Influence of familiar, educational and mediatic fields on children’s adoption of identities through their pictures

The following approach involves children drawing somebody they would like to be alike. In this sense, there would be a better determination of the role models children identify with. The aim of this approach is knowing to what extent does family, education and mass media influence children. As both emotional and rational involvement is greater with direct contact, being related to family in the first place, the fact that role models chosen by children will be related to family becomes a clear hypothesis. The percentage of drawings related to mass media characters would be much greater, and depicted characters will then belong to most popular media manifestations. This shows the influence of mass media on early ages, as well as the development of taste uniformity

Influencia de los ámbitos familiar, educacional y mediático en la adopción de identidades por los niños y las niñas a través de sus dibujos

The following approach involves children drawing somebody they would like to be alike. In this sense, there would be a better determination of the role models children identify with. The aim of this approach is knowing to what extent does family, education and mass media influence children. As both emotional and rational involvement is greater with direct contact, being related to family in the first place, the fact that role models chosen by children will be related to family becomes a clear hypothesis. The percentage of drawings related to mass media characters would be much greater, and depicted characters will then belong to most popular media manifestations. This shows the influence of mass media on early ages, as well as the development of taste uniformity

Creative development, self-esteem and barriers to creativity in university students of education according to their participation in artistic activities

Different studies have pointed out the relationship between participation in artistic activities and creative development. However, there is scant literature that addresses the issue in students who are training to be future teachers. This is the reason for the present study, which focuses on university students of education degrees at two public universities located in different Spanish cities. The main objective of the study was to discover the role played in creative development, self-esteem and barriers to creativity by prior participation in artistic activities. The study also aimed to detect the frequency with which these students undertook artistic activities and to determine which activities were most frequently carried out by men and women. In view of the scarcity of rigorous measurement instruments validated for the Spanish population, the study also proposed to validate the Inventory of Personal Creativity Barriers in the Spanish population. A total of 574 students participated in the validation and 291 (randomly selected) in the subsequent quasi-experimental, descriptive, cross-sectional study. A questionnaire was used to collect sociodemographic data, a Personal Creativity Barriers Inventory, the Test of Creative Imagination for Adults (PIC-A) (2012) and the Rosenberg Self-Esteem Scale (1965). The validation of the Inventory showed contrasted evidence of internal consistency. The results of the study to determine differences associated with participation in artistic activities detected that the group who carried out such activities obtained higher scores in narrative, graphic (although at the limit of significance) and general creativity. No significant differences were found between the groups in the factors of barriers to creativity or self-esteem. We conclude by recommending participation in artistic activities given the benefits deriving from creativity, particularly in narrative and graphic tasks.University of Granada Funding Programme of the Vice-Rector’s Office for Equality, Inclusion and Sustainability in terms of inclusion within the UGR’s Own Research and Transfer Plan 2018”. Funding for open access charge: Universidad de Granada / CBUA

Wet paint

Desde el colectivo Communiars llevamos a cabo el proyecto de cooperación Educación Artística y desarrollo humano. Fortalecer la educación artístico-cultural para el desarrollo integral de los/as niños/as en el contexto social de Anantapur (India), en colaboración con la Fundación Vicente Ferrer. Proyecto que hasta el momento ha constado de una fase de diagnóstico en 2015 y una (de dos etapas) de implementación en 2017. Un proyecto que trabaja la inclusión, cooperación, discapacidad, desarrollo, a través de la educación artística. Una de las actividades llevadas a cabo con niños y niñas con y sin discapacidad visual en Marzo de 2017, en la Escuela Inclusiva de Anantapur, se titula “Making worlds”. En ella, pintamos puntos de colores sobre varias tablas de gran formato, con esponjas recortadas de forma circular como herramienta. Formaríamos a continuación un mural, visual y táctil, con el título de la actividad. Durante todo el proceso, a lo largo de las actividades, tratamos de dotar de espacio a todos los distintos sentidos en la práctica artística. Trabajar con niñas y niños con y sin discapacidad ponía aún más en alza el valor de la diversidad humana pero también perceptiva. Esto enriquecía notablemente una actividad como la artística, donde habitualmente prima lo visual. En cierto momento, la curiosidad y la experimentación traspasan la práctica y una de las niñas corre con las manos cubiertas de pintura y una sonrisa de oreja a oreja. La sensación táctil que ella experimenta nos regala esta imagen.From Communiars collective, we carry out the cooperation project ‘Artistic Education and human development. Strengthen artistic-cultural education for the integral development of children in the social context of Anantapur (India)’, in collaboration with Fundación Vicente Ferrer. A project that, until now, has consisted of a diagnostic phase in 2015 and a (two-stage) implementation in 2017. A project that works inclusion, cooperation, disability, development, through art education. One of the activities that was carried out with children with and without visual disability in March 2017, at the Inclusive School of Anantapur, is entitled "Making worlds". During it, we painted colored dots on several large format tables, with sponges cut out in a circular shape as a tool. We would then form a visual and tactile mural, forming the activity title. Throughout the process, during the activities, we tried to leave space to all different senses in the artistic practice. Working with girls and boys with and without disabilities add human diversity but also perceptive value. This improve significantly an activity such as art, where the visual predominates. At a given time, curiosity and experimentation go beyond the practice and one of the girls runs with her hands covered in paint and a smile from ear to ear. The tactile sensation that she experiences gives us this image

Being performed: ritual, identity and memory through an approach to the works A idade (2011), La memoria del Gingko Biloba (2011) and Dona-Arbre (1973)

María Martínez-Morales – Universidad de Granada - 0000-0002-6348-2268Ana Maeso-Broncano – Universidad de Granada - 0000-0002-9238-2899Recepción: 01.08.2023 | Aceptado: 19.10.2023Correspondencia a través de ORCID: María Martínez-Morales - 0000-0002-6348-2268Área o categoría del conocimiento: Educación artísticaEl presente trabajo aborda un estudio sobre la performance artística como medio de recuperación y asimilación de la memoria, desde prácticas ritualizadas y prácticas ligadas a la construcción de identidades, buscando sus conexiones con procesos y experiencias de enseñanza-aprendizaje en artes. Una aproximación a la performance artística como un canal de memoria y espacio de encuentro del ser con la cultura, un relato que deambula entre lo instituyente y lo instituido. Nos acercamos al término performance como práctica situada y encarnada para encontrarnos en una estética performativa a través del análisis de las obras: A idade (2011) de La memoria del Gingko Biloba (2011) y Dona-Arbre (1973). A partir de ello, se exponen una serie de argumentos que reflexionan sobre la memoria e identidad, en una formalidad que encuentra conexión estrecha con el ritual. Prácticas performáticas como espacios relacionales y espacios de aprendizaje; interacciones sociales como dramatizaciones; identidad y memoria. Una invitación a pensar(nos) desde la performance como práctica estética para conectarnos con el territorio. El estudio despliega nuevas relaciones en esa idea de ser parte para recuperar la esencia, la naturaleza como memoria, vida y ser que pone en tensión la exterioridad de la mirada colonial/moderna. Así, exponemos la performance como una práctica que amplía nuestra comprensión de la vida y estética relacional que nos conecta con el conocimiento arraigado de la tierra donde venimos.Abstract: This text is a study on artistic performance as a means of recovery and assimilation of memory, from ritualized practices and practices linked to the construction of identities, seeking its connections with teaching-learning processes. An approach to artistic performance as a channel of memory and meeting space of being with culture, a story that wanders between the instituting and the instituted. To do this, we approach the term performance as a situated and embodied practice to find ourselves in a performative aesthetic through the analysis of the works: A idade (2011) by Ana Gesto, La memoria del Gingko Biloba (2011) by Isabel León and Dona-Arbre (1973) by Fina Miralles. As a result, a series of lines are exposed that derive from the previous study that reflect on memory and identity, in a formality that finds a close connection with the ritual. Performative practices as relational spaces and learning spaces; social interactions as dramatizations, identity and memory. An invitation to think (us) from performance as an aesthetic practice to connect within the territory. The study thus unfolds new relationships in that idea of ‘being part of’ to recover the essence, nature as memory, life and being that puts the exteriority of the colonial/modern gaze in tension. Thus, we expose performance as a practice that broadens our understanding of life, as a relational aesthetic that connects us with the rooted knowledge of the land where we come from.Universidad de Granad

Cómo hacer cosas con imágenes. Posibilidades educativas de las imágenes desde un enfoque performativo

Desde el periodo de entreguerras del s. XX, la imagen sustituye a la palabra como medio dominante para retratar las apariencias, para mostrar lo real (Berger, 2008). Vivimos en un mundo eminentemente visual, en el que recibimos la mayoría de la información por medio de las imágenes. No obstante, avistamos un futuro de incertidumbre, donde la proliferación de imágenes fácilmente puede desembocar en un cansancio de la mirada que conduzca a la inacción. Por ello, se plantea un cambio de paradigma que desplace el foco desde la interpretación o lectura de imágenes hacia la transformación de las realidades desde el uso de las mismas. El siguiente estudio tiene como objetivo repensar las imágenes desde un enfoque performativo, así como explorar sus posibilidades educativas: nos acercamos a los conceptos y teorías fundamentales para entender el término performatividad, desde los estudios de performance y la filosofía del lenguaje. Igualmente, se abordan las teorías en torno a la imagen y sus posibilidades performativas, para valorar, por último, sus aplicaciones en el campo de la educación. Se concibe la imagen como un elemento vivo que genera experiencia al ser producido y percibido: que construye nuestra mirada y nuestros imaginarios, configurados de forma intersubjetiva. Frente a la hegemonía visual actual, se propone entender la creación de imágenes propias como potencias de transformación de las realidades. Esto conforma un objetivo fundamental en una educación que pretende mirar al futuro e incidir en él de manera activa. Se torna esencial generar las bases de un pensamiento crítico en torno a lo visual en el ámbito educativo para transformar realidades: para construir una sociedad más participativa y más justa.Since the interwar period of the 20th century, the image has replaced the word as the dominant medi-um for portraying appearances, in order to show what is real (Berger, 2008). We live in an eminently visual world, in which we receive most information through images. Nevertheless, we foresee a future of uncertainty where the proliferation of images can easily lead to a fatigue of the gaze that leads to inac-tion. Therefore, a paradigm change is proposed that shifts the focus from the interpretation or reading of images to the transformation of realities through its use. The following study aims to rethink images from a performative approach, as well as to explore its educational possibilities. We approached the fundamental concepts and theories in performance studies and philosophy of language in order to understand the term performativity. Likewise, theories around image and its performative possibilities are presented in order to eventually evaluate its applications in the field of education. The image is conceived as a living element that generates experience when it is produced and perceived: it builds our gaze, as well as our imaginaries, configured in an intersubjective way. In opposition of the current visual hegemony, it is proposed to understand the creation of own images as powers of transformation of realities. This is a fundamental objective for an education that aims to look to the future and actively influence it. It is essential to generate the basis of critical thinking around the visual in education in order to transform realities: to build a more participatory and fairer societ

Educación Artística y Desarrollo Humano: un proyecto de cooperación al desarrollo en India

Educación Artística y Desarrollo Humano' es un proyecto de cooperación al desarrollo llevado a cabo en 2015 en Anantapur, India. Un proyecto entre la Universidad de Sevilla y la Fundación Vicente Ferrer (FVF) que mantiene el objetivo de fortalecer la educación artística y cultural para el desarrollo integral de los/as niños/as de Anantapur, una de las zonas más necesitadas de la India y en la que la FVF trabaja desde hace más de 45 años. La educación artística se muestra como un instrumento poderoso no sólo para visualizar una problemática sociocultural concreta, sino para la transformación social desde un punto de vista creativo y crítico'Art Education and Human Development' was a development cooperation project implemented in 2015 in Anantapur, India. A joint initiative of the University of Seville and the Vicente Ferrer Foundation (FVF), the project aimed at strengthening the cultural and arts education for the integral development of the children of Anantapur, one of the poorest areas in India and where the FVF has worked for over 45 years. This experience shows that arts education is a powerful tool not only to identify specific socio-cultural problems, but for social transformation from a creative and critical point of vie