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ARTE EDUCACION Y DIVERSIDAD CULTURAL CHALMERS PDF

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changes in my thinking, and in multicultural education, since the publication of Celebrating Pluralism: Art Education and Cultural Diversity (Chalmers, ). Celebrating Pluralism: Art, Education, and Cultural Diversity. F. Graeme Chalmers. 91 pages. PDF file size: MB. Read Online · Download PDF. She is also a member of the Sociedade Cientifica de Estudos da Arte, Escola de Comunicaçoes e Artes. CHALMERS, F. G. Arte, educación y diversidad.


Arte Educacion Y Diversidad Cultural Chalmers Pdf

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pdf. The Challenge of Cultural Diversity in Europe: (Re)designing Cultural Heritages .. “Mujeres inmigradas y CHALMERS, F. G. Arte, educación y diversidad. Asignatura: Didáctica de la Educación Artística/ Didactis of Arts. Titulación: . Chalmers, F. G. () Arte, Educación y Diversidad Cultural Barcelona, Paidós. -Sensitization to art, the natural environment and cultural heritage. - CHALMERS, F. G., Arte, educación y diversidad cultural, Barcelona, Paidós,

La diversidad cultural - SciELO ; El concepto de diversidad cultural ocupa un lugar central en los debates sociales ; sin Por tanto Breckenridge, Carol A. Las diversas interpretaciones de la diversidad cultural ………………… Matthews, M. Teaching: The Role of History and. Abstract: Cultural Diversity from an Anthropological perspective is a useful tool to understand and comprehend social context, and to adequate our relationships to our social reality.

La diversidad Cultural Marco Conceptual. Disco 1 ; en torno a la diversidad cultural 11 II. Referentes conceptuales 21 1. Concepto de diversidad cultural 21 2. Since the 15th and 16th centuries, grants, who have lived among us for with the Renaissance, the invention of a decades, receive scant attention from the common past involved emphasizing the media, which often associate them with Greek and Latin past, disconnected from situations of criminality, underdevelop- any type of relationship with other ment or subalternity, reinforcing the cultures, religions or skin colors Mignolo cultural imaginaries that negatively affect The same does not go for Euro- ing their land, became the desired color, the American globalized cultures, such as the symbol of a Europe that nullified any pres- Hollywood culture industry, consumer ence of cultural and religious difference.

Within this chosen definition, the chromatic These cultural products or products of spectrum of the others and their everyday consumption have become globalized to objects were first defined as the war booty such an extent that it is difficult to know of dominant aristocracies, and later, as which country we are travelling in and this objects fit for ethnological museums complicates our task of figuring out what to Chakrabarty As we The presence of immigration from …the identities of subjects are outside Europe, and Muslim communities formed today in inter-ethnic and in particular, makes evident this symbolic international processes, through negation that continues to operate in our flows produced by technologies collective imaginary, whether we define and multinational corporations, ourselves as coming from a certain reli- globalized financial exchanges, gious culture or as being secular or agnos- repertoires of images and informa- tic.

It provokes us to redefine our tion created in order to be distrib- historiography in order to see others in uted throughout the planet by the order to know ourselves better. Today we Canclini has written: imagine what it means to be sub- jects not only from the standpoint In times of globalization, the most of the culture into which we were revealing object of study and the born but also from the standpoint one which most questions ethno- of an enormous variety of symbolic centric or disciplinary pseudo-cer- repertoires and models of behavior tainties, is interculturality.

The that we can cross-breed and com- social scientist, through empirical bine. Today we wish to have tanned skin by lying on the beaches of the Costa II.

Emphasis was placed on imple- the city of Tarragona. According to indices of the menting the Convention on the Protection number of immigrants as of January 1, in the province of Tarragona, there were , and Promotion of the Diversity of Cultural persons of foreign nationality in the province of Expressions, which was approved in Paris Tarragona, or roughly This percentage is higher than the overall percentage for Catalonia— Joost in their creative richness, to reno- Smiers stresses this idea in his excellent and vate themselves through exchange provocative study Un mundo sin copyright.

Economic and cultural social and cultural life. Among the studies that and the narrative structure of films or tele- clarify these issues the most is the work by vision programs.

diversidad cultural definicion pdf editor

And this represents a loss communication specialist Armand Matte- for democracy. He reminds us that the Europe, given the challenges of globaliza- UNESCO convention is the fruit of a long tion, and seeking the joint participation of process that began in with the World governmental actors and civil society.

From this perspective, in- part in the cultural life of a city. It recognizes that the concept of culture and its necessary conver- right to culture in daily life is fun- gence with that of diversity.

The French damentally political and requires a sociologist Alain Touraine stresses that the significant level of autonomy, legal, new century is defined by the rise of what juridical and spatial.

Other approaches, such as spaces of cultural expression. The that of the anthropologist Arjun Appadu- most radical form of this concep- rai, bring to light the fact that these new tion gives rise to cultural citizenship, challenges require some profound changes which requires, in reality, the vol- in perception in order to allow for cultural untary sharing of state power re- pluralism that is sustainable over time, garding law, language and dynamic and without preconceived limits: territory.

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The term cultural diversity speaks To give autonomy to cultural and artis- of the coexistence of groups of dif- tic expressions of immigrant communities ferent cultural identities. This coex- and ethnic minorities of a given state istence must have sufficient would involve a great Copernican change longevity, security and sustainabil- in the new century: the creation of a ity to allow the identities in ques- cultural citizenship.

I think this would tion to produce themselves. For a cause cultural minorities and the state to be cultural identity to be more than a situated in a common cultural space, in slogan, it must evolve over time in which citizenship would have to be re- a creative way and, given that the signified through the concept of difference.

Appadurai Human Rights. In the Forum de las Culturas of Barcelona in See the role of culture in development. Among them is the journal Eurozine,5 preserved and protected. The cultural whose web page contains a text that reads ecosystem needs attention and spaces of as follows: expression, just as if it were a natural resource. Art allows for the expression of the being that wakefulness prevents, the incomprehensible unfathomable pain, the feeling of fullness and numbness at the same time.

The space of creation allows hate and forgiveness, rage and grief, the understanding, in short, of our passions. Art space is a symbolic place, where life tries again and again, and allows testing the pleasure and pain in a safe space. It allows for creation as well as for contemplation, forgetting the certainties, inquiring into polysemy of images and strokes, venturing meaning which can be at the same time, diverse, and in addition, never known as definitive.

In a society of closed meanings, art is a space where the limitations of a closed life open, unfolding in a multitude of possible meanings. That is, therefore, a symbolic field where the possible, open and ambiguous are constant and a vital feature. The body Art rejuvenates the space of playing. In it, our body and hands flow trying to adapt to the environment, trusting and establishing a dialogue between us, space and others.

From the theorists of drama in schools we can point out how through the main games, personal games and projective games, boys and girls vested their bodies or what they projected onto society, in culture.

The movement whereby the body runs, stops, collects, opens, displays See how children play in an autumnal park, with the fallen leaves, to watch them use their sense of smell with dry leaves, to hear the sound of crackling, dancing with their hands, legs and their whole bodies, collecting, piling, and throwing themselves onto the ground The pedagogy of Reggio Emilia, developed by Loris Malaguzzi, immediately recognized the importance of the body of the child in the education for life, providing the time and space to experiment with all latent possibilities.

A place to learn together in the real world, but also of the world of imagination. Projective play makes our being project to an object all our wishes or fears that we want to express or fight against. The heuristic game of discovery and experimentation through objects projects all the necessities and characteristics that we wish or need.

The object, built or found, ceases to be a lost object in the crowd to be what we want it to be: a cone becomes a spyglass, an amplifier, a horn, a weapon or a shield. A ring is a wheel, a safe space, a crown, a deadly weapon Coping conflict. New adaptive strategies All anthropologists agree that the creation of instruments and tools by humans meant the possible survival of the human species in a hostile environment.

The condition to make instruments is, first, imaging them. The creative process is a part, as we say in the previous heading, of the projective game: we are not only interested in what a stick on the ground is, or a natural fibre, or a stone, but what it can be, what it is for us. The capacity of making strange the common, which involves creativity, together with the ability to think of other uses, futures and options, makes us think that the imagination is not merely a place to escape from reality, but on the contrary, a necessity for survival and a highly adaptive need.

If humans had imagined a safer and warmer world, they would have not created objects and environments that allowed it. However, since the beginning, there has been present an imagination that has existed to be able to think about a foot without injury and to be able to connect elements which, in principle, had no apparent relationship.

This imagination requires attention, observation and willingness to change. It was a creative action that made possible the transformation of vegetable matter into a shoe. From the hollow made in a leaf that allows human beings to drink, to containers of ceramics to store liquids, shows a knowledge and understanding of the matter, which is clay.

There has been a process of natural observation which has developed the materialized idea, from the wet malleable matter can be transformed into dry, hard material through firing. Art and science are connected.

Imagination connects present and future. It checks out the present and invents the future. Creativity adds possibility to the present, so that it becomes a real future.

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Psychologist Fernando Cembranos noted how creativity has a social dimension and how all people have invented ways of survival in difficult life situations.

The ways in which different peoples have escaped from disease and misery are examples of creative strategies, alternative ways of dealing with the harshness of life.

Standing before the conflict There is a type of creation linked with repetition that has been criticized by the theory of creativity and the basics of the creation in modernity. However, the repetition is a constant 11 in our life cycle and helps us to sustain ourselves in our continuous existence.

From the identification by repetition of children, that make us adults to tell the same story with the same words over and over again, to repetitive chants that hold us or signs as rituals that anchor us in life Repetition is a motor that gives us a sense of safety.

The rhythm, the patterned repetition gives the feeling of a story, of continuity, that there is a thread woven through our lives, and gives us direction and holds us. Many of the stories about difficult and harsh circumstances tell us about how people through the repetition of names, numbers and exact memorizations, managed to glide to a place where it was possible to bear the unbearable. The art of the thread, through the fabric, the stitching or embroidery; the gestures of the potter, of one that repeats an action in order to create something, compensates the external imbalance by imposing a pace and an order to life and offers, as a result, creation in front of destruction.

At the same time, the repetitive dances moves to another state, another level of existence which helps to resist the life we are living. On the other hand, the art, through its ability to imagine the future is capable of creating parallel lives, desires that compensate the lack of desire of everyday life. Like the delirium of the mentally ill who argue an explanation to explain the inexplicable chaos in which they live, art has the ability to move to other bodies, other environments, other experiences.

It is somehow the Aristotelian catharsis that offers us, for a time, the illusion of living another world that is worth living, or the passion of those who never lived it, Art allows us to participate in emotions and feelings by pointing out ways to envisage a future among the ruins or to withstand the present among the ruins.

Just as the Celtic bards, with the rod of Cedar, made a circle around themselves, so art allows the temporary suspension of the penalty, pain and sadness. Art helps the recovery of the soul, that is if the soul exists.

Used to a society based on consumption, where the acquisition implies immediate satisfaction, to address a dialogue and understanding with matter be it stone, wood, clay or any other matter is to recognize not only the rules of the game, but our capacities, to adjust our rhythm to the rhythm of the matter and to know from the very beginning that this is a game where not only the human being makes the rules.

Facing our inability can be, at times, a great moment of humility in learning, and can make us know more about ourselves, how to tackle difficulties, limitations, or our clumsiness. It can help us to raise new strategies, and, above all, to tolerate ourselves as humans and give us time through patience.

These are all actions that depend on oneself if performed individually, or requiring the achievement of continuous consensus if performed collectively. It makes us separate the action from ourselves. Somehow the errors made on an artistic object helps us to separate ourselves from the errors and understand them as rectifiable.

It helps to separate subject and object and at the same time to see their ties and relationships. You will succeed if you get done well what you proposed to do. The reckless one who thinks that it is not necessary to reflect will lose or fail. To win in this game you are interested in, you must know in advance the following: 1.

What do you want to do. What materials do you need to make it. Before you make the artwork it is convenient to do the study with drawings, patterns or cuts of cardboard, which can help you to avoid possible mistakes.

In this workshop everyone can build what comes to mind. Here there is no master, but anyone may ask whatever they do not know. It implies the autonomy and responsibility of the child or the adult in the process of creating. It involves something very important: the ability to plan, to sketch, to try a thousand times, thinking to choose and taking responsibility for our own creation.

Another conception of time The process of creating transforms the rhythms of the work, the kingdom of homo faber, makes them different. Thinking solutions requires us to feel alien to the process, to externalize the set, to see it again and these imply a time of no action, out of the process, an incubation period in which humans allow themselves to be permeated by external and new elements.

The creative process is an event, a transformative time, an 13 action that links humans with themselves and with the medium, with the others, weaving past and present, present and future.

It involves a suspended time where anything and everything happens simultaneously. Another conception of space Creative space immerses us in a space out of everyday space.

Space becomes a potential space, as noted by Winnicott, full of possibilities, an area of security and freedom. Another conception of feeling A friend, after an operation for cancer, pointed out to me about the real possibility of death as one of the things that she suddenly became aware of and that cost her to resign: the aesthetic contemplation.

She told me how she had left a dance representation, full of tears, terrified and thinking that perhaps she may not be able to see that ever again.

The sense of elevation, of transcendence of daily life, the feeling of being a participant of beauty are aspects that renews our ability to fly over the petty, superfluous and banal and renews in us the hope that life is worth living. Capacity of habituation As a result of all ideas mentioned above, art makes common the unexpected and on the other hand, art makes the unexpected common.

To build a story of a painful fact is to learn how to integrate it into our lives, shredding to rebuild after it, new forms of coexistence. One of the basic psychological functions of the act of photographing is, without any doubt, trying to interject external reality, when it is often difficult to assimilate: make it ours to see it, then, sieved and objectualized by our own vision.

The estrangement of the vision does recognize in the same sight, in the same landscape, different qualities, unpublished functions, unexpected possibilities. Through it the human has seen a shoe in a natural fibre, an instrument in the piece of a branch, a home in the cavity of a rock. Creativity as a union: the individual and the common With the creation, we call upon other human beings.

Indeed, in many cases, the more intimate the process is, the greater the call for capacity. These individual feelings call again for the common sense of loss, the shared intimacy and the pain felt in solitude. The artistic group teach us to be humble, to share the common project, in a responsible and accountable way, and beyond that, in the experience and pleasure of the shared process, that is, the exhibition of a product made by a community towards the community. Creating is to bet for life Creating binds us to the instincts of living, is eros betting for the vitality of the human being?

Primo Levy and Liana Milu, both survivors of concentration camps, quoted recalling their stay in them, that it was easy to know the ones who had been dispossessed of the impulse of life, who had left eros: their figures decay, their scruffy appearance showed that they had ceased to opt for life, they were the untermensch, that left themselves close to death.

Creating summons us to life, to feel the life project, to make it walk. Creation involves body, cognition, emotion, in our individuality always crossed by others and the world.

The Uses and Abuses of Peripheries in Art History

Artistic activity is part of growth, of human development. Artists have used this capability to symbolize, to think and feel the world and to imagine new worlds.

Art, therefore, is an area of possibilities and freedom. Experiencing Reggio Emilia. Open University Press. Art Education, 36 4 , p. Harcourt Brace Jovanivich, Nueva York.

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Journal of Aesthetic Education, n. Seattle: University of Washington Press. DORN, C. Art Education, 34 6 , p. A basis for deciding what to teach. New York, Basic Books.It involves an ability of making a humble mixture of synthesis and forgiveness, of reconciliation with ourselves and our lives.

It involves something very important: the ability to plan, to sketch, to try a thousand times, thinking to choose and taking responsibility for our own creation. Facing our inability can be, at times, a great moment of humility in learning, and can make us know more about ourselves, how to tackle difficulties, limitations, or our clumsiness.

Govas, ed.

Art interventions enhance our skills of finding this thread in many ways. Cultural citi- which we are heirs. Adaptation is about how we react to its newness, and how we change to be able to connect to it.