Mediación artística y formación de públicos en artes gráficas: experiencias en la escuela no formal RECREARTE de Sopó

Abstract

This undergraduate thesis systematizes the first implementation of the Printmaking and Graphic Arts program at the Recrearte School of Artistic and Cultural Education, carried out between March and September in the municipality of Sopó (Cundinamarca, Colombia), with the participation of seven students aged between 11 and 50 years. The general objective was to systematize this pedagogical proposal, analyzing its contributions to the teaching of plastic and visual arts in non-formal art education settings. The research was conducted under a qualitative approach, within a historical-hermeneutic paradigm with socio-critical elements, with an exploratory-descriptive scope and a systematization-of-experiences design, structured according to the five phases proposed by Jara Holliday (2018). Information was collected through a teacher's field journal, a portfolio of student work, photographic records, and interviews and testimonies with students, applied concurrently with the development of the program. The theoretical framework articulated references from non-formal education (Trilla Bernet, 1993), the philosophy of experience (Dewey, 1934), artistic cognition (Eisner, 2004), technical reproducibility and expanded printmaking (Benjamin, 1936; Bernal-Pérez, 2016), and artistic mediation (Fontal Merillas, 2013). Findings show that the process was sustained with continuity despite occasional interruptions, that the technique fostered cognitive-procedural thinking, and that several students spontaneously extended printmaking to materials not originally included in the program, such as wood, glass, and acrylic. The students' production circulated publicly through two exhibitions and open-air printmaking activities, although the interest generated did not translate into increased enrollment in the program. This work is framed within the research sub-line of Plastic and Visual Arts and Its 9 Didactics, and contributes a documentary precedent previously nonexistent regarding the implementation of graphic arts programs in public non-formal art schools in Colombia.