Cultural Heritage in Art Education: from curriculum analysis to the improvement of initial teacher training in primary education

DOI: https://doi.org/10.5209/aris.83752
Keywords: educational curriculum, teacher training, cultural heritage, arts education, heritage education

Abstract

In this article we deal with analyzing the presence of heritage in educational legislation, particularly in the texts of the LOMCE (The Organic Law 8/2013, of December 9, for the improvement of educational quality) and the LOMLOE (Organic Law 3/2020, of December 29, which modifies Organic Law 2/2006, of May 3, on Education) in its different regulatory developments, to conclude that, on the one hand, Artistic Education as an essential discipline for heritage education and, on the other, that the omission of this content in classroom sessions is not due to a lack of regulation, but rather to the absence of teacher training. In this sense, the creation of the Mention in Artistic Education in the Primary Grade is proposed as a solution to this problem and to the dignity of artistic education in our educational system. In this regard, the initiative led since 2020 by the #EducaciónNoSinArtes platform and its historic work in the LOMLOE reform process, as well as in the visibility and social transfer of the value of the Artistic Education area, are highlighted.

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Author Biography

Pablo de Castro-Martín, Universidad de Valladolid

PABLO DE CASTRO (Valladolid, 1970) has a degree in Philosophy and Letters – History of Art section – and a PhD in Educational Sciences from the University of Valladolid (UVa). He completed doctoral studies at the UVa and the Università degli Studi Ca´ Foscari di Venezia (Italy). He has obtained the extraordinary award for Bachelor's degree (1996-1997) and doctorate (2016).

He currently works as a professor in the Department of Didactics of Musical, Plastic and Corporal Expression of the University of Valladolid, in the Faculty of Education of Palencia, within the area of ​​Artistic Education.

Between 1999 and February 2020, he taught Art History, Spanish History and Universal Contemporary History in different schools in Valladolid, a task combined with the position of Associate Professor at the UVa since 2016.

He has carried out research stays at the University of the Basque Country (San Sebastián), the Autonomous University of Yucatán (UADY / Mérida, Mexico) and the Cervantes Institute of New Delhi (India); He is a member of the network of excellence in research of the Social Sciences Red14, a member of the EDUHIPA Recognized Research Group "Historical and Heritage Education", a researcher at the Heritage Education Observatory in Spain and a member of the Federico Wattenberg Center for Vaccean Studies, where he tries to contribute an up-to-date educational look at the Vaccea culture, present at the Pintia site.

As a specialist in cultural heritage, he worked at the Hispania Nostra Foundation for heritage conservation (1999). He has designed numerous educational innovation projects in the field of heritage, some of whose results have been awarded in various competitions such as Los Nueve Secretos (Castile and León Historical Heritage Foundation), Viatores Contest (Siglo Foundation), the Vaccea Awards (University of Valladolid ) or the Valencia International Film Festival, among others, or can be seen in collaborations with institutions such as the Espacio Líquido Gallery (Gijón) or the Cervantes Institute in New Delhi.

As a plastic and visual artist, some of his works have been exhibited in different individual and collective exhibitions. He was a co-founding member of the Bocallave Association. Cultural Initiatives, from which different cultural and artistic proposals were promoted in pursuit of the decentralization of the art-system, as well as the group of teachers El Punto Rojo, which investigates and proposes new formulas for the teaching of subjects related to the field of arts in regulated teaching. The projects derived from this activity have resulted in interesting collaborations with institutions such as the Patio Herreriano Museum of Contemporary Spanish Art or the National Museum of Sculpture.

His collection of contemporary art, which uses works of art as a private code that facilitates the establishment of deep and intimate ties with his daughter Jimena, diagnosed with a highly disabling autism spectrum disease -Rett Syndrome-, has been seen in the MARTE Fair of Contemporary Art (Castellón, 2017), the Vilaseco Gallery (La Coruña, 2018) and the Barjola Museum (Gijón, 2019).

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Published
2023-03-30
How to Cite
Fontal-Merillas O. y de Castro-Martín P. (2023). Cultural Heritage in Art Education: from curriculum analysis to the improvement of initial teacher training in primary education. Arte, Individuo y Sociedad, 35(2), 461-481. https://doi.org/10.5209/aris.83752
Issue
Vol. 35 No. 2 (2023)
Section
Articles

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