Abstract
In Colombia, the adoption of the discourse on cooperation has allowed the interference of international organizations in our conception of education in the country. So much so that our century is the reflection of the formulation and implementation of neoliberal policies that ignore the cultural, social and community elements of the contexts of our nation, to give way to an economistic view of education aimed at the technification of knowledge and the accumulation of capital, of course, in the hands of a few. Against this background, new social, political and cultural processes emerge in the peripheries of large Colombian cities to resist the effects of globalizing capitalism and propose new ways of social organization in defense of culture and territories. Thus, popular education becomes a living process, practice and movement to which entire communities are added, with the aim of building other possible worlds from the recognition of history, awareness and critical thinking. In this context, these communities have found in artistic creation a possibility for denunciation and proposal based on the conditions of the contexts where they live. Among guitars, brushes, cameras, pencils and costumes, experiences of solidarity, autonomy and freedom for dignity and life are developed. This from the Freirean premise of liberating education. These are moments and scenarios that remain in the memory of hundreds of girls, young children and adults who experience the construction of hope and the struggle for the exercise of rights. However, on this occasion, it will be the educators and popular educators who narrate their feelings, emotions and expectations about their work as cultural workers, organic intellectuals and peace managers in the town of Usme, Bogotá. It will be from their stories and creations, that a contextualized, binding and committed interpretation of the meanings of Popular Artistic Education in the locality can be elaborated.
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