo ba ate bakedani, edenenani, pedinke tomenani memeidi, ñeñeide neeni win ponenamain ante. Ebano keke eibe tededanimpa, wa wa keke godanimpa aye pikenani nani keweñomo, tomanani kin aye neenanipa tomanko win ponenamai amitamini beye, amonipa aye adomai neemonipa awake beye godomenque, neemonipa moni weginganka kowema neemonipa omede tono, aye aweidi tono gane enkate kewemonipa, moni keweñomo omede waemo impa. Waodani wayomo keweñomo tomanani dobe be tente inanipa wenenke wenenke ke godanipa kowede ki tono waodani ki tono, mani beye boto yewemomopa eme beye, nani keweñomo waodani ome yawatibe gameno, tomamoni ki aye neemonipa kemonipa eeme wadepo, kemonipa kowe dagenka tede, namome tede, penemepe tede kemonipa moni keweñomo yawatibe, adomai kedanimpa kowede bai ante eme wadompo nani keweñomo adomai monanipa waodani bai aye kowede bai monanipa, wedeñede adoke nenanitapa, mongi beye waodani, ñowo wadepo wadepo ba ate dobe ñimpo kedanipa edenenani aye bakenani monito monkekemonipa kowode bai, wao gameno mongi ba amonipa ananipa bakenani aye edenenani ñowo pedani, wenenani aye neenanipa tomenani ki ñanonte mongi beye ,wao gameno, mani beye yewemomopa godomenke nekedanimpa ante tedebopa moni keweñomo yawatibe.

Ju takatan najaneakun mashiniu irutkamunam apawachin ujakan tura namkaru ainia nuna,uchi unuimiak pujuinian nuya unuikiatinnasha irutkamu cinco de diciembre ,entsa yaup nrtinium arak matsatkamu tiwintsanam pujusan juna takatan jukiniatjai “Shirink emenkamu shuarnum”yaunchu auya un arukamtai menkaki wea un nekatin. Nekas nekamtikjiai usumat warinia inakma nuka usumramuka kakarman iniakturmaji aintsank yamai shuarnum nuasha nuya aishmannumsha meteketi nuyasha uuntan usumramurincha iniakmawai nuya ichinkian usurma auncha nunisam mashi aujmateawai. Aintsank aujmateawai yamaiya juish arukamtai shirink imian ismait,aintsa arukamtai chikitian pujutairi emkemar yujaj, nuna nukap ujatmaji usumat chichamnum. Jui takakeawai amuamunam enentai njukap aujmatkatin wainman,mashi matsatmanum tura unuimiamunam.

Ju takat pénker ichipsa iisa nájanma juni naartiniati “Shuara Pujutairi Iimtintri Menkáka”,juka émtikiaji,wari iinin yaunchu wainchatai apach nuya yus chichaman etserin tarmia nuya shuaran iimtintri menkáta juarkimiayi, imia nekaska irutkamu kusutkanum, uchich mátsatkamu Makumá,uunt mátsatkamu Taishnum,nunka tépakma Santiak Muranam.Chikich aenst yajáya kaunkar nii pujutairi utsurmakar ii iimtintrin yapajtiurmakaruitji,wats ju ainiawai:puach utsanat,namper,yaunchuka ii uuntrikia aúnka nékachu ainia áya tsantsa najanawar wara ainia . Nujai metek tikitcha ii iimtintri menká awai, arutma kakarmari yusjai yapájnia, nukap aents atsumainiak yajá nunkanam wear kuitian waitmakan pénker pujustaj tusar, chikich enentai achikiaru asar.

Nani keweñomo Toñampade kedanimpa omede bimo anobay ongiñenani tono onkiyenani eñenani nangi in kete waa baki impa omede bimo. Omede bimo wiyeñao ongompa awekabode poni iñomo; mani kedi impa wenenani dodani, pikenani kedanipa enonte oñabo wiyeñao bedanimpa wiwa badabay inkete ante waa kiwingi beye daikawoko badabay. Enongi wiyañaome omede ongo, tano poni gedanimpa oñaboidi aye enonke kedanipa tome wante wante edemo eyepe tome kaki ganka beki tomeme. Maninke cowen bimo bete kewengadanimpa tomemona memeidi waa inte win kowode bimo bekente ante ponenamay piyene kete tein piyente kewegadinimpa dodani gikene. Ñowopamodani gikene edenani tono wiyenani win ponenanipa omede bimo wiyeñao waodani, mani beye ponente yewemontamonapa yewemonte amona ate win ponenmay monato memeidi kedi godomenke kekedaminpa eñegimamo nani nente kewengi beye. Nani keweñomo toñampade ñowo pamo gikene kedanimpa kowode bimoke ante ponente tiyeponi ganke bakimpa, ponekadamay bedanimpa kowema wante iyo wante iyo bedani ate aya wiwa badonke kepa tomenani ayako. Kowode bimoke bete beyeke memeidi neni omede bimo win ponenanipa. Wempodani odomonamay inanipa nano wedani inanite ebano kete bike in ante bimo kete manomay kete beyenke daikawo maninke ebano kete waa tiñe bakimoni ante ponenamay inanipa .tome yedegade onko bimo keyomo gikene impa egakame poni nani keweñomo dee ampa nani gonte bête kiwigiñomo. Toma monato ate yewemoniganka bee tamonapa yewemonte tomako nani keweñomo enedenai anobay wiyenani aye wadani ekano edenenani iñomo mani geña kete eñegimoni mani monato ponente kedi wiyeñao gameno ante.

Nani Waodani keweñomo okabogata beye mani waemo bakimpa ante tome okabogata yekene nangi inani enkadanipa anobbay aweneidi, weene yede enkadanitapa ongiñenani aye onkiyenani, tome anobay neenpa kiini beye in ante. Mani endadanipa eemeno, eñake goyede, anobay waa akedaninpa ante waa kiwingi beye aye engi ante tenonkete ante keyede. Ñowodepodani yekene wodo wiin ponente badanipa tome okamogata enkaki, aye doobe oda kete madanipa pankadaniya, mani beye nangi kekimoni naeme eñente bakinani ante, wiin kemo ante tomañomo dee bapoke kemonpa mono memeydi kegainkoo. Godomenke kekimoni tomenani enkakinani ante, manomai kemo ante dogomenke mee neente kiwigimoni mono memeydi nani kegaino, tomemo ponemamo kete wadani inanite odomomo eñente bakinani waemo kewigi ante.

Mashi enentai jukar táma, yaunchuka, aya mesetak auyayi, tura uunt weá tama amitiai-yayi. Warinkish ii pujutairisha imiatrusan auyayi, nu tuma aan Arutman anentaimtin jui Ekuaturnum taar shuará enentain yapajtiukuru ainiawai,tuma nujai iniu paanniua nuka kajinmatnaki wenawai tii, Arutman enentaimtin takumramua aitkiarmawakrin nui mashi kajinmatua ainkiaruitji. Tuma uwí 1964, uunt wea Juan Shutka, chichaman atiruiti, uunt iruntramu najánatasa, tura nuka shuar Iruntramu najánarmatai, uwí 1975, Domingo Benito Piruch Nukui, irutkamu SUNKANTSAN chichamruk urainiaiti, yaunchuka Sunka irunin asamtai nuna naarin upujtusuiti. Tura nuya shuarka imiatrus matsamin, tumaki, warinkish utsumainiak, tura nuamtak mániki, kuitia waitmak uchiri unuiniartasa, aran wetan nakamsaruiti. Tumakiar ni uchiri ikiukiar, nuarin, aishrin ajapa ikiukiar, tii itiurchat ajasaru ainiawai, tumak irutkamunmasha, itiurchat akanjuarui ainiawai. Tura aran wearua auka, ii pujutairi, yurumtairi, jantsemtairi ainia aunka imian iiniatsui, tura nekas auka uchi ainia au tii waitiainiawai. Tumaitkiusha, ii uuntrinkia tuke pujuka, niniurinkia kajinmattsuk, imitrus yaunchu pujuitiri nisha Shuara imiatrus pujuiniawai.

Mane an tuamkinne p+na mampa au pianchammurus au tuamtas kaishparachinamakpas, sun pinachammune anniane mam+stuntu awain mane mam+ztuntu masharai, an tuantuntune k+ntaishpain maishtui. An payune wan pianchammurus tuamtas akkuan tunturus wisharuspa pinchammurus pakitkit m+lar+mtui, manas paña tuamtuntune mañar+mtui, chine mane tecnología mastus karamtui, antus kana, pinchammurus, tuamtus, kara na mam+stus tailtus. Suna waishne an payune an pianchamurus au tuamkinsne wisha akkuan mam+zpas p+purumans ayukmans kara aijmans atmai, sune au tuamtus maisht+t mai. An awa pianchammurus m+manane wisha kal ari, suna waishne an tunam wat sananane m+ntat sanarau biblioteca, textos, entrevista, kara para para paranara. Sunkana m+marane wantarusa tuamtas m+mat sarawamakpas, sunkana wat wantara sait m+mat sarane an kalne an wat puchinai. An kalne tuam Guareras kai, wan m+mat saraishpa pianchammurus wanta awa purarus ap tuamtas kai, kara sun kal sarane au tuam tuntu wan kamanpa saltm+tawamakpas.

Ju takat najanamuka juni tawai shuar chicham takasma irutkamu Aapkius, achitkiamu apach irutkamu Arapicos, irutka uunt Palora, nunca tepakma Muruna Santiak tura unuimiatai Waam ju irukamunam Shuartikia aents matsatka nupanti uwi achiakuitiji, iniu etserma niniurinia tura chicham puju apach nunka atamunmaya juarkimiunmayaiti, chichamchichamunam isminiaiti, yamaiya juinkia ii chichamenka amuuki weawai; ju ainki weakkui chicham ichipsar isar tura urukakun itiurchatait tura chicham penker chichakmin utuntiamu. Ju eaktinkia najanamuiti nerenniujai metek, aensarik timiatrusar najantai papi narin etserniujai tura aa wekasar najanmajai; tura amuamunmanka yainmakmaji aents chichamu enkekar tura isar apawach tura nukuach, aensan anaikiamu, tura uchi unuimiainia, unuikiartin tura mashi aents irutkamunmaya aapkiusnumia aensan unuimiatai wamnumia, jujai chichama imiantri nekanamyi tura shuar chicham takamu, ensarik amuakur, ismaji shuar chhuicham ujanaiktinnium imiancha ainiuyi, aensarik aents chichamu enkekmaji shuar chicham itiurak chichanea tusar, tura ichipsar isar chicham chichamu ichurchatri wainniakmayi nekaska apach chicham chichamu shuarnum. Amuakun itiurchat irunna juna iwiaratsan anentaimmian apujjai. Ju takata wakeramurinkia mashi nekamnia chicham takamu tura irutkamunam shuar chicham penker chichaktin, ituntamu ayamramu tura kakaram wajma apatkar isar nekamniari tura chikich aents irunramu.

Ju chicham ukuintramuka nuyá iismaka papí aarmanun junia ainiawai: Nankí Jukimiu(Enrique Vacas Galindos), Tarimiat aents kakaram(Aij Juank), shuar iruntra ekent apusamu, tarimiat aents Amirikia yaja nunkanmaya eants Antun Sakut(Antonio Sacoto), papí shuara pujutairi urukuit , “A”, “B” Y “C”, chikich papí ainianmusha nuyá yaunchushu shuarka ni kakarkari ijiakmasmiayi ni pujutairin, ni ankanniurin tui pujá nuna surimniuyayi nuyá shuar chimpramprin anintrustin, aents iruntra niniurin akasmatin nuyá ankan pujus niniurin entikma. Ju takak najanamu menaintiunam nakarmaiti ju ainiawai. Akankamu emka: emkaka yama kaunkarmia yajá nunkanmaya pujú aents pujuarmia nu nuyá shuara iruntramu pujusmari nankámasma nu papiniu aarma nuyá tarimiat esantsu kakarmari meseki wea. Jimiar: Akankamu patatka : chicham tuiniamu tarimiat aentsu kakarmari mesea nu tui jeakminiait kashinia nuiya?, nunisan taimiat aentsu kakarmari emkí weawai. Akankamu Menain: tarimiat aentsun kakarmari mesea nu itiurkamniat tama chicham aarma iwiaramniaiti tusar.

Ju takatka nekaska emamkes ashis iyaswai Tarimiat aents sapara pujutairin tura awainki ii untri turutairi, njai metek nanattawai enetai jusamu emtikitin niniuri sapara turin armia nu. Nujai metek sapara turutairisha paant emtikiatin asi ni nunke tepakmajai metek turar sapara tuya winia nusha paant nekanattawai. Tuma asamtai yamaikia sapara niniuri tuke turutairinkia majataiti mashi paant etsekarshma asamtai nuka ju ainiawai ni pujutairin nuya ni turutairi nekaska uchiniam tura natsanam irutkamu Wiririma. Tuma asamtai ju takat emankesar anintrusa najanmanumanumka ashí enetaimsar najannawai, ya ju takat najanamun nekataj tana nuka penke yupichuc paant ati tusar nutiksan juna aujniusha warik nekattawai sapra nunken aents uruku ania nunasha.