Education

Can silence be fun? In this one-session school workshop Nilo Gallego and Magda Labarga will explore the possibilities of listening and of noise, as well as their connections with the urban space and life in society. What does listening to the city mean? Is it possible to listen in the middle of chaos? What different kinds of silence are there? How many different kinds can we listen to? In this third edition of the workshop we will be looking to expand the limits imposed up until now in the practice and will push back new boundaries for silence. Operating in parallel to The Triangle project, the Noise and the City workshop will partake in the reflections that arise and will establish a dialogue on the various forms that silence can adopt in the school space.

The session is divided into different stations or stops. First of all, everything is amplified in the Listening Room. Have you paid attention to your clothes rubbing together? Have you listened to the hairs on your head as they hit off one another? Or to the symphony produced by the zip on your coat? In the Sonic Viewing Room we will take a look at the city and experiment with its sounds and use them to compose the rhythm of passers-by walking on the streets. In the Noise Room, after listening to the soundtrack of our everyday lives, the Noise and the City orchestra will rehearse for a street parade. In it, other voices that emit new slogans, accompanied by pots and pans and whistles, will propose other rhythms for our neighbourhoods.

This activity is aimed at groups of primary school children and their teachers, who will have an opportunity to take part in an action in which communication exists, but in an alternative way, and where attention is based on logics other than conventional ones: What would happen if adults didn’t ask us to be quiet for the next two hours?

Car na val ien te ne bro so rrrr pre sa cu di da nn za mm bu llir se mi lla mar cia no ché que re do si la sol fa mi re tum bar bas to nes sssshhhh

During carnival, communities come together to celebrate. Each individual engenders a cell within a greater organism that comprises ritual, embodying some powerful being, a monstrous character, a mystic queen, or a magical fish that, generally speaking, represents the arrival or departure of a key moment for the community when darkness and light go hand in hand.

This is a workshop to create our own carnival; to transform ourselves into sonic beings, into wonderful creatures with fantastic movements. A workshop that encourages desires to flow freely, to reimagine how we can move, how we can dream; to create other roles and new realities that allow us to question—through sound, visuals and movement—our surrounding reality and how we live in it.

3rd to 6th year primary school students

Maximum number of students: 30

Now that normality has become the strangest of things and we know that strangeness is normal, we adapt like chameleons to propose an activity aimed at primary school students.

Danzónico moves into outdoor spaces. Carnival is now held in darkness. The new fertile space gives birth to the most fantastic beings in the galaxy: creatures with impossible bodies that howl, scream and chirp with sounds never heard before by human ears. The new organism gives off dancing lights and is driven by a communal desire, expressed in the bond between the bodies. Bodies that touch each other through light. Darkness and light go hand in hand.

Danzónico is a workshop-laboratory in which we will generate our own carnival. We will transmute ourselves into sound beings, into magnificent creatures with fantastic movements. A laboratory in which we will transform our desires, our fears, our longings, our best qualities into an animal from outer space that inhabits a museum. A laboratory that lets desires flow free, to re-imagine our movements, to understand ourselves as part of an organism that transcends our own individual bodies; to subvert our assigned roles and to create new ones, new realities that allow us to question the reality we live in and how we experience it, through sound, movement and visuals. A carnival that is always different every time.

This activity was conceived to adapt to the current circumstances we are living through.

A group of children meet every Tuesday after school with the dancer Elena Córdoba to try out and create new dances, based on three types of movements:

1. Everyday movements.
2. Extraordinary movements made by individuals, including awkward, inappropriate, shy, extravagant and other movements.
3. Movements made in play and games.

4th, 5th and 6th year primary school students.

Elena Córdoba has left us instructions for dancing at home. Everyone on the floor!
 

_ Instructions for dancing like a forest and with a wall (PDF)
 

_ Instructions for dancing in the corner of your bedroom (PDF)
 

_ Instructions for dancing your way around the house (PDF)
 

_ A magic spell for dancing (PDF)
 

_ Instructions for dancing from the ground to the sky (PDF)
 

_ Instruction for dancing and floating (PDF)
 

_ The last dance (PDF)

A few years ago we started a collaboration project with teachers from the Enterarte group. What started out as a teacher training course here at the museum has grown into a project on education between equals in which knowledge flows from the two parts: the educators at the museum and the school teachers. This is true to the extent that we not only share visits to exhibitions (inside and outside the museum) and artist workshops with Azucena Vieites, the Colektivof collective, Bárbara Fluxá, Fernando Sánchez Castillo and Cabello/Carceller; but also, at the same time, Enterarte adds to the activities at CA2M and brings the everyday reality and experience of schools in order to help us grow as an education department.

This year we will continue this collaboration. We believe that it is critical to underscore the importance of passion and the work of this group of teachers and to continue thinking about the relationships between the museum and the school, opening up processes of research into artistic languages.

http://blogenterarte.blogspot.com.es

A place-archive-list to look in, to get lost in, to come out of … and many doubts too…

A desire to delve deeper into the realm of queerness following our experiences in the queer workshop with teenagers and with teachers and the need to share them has led us to create a changing space where we can continue exploring, thinking and losing ourselves together.

Project Q has no pretension to map queerness, rather it hopes to be a journey without a destination, eschewing the trap of closed categories, an action of moving forward, not of progressing but of getting lost, of turning back a little only to keep going on again.

De-organised by areas of probabilities, Project Q hosts a whole diversity of links and miscegenated, unstable in time, interchangeable, strange, shareable, chosen, and bastard materials.

Project Q:

https://proyectoq.tumblr.com

ENROLMENT FREE

Now that any future seems unthinkable, it is exciting to think about a possible future that will allow us to dance again. It is exciting to remember that we are alive, situating the body and experience at the very centre of life and artistic learning. Roland Barthes said that “we work with the act of apparition, the world that manifests itself through us and since we don't understand, we dance”. And so it is a question of dancing to understand the world and its potential. Dancing so that the interruption brought about by the current health crisis does not mean the end but a means through which we can dance once again. The workshop proposes a space in which we can rehearse the future(s) while dancing through different bodily practices, opening up a field of experimentation around the body (its uses, materialities and implications) and associating the experience with educational and learning spaces both inside and outside the classroom.

Paz Rojo is a choreographer, dancer and researcher with a PhD in performative practices specializing in choreography from the Stockholm University of the Arts (Stockholm, Sweden) with an artistic research dissertation called The decline of choreography and its movement: a body's (path)way. In 2019 she published the book To Dance in the Age of No-Future (Circadian), Berlin. More information here.

Every summer we organize a performance workshop for teachers, educators and artists interested in education. It involves a week-long work with the body in which we create bonds of collaboration and think about educational processes and performativity within education. In previous years these workshops have been led by Los Torreznos, Tania Bruguera, Pere Faura, Itziar Okariz, Norberto Llopis, Nilo Gallego, Dora García, Aimar Pérez Galí, Luz Broto, Aitana Cordero and Jiří Kovanda.

Enrolment free HERE.

This year we wish to see and to make film collectively and, with this purpose in mind, we have invited Chus Domínguez to design a workshop. Focused mainly on practice, it will be a space aimed at teachers and educators who want to use audiovisuals to question their workspace and to find new forms of images and sounds in the classroom. To listen and look again like never before.

Chus Domínguez is an audiovisual creator specialized in documentary film. Together with the Department of Education and Cultural Action at MUSAC (Museum of Contemporary Art of Castile and Leon), he has set up LAAV (Laboratory of Experimental Audiovisual Anthropology) to develop a range of collaborative research-creative projects. He is also a member of the experimental action group Orquestina de Pigmeos and is a lecturer in the Documentary Film degree course at ECAM film school.

Aimed at teachers and other people interested in education.