Illustration titled “Alternative Ending” by “Asaf & Tomer Hanuka”.
A meaningful learning is a process of the attribution of sense —which involves establishing relationships between what is learned and personal goals and expectations— and the building of meaning —by reviewing, modifying, restructuring and enriching prior knowledge. This is a gradual process, as it occurs through the establishment of more or less substantive relations (depending on the quantity and relevance of the links) between the previous knowledge and the new contents to learn (where it differs from mechanical learning in which arbitrary associations occur). The execution of meaningful learning implies, therefore, an evolution on the part of the apprentice —the agent of the ultimate responsibility of learning, since the teacher and the contents only function as mediators— towards the execution of representations of the world closer to the cultural definition (Coll, 1990).
This construction can take place in three different ways, that can be worked separately or combined: basic empirical learning, discursive learning and aesthetic learning. The first two ways, to a greater or lesser degree, are worked on a regular basis in schools. However, the aesthetic learning, developed in the early childhood years and understood as a “method where you transform your impressions of the world into aesthetic form expressions through aesthetic mediation in order to be able to reflect on and communicate about yourself and the world” (Austring & Sørensen, 2011: 106), in general does not receive the appropriate treatment (Austring & Sørensen, 2012).
The working group of which I was a part during the session in which a reflection was made on this type of learning came to the conclusion that at present there is a misinterpretation of aesthetic tasks, since we confuse it with the art education —defined as technical training of the production of form— and with the education of art —teaching art to shape an empathetic, imaginative, responsible and democratic citizenship (Siegesmund , 2013). With the aim of integrating these three pedagogical treatments of art, the school must help develop the creatively and reproductive capabilities; ie capabilities that allow us to transfer the culture from generation to generation and at the same time to move forward and improve (Vallvé, 2011). In order to efficiently develop the creative capacity, it is important that the school does not seek to harmonize artistic experience through technical explanations, but must be aware and competent in the act of identifying the need for silence and allow autonomy and subjectivity of children (Bosch, 2009).
Austring B. D. and Sørensen M. (2011). Æstetik og læring. Grundbog i æstetiske læreprocesser (Aesthetics as Learning Media — A Textbook on Aesthetic Learning Processes). Copenhagen: Hans Reitzels Forlag,.
Austring, B. D. & Sørensen, M. (2012). A Scandinavian View on the Aesthetics as a Learning Media. Journal of Modern Education Review, 2(2), 90–101.
Bosch, E. (2009). Per què oferim educació artística als escolars? In Bosch, E. (2009): Un lloc anomenat escola. Barcelona: Graó.
Coll, C. (1990). Aprendizaje escolar y construcción del conocimiento. Barcelona: Paidós.
Siegesmund, R. (2013): Art Education and a Democratic Citizenry. International Journal of Art & Design Education, 32, 300-308.
Vallvé, LL. (2011). Patrimoni i Creativitat. A Fons, 74, 9-11.
