The story of the A Bao A Qu, narrated by Jorge Luis Borges and Margarita Guerrero in The Book of the Imaginary Beings (1969), like many great stories, can be read as a parable of many other stories. Among them, the person that devotes himself to what is called "artistic education". Like the A Ba a Qu, he also waits for the opportunity to accompany the occasional visitor in that itinerary that will allow him "to look out over the loveliest landscape". He is also brought to consciousness and glows along the way. But unlike the A Bao A Qu, he doesn't have a stairway. He must build one.

There are no specific rules for building a stairway. Each one has their own, which will make up a style, a way of doing things. We ave been guided and accompanied by a few words:


The capacity of being brave and of firmly believing in something.


The word "workshop" reminds firstly of a space. A place inhabited by more or less diverse elements where everything may happen. The workshop is the place where creation, in its multiple forms, is possible. It is also the place for trial, experimentation, work and fun. And finally the workshop is an intimate place, the place where the artists feels at home. 


Experience doesn't end up stored somewhere in our memory, but it imbues our way of being: the way we inhabit the world. Art cannot be interesting, not even important. The value of the art lies in the fact that it is vital, something that changes our life and, so, it changes us. This premise must always be on the foundation of any activity that deals with art transmission. Our aim is to turn the workshop into something more than an educational space, but a space for experience. 


One of the big thing about art is that it gives us back our subject condition. in current times, there are few occasions when children and young people are given the opportunity of being subjects. Art must make them be. In some cases, this is precisely the main difficulty: it is easy to forget our own capacity of acting. It is easier –and in too many occasions the school facilitates and promotes this– to be a recipient, a container, rather than being an agent, an active and creative element.  

The most important thing that a transmitter can achieve is precisely to lie the conditions for opening up the possibility and desire for creating. 


Art doesn't let itself to be consummed. For this reason, a true initiation to art must be achieved through permeation. And this is the role, fundamental and essential, that must play the transmission. If we truly believe in art, we must believe in its power. Let's expose children and young people to art! Make the most of it and enjoy! The advantage is that their skin is still very sensitive to light beams... Art will leave its mark.  

Now (and only the best)

Specially in the area of the art education, the fear sometimes makes us postpone the moment of presenting something big. "They are not ready yet", "They won't like it", "they are not used to this type of films (or music, show, literature...)", etc. The reaction usually is to start with something closer to them, little by little, very slowly until there will come the time to go higher. But we must ask ourselves if  we are not wasting precious time. If a boy or a girl can enjoy Mozart, Paul Klee, Jen-Luc Godard or Kafka, why do we show them things that we consider to be minor, or even banal? Time flies and life is too short to lose time with previous. Let's devote ourselves to the best, to what, now and always, is valuable.  


We want the art to touch young people, to tell them things, but we often want them to receive it in silence. Normally the insititutions, among them the schools and museums, run away from excess of effusiveness: expressions such as joy, disorder or desire are uncomfortable to them. 

The person who deals with transmission of art must be prepared to expose himself to whatever happens. We must provide young people with working conditions, face them with a work of art, encourage them to participate in artistic creation. And afterwards, let's allow the mixture to explode they way it wants: art and creation are not controlable. Let's let it flow freely, to explode in multiple directions, that each one's universes circulate, crash, meet, fly around, and that the minds jump and dance, at each one's rhythm. 


A pedagogy proposal of, with and through art must generate movement, connect the here (and now) with there; like desire, imagination. It must maintain and amplify its "project" condition: bring together what it is still unkown and it is dreamt of, being a trace but at the same time a boost. Like emotion, it must be movement and provoke it.  

The power of an artistic creation activity is not measured in results and efficieny, but with the amount of desires, expecatations and aspirations that sparks; it is measured by its capacity of "projecting" itself.