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UNESCO included flamenco as part of Intangible Cultural Heritage of Humanity in 2010. In Andalusia, there is concern about the loss of flamenco traditions and dance forms. The 2023 Andalusian Flamenco Law aims to recover the essence of flamenco, Spain's most representative art form, and teach it in Andalusian schools. The objective of this study is to contribute to the recovery of the teaching of traditional flamenco through a qualitative study (conducted via in-depth interviews) of all teachers of the Escuela Sevillana (Sevillian School), the paradigmatic female flamenco dance in Spain. The data were analysed using Atlas.ti. The results showed that flamenco teachers are concerned to preserve the essence of flamenco dance and have created their own experiential learning methods, reinforced by pedagogical principles commonly used in their teaching practice. A strong methodological foundation is necessary to effectively teach flamenco and begin the process of codifying its content. [ABSTRACT FROM AUTHOR]

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The new curriculum that is being implemented since 2010 in the schools of dramatic art in Spain, involves the development of a subject, pedagogy, which is considered as core training and should be understood as a sort of theatre pedagogy. In this paper we analyze what should be the development of such a discipline as far as its purpose is focused on the development of those skills that will enable the dramatic arts graduates to become specialists in theatre education. In this direction we propose the substantive aspects we consider in the development of a discipline so important in the promotion of theatrical education in Spain, and the challenges of the immediate future. [ABSTRACT FROM AUTHOR]

'An Educational Space, a Stimulating Space?' is a project by the Educational Sciences Faculty at the University of Santiago de Compostela, Spain, which has been developed through the collaboration of university lecturers, the Galician Center of Contemporary Art and teachers. This project poses the question: What do we understand by an educational space? This question is posed in order to initiate a community work process that is formative, artistic and educational. This process is formative because it means a shared reflection upon the concept of public space as a shared space. It is educational because it does not involve just the group class (90 students), but every faculty student and teacher in order to discover the different faculty building spaces. Working on educational spaces and how they are perceived, lived and used is a way of encouraging a collective, intergenerational agreement to live together. And it is artistic because it highlights the need to experiment with teaching as a process of artistic creation in which we can understand and put into practice creativity as a tool of transformation into reality: liberating arts from being a representation of things and transforming them into action, into direct, active participation. In this article, we propose 'educational photoactivism' as a line of artistic action and research for teacher training. This approach is targeted to reflect on the situations involved in teachers' work by means of the narrative, suggesting the power of photography. Educational photoactivism favours a type of spiral learning on the part of the trainee teachers, because there is a constant flow of ideas, hypotheses, opinions and photographic interpretations from the teaching point of view. [ABSTRACT FROM AUTHOR]

The article examines gender issues related to arts education in Spain. It maintains that the arts as a profession in the Western World have been traditionally characterized by a masculine ideal and that students, including women, undergoing formal education in the arts have been pressed to internalize this ideal. However, the article explains, the increasing number of female art teachers in Spain beginning in the 1980s is challenging this male-dominated conception. At the same time, it warns that women artists run the risk of reproducing this conception or adapting themselves to an androgynous notion of the arts if they deem femininity as opposed to the idea of artistic creativity.

Copyright of Historia de la Educacion is the property of Ediciones Universidad de Salamanca and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)