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J.M. Gutiérrez-Vázquez
Art and education: pass ways, scaffolds and cliffs.
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After analyzing the
extensive field, which makes a systematic revision of
the same difficult, the author discusses the relationship
between form and content in the work of art and its
implications in the education of the person who applies
his or her sensitivity to the observation of artwork.
The article describes the different types of content
in works of art and examines how the development of
aesthetic sensitivity reflects on the general education
of the individual and the community. Art is, in the
end, a form of communication and those who appreciate
a work of art participate in the cycle initiated by
the artist when it was conceived. The author also deals
with the presence of aesthetic components of signification
in everyday objects, in the actions of individuals,
in the methods and results of science, as well as in
the structures and events of nature. It closes with
an examination of several conceptual contradictions
in education that leads to two viewpoints that, although
antagonistic, are complementary: education for uniformity
and education for diversity. |
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María Visitación Martínez
Samplón
Plastic arts in adult education: two examples
of the same methodology. |
The author narrates two experiences
in art education in the Centro de Formación
de Adultos Juan Carlos I in the city of Leida in
Catalonia. The first experience refers to the study
of Catalonian Romanesque art (11th and 12th centuries)
centered on the study and recreation of the Pantocrator
of Saint Clement of Taüll. The students were required
to do research using bibliography and through museum
visits, including a visit to the church of Saint Clement
itself. In the second phase of the course the students
recreated the work of art following the footsteps of
the original artist. The second experience dealt with
Art Nouveau and included the same stages as the other
exercise, but focused on the work of Antonio Gaudí.
The article emphasizes the fact that artistic education
implies not only plastic practices, but also that students
become involved in the history and contexts in which
a work of art is produced. |
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Gloria Miranda Zambrano
y Jesús Lindo Revilla
MINKA
graphic art in Andean rural education
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The authors deal with the work
performed by “Talpuy”, the Andean Science and Technology
Group, based in the central Andes in Perú, referring
specifically to their experiences with the use of graphics.
“Talpuy” has been promoting autonomous and self promoted
development of base roots organizations in the rural
Andean population. In the course of their work, they
have published a series of MINKA
ecological educational materials, including magazines,
calendars, posters and manuals. The MINKA
visual codes are based on expressive contributions from
the iconography of the local “popular” plastic arts
and handicrafts; with these elements as a foundation,
the group was able to develop an original graphic and
artistic pedagogy which, while educating, also rescues
Andean art and cosmic vision. |
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Martha Elena Barrios Díaz
Theater-conference: an alternative in community
education for adolescents, young people and adults.
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This article deals with work developed
by the group “Theater and AIDS” in Mexico that has over
ten years of experience educating on topics related
to sexual and reproductive health through theater, with
actors and puppets. The group has developed a didactic
resource that they call the “theater-conference” which
propitiates dialogue and discussion with spectators.
Through this resource, spectators become involved in
topics such as HIV and
AIDS, sexually transmitted
infections, teenage pregnancy and domestic violence,
breaking with the cultural prohibition surrounding the
topics of sexual and reproductive health while at the
same time promoting changes in the consciousness and
attitude of the spectators. |
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Mael Arenas Fuentes
Art and consciousness in the third spiral of
life. |
The author of this article develops
the concept of artistic life experience from
two perspectives: first through reflections on life
experiences as motors of expansion, contraction, growth
and transcendence of human consciousness, secondly through
art as a process that creates and gives structure, harmony
and rhythm to possible worlds that human consciousness
is capable of anticipating. Diverse artistic life experiences
include sensitivity, contemplation, expression, appreciation
and creation, all of which are explained by the author.
The article argues that artistic life experiences constitute
didactic resources that, specifically in the case of
older adults, can contribute to life experiences that
will help them to perceive, express and live their old
age in harmony and plenitude. |
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