Jorge B. Collaboration Rodríguez *
to hartus .
In his Introduction to artistic creativity , Professor Juan Acha says that after twelve years of age, adolescents develop their vocation for the arts. Referring to Latin America, denounced the ineffectiveness of governments to provide institutional alternatives that contribute to the vocational maturity of young people, and how those who show an interest in addressing these issues favor the residual modes of production, distribution and consumption of art and obviate emerging.
According to this view, projects training art directed at adolescents, narrow-mindedness prevails, incompetence and conservatism:
(...), students do not know the possibilities that society offers to choose art as a profession or considered as a mere hobby, to conceptualize creation according to their interests and to select the genre and trend that suits you. (Acha, 1992. 56). According
Vygotsky in the visual arts, creative vocation matures around 14 years, but in Giotto expressed as early as 10 years, such as Van Dyck, in Rafael at eight, as in Gros, Miguel Ángel at 13, in Durer at 15, in the twelve Bernini in Rubens Jordanes and also very soon. (1987.47)
So while that erupts when a strong vocation is not strictly defined, it often crystallizes, more or less in the age before us.
is a real feat that some of them persist in certain arts and evidencing practice their unique talents despite the neglect of the social environment. This miracle undertakes the training system with the establishment of places where early artistic talent, so delicate and unusual such as sports or science, can reach the ultimate fulfillment: an open and malleable.
In our experience, the implementation of projects educational competition designed to develop artistic and gifted young professional requires, among other require-ments, a thorough understanding of the unique features of cognitive processes within these specialties. In this context, the evolutionary approach and the historical-cultural can provide a framework for reflection.
Piaget is presented as a supporter of acculturation or "development." Considers the child's intellect is in an unstable point, uneven, with respect to the universe of objects and experiences that surround it. The teacher's role is limited to create learning situations that mediate between the level of reasoning reached by the child and could achieve.
Meanwhile, Vigotski located at the heart of intellectual growth in the ability to learn from instruction. His concept of zone of proximal development refers to the difference between what the child can do without help and that of which potentially would be able after receiving appropriate guidance, the actions seem to exhibit greater adult attention and importance in Piaget. (Op. cit., P. 175 and 176)
evolutionary currents agree on the establishment of a first phase in which images are generated "the child into the world" and a second in which the child enters their achievements "what you see." In adolescence, all report a decrease in artistic activity. Development
These pictures are, if anything, a clear value instrumentally: they allow us to distinguish potentially effective starting point in any artistic and educational exploration.
The aforementioned decline in artistic activity from 12-13 years is more an outgrowth of educational systems are imperfect, but a consequence of mutations characteristic of this phase. They questioned the theories that blamed on biogenetic causes adaptive difficulties often occur in very specific cultural contexts, during that period.
In our field, the issue acquires a peculiar bias. When comes the period of operations formal logical-the words of Piaget, in the intellectual sphere many changes occur, distinctive for its diversity and the relative speed with which they occur. But on an artistic level not produce a linear and upward as the one looming on the intellectual area.
The advent of various qualitative reasoning skills, brings about a sharpening of the critical capabilities that cripple the development of artistic creativity which, under optical circumstances, reaches a peak in adolescence.
vigotskiano approach emphasizes that this cooling of the teenager in connection with the drawing flap over the expression graphic to a new level of evolution, to which access is encouraged only if at school or at home.
seems reasonable to conclude then that the options to stave off discouragement to the art that usually affects adolescents, must be articulated in the previous stage. Gardner argues that the key lies in how we approach the challenge educa-tive of literal years:
A key factor is to achieve a certain competence to reach adolescence because during this period young people are faced directly with the entire range of alternatives for each art form, (...) If his own works are well below this standard, it is likely that discouraged and give up their whole artistic activity. If, however, young people have gained over the years preteens enough skill to their jobs, "pass the test" is in place the ability to devote more time, perhaps a lifetime, to the arts. (1987.123)
At this point, one might ask how then address the artistic training of young gifted?
share the view that at this age, the decision whether to participate in training activities within a particular specialty is not for teachers or parents, but ultimately the student touches choose them freely, according to their own interests and hobbies:
... The drawing may not be massive and general occupation for all children in the age of transition, but (...) is drawing huge cultural value, when (...) the color and design begin to speak the adolescent acquires this is a new language that will broaden their horizons, deepen your feelings and to express images that otherwise might have come to consciousness. (Vygotsky, 1987, 103)
The eminent Russian psychologist stressed two issues with the drawing at the age of transition. The first is that the adolescent has not had enough of the spontaneous artistic expression activities, needs to acquire habits and knowledge of art professionals.
only helping to assimilate these materials can rightly railroaded drawing development of children in this age. (...) On the one hand we must cultivate the invention, on the other hand, the process of representation of the images created by the imagination requires special knowledge. (P. 104)
Here unfolds before us a question which has been discussed: the proper way to enter training practices that articulate, obviously, subject to certain rules.
not trying to discover the precise dose of technical procedures and imaginative exercises that should be mixed in the container called Plan and Study programs. In this way would achieve just resultancias eclectic inaccurate since its edge to his heart that inherently would leave intact the core problem and undisputed: the nature of such rules, the conception of art to which they respond.
access to materials, techniques and procedures, highly recommended, it is essential. What it means in terms of extensive enlargement of the reference field, and because your child may be deciding his expression to those resources that are most closely related, those through which you can see encouraging results.
* Professor Art. School of Arts and Crafts in Santa Cruz, Puerta Abierta.Universidad Nur Foundation
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