Resumen Este artículo trata sobre el Teatro para la Memoria, proyecto desarrollado en Cumbal–Nariño (frontera colombo–ecuatoriana) (2016). Su propósito es fortalecer el legado ancestral en personas jóvenes indígenas a través de la danza y el teatro; en este sentido, sustenta la vigencia e impacto del Teatro del Oprimido de Augusto Boal, heredero de la pedagogía de Paulo Freire. Bajo un paradigma cualitativo, de estudio etnográfico y de acción participación, se trabajó con grupos focales que comunicaron creativamente lo que son, hacen y sienten por medio de bitácoras, mingas de pensamiento, memorias visuales, montajes escénicos y la creación de la obra El retorno de las perdices. Los resultados permiten afirmar que propuestas artísticas con jóvenes de cualquier comunidad cultural generan mayor sentido de pertenencia de su cuerpo, mente y voz para expresarse ante la sociedad, reivindicar su lugar en el mundo y otorgar mayor sentido a la historia de los pueblos. Esta experiencia se divulgó en distintas ciudades de Colombia, compartiendo la espiritualidad, historia y fuerza de los Pastos, también se pronunciaron algunas desigualdades, ya que al ser fronterizos y aislados de la capital, han padecido diferentes formas de inequidad. Finalmente, se reflexiona sobre la técnica teatral del Teatro-Danza, que en este caso integra etnoliteratura, arte y educación propia para apoyar una transformación positiva de problemas.

Abstract Teatro para la Memoria (Theatre for Memory), was developed in Cumbal - Nariño (Colombian-Ecuadorian border) in 2016 to teach indigenous youth about their ancestral legacy and cultural traditions through dance and theater. The project is underpinned by the impact of Brazilian dramatist Augusto Boal´s Theater of the Oppressed, which reflects the teachings of his mentor, educator, Paulo Freire. The project adhered to a qualitative paradigm and ethnographic study that included the interactive participation of the focus group participants. The group participants communicated creatively regarding who they are, what they do and how they felt, recording it in logs, known as “mingas of thought”, visual representations of their memories through drama, exemplified in the collectively written, Return of the Partridges. The results show that art can inspire youngsters from any cultural community and instill them with a greater sense of ownership of their bodies, minds and voices so they can better connect with society, claim their place in the world and provide express in society, vindication of their place in the world and make the stories of their community more meaningful. This experience was replicated among different cities in Colombia to share the spirituality, history and strength of the Pastos culture. It is noteworthy that this community stated having experienced social inequity as a result of their being a remote community, isolated from the capital city. Finally, a reflection is conducted on the Dance Theater technique which is part of ethnoliterature, art and education to provide a positive support mechanism for transforming problems.