What will we do? Participatory art practices in artistic education
DOI:
https://doi.org/10.25767/se.v31i1.29842Keywords:
Art Education, Art TeachingAbstract
To turn art education classes participatory, requires more than a simple will to do it that way. Could it be possible for us to shake the power and hierarchy stablished on a classical art classroom between teachers and students? How could the study of participatory art practices contribute to rethink procedures in art education on that matter? In this article, I recognize participatory ideologies’ utopias and the risk of their reproduction in art and school context. I search through understand, how we, as art teachers, could think on different ways of understanding and dealing with participation in school programs, with a special focus on students, and class planning. We need to realize the concept of participation beyond the activity-passivity binomial, understanding the complexity of the problem, and asking for more questioning in art education field.
References
Atkinson, D. (2018). Art, Disobedience, and Ethics: The Adventure of Pedagogy. Palgrave Macmillan.
Atkinson, D. (2021). Inheritance, disobedience and speculation in pedagogic practice. Discourse: Studies in Cultural Politics of Education. 1-17. DOI: 10.1080/01596306.2021.1975911
Baldacchino, J. (2019). Art as unlearning: towards a mannerist pedagogy. Routledge.
Bishop, C. (2004). Antagonismo e estética relacional. In: Textos para uma história da arte socialmente comprometida (pp.43-76). Documenta.
Bishop, C. (2012). Artificial Hells: Participatory art and the politics of spectatorship. Verso.
Bruner, J. (2011). Entrevista com Jerome Bruner por Pablo Helguera. In Pedagogia no campo expandido (pp.99-104). Fundação Bienal de Artes Visuais do Mercosul.
Castellano, C., Raposo, P. (2019). Textos para uma história da arte socialmente comprometida. Documenta.
Debord, G. (2012). A Sociedade do Espetáculo. Antígona.
Foster, H. (2001). El Retorno de lo Real: La vanguardia a finales de siglo. Akal.
Foster, H. (2015). Bad New Days: Art, Criticism, Emergency. Verso.
Gatzambide-Fernandez, R. (2013). Why the Arts Don’t do Nothing?. Harvard Education Review. 83 (1), 211-237. DOI 10.17763/haer.83.1.a78q39699078ju20
Göhlich, M., Liebau, E. (Eds.). (2018) Spectra of Transfor¬mation: Arts Transformation Research and Cultural Dynamics, (vol.17). Waxmann.
Kester, G. (2015). Sobre a relação entre teoria e prática na arte socialmente comprometida. In Textos para uma história da arte socialmente comprometida (pp.77-83). Documenta.
Lacy, S. (1995). Território em disputa: para uma linguagem crítica da arte pública. In Textos para uma história da arte socialmente comprometida (pp.27-42). Documenta.
Martins, C. (2018). The Alchemies of arts in education: Problematizing some of the Ingredients of the Recipe. In Spectra of Transfor¬mation: Arts Transformation Research and Cultural Dynamics (pp.51-67). Waxmann.
Miessen, M. (2010). The Nightmare of Participation. Sternberg Press.
Mörsch, C. (2008). A experiência educativa na Documenta 12. In Conferência Museu de Arte Moderna de São Paulo a 8 de Agosto de 2008. Parque do Ibirapuera. Disponível em: http://iptv.usp.br/portal/video.action?idItem=2717
Mörsch, C. (2009). At a Crossroads of Four Discourses: documenta 12 . Gallery Educaiton: in between Affirmation, Reproduction, Deconstruction, and Transformation. In documenta 12 Education II: Between Critical Practice and Visitor Services, Results of a Research Project (pp.9-32). Diaphanes.
Rancière, J. (2010a). Estética e política: a partilha do sensível. Dafne Editora.
Rancière, J. (2010b). O espectador emancipado.Orfeu Negro.
Sansi Roca, R. (2014). Participação e dádiva. In Textos para uma história da arte socialmente comprometida (pp.101-131). Documenta.
Sternfeld, N. (2013). Playing by the Rules of the Game. Participation in the Post-Representative Museum. CuMMA PAPERS, 1 (1), 1-7.
Downloads
Published
How to Cite
Issue
Section
License

This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.
- The opinions expressed by the authors are their exclusive responsibility.
- The journal reserves the right to make the original, normative changes, spelling and grammar, in order to maintain the standard language of worship, while respecting the style of the authors.
- Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License (BY-NC-SA 4.0) that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.
- Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.
- Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
PRIVACY STATEMENT
The names and email addresses entered in this journal site will be used exclusively for the stated purposes of this journal and will not be made available for any other purpose or to any other party.