Experiencia de la práctica musical compartida entre estudiantes Sordos y oyentes como dispositivo mediador para consolidar una educación más inclusiva
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Fecha
2025
Autores
Villamizar Rangel, Mayeily
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Ediciones Universidad Simón Bolívar
Facultad de Ciencias Jurídicas y Sociales
Facultad de Ciencias Jurídicas y Sociales
Resumen
La presente investigación propone una fundamentación teórica sobre la experiencia de la práctica musical compartida entre el estudiantado Sordo y oyente, concebida como un
dispositivo mediador para consolidar una educación más inclusiva. Se desarrolló en el marco de la experiencia musical “Coro de Inclusión” de un colegio público en Bucaramanga.
Este estudio cualitativo se desarrolló bajo el paradigma sociocrítico y empleó la investigación-acción educativa como ruta metodológica. Mediante cinco fases iterativas, se
construyó una fundamentación teórica basada en el análisis, reflexión e interacción entre teoría, práctica y la perspectiva de los actores.
La consolidación de los hallazgos amplió la comprensión sobre la concepción, participación y aprendizaje musical del estudiantado Sordo, estableciendo fundamentos
epistemológicos que incorporan elementos de la musicoterapia, con el fin de transformar la perspectiva desde la cual se orientan las acciones educativas dirigidas a esta comunidad. Este estudio aborda la complejidad de la inclusión del estudiantado Sordo, considerando las implicaciones relacionadas con su identidad y cultura, se posiciona la
práctica musical como un dispositivo que fortalece valores inclusivos, sustentado en una metodología basada en el apoyo mutuo y colaboración.
Además, se resalta la función social de la música como un arte que une y reúne en común unidad diversas culturas, lenguas y capacidades. A través de los conciertos, se
empodera al estudiantado y se promueve la sensibilización sobre la cultura Sorda. En este sentido, la música trasciende sus objetivos artísticos, revistiéndose con matices sociales y políticos que impulsa la transformación social y trasciende las barreras de la escuela
This research proposes a theoretical foundation on the experience of shared musical practice between Deaf and hearing students, conceived as a mediating device to foster a more inclusive education. It was developed within the framework of the musical experience “Coro de Inclusion” at a public school in Bucaramanga. This qualitative study was conducted under the socio-critical paradigm and employed educational action research as its methodological approach. Through five iterative phases, a theoretical foundation was built based on analysis, reflection, and interaction between theory, practice, and the perspectives of the participants. The consolidation of findings expanded the understanding of the conception, participation, and musical learning of Deaf students, establishing epistemological foundations that incorporate elements of music therapy to transform the perspective from which educational actions for this community are designed and implemented. This study addresses the complexity of Deaf students’ inclusion, considering the implications related to their identity and culture. In this context, musical practice is positioned as a device that strengthens inclusive values, supported by a methodology based on mutual support and collaboration. Furthermore, this research highlights the social function of music as an art form that connects diverse cultures, languages, and abilities. Through concerts, students are empowered, and awareness of Deaf culture is promoted. In this sense, music transcends its artistic objectives, taking on social and political dimensions that drive social transformation and extend beyond the barriers of the school environment.
This research proposes a theoretical foundation on the experience of shared musical practice between Deaf and hearing students, conceived as a mediating device to foster a more inclusive education. It was developed within the framework of the musical experience “Coro de Inclusion” at a public school in Bucaramanga. This qualitative study was conducted under the socio-critical paradigm and employed educational action research as its methodological approach. Through five iterative phases, a theoretical foundation was built based on analysis, reflection, and interaction between theory, practice, and the perspectives of the participants. The consolidation of findings expanded the understanding of the conception, participation, and musical learning of Deaf students, establishing epistemological foundations that incorporate elements of music therapy to transform the perspective from which educational actions for this community are designed and implemented. This study addresses the complexity of Deaf students’ inclusion, considering the implications related to their identity and culture. In this context, musical practice is positioned as a device that strengthens inclusive values, supported by a methodology based on mutual support and collaboration. Furthermore, this research highlights the social function of music as an art form that connects diverse cultures, languages, and abilities. Through concerts, students are empowered, and awareness of Deaf culture is promoted. In this sense, music transcends its artistic objectives, taking on social and political dimensions that drive social transformation and extend beyond the barriers of the school environment.
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Palabras clave
Educación inclusiva, Música y cultura Sorda, Educación musical para personas sordas, Musicoterapia y Educación inclusiva, Coro Inclusivo
