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Revista de Ciencias Humanas,
Teoría Social y Pensamiento Crítico
Universidad Nacional Experimental Rafael María Baralt
Maracaibo, Venezuela
N°Mayo - Agosto
resumen
La investigación tuvo como propósito diseñar un modelo de forma-
ción integral que asuma el arte como eje metodológico interdiscipli-
nar, capaz de superar los enfoques instrumentalistas del currículo
vigente. Para ello es necesario superar la persistencia de modelos
pedagógicos obsolescentes, centrados en la concepción bancaria
de la educación. En virtud de lo anterior, se propone una metodo-
logía cualitativa, basada en la investigación-acción colaborativa,
donde se implementaron cinco ejes temáticos con 59 participantes
(docentes y estudiantes), combinando pedagogías activas (Mon-
tessori, Reggio Emilia, Waldorf) y el Art Thinking. Entre los resulta-
dos más destacados se evidencia que: la creación artística promue-
ve el diálogo transdisciplinar; el cuerpo y lo sonoro resignifican el
espacio educativo; estas prácticas generan pensamiento crítico, no
solo competencias técnicas. Se concluye que el arte es un fin en sí
mismo, por lo que requiere políticas públicas que reformulen espa-
cios escolares, incluyan laboratorios artísticos en la formación do-
cente, mediante alianzas con instituciones culturales consolidadas.
Por ello, más allá del reduccionismo curricular, se ofrecen pautas
para caminar hacia educación centrada en la interdisciplinariedad y
la complejidad humana.
Palabras Clave: Formación docente, interdisciplinariedad, pedago-
gías activas, educación artística, complejidad humana.
Abstract
This research aimed to design a comprehensive teacher training
model that adopts art as an interdisciplinary methodological axis,
capable of transcending the instrumentalist approaches embedded
in the current curriculum. It calls for the overcoming of obsolete pe-
dagogical models, especially those grounded in the banking con-
cept of education. A qualitative methodology was proposed, based
on collaborative action research, with the implementation of five
thematic axes involving 59 participants (teachers and students).
The experience integrated active pedagogies (Montessori, Reggio
Emilia, Waldorf) with Art Thinking. Key findings indicate that artis-
tic creation fosters transdisciplinary dialogue; the body and sound
re-signify educational space; and these practices promote critical
thinking beyond technical skills. The study concludes that art is an
end in itself and emphasizes the need for public policies that reform
school spaces, incorporate art laboratories into teacher training,
and promote partnerships with established cultural institutions. It
offers guidelines for moving beyond curricular reductionism toward
an education centered on interdisciplinarity and human complexity.
Keywords: Teacher training, interdisciplinarity, active pedagogies,
arts education, complexity.
RECIBIDO: 18/12/2025
ACEPTADO: 19/03/2026
TRAiNiNG OF ECUADORiAN TEACHERS: FROM
EXPERiMENTATiON AND DiALOGUE WiTH THE ARTS
Formación del profesorado ecuatoriano:
desde la experimentación y diálogo con las artes
pp: 324-336
Juan José Rocha Espinoza
Universidad de las Artes, Ecuador.
jjrochae@hotmail.com
Este trabajo está depositado en Zenodo:
DOI: https://doi.org/10.5281/zenodo.20935893
José Sánchez-Santamaría
Universidad Castilla. La Mancha,
España.
jose.ssantamaria@uclm.es
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It does not aim to strengthen the
teaching of the official subject Cul-
which faces its own challenges, such
as the mismatch between teacher
training and curricular expectations
-
seeks to enhance classroom teaching
methods across all curricular sub-
jects.
THEORETICAL FRAMEWORK
Currently, the Ecuadorian Ministry
-
-
education system. The drop is even
more significant when compared
-
dents over the past five years.
This drop is not only a conse-
quence of the pandemic, but also of
subsequent events, including the cu-
-
low-income families and marginalized
urban areas—especially in Ecuador’s
coastal region, where student num-
In terms of teaching staff, the
Ecuadorian system comprises
private educational institutions. In
Guayas province, one of the areas
most affected by the above-mentio-
ned challenges, enrollment dropped
-
These statistics must be con-
textualized within broader national
issues (post-pandemic recovery, se-
curity crisis), as any methodological
The teaching–learning process is
a complex task involving individuals
who think, feel, love, and interact with
one another, with their environment,
and nature. These are complex beings
-
mensionality must be understood at
biological, psychological, social, emo-
tional, and other levels. This comple-
xity demands that teacher training
move beyond reductionist approa-
ches and embrace holistic perspecti-
ves capable of responding to the ra-
Educators must understand this
human constitution, beginning with
self-awareness as part of that inte-
raction, in order to grasp the person–
process relationship and ultimately
transform learning environments into
welcoming spaces for those who in-
transformation requires active tea-
ching and learning methods that cen-
ter on the learner and acknowledge
their unity within multiplicity.
In the Ecuadorian context, this rea-
lity is exacerbated by historical gaps in
teacher training, where traditional mo-
dels still prevail, — models that priori-
tize content delivery over the develop-
ment of critical and alternative thinking
-
purpose of this research was to design
a teacher training proposal for Ecua-
dorian schools that considers the lear-
ner’s unity-in-multiplicity, emphasizing
interdisciplinary dialogue and the need
to move beyond the instrumentalist
view of education. The proposal pla-
ces art and its fields of knowledge in
dialogue with other disciplines—not
merely as a tool, but as a dialogic me-
thodological framework.
INTRODUCTION
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shift in teaching and learning must
address not only national realities but
also local complexity.
As for the curriculum, the current
-
for cultural and artistic education, in
an attempt to move beyond an ins-
trumental view of art in basic educa-
-
have not had a significant impact
on classroom practice, revealing a
gap between curriculum design and
effective implementation. This is
compounded by the lack of teacher
training in competencies from an in-
terdisciplinary perspective—particu-
Teacher training is key to kee-
ping educational practices aligned
with real-world conditions. It allows
for better responsiveness to diversi-
-
ning environment that welcomes all
students and promotes collaborative
-
and transdisciplinary training mo-
del is essential—one that integrates
knowledge areas with arts education,
through project-based learning and
This manuscript presents an
approach distinct from the STEAM
model, which combines science, te-
chnology, engineering, art, and ma-
thematics to meet industrial and la-
bor market needs (Aróstegui et al.,
-
ved from the earlier STEM concept in
advanced toward transdisciplinari-
ty, developing artistic products that
abstract mathematical concepts like
fractals.
That experience—breaking down
disciplinary silos to foster classroom
dialogue—closely aligns with the vi-
sion of a “creative laboratory” class-
room. This approach is grounded in
liberating education centered on the
learner, who becomes a human being
that feels, thinks, and builds knowle-
dge through artistic and interdisci-
plinary dialogue. Learning, then, is
both a creative process and a way
of becoming—not simply a means of
acquiring competencies for the labor
market.
The proposed model aims to di-
rectly influence teacher training
across Ecuadorian institutions. It is
rooted in the principles of education
student-centered pedagogies and
where art acts as a tool for social
Theoretically, the model is struc-
tured on three interconnected levels:
dialogic, pedagogical, and artistic.
Though categorized separately, these
levels form an integrated pedagogical
ecosystem, where creativity, comple-
xity thinking, and artistic expression
converge.
To guide implementation, five
operational levels are proposed.
Figure 1. Theoretical Founda-
tions of the Proposal
Source: Prepared by the authors
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N° 27 Mayo – Agosto (2026). PP: 324-336
As shown and explained in Figure
the principles of complexity, interdis-
ciplinarity, and transdisciplinarity, fra-
med within the category of the dialo-
gic. This includes contributions from
authors such as Moreno Fernández
others.
-
posal draws from student-centered
approaches, including those of María
-
porates contributions from Reggio
Emilia through authors such as Vec-
with Waldorf education integrates
eurythmy, theater, and music into the
curriculum.
The artistic dimension is deeply
enriched by Art Thinking, as develo-
can be developed through artistic
creation. Although each level is des-
cribed independently, the Montessori
approach to music reading, Waldorf’s
eurythmy, and the artistic essence of
Reggio Emilia transcend pedagogical
boundaries and contribute equally to
the artistic dimension.
among these authors and pedago-
gical models (Montessori, Reggio
Emilia, Waldorf), they share a trans-
formative vision of education, whe-
re children become active, ongoing
constructors of knowledge. This con-
trasts with the banking model of edu-
listening to the “hundred languages”
of childhood.
This connection is most evident
in how each model treats the arts.
Montessori emphasizes sensory links
between music and geometry; Reg-
gio Emilia turns the art studio into a
laboratory where painting, theater,
and sculpture become cognitive lan-
guages; and Waldorf highlights handi-
crafts and bodily movement as valid
pedagogical approaches.
All three converge in designing
learning environments where each
element of the space fosters explo-
ration and student autonomy. The-
se become shared ecosystems of
knowledge, moving beyond deco-
rative or superficial uses of art and
revealing interdisciplinary processes
that blur the boundaries between art
and knowledge.
MATERIALS AND METHODS
To carry out the pilot implemen-
tation of the proposal, a collaborative
action research approach was used
able to experience the thematic axes
both theoretically and practically, as
well as create artistic products. The
study followed a qualitative approach,
and parts of the process were docu-
mented through photographs of the
participants’ creative work.
Figure 2. Contents of the Trai-
ning Proposal for Implementation
Source: Prepared by the authors
Two educational institutions were se-
lected: one private and one public. The-
-
three groups of teachers and pre-service
teachers participated, as follows:
Juan José Rocha Espinoza y José Sánchez-Santamaría
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•
course participants
• -
grams at Universidad de las Ar-
tes
• -
-
ties program at Universidad de
las Artes in Guayaquil
Table 1. Participants in the Trai-
ning Experience
GROUP TYPE DESCRIPTION PARTICIPANTS
Institution 1 Teachers from a private school located in the
Mapasingue area of Guayaquil, a low-income neighbor-
hood. The school provides basic education up to 10th
grade. Its infrastructure is similar to that of a public in-
stitution. Teachers come from a variety of subject areas.
12
Institution 2 Teachers from a public school located in the Cerro del
Carmen area of central Guayaquil, also a low-income
neighborhood. The school offers basic education up
to 7th grade. Despite being a public institution, it has
a welcoming infrastructure. Parents frequently organize
community cleanups for student welfare.
7
Group 1 Teachers from various schools who participated in a
continuing education course taught by the author of
this paper. Most participants are teachers of Cultural
and Artistic Education (ECA).
8
Group 2 Graduates of music programs from Universidad de las
Artes who undertook teaching and learning processes
with children from various areas.
10
Group 3 Students from the Pedagogy of the Arts and Humanities
program at Universidad de las Artes in Guayaquil.
22
Source: Prepared by the authors
As an exploratory pilot experience,
the first training process began with
• Complexity, interdisciplinarity,
and transdisciplinarity
• Body experimentation and thea-
ter games
• Visual experimentation
• Experimentation with film tools
and personal history
The contents were implemented
through active learning methodolo-
gies, with a strong emphasis on co-
llaborative learning as a foundation
for knowledge construction through
-
pped classroom approach also played
a key role, with prior reading prepa-
ration followed by group discussion
In subsequent experiences with
expanded to include student-cente-
red models such as those proposed
by Montessori, Reggio Emilia, and
Waldorf. These experiences are usua-
lly available only to families who can
afford alternative schooling in Ecuador.
Participants created artistic works
as part of their training, and each acti-
vity included a reflective component.
They were prompted to ask themsel-
ves: In what way is what we are doing
related to mathematics, physics,
social sciences, natural sciences, or
other disciplines? The goal was to
understand interdisciplinary dialogue
while engaging in artistic explora-
tion—aligning with the vision of Acaso
transform education
through the arts and the arts through
education
RESULTS
To launch the first thematic axis
of the training proposal, participants
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began by responding to the ques-
-
tion? They answered through indivi-
dual drawings and then engaged in
a group discussion. This activity was
designed to gather perceptions about
the current educational system from
the teachers’ point of view and to eva-
luate initial expectations. It became a
springboard for rethinking methodo-
logical approaches and for envisio-
ning an education model centered on
students as multidimensional human
beings. At this stage, the concepts
of complexity, interdisciplinarity, and
transdisciplinarity were introduced.
Table 2. Consolidated Results of
Each Thematic Axis
THEMATIC AXIS OF
THE PROPOSAL
EVIDENCE
(1) Complexity,
interdisciplinarity, and
transdisciplinarity
Starting point through
the question: How do
you dream of educa-
tion?
(2) Body,
theater games,
eurythmy, and
education
Awareness of being a
bodily entity, recogniz-
ing the body’s presence
and importance in the
educational process.
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(3) Visual tools
for interdisciplinary
dialogue
Modeling and carving
activities, followed by a
reflection to establish
connections with differ-
ent disciplines.
(4) Sound
experimentation
Creation of materials
for musical reading and
their implementation in
educational institutions.
(5) Student-
centered
methodologies
Application of Montes-
sori musical reading,
Waldorf eurythmy, and
interdisciplinary artistic
creation inspired by
Reggio Emilia.
Source: Prepared by the authors
The second axis—body experimen-
tation—was central to the proposal.
multidimensional nature of the human
being, emphasis was placed on recog-
nizing the body’s essential role in edu-
cation. Participants explored the idea
of “being a body,” reflecting on how
educational systems and classroom
structures can often lead to bodily dis-
connection or suppression (Foucault,
such as theatrical play, role-playing,
and movement-based exercises (Rosa
Visual tools used in the third axis
allowed for tangible artistic produc-
tions that facilitated interdisciplinary
dialogue and opened pathways to
transdisciplinarity. For example, the
“turtle exercise” involved modeling a
turtle from clay. The students then
analyzed its shape, dimensions, and
the geometric patterns on its shell—
connecting the activity to mathema-
tics, natural and social sciences, and
Pedagogy of the Arts program, inspi-
red by a visit to the Museo Antropoló-
developed a final project combining
whistle turtle and a whistle bottle.
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In the fourth axis—sound experi-
mentation—the proposal drew from
-
sizes using the body and nearby ma-
Montessori’s concept of musical rea-
ding was also incorporated, highligh-
ting how children, from the moment
they learn to read text, can also read
music using specially designed di-
dactic materials. This approach was
a public school in Cañar, Ecuador, as
part of a final degree project.
The fifth axis integrated stu-
dent-centered methodologies across
all participating groups. This confir-
med that the pedagogies of Waldorf,
Montessori, and Reggio Emilia allowed
for deep interdisciplinary connections
between the arts and other areas of
knowledge. Examples included eu-
rythmy, which connects music and
body movement in Waldorf education
Montessori; and the expressive lan-
guages encouraged by Reggio Emilia,
in line with Malaguzzi’s vision (Vecchi,
DISCUSSION AND ANALYSIS
The proposed teacher training
model aims to transform teaching
and learning methodologies through
constant reflection on experience.
This reflection led to the definition of
five interrelated thematic axes that
promote continuous dialogue across
disciplines. The model strengthens
educational processes through inter-
disciplinarity and transdisciplinarity,
offering a deeper understanding of
a world conceived as an interactive
ecosystem.
Traditional education, by con-
trast, tends to ignore this complexity.
It often separates the body from the
learning environment—an inheritance
from Platonic thought that has yet to
be overcome—and reinforces discipli-
nary silos that imply certain fields are
superior to others. This proposal cha-
llenges such assumptions, emphasi-
zing that all disciplines are intimately
The research thus questions three
foundational aspects of Ecuador’s cu-
rrent educational model:
• Pedagogical and curricular re-
ductionism: Although the na-
tional curriculum was revised in
disciplinary fragmentation. This
notion that transdisciplinarity is
viable when art becomes an in-
tegrated axis. The exercises de-
art as a curricular component
that can deconstruct knowledge
• Instrumentalized teacher trai-
ning: Many educators continue
-
king model of education, which
emphasizes passive knowledge
transmission. This aligns with
the concerns raised by Alvara-
collective creation are essential
for revitalizing educational prac-
tice. These findings resonate
that critical pedagogy must em-
brace the aesthetic and embo-
died dimensions of learning.
•
STEAM education seeks to align
learning with labor market de-
-
that artistic interdisciplinarity
technical skill development. This
distinction is key: while STEAM
uses art to support instruction,
this research proposes art as an
educational end in itself, consis-
tent with the principles of Mon-
-
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In essence, this training model
is not limited to preparing art tea-
chers; it is designed for educators
trained under conventional, repetitive
approaches—products of a cycle that
privileges tradition and productivity.
While STEAM has made notable con-
tributions, the “classroom as a crea-
tive laboratory” model offers a more
humanistic experience of learning
to meet productivity goals, but to pro-
mote sensitive, reflective, and creati-
ve individuals.
That said, structural limitations
persist. Many Ecuadorian schools
lack adequate spaces for implemen-
ting artistic activities—an issue that
reinforces Foucault’s thesis on how
school infrastructure disciplines the
body. This reality highlights the need
for state-driven innovation and sus-
tained investment in educational re-
form.
Looking ahead, the authors hope
that the five thematic axes and the
pilot programs described will lead to
the democratization of the model,
making it accessible to all teachers in
-
res more than willpower: it demands
financial support, suitable facilities,
and fair compensation for educators,
taking cues from successful systems
like Finland’s.
CONCLUSIONS
As shown throughout this study,
the aim of the research was to conso-
lidate a training proposal for teachers
in the Ecuadorian education system
based on three essential pillars: in-
terdisciplinarity, embodied pedagogy,
and art as an epistemology. The pro-
posal was implemented through five
thematic axes, which were developed
in experiential formats with various
participant groups.
-
mes of the course was the conver-
gence of multiple learning methodolo-
gies. Rather than adhering to a single
pedagogical model, the process fos-
tered ongoing dialogue among me-
thods, just as it did among disciplines.
Artistic integration in this context
transcends the boundaries of the
school curriculum, generating hybrid
methodologies that bring together
Montessori’s work on musical reading,
Waldorf’s eurythmy, and Reggio Emi-
lia’s visual laboratories. These expe-
riences help bridge the longstanding
divide between theory and educatio-
nal practice, as cognitive processes
are understood in their full complexi-
ty. The creative outcomes generated
by the participants embody a form of
aesthetic thinking, where the rational
and the sensory converge.
By engaging in interdisciplinary ar-
tistic dialogue, teachers and pre-ser-
vice teachers were able to experience
reflective creative processes. These
processes allowed them to become
aware of their own creative capacities
while simultaneously fostering critical
thinking—not as superficial skill ac-
quisition, but as a form of deep thou-
ght.
The study recognizes that, in or-
der for this proposal to move beyond
theoretical design, it must be imple-
mented in real-world school settings.
evaluated in children’s development
across multiple generations of both
students and teachers.
To move beyond a theoretical mo-
del and toward systemic implementa-
tion, the following actions are recom-
mended:
• Implement public policies that
make artistic activities a required
component of teacher educa-
tion.
•
Emilia) that transcend the gap
between theory and practice.
• Establish partnerships between
schools and cultural centers, in-
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tegrating them as extensions of
the classroom.
• Promote creative processes as
part of the development of aes-
thetic reasoning.
• Redesign school spaces to inclu-
de sensory-rich classrooms.
•
measure the impact of artistic
competencies.
• Train teachers in artistic compe-
tencies.
• Create qualitative rubrics that
assess creative processes—not
just final products.
• Expand competency-based edu-
cation frameworks to include
complex thinking and interdisci-
plinary integration.
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