Representaciones sociales sobre la práctica en educación artística en los Profesorados de Artes (música y visuales).
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Universidad Nacional de Rosario. Facultad de Humanidades y Artes. Escuela de Ciencias de la Educación
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Nos propusimos conocer y vincular las representaciones de docentes y estudiantes
sobre las prácticas en educación artística, en aquellos espacios curriculares
cuyo formato (1) está orientado a la planificación e implementación de situaciones
didácticas de los Profesorados de Artes en Música y Artes Visuales del Instituto Superior
de Bella Artes (ISBA).
Como supuesto interviene la consideración que las representaciones de los docentes
sobre la educación artística son diferentes según la interpretación del objeto arte
y la enseñanza del mismo. Esto se actúa en el aula, con situaciones de desestimación
o priorización, tanto en el campo pedagógico como en el artístico.
Es un diseño cualitativo, con estudio de seis casos construidos a partir de la
interrelación de los discursos de docentes y estudiantes de cada espacio curricular.
Presentamos el análisis de las representaciones acerca del modelo didáctico
desarrollado en cada caso y las valoraciones de los actores así como información
acerca de sus condiciones particulares de formación, referencias a la concepción de
arte y de educación artística.
El diálogo entre la formación heredada (experiencias previas en educación artística)
y aquello por adquirir, permite identificar representaciones que reconstruyen,
remodelan y enriquecen cada uno de los abordajes sobre la práctica. Este análisis
intenta convertirse en un aporte de las actuales prácticas de formación en el ISBA.
We aim to know and to link the representations of teachers and students about the practices in arts education curriculum in spaces whose format (1) is aimed at planning and implementing of teaching situations of the Faculty of Arts in Music and Visual Arts Superior Institute of Fine Arts (ISBA, for the initials in spanish). Involving the consideration that the representations of teachers of art education are different interpretations of the object as art and education of the same. This works in the classroom situations of rejection or prioritization, both in the field of education and the arts. It is a qualitative design, with study of six cases constructed from the interplay of discourses of teachers and students in each curriculum area. We present the analysis of representations about the teaching model developed in each case and the valuations of the actors as well as information about their conditions of training, referrals to the conception of art and art education. The dialogue between the legacy training (previous experience in art education) and what to acquire, to identify representations that rebuild, reshape and enrich each of the approaches on practice. This analysis tries to become a contribution of current training practices in the ISBA.
We aim to know and to link the representations of teachers and students about the practices in arts education curriculum in spaces whose format (1) is aimed at planning and implementing of teaching situations of the Faculty of Arts in Music and Visual Arts Superior Institute of Fine Arts (ISBA, for the initials in spanish). Involving the consideration that the representations of teachers of art education are different interpretations of the object as art and education of the same. This works in the classroom situations of rejection or prioritization, both in the field of education and the arts. It is a qualitative design, with study of six cases constructed from the interplay of discourses of teachers and students in each curriculum area. We present the analysis of representations about the teaching model developed in each case and the valuations of the actors as well as information about their conditions of training, referrals to the conception of art and art education. The dialogue between the legacy training (previous experience in art education) and what to acquire, to identify representations that rebuild, reshape and enrich each of the approaches on practice. This analysis tries to become a contribution of current training practices in the ISBA.
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