Professional training, development and the socio-educational role of Art teachers and instructors in Cuba

Detalhes bibliográficos
Autor(a) principal: Fernández, Hamlet
Data de Publicação: 2012
Outros Autores: Aquino, Orlando Fernández, Borges, Maria Célia
Tipo de documento: Artigo
Idioma: por
Título da fonte: Comunicações
Texto Completo: https://www.metodista.br/revistas/revistas-unimep/index.php/comunicacoes/article/view/789
Resumo: In the beginning of the Cuban Revolution (January 1959) hundreds of young people from all social classes around the country, despite their gender or skin color, obtained scholarships to study Art teaching in Havana. Many of them continued their studies in the National Art School (ENA), founded in Havana in 1962, becoming the first professional artists of the revolutionary process. The Revolution was beginning its great cultural work, as it allowed the democratic access to Art training, socialized the symbolic capital of culture, and called the human talent to an unprecedented development in national art and culture. After four decades, a new National Teacher Training Project emerged. Focused at the community, it seeks to renew the utopia of stimulating the creative talent wherever it is. From a critical and contextualized view, this investigation aims at characterizing the policies, the structure of the initial training, and the professional development of art teachers, as well as the socio-educational work performed by these professionals. In delves specifically in the teacher technical training in fine arts. Two main methods were joined to conduct the research, i.e., desk research and interviews with the national managers of the Art Teacher Training Project in Cuba. The results reveal the specificity of this project.
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spelling Professional training, development and the socio-educational role of Art teachers and instructors in CubaFORMACIÓN, DESARROLLO PROFESIONAL Y FUNCIÓN SOCIOEDUCATIVA DE LOS PROFESORES- INSTRUCTORES DE ARTE EN CUBAFormación, desarrollo profesional y función socioeducativa de los profesores- instructores de arte en cubaCuba; Formación instructores de arte; Papel socioeducativo instructores de arteCuba; formación de instructores de artes; papel socioeducativo de los instructores de arte.In the beginning of the Cuban Revolution (January 1959) hundreds of young people from all social classes around the country, despite their gender or skin color, obtained scholarships to study Art teaching in Havana. Many of them continued their studies in the National Art School (ENA), founded in Havana in 1962, becoming the first professional artists of the revolutionary process. The Revolution was beginning its great cultural work, as it allowed the democratic access to Art training, socialized the symbolic capital of culture, and called the human talent to an unprecedented development in national art and culture. After four decades, a new National Teacher Training Project emerged. Focused at the community, it seeks to renew the utopia of stimulating the creative talent wherever it is. From a critical and contextualized view, this investigation aims at characterizing the policies, the structure of the initial training, and the professional development of art teachers, as well as the socio-educational work performed by these professionals. In delves specifically in the teacher technical training in fine arts. Two main methods were joined to conduct the research, i.e., desk research and interviews with the national managers of the Art Teacher Training Project in Cuba. The results reveal the specificity of this project.En los primeros años de la Revolución Cubana (enero de 1959), cientos de jóvenes provenientes de todos los estratos sociales y rincones del país, sin distinción de sexo o color de la piel, obtuvieron becas para formarse en La Habana como Instructores de Arte. Muchos de ellos continuaron estudios en la Escuela Nacional de Arte (ENA), fundada en La Habana en 1962, convirtiéndose de ese modo en los primeros artistas profesionales formados en el proceso revolucionario. Así comenzaba la Revolución su magna obra cultural, democratizando el acceso a la formación artística, socializando el capital simbólico de la cultura, convocando al talento humano a un desarrollo sin precedentes históricos del arte y la cultura nacional. Cuatro décadas después, surge un nuevo proyecto de formación de Instructores de Arte, ahora de carácter nacional, con una orientación más docente y volcada a la comunidad, para renovar la utopía de estimular el talento creativo donde quiera que este se encuentre. A partir de una visión crítica y contextualizada, el propósito de la presente investigación fue caracterizar la política, la estructuración de la formación inicial y el desarrollo profesional de los profesores-instructores de artes, así como la labor socioeducativa que llevan a cabo dichos profesionales. También se profundiza, de manera particular, en la formación docente y técnica de los instructores de la especialidad de Artes Plásticas. Para la realización de la pesquisa se integraron dos métodos principales: la investigación documental y las entrevistas a gestores nacionales del Proyecto de Formación de los Instructores de Arte en Cuba.  Los resultados revelan la singularidad de este proyecto.RESUMEN. En los primeros años de la Revolución Cubana, cientos de jóvenes provenientes de todos los estratos sociales y rincones del país, obtuvieron becas para formarse en La Habana como Instructores de Arte. Muchos de ellos continuaron estudios en la Escuela Nacional de Arte fundada en 1962, convirtiéndose en los primeros artistas profesionales formados por la Revolución. Así se comenzaba la democratización del acceso a la formación artística, socializando el capital simbólico de la cultura, convocando al talento humano a un desarrollo sin precedentes históricos del arte y la cultura nacional. Cuatro décadas después, surge un nuevo proyecto de formación de Instructores de Arte, con una orientación más docente y volcada a la comunidad. A partir de una visión crítica y contextualizada, el propósito de la presente investigación fue caracterizar la política, la estructuración de la formación inicial y el desarrollo profesional de los profesores-instructores de artes, así como la labor socioeducativa que llevan a cabo dichos profesionales. También se profundiza en la formación docente y técnica de los instructores de Artes Plásticas. Para la realización de la pesquisa se usaron dos métodos: la investigación documental y las entrevistas a gestores nacionales del Proyecto.  Los resultados revelan la singularidad de este proyecto.  ABSTRACT: In the beginning of Cuban Revolution hundreds of young people from all social classes around the country, obtained scholarships to study in Havana as Art instructors. Most of them continued their studies in the National School of Art, founded in 1962, becoming the first professional artists of the revolutionary process. This way, the Revolution would start its great cultural work, as it democratized the access to the artistic formation, socialized the symbolic capital of culture, and mobilized the human talent for a development without historical precedents of art and national culture. After four decades a new project of formation of art instructors with national character emerges with a teaching direction, and for the community. From a critical and contextualized view, this investigation has the objective to characterize the policy, the structure of the initial formation, and the professional development of the teachers-instructors of art, as well as the socioeducative work that develops professional speeches. In a specific way it deepens in the teaching and technical formation of the instructors of Plastic Arts. Two main methods were integrated to conduct the research, i.e., the document investigation and interviews with the national creators of the Project. The results have revealed the specificity of this project. Keywords: Cuba; Art instructors formation; socioeducative role of the art instructors.Universidade Metodista de PiracicabaFernández, HamletAquino, Orlando FernándezBorges, Maria Célia2012-09-21info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionapplication/pdfhttps://www.metodista.br/revistas/revistas-unimep/index.php/comunicacoes/article/view/78910.15600/2238-121X/comunicacoes.v19n1p37-55Comunicações; v. 19, n. 1 (2012); 37-552238-121X0104-8481reponame:Comunicaçõesinstname:Universidade Metodista de São Paulo (METODISTA)instacron:METODISTAporhttps://www.metodista.br/revistas/revistas-unimep/index.php/comunicacoes/article/view/789/970Direitos autorais 2017 Comunicaçõesinfo:eu-repo/semantics/openAccess2016-06-03T17:43:53Zoai:ojs-unimep.metodista.br:article/789Revistahttps://www.metodista.br/revistas/revistas-unimep/index.php/comunicacoesONGhttps://www.metodista.br/revistas/revistas-unimep/index.php/comunicacoes/oaiana.franco@unimep.br||revcomunicacoes@unimep.br2238-121X0104-8481opendoar:2016-06-03T17:43:53Comunicações - Universidade Metodista de São Paulo (METODISTA)false
dc.title.none.fl_str_mv Professional training, development and the socio-educational role of Art teachers and instructors in Cuba
FORMACIÓN, DESARROLLO PROFESIONAL Y FUNCIÓN SOCIOEDUCATIVA DE LOS PROFESORES- INSTRUCTORES DE ARTE EN CUBA
Formación, desarrollo profesional y función socioeducativa de los profesores- instructores de arte en cuba
title Professional training, development and the socio-educational role of Art teachers and instructors in Cuba
spellingShingle Professional training, development and the socio-educational role of Art teachers and instructors in Cuba
Fernández, Hamlet
Cuba; Formación instructores de arte; Papel socioeducativo instructores de arte
Cuba; formación de instructores de artes; papel socioeducativo de los instructores de arte.
title_short Professional training, development and the socio-educational role of Art teachers and instructors in Cuba
title_full Professional training, development and the socio-educational role of Art teachers and instructors in Cuba
title_fullStr Professional training, development and the socio-educational role of Art teachers and instructors in Cuba
title_full_unstemmed Professional training, development and the socio-educational role of Art teachers and instructors in Cuba
title_sort Professional training, development and the socio-educational role of Art teachers and instructors in Cuba
author Fernández, Hamlet
author_facet Fernández, Hamlet
Aquino, Orlando Fernández
Borges, Maria Célia
author_role author
author2 Aquino, Orlando Fernández
Borges, Maria Célia
author2_role author
author
dc.contributor.none.fl_str_mv


dc.contributor.author.fl_str_mv Fernández, Hamlet
Aquino, Orlando Fernández
Borges, Maria Célia
dc.subject.none.fl_str_mv

dc.subject.por.fl_str_mv Cuba; Formación instructores de arte; Papel socioeducativo instructores de arte
Cuba; formación de instructores de artes; papel socioeducativo de los instructores de arte.
topic Cuba; Formación instructores de arte; Papel socioeducativo instructores de arte
Cuba; formación de instructores de artes; papel socioeducativo de los instructores de arte.
description In the beginning of the Cuban Revolution (January 1959) hundreds of young people from all social classes around the country, despite their gender or skin color, obtained scholarships to study Art teaching in Havana. Many of them continued their studies in the National Art School (ENA), founded in Havana in 1962, becoming the first professional artists of the revolutionary process. The Revolution was beginning its great cultural work, as it allowed the democratic access to Art training, socialized the symbolic capital of culture, and called the human talent to an unprecedented development in national art and culture. After four decades, a new National Teacher Training Project emerged. Focused at the community, it seeks to renew the utopia of stimulating the creative talent wherever it is. From a critical and contextualized view, this investigation aims at characterizing the policies, the structure of the initial training, and the professional development of art teachers, as well as the socio-educational work performed by these professionals. In delves specifically in the teacher technical training in fine arts. Two main methods were joined to conduct the research, i.e., desk research and interviews with the national managers of the Art Teacher Training Project in Cuba. The results reveal the specificity of this project.
publishDate 2012
dc.date.none.fl_str_mv 2012-09-21
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dc.relation.none.fl_str_mv https://www.metodista.br/revistas/revistas-unimep/index.php/comunicacoes/article/view/789/970
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dc.publisher.none.fl_str_mv Universidade Metodista de Piracicaba
publisher.none.fl_str_mv Universidade Metodista de Piracicaba
dc.source.none.fl_str_mv Comunicações; v. 19, n. 1 (2012); 37-55
2238-121X
0104-8481
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reponame_str Comunicações
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repository.name.fl_str_mv Comunicações - Universidade Metodista de São Paulo (METODISTA)
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