Maestros, museos y artes visuales. Construyendo un imaginario educativo

In this article we think about the need to generate spaces of meeting between museum educators and teachers. We analyze the results of different works elaborated by the research group Art and Education, basically in the report of the project maestrosymuseos.com. Red Iberoamericana de educación en museos (AECID A/8780/07), as well as the offers that we have developed. We appear how we see the teachers in his visits, and how they would like to be seen when they submerge in the territory of the museum. We introduce the supposition that the majority of teachers turn into invisible figures on having come to the museum. The methodology is based on the case studies, affecting in the observation, the interviews, and very special in the specific attention towards the protagonists: the teachers. The work introduces photos that they try to investigate in the same aspects that the article text treats, but enriching it with images that can be read in his format and with particular intentions.

El profesorado de educación básica y su contribución a la enseñanza de las artes visuales en la escuela.

La construcción de experiencias formativas que repercuten en la asignatura de las artes visuales amplía en el alumnado su comprensión de la realidad, enriquece sus facultades creativas, imaginativas y simbólicas, lo que demanda un mejoramiento e integración de enfoques, métodos y prácticas innovadoras basados en la perspectiva pedagógica que abarcan las distintas disciplinas artísticas. El presente trabajo explora los conocimientos artísticos de un grupo de 10 docentes de Educación Básica en relación a la enseñanza de las bases curriculares de las artes visuales en los niveles de 1º a 6º año en distintas escuelas de la provincia de Bío Bío, al sur de Chile. A través de la metodología de estudio de caso, sobre la base de una entrevista semiestructurada y el análisis de contenido, permitió organizar la información recabada en dimensiones y categorías que evidencian como resultado, las complejidades, diferencias y contribuciones de las Artes Visuales en la formación integral de los niños y niñas del sistema escolar.

La carpeta de aprendizaje y la evaluación entre iguales de los estudiantes. Resultados de una innovación docente en los estudios universitarios de las artes

Students reflect more on their learning in course subjects when they participate in managing their teaching–learning environment. As a form of guided participation, peer assessment serves the following purposes: (a) it improves the student’s understanding of previously established learning objectives; (b) it is a powerful metacognitive tool; (c) it transfers to the student part of the responsibility for assessing learning, which means deciding which learning activities are important and choosing the degree of effort a course subject will require; (d) it emphasizes the collective aspect of the nature of knowledge; and (e) the educational benefits derived from peer assessment clearly justify the efforts required to implement activities. This paper reports on the relative merits of a learning portfolio compiled during fine arts-related studies in which peer assessment played an important role. The researchers analyzed the student work load and the final marks students received for compulsory art subjects. They conclude that the use of a closed learning portfolio with a well-structured, sequential and analytical design can have a positive effect on student learning and that, although implementing peer assessment may be complex and students need to become familiar with it, its use is not only feasible but recommendable.

Art and Social Work: an intervention programme for transforming society’s vision to include people with early-onset dementia and Alzheimer’s

This paper presents a program centred on arts and education as tools in social work for the inclusion of people with earlyonset dementia and Alzheimer’s. The objective of the programme is to eradicate the stigma and myths associated with the disease.The program is part of the Junta de Castilla y León and the European Social Fund’s ARS Project (Arte y Salud Alzheimer; Alzheimer’s Art & Health). The programme presents a series of evaluated artistic and educational activities that can be undertaken by people in the early stages of Alzheimer’s disease and that can also be used by caregivers and family when working with this group of people, with the aim of improving their wellbeing, self-esteem and quality of life.

Reality Shows in Chile, origin and road map. Historical-Communication Dialogues

Reality shows are TV programs which represent a format used in television nowadays; however, the observation practices of individual and/or group intimacy dates from thousands years ago. Sometimes this was driven by voyeurism or morbid fascination, some others, by the purpose of guarding, supervising and maintaining status quo. This work offers an alternative answer to the explanation of this type of TV program emergence and relates this appearance to a government procedure bound up with modern State terrorism which began at the end of the eighteenth century and has been recalled by different regimes until present days.

The “re-socialization” of Gypsy women in the literacy courses aimed to the recipients of the Social Integration Revenue Policy of the Region of Madrid

This article studies the gender values that are promoted both in the literacy courses for gypsy women beneficiaries of the Social Integration Revenue Policy of the Region of Madrid and in the events that are organized for this group by public institutions and NGOs. The process of “socialization” that occurs in the educative groups for Gypsy women is focused on constructing an image of what it is to be a “Gypsy modern woman”. Through multiple mechanisms and discursive techniques a specific conception of gender equality is transmitted in these educative spaces. In addition to this, Gypsy women are continually urged to assume certain values and social practices (of gender identity, of "citizenship", of parenting, etc..), while an archetype of "Gypsy Woman" which condenses powerful stereotypes and prejudices about the "Gypsy culture" and the gender relations characteristics of this group is constructed.

The "Art" of Criticism: Rubén Darío and his Unknown Chronicles of the 1895 Salon for "La Prensa"

With the impetus that has led recent studies on Latin American Modernism to a reevaluation of the sense of cultural fluxes from the modernity capitals to its peripheries –discarding categories such as “influence”, “exotism” and “ivory tower”, stereotypes that have clouded critical understanding of this aesthetics for decades- the present study intends to investigate a persistent practice of the main writers of the movement. This practice is modernist pictorial criticism, a genre that will be approached through the analysis of an unknown corpus: the seven chronicles Rubén Darío published in the journal La Prensa on occasion of the third art exposition of the Ateneo de Buenos Aires. Our hypothesis is that the rare creators of images portrayed by Darío by the end of 1895 work as a visual counterpoint of the eccentric writers’ biographical sketches that a year later will be part of the fundamental volume Los raros (1896). In this early “salon”, which we reproduce in its entirety, accompanied by explanatory notes, the leader of Modernism rehearses and consolidates his transcultural work with the universal tradition –now applied to the Salons (1845-1860) by Charles Baudelaire and to the monumental project by John Ruskin in Modern painters (1843-1860)- to legitimate, from another subgenre of Modernist criticism, a new figure of the critic, in dissent with the Enlightenment model of the writer.

"Bobok" y "Pedro Páramo", dos narraciones sobre muertos

El presente estudio realiza un análisis comparativo entre la novela del mexicano Juan Rulfo, Pedro Páramo (1955), y un cuento del escritor ruso Dostoievski que trata también el tema del Más allá, titulado Bobok (1873). Paralelamente, se trabaja con la posibilidad de que el relato ruso hubiese podido ser una más de las fuentes literarias de la novela mexicana, y se trata de determinar las posibles conexiones -directas o indirectas- entre las dos obras. Ambas son puestas en común por su género literario, y a partir de ahí se estudian los elementos constitutivos que tienen en común, sus afinidades y divergencias más llamativas.

Leopoldo Panero and his antology of the Spanish American Poetry. A “personal” reading of America

El presente artículo trata de ofrecer una lectura estética y política de la Antología de la poesía hispanoamericana que publicara Leopoldo Panero entre 1944 y 1945 bajo protección gubernamental. Para ello se parte de la particular biografía del escritor astorgano, su relación en los años treinta con los poetas hispanoamericanos –especialmente Vallejo y Neruda– y su gira por América ya como supuesto prohombre del régimen franquista en 1949 y 1954. La lectura sistemática de sus prólogos y selección de poetas revela la particular visión de Panero sobre Hispanoamérica, mediatizada por el concepto imperial de Falange pero formulada bajo su propia visión de lo que la lírica americana representa para la lengua castellana. Se sostiene así en estas líneas la tesis de que los postulados de Panero representan, a pesar de todo, una opción mucho más compleja de lo que se suele considerar.

Gaze and power. A post-structuralist interpretation on Perseus’ myth

Gaze hierarchizes, manages and labels reality. Then, according to Foucault, gaze can be understood as a practice of power. This paper is inspired by his theories, and it applies them to one of the most powerful symbolic spheres of Western culture: Greek Myths. Notions such as visibility, invisibility and panopticism bring new light into the story of Perseus and Medusa, and they enable a re-reading of this Myth focused on the different ways of power that emerge from the gaze.

La semilla del arte en el arte infantil

One of the hardest criticism to my doctor investigation, made by a local professor considered as authority in arts, was that I was comparing Art, with capital “A”, and infant art. In that moment he remarked to me that Art have nothing in common with infant art and the last one is a discussed concept. That remark forces me to reflect about de direction of my study, but over all it confront me with mi own sense. I am one of the persons who defend the infant expression in his art value, therefore, instead of avoiding comparison, I decided to declare my posture and center my investigation in the confrontation between

La perpetua reinvención de la identidad de los géneros en el baile flamenco

In the case of this study about flamenco dance, it is spotlighted how the matter of genders is a recurrent topic and a challenge in terms of creativity. Flamenco is in a perpetual search of a balance between tradition and contemporarily. Circumstance in which it was born, make this search and this constant mutation as part of its essence. When in a performance the representation of man and woman parts are modified according to the “traditional idea”, it brings up existential questions. Flamenco dance, like all the other contemporary forms of dance, reflects its context, contributes to its innovation and interacts with it. It is a social act.

La lógica poética. Una fenomenología del pensamiento artístico

We tried to extend the notion of truth, from the rational concept towards the subjective one. We not only exist by the thought, but also by the feeling. If we apply the scientific method to everything, we remain without art. We want to adhere ourselves to the intimate experience of the subjective thing. In art, the eye introduces the perspective and eliminates the interpretation possibility. Something similar happens with the matter: verb is to matter as name is to form. The Academy has given importance to the form, and it has forgotten the poetical qualities of the matter; it has focused on the figure and it has forgotten the background. However, we have to pay attention to the accidental thing, to the rupture of the protocol, to the frenzy of everything that is alive. For this reason, we pay attention to our intuition, to the sleepy subsoil of our ordinary experience whose inertia has lost the disruptive value of the action. At the end of this article we offer practical exercises, with which we wish to revitalize our centres of attention.

The circle in the relationship between space and body. Photo-essay based on Isidro Blasco and the BAPNE method

This article demonstrates a visual study on the educational space in which the teaching of body percussion is carried out in universities. The methodological framework is chosen by the Visual Arts Based Educational Research, using the work of an artist as a conceptual and methodological model. The research remains notable (1) due to the theoretical reference to the BAPNE method, (2) due to the visual reference to the work of Isidro Blasco – especially with the piece “Shanghai Planet 2009” - ;(3) due to the parallelisms established between the object of study in this investigation -the spatial analysis- and the focuses of interest revealed by the art critics in relation to the work of this artist. By means of a visual speech formed with 7 photo-collages the relationship between body and educational space is visualized in the basic disposition of circular learning. The visual constructions by way of photo-collage and their aesthetic charge brings us closer to the intimacy of the educational space, in the style in which it is distributed to the students in the music classroom, the materialization of interpersonal relationships, the occupied and empty volumes.

Approaches of the Action Art in early childhood Education. Some other ways of interrelation within the educational system

This Artistic research project was created in order to test how to put into practice approaches between Contemporary Art and University daily life. In this particular case, between Action Art and the students at the Early Childhood Education University in Alicante. The generalized lack of awareness about changes which took place in Art in the XX century, demonstrates the lack of interest on the part of students about Contemporary Art, and therefore, it is still remarkable, the distance between Art and life. Thus, as artists and teachers, the chance to carry out specific experiments is open within everyday educational life. Therefore, through Action Art a communicative interaction is possible to be achieved as an active learning process and, in such way, change the usual existing relationships in a predetermine context, creating this way, future Contemporary Art consumers and transmitters.