Different Forms of Sensitivity. Frameworks Interplay In Relation to Artistic Education

I. Research Papers
By Sophie Necker, Jean-Paul Filiod

This 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.


  • artistic education
  • body
  • experience
  • framework
  • sensitivity
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