English Version
Abstract
Several governments throughout the world promote cultural partnership programs as a means of enriching the school curriculum. How do such programs affect teachers and artists? What meaning do they give to the presence of the cultural dimension in schools? To answer these questions, I examined the content of twelve semi-structured interviews (n=12) conducted with teachers and artists within a sociology of stification theoretical framework. The findings suggest that cultural partnerships between teachers and artists enabled them to experience happiness and satisfaction as well as to learn from each other. Cultural partnerships seem to produce these effects when they involve a dialogue between teachers and artists in order to reach mutual understanding and respect. I conclude this paper by addressing the factors to consider when implementing cultural partnerships and the limitations of my study.
Several governments throughout the world promote cultural partnership programs as a means of enriching the school curriculum. How do such programs affect teachers and artists? What meaning do they give to the presence of the cultural dimension in schools? To answer these questions, I examined the content of twelve semi-structured interviews (n=12) conducted with teachers and artists within a sociology of stification theoretical framework. The findings suggest that cultural partnerships between teachers and artists enabled them to experience happiness and satisfaction as well as to learn from each other. Cultural partnerships seem to produce these effects when they involve a dialogue between teachers and artists in order to reach mutual understanding and respect. I conclude this paper by addressing the factors to consider when implementing cultural partnerships and the limitations of my study.
Introduction
The cultural dimension of Occidental societies is based on a conception of culture called “aesthetic.” It comprises the objects and practices pertaining to the realm of arts and aesthetics and the values which are associated to them, namely expressivity, subjectivity, emotions, sensitivity, singularity, imagination, creativity and feelings (Kerlan, 2004). Within this conception, artists and writers become the paradigm cases of human beings as agents of original self-definition (Taylor, 1989, 1992) and their creations are seen as the fruit of their idiosyncrasy rather than a reflection of nature (Ferry, 1991). According to philosophers and sociologists such as Ferry (1991), Freitag (2002), Kaufmann (2001), Kerlan (2004), Maffesoli (1988), Taylor (1989, 1992) and Vattimo (1987), this cultural dimension, which is considered by Modernity as belonging to institutions like museums, theatres, libraries and to artists and writers, is penetrating other areas of life. For example, artists organize workshops for prisoners, hospitalized patients and the homeless (Burnham and Durland, 1998); companies invest in the arts (Kieffer and Benattar, 2003); the interest in art therapy is growing worldwide (Kieffer and Benattar, 2003). Thus, the cultural dimension of society, usually associated with arts and aesthetics, appears to be spreading in the health, economic and social spheres.
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The cultural dimension of Occidental societies is based on a conception of culture called “aesthetic.” It comprises the objects and practices pertaining to the realm of arts and aesthetics and the values which are associated to them, namely expressivity, subjectivity, emotions, sensitivity, singularity, imagination, creativity and feelings (Kerlan, 2004). Within this conception, artists and writers become the paradigm cases of human beings as agents of original self-definition (Taylor, 1989, 1992) and their creations are seen as the fruit of their idiosyncrasy rather than a reflection of nature (Ferry, 1991). According to philosophers and sociologists such as Ferry (1991), Freitag (2002), Kaufmann (2001), Kerlan (2004), Maffesoli (1988), Taylor (1989, 1992) and Vattimo (1987), this cultural dimension, which is considered by Modernity as belonging to institutions like museums, theatres, libraries and to artists and writers, is penetrating other areas of life. For example, artists organize workshops for prisoners, hospitalized patients and the homeless (Burnham and Durland, 1998); companies invest in the arts (Kieffer and Benattar, 2003); the interest in art therapy is growing worldwide (Kieffer and Benattar, 2003). Thus, the cultural dimension of society, usually associated with arts and aesthetics, appears to be spreading in the health, economic and social spheres.
Journals for full download on the link below
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