2013 — Action/Research: ‘invisible art’ — presences in the sharing of artistic development in communities of Santo Antão Island (Cape Verde).

Action/Research: ‘invisible art’ — presences in the sharing of artistic development in communities of Santo Antão Island (Cape Verde). Ecer_2013, Istanbul, setembro de 2013
PAIVA, José Carlos de, e LOPES, Valdemar Leão Lopes e Rita Raínho

Ecer Istanbul 2013
The European Conference on Educational Research
9-10 September 2013: Emerging Researchers' Conference 
10-13 September 2013: Main Conference

Title of Proposal
Action / Research 'invisible art': presences in the sharing of artistic development in communities of Santo Antao island (Cape Verde)

Proposal Information
The communication that is intended to present reveals the pulse of process a action / research where the authors are involved in a process of development, long lasting, which materializes in two communities (Lagedos and Planalto Norte), the island of Santo Antao in Cape Verde. Refers to a movement promoted by the people who fight for the improvement of their territory and their lives, they assume their leadership and coordination, a share with an NGO (Atelier Mar) and with a higher institute of art and culture cape verdean (M_EIA - MINDELO, International School of Art).
What's written, records a phase of a long process of ongoing action for over a decade and no visible end, which falls in line with the joint investigation i2ADS and CCCC, called 'art / development'.
What we intend to discuss, is not properly the exemplarity of this popular delivery to solve its problems, but the range of possibilities that teachers / artists / researchers in the arid territory of these two communities show, educational radiation releasing and learning they share, through the presence of its real divergent thinking, critical and speculative about the diversity of solutions and procedures to diverse and quality of what can happen. It is about the nature of this particular artistic irreverence critical thinking, while synchronic political thought, compared to existing solutions and naturalized, which promotes writing. What we intend to discuss is this being, the artist who moves his place of comfort, given the presence of a suspension of his authorial making, face the perception that invades territory (although their presence in the community is of the order of hospitality - Derrida), where it indulges in an act of donation (Marcel Mauss) and full concentration in mobilizing its perception, its knowledge and utopias.
The learnings that come off this intercultural relationship allow researchers, involved and engaged in the action, a confrontation of their theoretical fields located in the 'art' and 'art education' and its empirical knowledge with the complex reality of the territories where moving , really challenging in the extreme.
It is intended, from a narrative that research goes provoking, defending the land of epistemological discomfort and shift for intercultural confrontation, a critical posture of hegemonic values ​​in behalf of agonistic debate (Mouffe), prefers the promiscuous art with the political and not the coat of neutrality or 'meaningless'. Prefer to 'hanging art', learning impotence art (Agamben) and its power in precarious social contexts, which allows each community sharing and building invisibilities artistic and socio-cultural realities that have utility for inventive intelligence and life.

Methodology or Methods / Research Instruments or Sources Used
Because it is built on an investigation implicated in action sharing frequented by authors, written communication is collaborative and corresponds to the moment of a long process of research, where we invent 'field diaries', map devices, pick up dozens depositions and hundreds of records of living of the population involved, mode of interviews, free depositions and entry, as well as hundreds of picture representation of what happened.
Having picked up a research methodology multiple and shared, real action/ research, where what happened is the centrality, where ethnographic processes are adopted and study of direct 'life narratives' of the populations of the two communities, and the researchers themselves, the writing result of intimate relationship debate with the community of M_EIA's students and teachers, involved in the process.
The reflections and academic work carried out in this context are also elements of study and analysis, in an effort to interpret it vacillates between objectivity and fecundity of subjectivity (Bardin).

Conclusions, Expected Outcomes or Findings
The aim of this research is to bring in teachers / artists / researchers a critical reflection on the naturalized narratives and methodological tether 'research into art' and'' research on arts education ', which each carries and plays, fruit of, in each one, singular building itself, face the myths that endure of enlightenment rationalism, the euro-centrism colonizer and the normative tradition of the academies. The reflection is done either by moving to intercultural contexts in territories 'other', remote and isolated from academic comfort, which legitimize the knowledge that dominant and hegemonic construct of our representations and merge. Thus, in the arena of intercultural confrontation, whether to find a written agonistic, not retained in a 'time' that does not promote open space for the community to come, nor provide the desirable size for renewed readings 'in art' and 'artistic education' and resourcefulness of research involved. And in this process takes the pleasure of contemplation before the sublime and understands the impossibility of the record.

References
AGAMBEN, Giorgio. Profanazioni (2005). Profanity, Ed Lark (2006).
Appadurai, Arjum. Modernity at Large - Culture Dimensions of Globalization (1966). Cultural Dimensions of Globalization, Theorem (2004).
ARRIAGA, Imanol Aguirre (2005). Theories y en educación artistic practices. Editors: Barcelona: Octahedron, S.L.
Bardin, Laurence (1977). Content Analysis. Lisbon, 70 Editions
ATKINSON, Denis (2002): Art in education. identity and practice. Nueva York: Kluwer Academic Publishers.
DIDI_HUBERMAN, Georges. Ce nous that voyons, ce qui nous regarde (1992), What we see, What to Look. Dafne, 2011.
Duncum, Paul (Ed.) (2006). Visual Culture in the Art Class: Case Studies. Reston: NAEA.
Efland, Arthur, FREEDMAN, Kerry & Stuhr, Patricia (1996). Postmodern Art Education: An Approach to Curriculum. Virginia: NAEA.
Frayling, Christopher (1993). "Research in Art and Design." Royal College of Art Reseacrh Papers, 1. 1993.
FREEDMAN, Kerry & Hernández, Fernando (ed.) (1998). Curriculum, Culture and Art Education. New York: SUNY series
JAMESON, Fredric - Postmodernism, or, The cultural logic of late capitalism. London: Verso, 2008.
Mouffe, Chantal. Artistic practices y agonistic democracy (2007). Autonomous University of Barcelona.
Perniola, Mario (1991). Del Sentire. Of Feeling, Editorial Presence, 1993.
PETERS, Michael (2000). Post-structuralism and philosophy of difference: An introduction. Belo Horizonte: Authentic.
LENT, Joseph; DAYS, Paulo Fernando Rosa & GUADIX, Juan Carlos Ramos (eds.) (2011). Research in Art and Design. Cracks in Method and Creation. Vol II. Lisbon: CIEBA. 2011.
Rancière, Jacques (2000). La portage du sensible: esthétique et politique. The Politics of Aesthetics, Continuum (2004) translated with an Introduction by Gabriel Rockhill
SONTAG, Susan. Against Interpretation (1966), Against Interpretation, L & AM (1987)
SULLIVAN, Graeme (2005). Practice the Art Research: Inquiry in Visual Arts. United Kingdom: Sage Publications.
Warnier, Jean-Pierre. La Mondialisation de la Culture (1999). The Globalization of Culture, News Editorial (2000). (280 w)

Keywords
interculturality
art
arts education
investigation
development