El hecho coreográfico como instrumento de mediación en la educación al patrimonio.

Abstract

In this compendium of eleven articles published in peer-reviewed journals, the aim is to study and analyse the performative language and choreographic proposals in the context of museum spaces to identify new concrete proposals for audience engagement for a more active and participatory visit. As this research took place during the pandemic, in addition to a general overview, we measured ourselves with the new form of screen-mediated space in a research action (Mortari). Using a mixed-methods approach (Gregar; Johnson et al,) and a phenomenological research-oriented posture (Marleau-Ponty, Zambrano) we work on two concrete case studies: a training course for primary school teachers (Fare insieme #squola_pubblica), carried out with the performative artist Marcella Vanzo and the educational department of the Pirelli Hangar Bicocca. And a training course for educators from the Municipality of Milan's Civic Museums, ¿From distance to presence¿. We examine gesture from the perspective of visual studies (Mitchell, Brederkamp, Pinotti), analysing the forms of transposition of movement into images. In choreography, this act is referred to as notation and is how artistic projects are communicated to dancers and handed down to posterity. The nature of gesture as a means and instrument of immediate transposition (Chevalard; Damiano; Rivoltella) is, for us, the basis of this study in the field of heritage education.The research highlights the value of the sensitive experience, that goes beyond the capacities of individual professionals or perfomers, to offer a fruition that determines a dimension of well-being, overcomes a formal attitude and eliminates the main barriers of access to contemporary art and to cultural heritage. We found as outcome the reconsideration of the body as a mediator of the educational (Bishop, Gamelli, Hooper-Hill) and training experience. On the one hand we see the "body as archive" (Lepecki) for new knowledge, on the other hand the space of digital educational activities is reified, thanks to this new role of the body. The instrument of this new relationship with the real is the performative practice, through a process of deconstruction (Derrida) opposed to the traditional educational practice.