Pinturas Naif: Construcción de la memoria colectiva en la comunidad de Tigua.

The memory admits all the experiences that marked relevance in the lives of people but there is a sub-division between vivid and historical memories, to Muller and Bermejo the vivid memories come up from person´s experience, on the other hand, historical memories are the knowledge acquired indirectly either by books or by the oral act (Muller; Bermejo, 2013). This kind of memories has importance for the construction of memory within this topic the forgetfulness also has its role, as the transcendental memories are deposited here. This process acquires interest when it comes to the construction of the collective memory of a community, it has customs, traditions, beliefs, culture and identity; for which it is intended that the experiences generated by a group of people do not forget, and on contrary persist over time in order that they become cultural heritage for future generations. Tigua community located in Zumbahua parish, Pujilí canton is characterized by an art that are Tigua paintings or also known as Naif paintings. According to Alfredo Toaquiza: "The art of Tigua is quite young", he is Julio´s Toaquiza son, the first painter of this community because this art has 40 years of existence and in his paintings reflect free themes that come from the imagination of the artists. For this reason, it was considered essential to discover if the thematic of the NAIF paintings express the evolution of the collective memory of this community in the last decade, in the same way, this research led the discovery of the importance of memories on the inhabitants. For this project, a qualitative research is employed with the purpose of obtaining descriptive data and an analysis in a holistic way, focus group technique applied to six painters in Tigua community, also the observation structure was used to analyze seven pictures on a tab, and discover symbolic elements that demonstrate a change in the topics in this art form. The results obtained were favorable after applying the techniques selected, in the testimonies of the painters showed that the memories on the teachings of their ancestors are present, for them, it is important to preserve its Andean worldview and ancestral practices of their culture that are replicated to the new generations. Also, the paintings have certain preference for naturalistic subjects as symbolic elements in the use of tonality, due to the development of their community, all the nature that surrounds them, the belief must practice and don´t allow the acculturation; for this reason, all the participants must keep the respect and admiration for the Pachamama or mother earth and the Pachacamac or creator of the universe.

• Auteur principal: Hidalgo Bautista, María Fernanda (author)
• Format: bachelorThesis
• Langue: spa
• Publié: 2018
• Sujets: COMUNICACIÓN SOCIAL; MEMORIA COLECTIVA; PINTURAS NAIF; COMUNIDAD TIGUA
• Accès en ligne: http://repositorio.utc.edu.ec/handle/27000/4433