https://hdl.handle.net/10481/39294 Thu, 16 Apr 2026 01:05:29 GMT 2026-04-16T01:05:29Z https://hdl.handle.net/10481/39404 Reflexión psico-semiótica sobre la creatividad en Artes: discusión crítica a partir de una investigación neurocientífica y su correlato en el proceso de enseñanza-aprendizaje Schwarcz López Aranguren, Violeta Reflexionar sobre el concepto de creatividad y los aprendizajes en artes nos lleva a pensar sobre los procesos psicológicos y las construcciones intersubjetivas en el orden social en el que nos encontramos inmersos que son consideradas creativas. Pero deberíamos cuestionarnos a qué llamamos creatividad, cuáles son los factores que se delimitan como aspectos o propiedades de la persona creativa, o si consideramos el proceso de construcción o innovación y por último si evaluamos el producto como “obra de arte”. Se nos abren entonces, una cantidad de interrogantes que se podrán abordar desde diferentes perspectivas y que han sido trabajados desde muy diversos campos. Desde las investigaciones neurocientíficas, los procesos y mecanismos psicológicos involucrados, hasta el análisis semiológico de las obras de arte, encontrando ciertos obstáculos epistemológicos a decir de Bacherlad, que deberíamos ubicar para dar cuenta de qué hablamos cuando hablamos de creatividad. Así mismo nos proponemos realizar un análisis crítico desde la articulación entre la indagación de sujetos desde una línea de investigación neurofisiológica, y dar cuenta si los resultados emergentes tienen correlación con los mecanismos y procesos que se despliegan en los procesos de enseñanza-aprendizaje.; Reflect on the concept of creativity and arts learning leads us to think of the psychological processes and intersubjective constructions in the social order in which we find ourselves that are considered creative. But we should question what we call creativity, what are the factors that are delimited as aspects or properties of the creative person, or if we consider the process of building or innovation and finally if we evaluate the product as "work of art". We then opened, a number of questions that can be addressed from different perspectives and have been worked from very different fields. From neuroscience research, processes and psychological mechanisms involved, to semiotic analysis of works of art, finding certain epistemological obstacles Bacherlad to say, we should locate to account for what we mean by creativity. Also we propose a critical analysis from the joint between the investigation of subjects from a neurophysiological research line and tell if the emerging results correlate with the mechanisms and processes that unfold in the teaching-learning processes. https://hdl.handle.net/10481/39404 https://hdl.handle.net/10481/39403 Un Proyecto Integrado para el desarrollo de la creatividad en Educación Secundaria Obligatoria Mahillo Miranda, Sara; Martínez Samper, Carmen; Abós Olivares, Pilar CUÉNTAME UN CUENTO tiene su punto de partida en la línea de investigación: “Cauces para la creatividad plástica, escénica y audiovisual” (modalidad B), desarrollada en el Máster en Profesorado de Dibujo y Artes Plásticas de la Universidad de Zaragoza. El Proyecto Integrado, que se ha planteado para desarrollar la creatividad desde la triple perspectiva señalada, busca impulsar la cultura de la creatividad desde la colaboración interdisciplinar entre asignaturas. CUENTAME UN CUENTO es una propuesta metodológica que consiste en representar un cuento (o adaptación literaria) a un grupo de alumnos de una etapa educativa inferior a la de los nuestros. Se realiza así, un trabajo multidisciplinar en el que se interrelacionan conocimientos de diferentes materias Para ello, los alumnos abordaran diversas tareas programadas tales como: seleccionar o adaptar una narración, decidir el tipo de representación, utilizar recursos musicales o audiovisuales, realizar actividades de publicitación del acto (el cartel), preparar una ilustración de la narración, diseñar y ejecutar la escenografía necesaria y representar el fruto de su trabajo.; TELL ME A STORY has its starting point in the line of research: "Courses for sculptural, scenic and audiovisual creativity” (modality B), developed at the Masters in Teaching of Drawing and Fine Arts at the University of Zaragoza. The Integrated Project, which has been set out to develop creativity from the triple perspective indicated, seeks to promote the culture of creativity from interdisciplinary collaboration. TELL ME A STORY is a methodology proposal which consists in playing a story (or literary adaptation) to a group of students which has an educational stage lower than ours. A multidisciplinary is performed in which knowledge of different subjects interrelate. For this, the students deal with different scheduled tasks such as selecting or adapting a story, deciding the type of representation, using musical or audiovisual resources, making publicity act (the poster), preparing an illustration of the story, design and implement the necessary scenery and represent the r of their labor. https://hdl.handle.net/10481/39403 https://hdl.handle.net/10481/39402 Desarrollo de la creatividad artística en la educación secundaria Larraz Rábanos, Natalia Fomentar la creatividad en la educación artística en la etapa educativa de educación secundaria es un tema de gran relevancia debido a su importancia para lograr el desarrollo integral de los estudiantes y debido a su declive educativo en la mayoría de las sociedades. Este artículo trata de analizar la importancia que tiene hoy en día el desarrollo de la creatividad artística en la educación secundaria con el fin de realizar una propuesta para su desarrollo en el currículum de esta etapa. Para ello, se ha centrado fundamentalmente en el análisis de los aspectos metodológicos y organizacionales como piedra angular de la labor docente, que ha de integrarse en el quehacer diario del profesorado. Se realizan una serie de recomendaciones para fomentar la creatividad en los distintos aspectos del currículum como la organización del tiempo, los materiales y los recursos, los agrupamientos, las actividades, las estrategias creativas y la evaluación. Las conclusiones de este trabajo abundan en la idea de que, pese a la clara concienciación teórica y demostración empírica existente en este ámbito, aún no se ha logrado un reflejo de dichas cuestiones en la práctica y en la política educativa en fomentar el desarrollo de la educación artística creativa de forma deliberada en el diseño curricular y en los procesos de enseñanza y aprendizaje, así como a fomentar la necesaria implicación del profesorado en este proceso.; Encouraging art education and creativity in secondary school it is a very relevant issue because their importance to achieve a comprehensive studentʼs development and because most of the societies are declining and underestimating its importance. This article attempts to analyze the importance of art and creativity education in secondary school in order to make a proposal to develop them in the art education curriculum. To this end, this work has focused primarily on the analysis of the methodological and the organizational aspects as a key for teaching, to be integrated in everyday teachers work. A series of recommendations to foster creativity in the aspects of the curriculum such as the organization of time, materials and resources, groupings, activities, creative strategies and evaluation has been made. The conclusions of this work explores the idea that despite the clear theoretical and empirical awareness of the art creativity in the curriculum, there are many issues that must permeate social and collective consciousness to make practices and educational policies for its promotion and development. Such practices should include the promotion of the art creativity deliberately in the curriculum development, in the teaching learning-processes and the necessary involvement of teachers in this process. https://hdl.handle.net/10481/39402 https://hdl.handle.net/10481/39401 Teacherʼs performance: the theater classroom as a space for creation Icle, Gilberto; Bello, Marcia dal This text introduces the concept of inner creative state based on the work of the Russian director and pedagogue Konstantin Stanislavski, describing and analyzing it within the original context in which it appeared in the Actor's Pedagogy. This notion is used as a tool to think the work of theater teachers in classrooms. This work, considered as a teacher's performance, where the body has a leading role, is analyzed within the student/teacher relationships. The research was based on the observation of the classes of ten teachers, at different educational levels, complemented by semi-structured interviews with them. The teachers were chosen based on their experiences as actors, in parallel to their work as theater teachers. This choice aimed at identifying traces of artistic performances in their activities. The notion of performance articulates, in this research, different dimensions of teacher/student relationships, emphasizing the body as the locus for those relationships. Therefore, the idea of an inner creative state raises, in the work of those teachers, relationships conducive to education. We highlight two inner creative states that are central to their work. The first one refers to the collective character of the relationships, revealing how the roles of teacher and student are not performed based on hierarchies. The second one shows how the transformation, either in the actual theatrical task of transforming oneself, or in the educational tasks of teaching and learning, is a constant in the classrooms of those teachers, producing a specific ethic. This transformation as a condition for theatrical work in the classroom and as an assumption, presupposes an overflow of the work beyond the professional dimension. The inner creative state is presented, thus, as the construction of a collective ethics that transforms the subjects beyond the professional dimension.; Este texto apresenta o conceito de condição criativa a partir da obra do diretor e pedagogo russo Konstantin Stanislavski, descrevendo-o e analisando-o no contexto original de sua aparição na Pedagogia do Ator. Essa noção é utilizada como ferramenta para pensar o trabalho do professor de teatro em sala de aula. Esse trabalho, pensado como performance docente, na qual o corpo tem papel preponderante, é analisado no interior das relações entre alunos e professores. Tal investigação partiu da observação das aulas de dez professores, em diferentes níveis de ensino, complementadas por entrevistas semiestruturadas com os professores. Os professores foram escolhidos a partir de suas experiências como atores, paralelas ao trabalho como professores de teatro. Essa escolha visou verificar os traços da performance artística contidos na performance docente. A noção de performance articula, nesta investigação, diferentes dimensões das relações entre professores e alunos, enfatizando o corpo como lócus das relações. A ideia de condição criativa faz emergir, portanto, no trabalho desses professores, as relações propícias para ensinar e aprender. Enfatizam-se duas condições criativas centrais no trabalho desses professores. A primeira diz respeito ao caráter coletivo das relações, mostrando como os papéis de professor e de aluno não são performados a partir de hierarquias. A segunda mostra como a transformação, seja na tarefa propriamente teatral de transformar-se, seja na tarefa docente de ensinar e aprender é uma constante na sala de aula desses professores, produzindo uma ética específica. Tal transformação como condição do trabalho teatral da sala de aula e como pressuposto, supõe um transbordamento do trabalho para além da dimensão profissional. A condição criativa é apresentada, assim, como construção de uma ética coletiva que transforma os sujeitos partícipes para além da dimensão profissional. https://hdl.handle.net/10481/39401 https://hdl.handle.net/10481/39400 La motivación en la enseñanza de la danza: análisis de la teoría de la autodeterminación Ibáñez Granados, Delia; Fernández Cruz, Manuel En este artículo se presenta un análisis del nivel de motivación autodeterminada que posee el alumnado de danza (Danza clásica, Danza moderna, Danza del vientre y Bailes de salón), impartidos en la Escuela Municipal de Música y Danza de Ogíjares (Granada), atendiendo a la edad y al grupo al que pertenecen. Mediante la aplicación del cuestionario traducido al español por Moreno, Cervelló, y Martínez (2007) del instrumento denominado Behavioral Regulation in Exercise Questionnaire-2 (BREQ-2: Markland y Tobin, 2004), con sus diferentes ítems adaptados al ámbito de la danza. El estudio se apoya en la conceptualización de las diferentes mini-teorías que forman la TAD (Teoría de la Autodeterminación), puesto que la motivación constituye un factor relevante en la educación de la danza.; This paper addresses an analysis of self-determined motivation level students having dance: classical dance, modern dance, Belly Dancing and Ballroom, taught at the School of Music and Dance Ogíjares (Granada), attending age and the group to which they belong. By applying a questionnaire translated into Castilian by Moreno, Cervello, and Martinez (2007) instrument called Behavioral Regulation in Exercise Questionnaire-2 (BREQ-2: Markland and Tobin, 2004), with different items adapted to the field of dance. Building on the conceptualization of different minitheories that form the TAD (Self-determination theory), since motivation is an important factor in the education of dance. https://hdl.handle.net/10481/39400