This study explores the convergence between heritage education and cultural anthropology as key tools to strengthen identity, critical thinking, and social cohesion in educational contexts. Through a workshop developed at the Municipal Public Library of Lucena, with the participation of 25 primary school students, active and participatory methodologies were applied that integrated artistic practices and anthropological reflections to promote understanding of tangible and intangible cultural heritage. The project included creative activities such as participatory cubism, sculptural modeling, and artistic printing, culminating in a collective work that symbolized the diversity and unity of the group. Participant observation techniques and content analysis were employed to evaluate the pedagogical and sociocultural impact of the intervention. The results show a significant increase in students' interest in their local heritage, as well as in their ability to critically reflect on cultural identity and historical narratives. There was also a notable development of social skills, teamwork, and appreciation for cultural diversity.The discussion highlights the relevance of integrating anthropological approaches in heritage education to foster meaningful learning and promote values of respect and cultural sustainability. Together, the findings reinforce the idea that heritage education and cultural anthropology, when integrated, constitute an effective pedagogical strategy for the formation of a critical, conscious, and committed citizenship towards the preservation of their cultural legacy.

Artistic expression is an essential element in students' cognitive, emotional and creative development, although its integration into the classroom depends largely on teachers' training and beliefs. This study analyses the beliefs of primary, secondary and university teachers regarding this discipline and its impact on educational practice. Using a quantitative approach, a Likert-type questionnaire was administered to 52 teachers, and the data were subjected to descriptive analysis. The results show consensus on the educational relevance of artistic expression and the need to promote research in this area. The most notable difference was found in assessment: visual arts specialists prioritise continuous feedback and formative assessment, highlighting the importance of specific and up-to-date training.

Throughout the 2024/2025 academic year, two lecturers teaching Laboratorio de Imagen and Pintura I, subjects belonging to the first year of the degrees taught at the Faculty of Fine Arts of the University of the Basque Country (UPV/EHU), addressed the issue of ‘self-representation’ with the same group of students. Although each subject approached the concept from different perspectives, the students' personal histories became the cornerstone of their creations. Despite the fact that there was no prior coordination between the two teachers when working on this topic, both concluded that it was a positive and enriching teaching experience. Through an a/r/tographic vision, this text presents two case studies on the experiences of each discipline when working on the concept of ‘self-representation’, focusing on the methodology used, the creative process experienced and the pedagogical value it can bring. The conclusions drawn from the two case studies developed in this article are the starting point for a joint project that is being designed by both subjects and will be developed throughout the 2025/26 academic year.

The purpose of this article is to highlight the potential of sound art as a pedagogical tool in Primary Education, combining a theoretical framework with a practical intervention proposal. The experience was carried out with a 4th grade class and unfolded over eight sessions in which sound was conceived both as a working material and as a means of expression. Among the activities implemented were sound walks, exercises related to synesthesia, and the creation of the school’s soundscape. The proposal was grounded in Place-Based Education (PBE), fostering students’ connection with their environment. The results, obtained through observation and surveys, reveal the project’s positive reception and underscore the educational value of sound art in the school context.

This paper aims to provide a comprehensive overview of the presence of the silhouette of the Toro de Osborne, deeply rooted in cultural identity and subject to multiple layered views that make it an object of reinterpretation, paraphrase, and appropriation within the realm of contemporary artistic practices. To this end, the origins of this billboard, designed by Manolo Prieto around 1954, are analyzed, as well as how its meaning has been enriched over time to be considered by some authors as an integration into modernity. The article explores various works by artists such as Equipo Límite (1986–2003), SAM3 (Elche, 1980), Fernando Sánchez Castillo (Madrid, 1970), Ismael Teira (Boiro, 1987), Santiago Sierra (Madrid, 1966), and Ampparito (Madrid, 1991), created between 2009 and 2022. The symbol is also interpreted in relation to the road and its perspective, as well as notions of landscape and its varying degrees of connection with the territory. Studies by authors such as Brinckerhoff Jackson, Castiñeira Palou, Fernández Polanco, and Ramos Romero, among others, are examined. Ultimately, through current artistic production, the construction of cultural identities regarding Toro de Osborne is analyzed, highlighting it as an element highly permeable to political, social, and identity-based discourses that redefine it according to the context.

Theatrical practice as a non-formal educational context (CENF) generates a creative experience that favors the emotional, political and social empowerment of people and is positioned as an instrument of action for the democratization of culture, expression and the improvement of Quality of Life (QoL) as a multidimensional model. The present study aims to understand, in first person, the meanings of young and adult persons with intellectual disabilities (PcDI) on how their participation in a theater company contributes to improve their QoL. For this purpose, a descriptive and exploratory design was used. The sample consisted of three theater artists with ID, over 18 years of age, who systematically participate twice a week in a music-theater company in Santiago de Chile. A semi-structured interview was elaborated to allow the observation, analysis and interpretation of the data (Flick, 2004; Vasilachis, 2006). The results made it possible to show not only the contribution that theater as a CENF has on the quality of life of the group, but also to know the spontaneous meanings that, as situated cognition, the group has about their own QOL and how they understand some concepts linked to it.

Postmodernity has brought about countless transformations in the conception, staging, and modes of consumption of all the arts. The vehemence with which music—especially that stemming from the European tradition from the 15th century onwards, commonly referred to as “classical music”—has entered the art market in the age of technical reproducibility and “snack culture,” its reification and dissolution into a consumable in effigie, and its apparent omnipresence in contemporary society, are only comparable to the rigidity of its academic precepts, the archaic and senescent nature of its consumption rituals, the extreme degree of refinement and specialization of its performers, and the lamentably low status of cultural valuation to which it is presently relegated. In light of this, the present research proposes new paradigms for classical music—particularly—across virtually all of its levels: in the creative, deductive, and analytical processes undertaken by the performer when first approaching a piece; in the stages of constructing an interpretation of one’s own and translating that vision into instrumental technique; in its staging; and in its planning during processes of production and musical management. To this end, this work draws on questions and agents that are often overlooked throughout the higher education of classical musicians and beyond, such as musical hermeneutics, rhetoric, narratology, and musical semiotics, as well as the multiple dimensions that musical interpretation can—and indeed must—assume. The aim is thus to reconstruct, or at least to reframe, the life cycle of the musical product, rendering it more approachable, meaningful, and constructive for all those involved, by developing an interpretation that is personal in every sense—rooted in a narrative generation informed by rhetorical, hermeneutic, and semiotic analysis of the score and its contexts.

The purpose of this article is to determine the most appropriate methodology for the approach of a research focused on higher education in the visual arts during virtual and hybrid teaching derived from the COVID-19 pandemic. This is a case study that revolves around the Visual Arts degree program at the University of Cuenca, in Ecuador. It should be emphasized that there is not much documentation concerning the general topic or the university discipline investigated, so the proposal may be useful as a means of analysis of the events and the search for better implementations for future situations of virtual education. Since this is a case study, the methodological design chosen was qualitative and it was not intended to generate mixtures with quantitative research due to the particular time frame in which the research is carried out: the post-pandemic period. Emphasis is placed on the reliability, due to its systematicity, of the qualitative approach, which is by no means a weak form of data, but a different, complex and systematic type of analysis. The proposed phases of this research are the systematic literature review, field observation, documentary study, questionnaires with open-ended questions to students and focused interviews with the teaching staff. It is emphasized that software such as ATLAS.ti favors the conversion of qualitative data into quantitative data. This is a descriptive, critical and interpretative article. It is concluded that the qualitative methodology proposed could be valid for the execution of the proposed research.

The following article corresponds to the systematization of a research in art that from the artistic practice analyzes the imaginary derived from gender stereotypes with the aim of developing a body of work that questions the identity models posing a diverse and deconstructed masculine perspective. To this end, a theoretical framework is presented that allows the understanding of the incidence of images in the determination of identity; intimacy as an internalization of cultural references; and gender as an oppressive heteronormative structure for both women and dissident masculinities. From these theoretical approaches emerges the link with the city and the nude as visual references that concentrate a significant conceptual load that allows the elaboration of visual metaphors through the pictorial technique.

The aim of this research is to find the links between social museology, social and solidarity economy and food sovereignty through a project called “A-prender 40 huertas” carried out at the Taller Ferrowhite museum (Bahía Blanca, Argentina). A theoretical review of each of the concepts mentioned above is carried out first, proposing a series of connection lines between them. Then, the project emerged during the pandemic called “A-prender 40 huertas” is analyzed like its consequences, such as the distribution of vegetables bags and the nutrition workshops. Subsequently, the results of the project are presented from primary information obtained from a participatory workshop held in Ferrowhite. The discussion about to sustain the pillar project and its impacts takes place openly, to know what things are necessary, in each context, for the people who inhabit the museum. This is what accounts for a living project, which is constantly nourished by the encounter and interaction with other people and groups.