Sistema Regional de Información
en línea para Revistas Científicas de América Latina,
el Caribe, España y Portugal

The family has once again taken on a leading role as an educator due to the pandemic situation and confinement. Countless videos and images in the media have revealed the effort and involvement of fathers, mothers, grandparents, siblings... in carrying out educational activities with children, attending to the academic needs of adolescents and their learning, in addition to the great effort made by teachers. This has reminded us educators that the family is a vehicle for irreplaceable learning in which the cognitive becomes affective and the compulsory becomes a desire and a need to know. Our objective is to identify the patrimonial educational possibilities that the family can generate by linking the affective and emotional with the cognitive in their experiences. This article-passage presents experiences of artistic, cultural and natural heritage education carried out within the family from the double condition of being an artistic educator and a parent. These experiences transcend the institutional curricular obligatory nature, giving way to the desire to know and feel the heritage from the family education, making emerge an intergenerational teaching that opens the school to the social spaces and makes it inhabit the artistic, natural and cultural contexts in which heritage exists.

La exploración de las emociones a través de la vivencia de experiencias perceptivas, nos permite reflexionar sobre el impacto de la cognición corporeizada en el campo de las artes, profundizando en la relación existente entre percepción-pensamiento-cuerpo. Por medio de una colaboración docente en la Facultad de Bellas Artes de la Universidad Complutense de Madrid (UCM), se desarrollan diferentes prácticas artísticas con el fin de estimular el proceso creativo de los alumnos. Los resultados dieron lugar a diversas experiencias perceptivas participativas como proyecto final de la asignatura, permitiendo tomar consciencia de su corporeidad en el entorno y prestando atención a su introspección. Mediante una metodología cualitativa, este estudio ha permitido obtener y registrar resultados positivos generando un diálogo de exploración aplicado al pensar y sentir como modelo de conocimiento.

Oasis Monte Alto is a process of community creation that mixes participatory art and relational aesthetic to produce an artistic experience based on time, applying Oasis game methodology. This methodology combines the Participatory Action Research’s utopian aim and appreciative perspective to translate community desires into events and specific constructions. Oasis Monte Alto project pursued to mobilize the local community, reinforcing neighborhood relationships and other local agents, giving value to local knowledge and talents and co-creating artworks to reinterpret urban spaces. This paper describes this experience of reciprocal learning and collective celebration, and it analyses the creative processes involved based on complexity and contingency. The social creation is characterized as a sympoietic process that produces unexpected changes and collective synergies benefiting from contingency. The artistic creation is defined as implicative community participation in which neighbours are an essential part of the structure of artwork.

Maps and Color, a world of memories, is an Art and Health (AR.S) project. The project funded by the PIRTU scholarship of the Junta de Castilla y León and European Social Fund (ORDEN EDU/1204/2010, of August 26), implemented in the State Reference Center for people with Alzheimer's and other Dementias  of Imserso in Salamanca. The ARS program had been working on an artistic program for a year with elderly people with mild dementia and, due to the good reception of a first pilot program, the line of artistic training was continued.  An art program was designed in which different artistic techniques and concepts of contemporary art were worked on. On this occasion, we worked on wet techniques (watercolor, gouache), through which the participants would develop a plastic language, experiences of socialization, enjoyment, care and meeting with family members; generating spaces for health and wellbeing.

The diversity of people in educational processes is a reality that needs to be taken into account. By making visible a bell where the peak is "normality", attention to diversity is given to what is below. But what happens to those people who are above? It is a reality that is slowly being taken into account: children with high abilities exist within our diverse societies, and we must offer them a world of possibilities so that their talent, interest and motivation do not fall on deaf ears. One of the ways to keep their flame alive is through interaction with the arts and creative educational processes that serve their human development. This article shows the work done with a group of enthusiastic and curious people who are learning to think about themselves through art.

Since 2002, students of the subject Artist, creativity and education of the Degree in Fine Arts (UCM), can carry out their final projects in relation to art and health. In these projects, developed largely under the Service Learning Methodology, they seek to combine art, health and education to improve the lives of those who participate in them. As part of this research, we will review some of the projects carried out in the Municipal Community Health Center of Usera and the workshop-boxes designed to be used by hospitalized children and adolescents. Analyzing the projects based on the basic characteristics of the SL, we see how most of the participants consider that they have been effective in this sense, having achieved that art and mediation improve the learning of students and the community with which they develop them.

First of all, the concepts of feminist artistic practices and feminist artistic education are defined. After that, a chronological axis is made. This axis compiles some of the initiatives and the most relevant proposed figures in the field, from which it is subtracted a series of common methodological characteristics that have lasted -to a greater or lesser extent- until today. Finally, it is exposed the relevance of the use of these methodologies in higher artistic education contexts nowadays.

A lab is a space for ideas to be tested, challenged or co-created. The lab as a concept can offer the future museum a framework for being experimental, research-based and committed to questioning itself. Powered by honest curiosity, it promotes an ideal frame for education. In 1939 Alfred H. Barr, the first director of The Museum of Modern Art, defined the museum as a ‘laboratory’. In 1937 Victor D’Amico had been appointed Director of the Educational Project to fulfill MoMA’s educational mission which included the opening of the Young People’s Gallery. The Young People’s Gallery served as a safe, participative space for pushing the limits of the idea of the museum as a laboratory. This article is an exploration of the concept of museums as labs through MoMA’s educational past, in search for socially relevant practices to inspire the museum of the future.

Black Mountain College was a college established in 1933 in a rural area of the Appalachian Mountains near Ashville, North Carolina. During its twenty-four years of existence, it emerged as an innovative and experimental educational institution that placed the arts at the center of education and put the creation of a community at the heart of the project. This article analyses the main elements that shaped the school’s educational philosophy and the processes through which they were put into practice.

This article presents a work proposal that is part of the R+D+i project 'Re-Inhabiting the Neighbourhood: Processes of Transformation and Empowerment between University-School-Society through Artistic Practices'. Using different sound strategies, it seeks to encourage critical thinking and creativity among Primary Education university students. Throughout two months, in five 1.5 hours sessions, the students created musical compositions with digital and analogue instruments using the Cubase sequencer programme. These innovative compositions were used as sound material for various exhibitions in the Nou Llevant-Soledat Sud neighbourhood. The results indicate the potential of this type of proposals to learn about different aspects related to sound and the language of music. The use of sound as a tool to create a new re-presentation of the neighbourhood is highlighted, suggesting a new look and at the same time a creative, interactive and audiovisual artistic experience.