PLANES DE ESTUDIO. H1053 Art and Intercultural. Academic department that offers it: Humanities. Programs: Prerequisites: ( H1040 or H1040 Corequisite)

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1 PLANES DE ESTUDIO H1053 Art and Intercultural CIP: Intercultural/Multicultural and Diversity Studies. CL-L-U-CA: Academic department that offers it: Humanities Programs: Prerequisites: ( H1040 or H1040 Corequisite) Equivalences: None. Course intention within the general study plan context: This course is designed to raise awareness and understanding in students of cultural diversity, by analyzing the different artistic expressions of their region's cultural groups. They will analyze the elements and principles of several art forms (architecture, painting, sculpture, etc.) and participate actively in one of these. In general, by studying the construction of our nation's cultural identity, students understand the importance of art as a means to knowledge of oneself and of others and, in this way, encourages the construction of dialogic relations. As a learning outcome students are expected to design art workshops for children, in an indigenous community, orphanages or centers for people with special needs. In all of this, the bases of interculturality are considered to be a human development strategy that helps to strengthen self-esteem and interpersonal relationships. Course objective: Upon completion of this course, students will have a better idea of how cultural identity is constructed. This will be made taking into consideration the point of view of the main cultural groups in the region where the course will be offered. In this way the students will have an improved understanding of the representations that integrate the group's cosmovision, understanding and participating as much as possible within their artistic expressions such as architecture, music, painting, dance, handcrafts, gastronomy etc. Course topics and subtopics: 1. Identity and personality. 1.1 Definition of identity versus otherness Separation from nature (Erich Fromm) Perception, interpretation and classification of reality (Aristotle, Tao Te King) The first substance through the senses The second substance as "the intelligible". Artistic experience: Exploration with the senses.1.2 Identity as an intersubjective representation (Luis Villoro). 1.3 The influence of the family and Social models in the construction of the personality. Artistic experience: Painting and

2 autobiographical mental maps. 2. The world of art. 2.1 Basic concepts of art Art and crafts Artist and artisan Beauty and aesthetics. 2.2 Elements and principles of art. 2.3 Methodology of analysis in art Classification Context (political, social, economic and cultural) Historical Spatial. 2.4 Analysis variables Architecture Type of wall Type of support Type of roof Type of span Perception of space Function Diagram of lines of composition Sculpture Type of material Technique Relationship with the architecture Body part Finishing Movement Diagram of lines of composition Painting Type of support Technique Type of perspective Type of composition Composition Colors Type of palette Line style Values Type of light.

3 Diagram a of lines of composition. Artistic experience: sessions of analysis of each type of work through photographs. Artistic experience: analysis of portrait photography taken by the participants. 2.5 Reading of image Basic methodology Denotative reading Connotative reading Iconographic contents Common references. Artistic experience: meeting with a local artist and his work. 3. Rethinking our culture. 3.1 Definition of culture Elements of culture Materials Organization Knowledge Symbolisms Emotivism. Artistic experience: visit to regional museum. 3.2 Social representations and worldview The collective representation according to Durkheim The social representation according to Moscovici The worldview. Artistic experience: the artist as spokesman of society (poetry and muralism) We and the others Classification of cultures Dominant culture Subculture Counterculture High and low context cultures. Artistic experience: Folk dance and proxemics. Artistic experience: Collective drawing. 3.4 Interethnic relations and cultural change Universalism - Relativism - Determinism Cultural diversity Pluriculturality Multiculturalist Intercultural Theory of cultural control (Bonfil) Autonomous culture Culture imposed Appropriate culture Alienated culture.3.5 Intercultural dialogue. Artistic experience: hyper textual room and intercultural. Specific learning objectives by topic: Each theme has an objective that will be linked with some experience that leads the participants to live art more closely. In the present program, the generalities of these artistic experiences are given, on which each teacher will have to adapt them to the context of the region where the subject is taught, therefore it is very important that a detailed planning of the practical activities is carried out. that they give meaning to the course. It is important that the realization of these artistic experiences does not completely suppress the revision of texts. The teaching methodology suggests how to integrate the different activities. The first

4 module seeks to work on the study of perception and interpretation in order to understand the way in which identity is constructed on a personal level, thus laying the foundations for a first exercise aimed at becoming aware of the importance of self-knowledge - strengthening of that identity, which leads us to promote an individual change emanating from the subject's own decision. In general, it is about understanding that everyone must work on themselves, the basic principle of intercultural dialogue. The key questions to answer are: Who am I? How do I interpret? Why do I interpret in such a way? What do I value? What would I like to change in me? In the second, the ability to analyze otherness based on Art will be strengthened. Thanks to the reflection previously made on the way in which we perceive and interpret, and taking as reference that identity is an intersubjective construction, we can have more elements to value what art and beauty are, not as a mere question of individual appreciation, but looking for a collective construction of how we understand the feeling of art from our differences and affinities as a group. Also sensitize the student about the motivations of the artist. To do so, it is very important to have a good management of the elements of art analysis, understanding the forms and principles of art and the way in which they are being used by the artist in question. In general, it is about understanding the ways in which artists are spokespersons of society and how art is a way to understand the feeling of a community at a certain historical moment. The presumed keys are: What is art and beauty? What does it mean and how is each artistic expression conformed? How can I analyze them and make an assessment? How can I express myself through art? The last module will lead the participants to integrate the individual reflection and the analysis of art as a form of expression of social feeling, with the study of intercultural relations, taking into account the main ideologies created around cultural diversity in order to promote the internalization of attitudes of respect, tolerance and acceptance of the other. All based on the promotion that each being is subject capable of transforming their reality, so that young people acquire a more active citizenship. What is culture? How is built? How it changes? How can I understand and value it? How can more equity be generated among cultural groups? I. Identity and personality 1.1 Become aware of the way in which we define reality from the Western and Eastern point of view and the way in which the senses allow us to perceive a large part of what exists. Artistic experience: generate activities through which each participant can explore the use of each of their senses. Since one of the main senses that we use to access knowledge is sight, we will blindfold our eyes, suggest exploring each sense in the following way: Hearing: music of different types that facilitates the connection with sensory experience. Tact: touching different textures, Both natural and artificial Smell: to be able to smell the objects that are initially provided, and later to use essences Taste: try different types of flavors (sour, sweet, bitter, salty) View: close the activity with a first encounter with otherness, in the one that the participants will face each other, having the indication that when they open their eyes they only look at the person they have before them, then share 3 positive aspects that they have felt in the other. 1.2 Understanding the construction of identity based on the relationship with otherness. The proposals that can be used could be those of Luis Villoro: The interpersonal stage: the recognition of difference with all individuals, whether they are part of the same culture or not. The intercultural stage: the other human that belongs to the other culture, that is to say, an alterity with a structural and sociohistorical sense, central point in the present work. The metaphysical stage: The Other absurd, the divine and sacred, an issue that takes relevance in the inter-ethnic relations because of the different worldview that we have about the order of things. The stage of social praxis: plurality and the human community, an area where somehow the pure relationship of exteriority and exclusion between the self and the another, between the conscience and the world, between the human and the divine, between modernity and tradition. (Ramírez, 2007) 1.3 Know some theories of personality to determine the influence of the family and social models in the constitution of the same, as well as the relationships that can occur between parenting and identity acquired in their own personality. Artistic experience: generate through mental maps a picture in which each person shapes those elements that define him as an individual, his relationship with the divine or higher and finally the way in which he inserts himself into the collectivity. Later, it will transfer all those concepts in shapes and figures that will be reflected in an autobiographical drawing. As a support for this activity, it is suggested to carry out a review of self-portraits and the reading of the biography of the authors of them. The mental maps technique allows to generate knowledge schemes where the exchange of codes is achieved, encourage creativity, prioritize information, develop a vision that allows the student to go from the part to the whole and from the whole to the part, fostering the capacity for synthesis and generate a sense of achievement in terms of acquiring knowledge and skills; reinforces the attitude when developing the mapping under positive rules and behaviors for work. This activity will serve as an introduction to the subject of painting. 2. The art world. 2.1 Understand and compare the concepts, elements and principles of art through the establishment of existing differences between all concepts and ideas that allow the development of a language of art. 2.2 Know the elements and principles of art to apply them properly when working with different manifestations and artistic fields. 2.3 Describe the components of the formal analysis and image reading methodology to apply them to specific contexts of architectural, sculptural and pictorial works. 2.4 Interpret artistic work through develop skills for reading the image and the symbolisms of art that lead the student to structure coherent and well-founded critical judgments. 2.5 Identify the methodological elements for reading images and symbolisms of a work of art to be applied throughout the course

5 for analysis and interpretation, through classification, the reading of denotative, connotative images, the iconographic contents and common references with other works of art. It is expected to learn to read symbolic elements, stories, themes, figures recreated in the work for a first reading of symbolic aspects and the messages poured into them. Observation on the management of artistic experiences: - Dedicate a minimum of 4 hours of class for each art form in which different works that are presented in printed photographs are analyzed, so that each participant elaborates analysis maps and sheets of each work. The studies of the different forms of art could be substituted if the teacher considers it pertinent. For example, it is considered valid to analyze photography instead of painting. In the same way architecture and sculpture can be integrated in the same part and give rise to the valuation of any dance or music issue. - The contents that are marked are the merely technical questions of art, what is sought instead with this is that the participants realize how different elements are used and interpreted differently depending on the culture. Therefore, the inclusion of an appreciation of Moorish, Romanesque, Mesoamerican architecture, etc. is extremely valuable. or of some painting of a context of India in comparison with some of the Renaissance. This is how intercultural will be present in the evaluations and where the contents of the first theme should be strongly linked in terms of the ways of defining reality. - In all the artistic experiences of this unit, as in the course, it is very important to work on the sensitivity towards the other, through collective works in which they have to generate something jointly. - In the sculpture, students are expected to perform exercises to feel different textures. It is highly recommended that there may be a working space with mud, denture of which sculpture exercises are done in pairs, using one hand each. - In architecture, it is proposed that they focus on the use of spaces, focusing on the sensation to be inside constructions with different styles, from those that have a more open space to those that are more closed. In this space, it is proposed to do an exercise in which taking into account the elements of architecture and sculpture, students write the description of their ideal home, in which questions of their personality are integrated. The texts will be given to other colleagues who will draw it. - In case that the artistic experiences have a) or b), it means that there is a choice. - The artistic experiences are mere suggestions that can be adapted by the teacher. Artistic experience: take a portrait photograph of someone that everyone considers important, in such a way that they look for a stage to portray it and then do a group analysis of the application of the principles of art in the image of each person. Depending on the size of the group, you can choose to do the analyzes in pairs or larger groups. The analysis must take a single session of the course. Artistic experience: have meetings with local artists to learn about their life, motivations, influences, trends or styles and in this way to analyze their work in depth. It is suggested that the artists be of different lines and styles, so the participation of a rock or reggae musician together with one of the philharmonic can contribute to the student generating connection with the activity and realizing the diversity of influences that have the cultural expressions that are closest to you. III. Rethinking our culture: In this module, the analyzes of artistic expressions will be maintained, but integrating the assessment of the context and the way in which it influences the artist and society. 3.1 Be clear about the complexity of the culture, through the study of the elements that separate it. Artistic experience: from a visit to a regional history museum, to be able to determine the different elements of the local culture, analyzing the influence that they have in the lives of the participants. Due to the intercultural approach that is sought, it is important to highlight the influence of different cultures that has been had in the region and the way in which this influence is present in some concrete expressions that are found in the museum. Such would be the case of colonial art, where you can see the influence of Iberian and Mesoamerican culture, which in turn may have elements that come from other cultures such as Arabic and Roman, and in the case of the Mesoamerican, see that it is not a culture as a whole, but that it was formed by different cultures. 3.2 Make latent the influence of social representations or worldview of each culture in different expressions, not only artistic but even scientific. It is important to be aware of the influence that society has on individuals in the conformation of their identity, but being clear that representations are not a coercive issue, but that each subject adapts them depending on their context, so it is possible to break paradigms that foment discrimination or apathy to generate social changes. Artistic experience: through some literary work of a Latin American author as well as some Mexican mural (Orozco, Rivera or Siqueiros) to perform an analysis of the influence of the sociopolitical context in the work, to understand the way in which the artist becomes a spokesman for society. It is suggested to make a chronological line to highlight the main events that occurred previously and after the work in question was carried out. As a closing, you can ask the student to write a poem that expresses the current feeling of the community to which it belongs Know the principles of cultural classification and use the classification made by Hall on cultures, to understand the way in which each interprets reality, space management, verbal and non-verbal language, understanding of time, the handling of uncertainty among others. Artistic experience: attend a dance show to read the use of space and non-verbal language in that expression. It will be very useful to be able to observe dance videos of another type to make a comparison. Artistic experience: after reading the biography of a painter, which is recommended to be surrealism, students will place a photo of that painting, on which they will draw around the same continuation of the painting according to the worldview of the student but trying to respect the initial intention of the artist. The teacher will create teams of 4 members, so around the painting will create 4 quadrants, assigning each one in such a way that everyone respects the vision of others looking for coherence in the collective work. At the end, taking into account the theory seen, a reflection will be made about who served as the dominant culture, subculture or counterculture Make a historical review of the different ways in which the cultural difference has been addressed, emphasizing how even some current that was progressive in its time, nowadays could be considered a very discriminatory vision. Therefore, it is about emphasizing how culture and representations are not static and therefore cannot speak of an absolutely true vision spatially and temporally. For this topic, case studies and not artistic experiences are suggested, as they are a more theoretical-philosophical

6 topic. Local case study: make a visit to a museum where you can see clothes of different ethnic groups or review photographs of them to subsequently generate a debate on the following approach: should or should not maintain that clothing? This activity will serve to introduce interethnic relations and the theme of Bonfil's theory of cultural control. 3.4 Address the different views that have been had on cultural diversity, taking into account in a special way the terms of multiculturalism, multiculturalism and intercultural. Later Guillermo Bonfil's theory of cultural control will be thoroughly reviewed, through which a reflection will be made on the way in which we interact with others, especially culturally different ones. Review the approaches made by César Carrillo in his essay Pluriverso, to understand the limitations that have been the construction of a world where everyone can express themselves in the terms of their culture, harmoniously and peacefully with those who are different. This topic is essential to understand the problems in social development, so it is suggested to open a space to discuss the development of historically excluded groups. Artistic experience: to elaborate a hypertext room with themes that imply intercultural. Given the problematic of the cultural conflict that our country has had, we could use a song like "La Llorona" or some other one that shapes the theme of the region, so that around the theme song, painting, sculpture etc. the room is built. The hypertext room is widely recommended to be mounted within the space of the community in question, in which the experiences that the students had in the first session of becoming aware of their ways of perceiving will be incorporated. Note: a hypertext room is a space where there is a specific theme around which a context is constructed that helps to better understand a work and / or an artistic period. The challenge is to generate different experiences and sensations in those who develop it and in those who travel it. Final project: incorporate all the experiences and knowledge of the course to develop an artistic expression workshop for boys and girls, with the aim of influencing some of the following aspects: - Stimulation of their senses - Strengthening of their self-esteem - Improvement of relationships interpersonal- Promotion of healthy habits of life- Modification of patterns of interaction between different gender or culture, to contribute to social equity The objective of the workshop will have to be presented to the students from the third session, upon completion of the identity review and before starting with the artistic analysis, so that during all the activities that they have they can generate ideas about it. One strategy that is proposed is that at the end of each week, a space of time is allocated so that the students can express their opinion about the activities. What is sought is to generate a critical vision to evaluate proactively. The way of designing the workshop, including the type of artistic activities that can be used, will depend on the teacher as well as the students. For this workshop, the participants will have to elaborate a detailed planning or descriptive letters of each activity, covering among other things the following points: - General Objective - Specific objective - Theoretical basis - Description of the activity to be carried out (time, place, material, responsible, number of participants, guidelines) - Way to evaluate the impact. At the end they should prepare a report of each activity to measure the results that have been had. Finally, the workshop as a whole will be taught in two days, so several activities must be developed to cover 6 hours each day. Suggested methodologies and learning techniques: Learning activities conducted by a teacher: 1. Reading and analysis of primary and secondary sources around topics / contents. 2. Awareness, observation and analysis of artistic works and their cultural and social contexts politicos. 3. Debates in the classroom and online discussion forums and / or face around themes of the course. Independent learning activities: 4. Visits to exhibitions, conferences and cultural events. Writing critical research and opinion essays. 5. Formal and interpretative analysis of works. Teaching and learning tecniques: Service-Learning Estimated timing per topic: Topic 1: 6 Topic 2: 28 Topic 3: 14 Suggested evaluation policies: For the evaluation of student learning, there are procedures and criteria that allows to monitor and evaluate the results of the learning process. The procedures and the weighting of each of them are the following: 20% --- Partial 1: Partial exam, essay, team presentations of certain topics 20% --- Partial 2: Partial exam, essay, team presentations of certain subjects.

7 20% --- Partial 3: Partial exam, essay, team presentations of certain subjects. 40% --- Final evaluation: Final research project, individual or in teams, final exam, final essay. Suggested Bibliography: TEXT BOOKS: * Cantú Delgado, Julieta de Jesús., Historia del arte,, México : Trillas, 1996,, * Chen, Guo-Ming., Foundations of intercultural communication,, Boston : Allyn and Bacon, c1998,, (pbk.) BOOKS FOR CONSULTATION: * Hall, Edward Twitchell, Understanding cultural differences,, Yarmouth, Me. : Intercultural Press, c1990,, X * Buzan, Tony., El libro de los mapas mentales : cómo utilizar al máximo las capacidades de la mente,, Barcelona ; México : Urano, 1996, engspa, (tela), (ru stica), (ru stica) * Kuper, Adam., Cultura : la versión de los antropólogos,, Barcelona : Paidós, 2001,, , * Klesing-Rempel, Ursula, Lo propio y lo ajeno : interculturalidad y sociedad multicultural,, México, D.F. : Plaza y Valdés : IIZ/DVV, 1996,, (pbk.) * Todorov, Tzvetan, Nosotros y los otros : reflexión sobre la diversidad humana, 3a ed., México : Siglo Veintiuno, 2003, spafre, Support material: Academic credentials required to teach the course: (302301)Master Degree in Intercultural/Multicultural Studies ; (450201)Master Degree in Anthropology ; (500702)Master Degree in Fine Arts ; (302301)Doctoral Degree in Intercultural/Multicultural Studies ; (450201)Doctoral Degree in Anthropology ; (500702)Doctoral Degree in Fine Arts CIP: , , Language of Instruction: Spanish