Este artículo describe la experiencia de innovación docente y colaboración inter-universitaria (UB, UVIC, UManresa y UdG) llevada a cabo entre cuatro profesoras de diversos grados (Bellas Artes, Educación Infantil y Primaria, Educación Social, y Artes Escénicas), que reflexionan sobre cómo desbordar los marcos estancados en la enseñanza superior. MÉTODO: Las prácticas académicas descritas tienen como objetivo contribuir al campo de la investigación educativa basada en las artes, y fomentar en el alumnado una formación encarnada basada en la indagación de la experiencia de aprender. RESULTADOS: Partiendo de metodologías feministas y de pedagogías performáticas, y en colaboración con el equipo comisarial del Centro de Arte Contemporáneo Fabra y Coats de Barcelona, que nos invitó a exponer el proceso de trabajo, la experiencia permitió visibilizar y poner en valor las aportaciones del alumnado. DISCUSIÓN: La principal contribución de esta iniciativa es repensar el sentido de la enseñanza artística como un escenario de producción cultural (no solo de transmisión de saber), un modo de reflexionar de forma crítica (mediante métodos artísticos) sobre las maneras de aprender y estar en la universidad, de autorizarse como productores/as de conocimiento, de crear procesos artísticos colaborativos, y de generar prácticas situadas y transformadoras en el contexto (educativo, artístico, profesional). //Palabras clave Investigación educativa basada en las artes; Educación artística; Movimiento feminista; Innovación pedagógica; Enseñanza superior; Cooperación interuniversitaria. //Datos de la autora
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In this essay I offer a series of autobiographical ruminations and poems for inviting readers to reflect on poetic possibilities for conceiving and fostering the well-being of teachers. As an educator, I am confronted daily with challenges. In order to sustain my spirit and energy, I turn to poetry, both reading and writing poetry, and I find in poetry a location of wisdom, sustenance and hope. One of my great concerns about teaching is that the demands are so relentless that even the most dedicated teachers often experience burnout, dissatisfaction, ennui, hopelessness and despair. Therefore, I claim that teachers, both beginning and experienced, should learn to know themselves as poets in order to foster living creatively in the pedagogic contexts of classrooms and the larger pedagogic contexts outside classrooms. I invite both new and experienced teachers to consider the significance of a phrase like 'living poetically'. I seek to contextualize the more practical and pragmatic considerations of teaching in an understanding of pedagogy as a poetic, emotional, personal, spiritual commitment and experience. My claim is simply that transformative learning can be effectively promoted by giving attention to poetry and poetic knowing and poetic living. I am learning to live poetically, and I am learning that the heart of pedagogy is revitalized and sustained by poetic knowing, being and becoming. Poetry engages us with language, nurtures the inner life, acknowledges the particular and local, encourages us to listen to our hearts, fosters flexibility and trust, and invites creativity and creative living.
Storytelling is an attempt to deal with and at least partly contain the terrifyingly haphazard quality of life. (Fulford, 1999, 14) Every interpretation is a political move. (Marshall, 1992, 192) Here I am, at the border between story and history, personal desire and a shared reality over which I have no more power than I do over my dreams. (Keefer, 1998, 163) At least once a year, I teach a graduate course titled Narrative Inquiry. Students from many different disciplines, including education, health, nursing, creative writing, and psychology, register for the course with the anticipation that they will learn how to do narrative inquiry. At the beginning of the course I always inform students that they will not likely learn how to do narrative inquiry in the narrative inquiry course. Instead they will interrogate the strategies, purposes, practices, and challenges of narrative inquiry, and they will learn how complicated, even messy, the whole business of narrative inquiry really is. I organize the course around an investigation of three principal dynamics involved in narrative inquiry: story, interpretation, and discourse.
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