Alonso-Sanz, Maria Amparo & Ramon, Ricard (2019). Silences, connections, links. Objectual cartographic drift. DOI: 10.24981/M2019.3 Silences, connections, links. Objectual cartographic drift. Amparo Alonso-Sanz & Ricard Ramon. University of Valencia (Spain) Abstract: Identity as a concept of interest in education needs deeper comprehension. All student in their initial training should confront their identity with that of others. This is an educational aptitude in adults that we want to improve through artistic practices. Through art practices we can portray reflections about what concerns us in identity-related problems. Some resources like silhouettes, colours, ropes, tapes, drawings, photographs, pictures, and digital images, are placed in an action board to be used in collaborative cartography created by the workshop audience. Community-Based Art Education is developed in three steps: self-introspection in silent, drifting while interacting with people and objects, drawing a cartography on the floor looking for connections and links. Keywords: drift, cartography, public art, Community-Based Art Education Introduction Identity as a concept of interest in education needs deeper comprehension (Alheit, 2015; Mesías-Lema, 2018; Monk, Lindgren, McDonald & Pasfield-Neofitou, 2017). All student in their initial training and every teacher should confront their identity with that of others to find possible synergies, especially to be able to mediate or prepare pupils to resolve political issues. This is an educational aptitude in adults that we want to improve through artistic practices. Because schools are educative communities where conflicts like bullying, diversity rejection, intergenerational discussions, etc. take place and should be prevented or solved. Identity depends on the influence of some institutions, for instance: states, law, home, school, and mass media. All of these institutions contribute to develop the social and cultural values of a community. However, nowadays are being stablished new limits, breaking older boundaries and proposing ways of connection and communication between different countries. Specially in a globalized world where knowledge can be shared immediately. Through art practices we can portray reflections about what concerns us in identity-related problems. Community-Based Art Education (Ulbricht, 2005) allows us to act artistically with the sense of social reconstruction. The InSEA Seminar meets people from different research groups specialized in art education. These participants are called to propose discussion issues, new narratives and concerns about identity in a workshop. To develop the workshop an action board is prepared in public space. In this area, some objects are placed to represent institutions: a school chair, a little house, a map, a newspaper, cardboard big M (museum) letter, a judge’s hammer. We propose the use of graphics and objectual representations to design a metaphor of our worries or concerns, desires, thoughts, challenges, paths... For this purpose, we can use silhouettes, colours, Alonso-Sanz, Maria Amparo & Ramon, Ricard (2019). Silences, connections, links. Objectual cartographic drift. DOI: 10.24981/M2019.3 ropes, tapes, drawings, photographs, pictures, and digital images. These resources placed in the action board are used in collaborative drifting and cartography created by the workshop audience. The proposal is developed in three steps: self-introspection in silent, drifting while interacting with people and objects, drawing a cartography on the floor looking for connections and links. Self-introspection First of all, participants are invited to look at their surroundings, walking the space in silence, looking for self-introspection. Noise is synonymous with interference, constant interruption of vital rhythms, even natural and biological. So, using the resource of silence as an educational practice, becomes more necessary than ever. Noise prevents elaborating processes of self-reflection and analysis about us, as individuals and as a collective, we are too busy in day to day due the need to have to communicate permanently, but this produce noise not real communication and introspection. It's a warm-up phase to recognize the space, objects and people. Drifting while interacting with people and objects After this personal moment, people are asked to interact while we (researchers) suggest different actions, for example walking slowly, touching others, looking into each other's eyes, changing directions… It is very important for us to provoke and to stimulate connections and experiences between persons, through these artistic practices. Nowadays in our hyperconnected world some values like the sense of community, empathy, solidarity, etc. seem to work only in the virtual networks. Consequently, we are losing the real communication, one of the most important essences that define the human being. The proposal of drifting, employed by Surrealist and International Situationist artists (Debord, 1958), is used in an educational environment to transform a public space (it also could be a playground or a classroom) into a stimulating place to provoke new ideas. The art used as a way for knowledge creation through the experiences of performance and action but understood as an educational and consciousness-transforming action. Between step 2 and 3 the process is progressively complicated through some motivational questions or orders: Could you imagine a global map with other kinds of border controls? Which kind of immigration issues are there around institutions (represented by objects)? Is contemporary art addressing terms like: separatisms, ethnic, religious or sexual discriminations, conflicting interpretations of climate change? Could you find someone interested in the same artists as you? Etc. Alonso-Sanz, Maria Amparo & Ramon, Ricard (2019). Silences, connections, links. Objectual cartographic drift. DOI: 10.24981/M2019.3 Drawing a cartography on the floor looking for connections and links Finally, people are invited to write on some pieces of paper words related to identity. In addition, to transmit the connections and links discovered among the participants are welcome drawings, writings, graphics and other interventions on the action board. This material and other resources are used to design a large cartography (Monica Zewe & Adair de Aguiar, 2017; Masny, 2013) on the floor. We built living cartography together in which our bodies are also an essential part of the action. All this was related to the photographic pictures obtained in the process of artistic action. Alonso-Sanz, Maria Amparo & Ramon, Ricard (2019). Silences, connections, links. Objectual cartographic drift. DOI: 10.24981/M2019.3 Alonso-Sanz, Maria Amparo & Ramon, Ricard (2019). Silences, connections, links. Objectual cartographic drift. DOI: 10.24981/M2019.3 Conclusions We are establishing the connections between people and their actions thanks to the artistic methods such as performance, drawing, painting. The results of the activity are depicted by the photo essay, developed from a selection of the photos taken during the action. We show that educational actions through the arts create new sensitive worlds that encourage and stimulate the exchange between people, create bonds that become visible with the arts and transform positively, at least a little, human beings. We provoke critical thinking and new modes of knowledge through the arts. References Alheit, P. (2015). ¿Identidad o “biograficidad”? In F. J. Hernández & A. Villar (Eds.), Educación y biografías. Perspectivas pedagógicas y sociológicas actuales (pp. 19-70). Barcelona: UOC. Alonso-Sanz, Maria Amparo & Ramon, Ricard (2019). Silences, connections, links. Objectual cartographic drift. DOI: 10.24981/M2019.3 Debord, G. (1958). Theory of the dérive. Internationale Situationniste, 2 [http://www.bopsecrets.org/SI/2.derive.htm]. Masny, D. (Ed.) (2013). Cartographies of Becoming in Education: A DeleuzeGuattari Perspective: Birkhäuser Boston. Mesías Lema, J. M. (2018). Artivism and social conscience: Transforming teacher training from a sensibility standpoint. [Artivismo y compromiso social: Transformar la formación del profesorado desde la sensibilidad]. Comunicar, 57, 19-28. doi:https://doi.org/10.3916/C57-2018-02 Monica Zewe, U., & Adair de Aguiar, N. (2017). Cartographic intervention research in Art Education. Educação Unisinos, 21(3), 387-394. Monk, N., Lindgren, M., McDonald, S., & Pasfield-Neofitou, S. (Eds.). (2017). Reconstructing Identity: A Transdisciplinary Approach. Cham: Palgrave Macmillan. Ulbricht, J. (2005). What is Community-Based Art Education? Art Education, 58(2), 6-12. 10.1080/00043125.2005.11651529.