La docencia en la Escuela Sevillana de Baile Flamenco: de la experiencia práctica a la práctica de la enseñanza

Abstract

El arte flamenco es un símbolo de identidad que caracteriza la cultura española. Aun siendo considerado Patrimonio Inmaterial de la Humanidad por la UNESCO desde 2010, son recientes los nuevos Planes Estratégicos gubernamentales que pretenden impulsar el flamenco mediante su inclusión en el sistema educativo abarcando diversas etapas no universitarias. Esto se recoge en la reciente Ley 4/2023, de 18 de abril, Andaluza del Flamenco, cuya finalidad es garantizar la protección, conservación, difusión e investigación del flamenco mediante la promoción de su conocimiento como patrimonio vivo, libre y universal. El objetivo general radica en coadyuvar a la conformación de los principios pedagógicos del flamenco mediante el estudio de la escuela sevillana. El peculiar estilo de esta escuela representa el baile flamenco femenino tradicional, defendiendo el purismo en sus prácticas docentes. Este estudio presenta una visión tridimensional de la temática investigada. En primer lugar, se realiza un análisis documental sobre la construcción histórica y sociocultural del flamenco, así como el concepto propugnado por la escuela sevillana de baile, ahondando en sus características estilísticas. En segundo lugar, se abordan los testimonios de las maestras que conforman este estilo de baile y se realizan diversas observaciones para estudiar el estado de la enseñanza en el baile flamenco, tanto en los ámbitos públicos como en los privados. En tercer lugar, se estudian determinadas teorías del aprendizaje asociadas al concepto de arte como elemento fundamental en la construcción del conocimiento, situando el foco de estudio en dos teóricos que han dedicado gran parte de su trayectoria académica a construir el concepto psicológico del arte: Vygotski y John Dewey. La metodología es de enfoque mixto con predominio cualitativo, utilizando la triangulación espacial, temporal, teórica y metodológica en las distintas fases de la investigación. Se realizan diferentes pesquisas utilizando múltiples métodos de investigación: el método PRISMA, método comparado, estudio de caso múltiple y la teoría fundamentada. Los instrumentos utilizados son entrevistas semiestructuradas, escalas de registro, registro anecdótico, diario de campo y conjuntos de ítems basados en la revisión sistemática de la literatura. Los datos recogidos se presentan en nubes de códigos y categorías de análisis haciendo uso del software de análisis de datos cualitativos ATLAS.ti. Los resultados se plasman en sistemas de registros de códigos y categorías, tablas comparadas y gráficas, que permite completar la información obtenida. Se realza la importancia de la praxis artística reflexiva para alcanzar un desarrollo profesional óptimo. Se afirmar que existen tres etapas de la profesionalización de la enseñanza: “etapa práctica”, “etapa de reciclaje e inquietud profesional” y “etapa de consolidación”. Tras realizar un análisis exhaustivo de los estilos de enseñanza, se reúnen los denominadores comunes que bien podrían constituir la esencia de la escuela sevillana. De tal forma que se aúnan los principios pedagógicos de los procesos educativos de este estilo. Las docentes tienen como finalidad extraer el potencial individual de cada alumno para favorecer su crecimiento y la personalización de su baile. Se afirma que existe una relación significativa entre los planteamientos y consideraciones sobre la pedagogía del arte de Vygotsky y los principios pedagógicos inmersos en las enseñanzas de baile flamenco de escuela sevillana. El proceso de aprendizaje de este estilo de baile necesita del contexto y la relación del individuo con el entorno para desarrollar su zona de desarrollo próximo. El flamenco encarna los principios de las teorías de Dewey y constituye una forma de arte altamente interactiva y participativa que involucra tanto al artista como al público en una experiencia compartida.

Flamenco art is a symbol of identity that characterises Spanish culture. Although it has been considered Intangible Heritage of Humanity by UNESCO since 2010, the new governmental Strategic Plans are recent, which aim to promote flamenco through its inclusion in the educational system, covering various non-university stages. This is included in the recent Andalusian Flamenco Law 4/2023 of 18 April, which aims to guarantee the protection, conservation, dissemination and research of flamenco by promoting its knowledge as a living, free and universal heritage. The general objective of this doctoral thesis is to contribute to the shaping of the pedagogical principles of flamenco through the study of the Sevillian school. At present, the peculiar style of this school represents the traditional female flamenco dance, defending purism in its teaching practices. This study presents a three-dimensional view of the subject under investigation. Firstly, a documentary analysis is carried out on the historical and socio-cultural construction of flamenco, as well as the concept advocated by the Sevillian dance school, delving into its stylistic characteristics. Secondly, we deal with the testimonies of the teachers who make up this style of dance and make various observations to study the state of flamenco dance teaching, both in the public and private spheres. Thirdly, we study certain learning theories associated with the concept of art as a fundamental element in the construction of knowledge. This last section focuses mainly on social constructivism and experiential learning theory, placing the focus of study on two theorists who have devoted a large part of their academic careers to constructing the psychological concept of art: Lee Semyonovich Vygotski and John Dewey. The methodology is a mixed approach with a predominantly qualitative focus, using spatial, temporal, theoretical and methodological triangulation in the different phases of the 9 research. Different enquiries are carried out using multiple research methods: the PRISMA method, comparative method, multiple case study and grounded theory. The instruments used are semi-structured interview designs, recording scales, anecdotal record, field diary and sets of items based on systematic literature review. The collected data are presented in code clouds and categories of analysis using the qualitative data analysis software ATLAS.ti. The results are captured in code and category record systems, comparative tables and graphs, allowing for completeness of information. It can be seen that the teaching staff is very concerned about safeguarding the essence of the art of flamenco by codifying the Sevillian school of dance. The teachers have created their own methods of preserving teaching through experiential learning, reaffirming the pedagogical principles commonly used in their teaching practices. Flamenco teaching requires the consolidation of a solid methodological basis as a principle of codification of flamenco content. The importance of reflective artistic praxis is highlighted in order to achieve optimal professional development. Studying the construction of their teaching profile allows us to affirm that there are three stages in the professionalisation of teaching: A. ‘Practical stage’, characterised by unconsciousness, mere execution or repetition of models or previous teachers. B. ‘Recycling and professional restlessness stage’, where, after several years of teaching, curiosity and the need to continue training are awakened. C. ‘Consolidation stage’, where an experiential baggage is observed which directs the professional work. After an exhaustive analysis of teaching styles, the common denominators that could well constitute the essence of the Sevillian school are brought together. In such a way that the pedagogical principles of the educational processes of this style of flamenco dance are brought together. The teachers aim to extract the individual potential of each student by 10 making contributions and corrections that favour their growth and the personalisation of their dance. It is affirmed that there is a significant relationship between the approaches and considerations on Vygotsky's pedagogy of art and the pedagogical principles immersed in the teaching of Sevillian school flamenco dance. The learning process of this dance style needs the context and the relationship of the individual with the environment in order to develop his or her zone of proximal development. At the same time, flamenco has a deep cultural and personal meaning for those who practice it. It is not only a form of dance or music, but a way of expressing emotions, stories and traditions through rhythmic movements and moving melodies. By studying theories of learning based on flamenco dance, we find that the pedagogy of the art promotes critical thinking, social change and socio-cognitive development of those who practice it. The art of flamenco embodies the principles of Dewey's theories, as it is a highly interactive and participatory art form that engages both performer and audience in a shared experience. The interaction between the living organism and its environment leads to Dewey's concept of the aesthetics of art, emphasising this relationship between the artist and his environment. In the case of flamenco, the body movements and gestures of the dancers express complex emotions and cultural meanings that are shaped by the artist's experiences and environment.