El Color del COVID-19 Un programa de creatividad para gestionar las emociones en una época de pandemia
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Universidad de Navarra
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Los museos pueden incorporar eventos destacados a su programación educativa, como es el caso de la pandemia Covid-19 que actualmente está afectando numerosos aspectos de la sociedad, tanto en aspectos personales, familiars, escolares y comunitarios. El Covid-19 se ha convertido en un centro de interés para las personas susceptible de ser aprovechado por las instituciones educativas. Entre ellas, el Museo Universidad de Navarra ha querido transformar la situación que esta pandemia genera en una oportunidad educativa. Para ello ha desarrollado el programa “256 colores, after Vik Muniz” con el principal objetivo de fomentar la inteligencia creativa y emocional en los escolares a través del arte. Se trata de un proyecto colaborativo en el que han participado 704 escolares de educación primaria de 23 centros educativos. La instrucción educativa programada utiliza la creatividad para generar una introspección que ayuda a la identificación y gestión emocional en esta situación de pandemia, buscando la experiencia significativa como método para fomenter un aprendizaje más significativo. La creatividad se ha potenciado mediante sinergias contextuales con obras de arte reales de las exposiciones del propio Museo, especialmente con la obra “256 colors, after Gerhard Richter” (2015), del artista brasileño Vik Muniz. La realidad generada por el Covid ha obligado al Museo a adaptarse para realizar el programa educativo en dos escenarios diferentes: modalidad presencial en el Museo o en el centro educativo. En este segundo caso la visita a la exposición del artista Vik Muniz se ha realizado de manera virtual.
Palabras clave:
experiencias significativas, educación en museos, creatividad, aprendizaje colaborativo, inteligencia emocional, Covid-19
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Echarri, Fernando, Teresa Barrio, y Carmen Urpi. 2021. «El Color Del COVID-19: Un Programa De Creatividad Para Gestionar Las Emociones En Una época De Pandemia». Revista ICONO 14. Revista científica De Comunicación Y Tecnologías Emergentes 19 (2):288-311. https://doi.org/10.7195/ri14.v19i2.1709.
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Esta obra está bajo una licencia de Creative Commons Reconocimiento 4.0 Internacional.
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Vass, E. (2007). Exploring processes of collaborative creativity. The role of emotions in children’s joint creative writing. Thinking Skills and Creativity, 2, 107-117
Willis, A. (2017). An education for peace model that centres on belief systems: the theory behind the model. Journal of Peace Education, 14 (3), 310-324, https://doi.org/10.1080/17400201.2017.1365697.
Yenawine, P. (2013). Visual thinking strategies. Using art to deepen learning across school disciplines. Harvard Education Press.
Arnheim, R. (1969). Visual Thinking. State University of California Press.
Ausubel, D.P. (1976). Psicología educativa. Un punto de vista cognoscitivo. Trillas.
Berger, J. (1972). Ways of seeing. Penguin Books.
Burnham, R. & Kai-Kee, E. (2011). Teaching in the art Museum. Interpretation as experience. Getty Publications.
Cabezudo, A. & Haavelsrud, M. (2013). Rethinking Peace Education. Journal of Conflictology, 4 (1), 3-13.
Camps, V. (1994). Los valores de la educación. Alauda Anaya.
Chawla, L. (1998). Significant Life Experiences Revisited: a review of research on sources of environmental sensitivity. Environmental Education Research, 4 (4), 369-382. https://doi.org/10.1080/1350462980040402.
Chawla, L. (1999). Life paths into effective environmental action. The Journal of Environmental Education, 31 (1), 15-26.
Chawla, L. (2001). Significant Life Experiences Revisited Once Again: response to Vol. 5 (4) ‘Five Critical Commentaries on Significant Life Experience Research in Environmental Education.’ Environmental Education Research, 7 (4), 451-461. https://doi.org/10.1080/13504620120081313.
Dewey, J. (1949). El arte como experiencia. Fondo de Cultura Económica.
Díaz-Aguado, M.J. (2018). El aprendizaje cooperativo. De la teoría a la práctica. Santillana Activa.
Duckworth, C.L., Allen, B., & Williams, T.T. (2012). What do students learn when we teach peace? A qualitative assessment of a theater peace program. Journal of Peace Education, 9 (1), 81-99. https://doi.org/10.1080/17400201.2012.664548.
Esquivias, M.T. (2004). Creatividad: definiciones, antecedentes y aportaciones. Revista Digital Universitaria, 5 (1), 2-17. revista.unam.mx. http://www.revista.unam.mx/vol.5/num1/art4/art4.htm
Falk, J.H. & Dierking, L.D. (1992). The Museum Experience. Whalesback Books.
Falk, J.H. (2009). Identity and the museum visitor experience. Left Coast Press, Inc.
Fasko, D. (2001). Education and creativity. Creativity Research Journal, 13 (3-4), 317-327. https://doi.org/10.1207/S15326934CRJ1334_09.
Filippoupoliti, A. & Sylaiou, S. (2015). Museum education today: creative synergies and pedagogic innovations in multicultural contexts. Museum & Society, 13 (2), 119-122.
Freedman, K. (1998). The importance of modern art and art education in the creation of a national culture. En K. Freedman & F. Hernández (Eds.), Curriculum, culture, and art education: comparative perspectives (pp. 79-90). State University of New York Press.
Freedman, K. (2003). Teaching Visual Culture. Curriculum, Aesthetics and the Social Life of Art. New York: Teachers College & NAEA Foundation. The Wallace Foundation. http://www.wallacefoundation.org/knowledge-enter/audiencedevelopment-for-the-arts/strategies-for-expanding-audiences/Documents/Getting-PastIts-Not-For-People-Like-Us.pdf
Grau, R. & García-Raga, L. (2017). Learning to live together: a challenge for schools located in contexts of social vulnerability. Journal of Peace Education, 14 (2), 137-154. https://doi.org/10.1080/17400201.2017.1291417.
Gokhale, A. (1995). Collaborative Learning Enhances Critical Thinking. Journal of Technology Education, 7 (1). Virginia Tech. University Libraries. https://scholar.lib.vt.edu/ejournals/JTE/v7n1/gokhale.jte-v7n1.html
Hall, S. (Ed.). (1997). Representation: Cultural representations and signifying practices. Open University.
Hernández, F. (1998). Framing the empty space. Two examples of the history of art education in the Spanish political context. En K. Freedman & F. Hernández (Eds.), Curriculum, culture, and art education: comparative perspectives (pp. 59-74). State University of New York Press.
Hargreaves, D.J. (1991). Infancia y educación artística. Morata.
Hein, G.E. (1998). Learning in the Museum. Routledge.
Hein, H.S. (2000). The Museum in transition. A philosophical perspective. Smithsonian Books.
Hein, G.E. (2012). Progressive Museum Practice. John Dewey and Democracy. Left Coast Press.
Hooks, B. (1994). Teaching to transgress: education as the practice of freedom. Routledge.
Hooper-Greenhill, E. (1998). Los museos y sus visitantes. Trea.
Hooper-Greenhill, E. (2005). Museums and the interpretation of visual culture. Routledge.
Hooper-Greenhill, E. (2007). Museums and education: purpose, pedagogy, performance. Routledge.
Jeffrey, B. (2003). Creative learning and student perspectives. S.l.: The Open University. The Open University. http://opencreativity.open.ac.uk.
Johnson, D.W. & Johnson, R.T. (2008). Social interdependence theory and cooperative learning: The teache’s role. En R.M. Gillies, F.F. Ashman & J. Terwel (Eds.), The Teacher’s role in implementing cooperative learning in the classroom (pp. 9-37). Springer.
Kagan, S. (2013). Cooperative learning structures. San Clemente, CA: Kagan Publishing. Kagan. https://www.kaganonline.com
Kristinsdóttir, A. (2017). Toward sustainable museum education practices: confronting challenges and uncertainties. Museum Management and Curatorship, 32 (5), 424-439.
Lovgren, S. & Karlsson, S.G. (1998). From art making to visual communication. Swedish art education in the twentieth century. En K. Freedman & F. Hernández (Eds.), Curriculum, culture, and art education: comparative perspectives (pp. 91-106). State University of New York Press.
Mackinnon, D.W. (1977). El Individuo Creativo: Su Comprensión desde la Investigación. Innovación Creadora, 2 (1), 5-13.
Miell, D., & MacDonald, R. (2000). Children’s Creative Collaborations: The Importance of Friendship when Working Together on a Musical Composition. Social Development, 9 (3), 348-369.
Novak, J.D. (1977). A Theory of Education. Cornell University Press.
Novak, J.D. & Gowin, D.B. (1984). Learning how to learn. New York: Cambridge University Press.
Olds, A.R. (1990). Sending them home alive. Journal of Museums Education, 15 (1), 10-12.
Pastor, M.I. (2004). Pedagogía museística. Nuevas perspectivas y tendencias actuales. Ariel Patrimonio.
Pérez Alonso, P.M. (2009). “Creatividad e innovación: una destreza adquirible”. Teoría de la Educación, Revista Interuniversitaria, 21 (1): 179-198.
Rivière, G.H. (1989). La muséologie. Cours de Muséologie / textes et témoignages. Dunod.
Seligmann, T. (2015). Book and project: Learning Museum. Collaborative Partnerships between Museums, Teacher Traning Colleges and Schools. En Nordic Inspiration–Fresh Approaches to Museum Learning, MID Magazine, 33. Ne-mo.org. http://www.ne-
mo.org/fileadmin/Dateien/public/topics/Learning/NORDIC_INSPIRATION_-_FRESH_APPROACHES_TO_MUSEUM_LEARNING.pdf
Sternberg, R.J. (1996). Successful intelligence. Simon & Schuster.
Sternberg, R.J., & O’Hara, L. (2005). Creatividad e inteligencia. Cuadernos de Información y Comunicación, 10.
Torrance, E.P. (1962). Guiding creative talent. Prentice-Hall.
Vass, E. (2007). Exploring processes of collaborative creativity. The role of emotions in children’s joint creative writing. Thinking Skills and Creativity, 2, 107-117
Willis, A. (2017). An education for peace model that centres on belief systems: the theory behind the model. Journal of Peace Education, 14 (3), 310-324, https://doi.org/10.1080/17400201.2017.1365697.
Yenawine, P. (2013). Visual thinking strategies. Using art to deepen learning across school disciplines. Harvard Education Press.