Este documento trata acerca de los encuentros de teatro y educación popular que se llevaron a cabo en 1985 en el Museo Nacional de Etnografía y Folklore (MUSEF). En él se destaca la importancia de estos encuentros para el desarrollo del teatro y la educación popular en el país, así como la falta de registros sobre las técnicas teatrales desarrolladas en la historia teatral de Bolivia. A través de los testimonios de los participantes y el análisis de los materiales (grabaciones de audio) que se hallan en el archivo del MUSEF, se describirán las metodologías y técnicas teatrales compartidas en los encuentros y así reflexionar sobre las prácticas de fondo que constituye la creación colectiva.

This article is a brief review of the live and work of Miguel Alandia Pantoja, one of the most important artist and muralist of the 20th century, who shared at time with great artist who changed, shaped and leveled the artistic panorama of Bolivia, whose theme Art is and was essential art, but also in the history of the country itself. His thinking, like his work, transversalized different periods of our society, but remained unchanged over time and influenced the themes and ideology of an entire generation, becoming censored and destroyed by the dictatorship and regimes that were against the indigenista thought and vision and the aesthetic proposals raised that time. This article will analyze not only the work and life of Alandia Pantoja, but also the historical political and social context in which his artistic aesthetics develop, as well as the mention of the great artists with whom he shared time.