“每一幅美丽的画作背后都是一个渴望自由的孩子”:深度视觉倾听与危机时期的儿童艺术

IF 0.6 Q3 EDUCATION & EDUCATIONAL RESEARCH Global Studies of Childhood Pub Date : 2021-06-01 DOI:10.1177/20436106211023509
Yolanda Chávez Leyva
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引用次数: 2

摘要

“深度视觉聆听与危机时期的儿童艺术”探索了一种理解危机中创作的儿童艺术的方式,以及我们可以通过“未经处理的托尼洛艺术拘留中心”展览的镜头从中辨别出的意义。2018年,美国政府开设了一个拘留中心,关押那些通过特朗普的零容忍政策独自越境或与家人分离的年轻人。这些年轻人来自中美洲,前来寻求庇护。他们逃离了极度的贫困和暴力,来拯救自己的生命。为了通过一系列残酷的政策阻止寻求庇护者,美国将这些年轻人拘留在军事化的营地,在那里他们受到持续的监视。他们不知道何时或是否会被释放,并经历了抑郁和创伤。拘留中心的一个艺术项目使他们创作了大约400件作品,其中30件幸存下来。“未经处理的艺术”在2019年展出了这些作品。这篇文章回答了这样一个问题:“通过视觉倾听,我们可以了解到孩子们,那些创作作品的匿名艺术家的什么?”视觉倾听是一个涉及我们所有感官的过程。听力需要有意识的行动,而听力是自动的,是我们在母亲子宫里发育的第一感觉之一。这种方法使我们能够在危机时期更深入地参与儿童艺术,而不仅仅是观看艺术品。这种练习有两个部分:深度听力和视觉听力。结合在一起,它们提供了一种强有力的方式来倾听艺术所体现的故事、历史、记忆和情感,并通过我们的思考和理解而赋予生活
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“Behind each beautiful painting is a child longing to be free”: Deep visual listening and children’s art during times of crisis
“Deep visual listening and children’s art during times of crisis” explores a way to understand children’s art created amidst crisis as well as the meanings we can discern from it through the lens of the “Uncaged Art Tornillo Detention Center” exhibit. In 2018, the U.S. government opened a detention center to hold youth who either crossed the border by themselves or were separated from their families through Trump’s Zero Tolerance policy. The youth were from Central America and came seeking asylum. Fleeing profound poverty and violence, they came to save their lives. To deter asylum-seekers through a series of cruel policies, the United States detained the youth in militarized camps where they were under constant surveillance. They did not know when or if they would be released and experienced depression and trauma. An art project at the detention center resulted in their creating approximately 400 pieces, of which 30 survived. “Uncaged Art” exhibited these works in 2019. This article answers the question “What can we learn about the children, the anonymous artists who created the works, through visual listening?” Visual listening is a process that involves all our senses. Listening requires conscious action, unlike hearing which is automatic and is one of the first senses we develop while still in our mother’s womb. This methodology allows us to engage with children’s art in times of crisis more profoundly than simply seeing the artwork. There are two parts to this practice: deep listening and visual listening. Combined, they provide a powerful way to listen to the stories, the histories, the memories, and the emotions embodied by the art and brought to life by our reflections and understanding
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来源期刊
Global Studies of Childhood
Global Studies of Childhood Social Sciences-Sociology and Political Science
CiteScore
2.00
自引率
0.00%
发文量
26
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