Las artes escénicas y el empoderamiento de jóvenes discapacitados

Abstract

The field of youth practice has made tremendous strides in expanding its scope and reaching previously underserved youth groups in seeking to achieve its transformative mission, with empowerment playing a critical role in its universal appeal. However, the field has not achieved its potential for empowerment and transformation in reaching youth with both visible and invisible disabilities. This failure has increasingly been recognized, and notable efforts to rectify this situation can be found in the field, although not without encountering significant conceptual and research challenges. In the United States and internationally, inclusion is generally a goal for advocates and self-advocates for people with disabilities, including for youth with disabilities. It is a basic prerequisite for empowerment, another advocacy goal for youth with disabilities. With the access to the benefits of society, choices, and relationships inclusion brings, people have fewer barriers to empowering themselves. For youth with disabilities, the performing arts, defined here as acting, music, or dance performed before an audience, can be an avenue for both inclusion and empowerment. The construct of intersectionality is critical, too, to consider regarding the inclusion of youth with disabilities in the performing arts. This manuscript explores how empowerment can be applied to youth with disabilities, including those who are marginalized because of their race/ethnicity, gender, sexual identity or gender expression, or socioeconomic class as well as their disabilities. The performing arts is used to illustrate one way participation, inclusion, and empowerment can be achieved with youth with disabilities.

La danza como estrategia para el desarrollo integral de los estudiantes

“…Es derivada de esta situación que se confirma lo establecido por diversos autores (Delgado y Humm-Delgado, 2017;Domínguez Cacho y Castillo Vera, 2017;García y Gonzales, 2016;García Sánchez et al, 2015;Hernández Quesada, 2010;Monroy, 2003;Muntanyola-Saura, 2016;Oyuela Morales, 2017;Rodríguez Barquero, 2008;Rueda Villén y López Aragón, 2013;Sokovikova, 2004) se evidencian los beneficios de la danza desde cada una de las dimensiones, así como la inclusión, un aspecto cada vez más relevante hoy en día.…”

“You have the right to love and be loved”: participatory theatre for disability justice with self-advocates

“…These notions are so deeply entrenched in mass and popular culture that they have come to dominate the collective Canadian psyche. (Delgado and Humm-Delgado, 2017: 111)…”

“…Researchers across diverse fields are increasingly turning to theatre-based practices to co-create with and share the voices of SAs to illuminate inequities (Delgado and Humm-Delgado, 2017; Lipkin and Haddad, 2018; Massa et al, 2020). Socially-engaged theatre aims “to improve the lives of individuals and create better societies” (Nicholson, 2014: 3), defying tropes of the expert “Artist” (7) and recognizing the artistic potential in each of us.…”

La experiencia de ocio en las personas jóvenes con discapacidad

“…El ocio para una persona con discapacidad proporciona (Echeverria, 2012) oportunidades para experimentar la participación y el disfrute en entornos similares a sus iguales, desarrolla habilidades, favorece la elección y la participación en las actividades de la comunidad (Gorbeña, Madariaga & Rodríguez, 2002), y fomenta la dignidad personal a través del empoderamiento (Delgado & Humm-Delgado, 2017).…”