000			02024cam a2200229 4500500
005			20250112062810.0
041			_afre
042			_adc
100	1	0	_aNecker, Sophie _eauthor
700	1	0	_a Filiod, Jean-Paul _eauthor
245	0	0	_aDifferent Forms of Sensitivity. Frameworks Interplay In Relation to Artistic Education
260			_c2014.
500			_a8
520			_aThis article is based on research work bringing attention to the experience of schoolchildren in relation to their meeting with artists and choreographers and dancers. We are aim to show the interest of a specific method of assessment based on a plurality of subjective perspectives of a single reality. This promotion of intersecting points of view starts with one question: what do different social actors, working in the same place, with the same schoolchildren, say about situations resulting from working with an artist? Using film shootings of work sessions between an artist and schoolchildren, combined with individual and group interviews:we point out and analyse intertwined frameworks. The activity of the schoolchild is characterized with regard to his closeness and belonging to a framework. Studying what makes the inside and the outside brings to light multiple frameworks and allows a different look at experiences and their results;we discuss the idea of different forms of sensitivity. By analogy with the three cognitive forms of the artistic education (sense, show, reflect), an embodied sensitivity, a concrete sensitivity and a sensitivity put into words emerges. These forms enable questioning of sensitivity-as-knowledge, a concept that sheds light on school’s cognitive, social and institutional challenges when facing artistic practices.
690			_abody
690			_aexperience
690			_asensitivity
690			_aframework
690			_aartistic education
786	0		_nStaps | o 103 | 1 | 2014-05-16 | p. 87-99 | 0247-106X
856	4	1	_uhttps://shs.cairn.info/journal-staps-2014-1-page-87?lang=en
999			_c231889 _d231889