Consuelo Hidalgo is a person full of energy and enthusiasm that makes
you feel that everything is possible. And she works hard enough to actually
make things happen. Right now she is the right person for the right job. Being
the Executive Director of Fundacion Niños con Futuro, she brings together her
love for the arts with her love for children. In this text, she is sharing with
us the story of her contribution to Ecuador´s future. She is dreaming of and working
for a country populated by citizens who are sensitive, creative and genuine
critical thinkers. mv
A pre-school student at Guayaquil Symphony Orchestra´s concert for kids. (Photo: Consuelo Hidalgo) |
I remember the first time I heard my grandmother tell me in a very
enthusiastic way the story of La Traviatta. I was five and very
impressed by the plot and the way this passionate music and voices narrated
this drama in such a magical, but incomprehensible, way. This is how I
was introduced to the opera, a grandmother’s storytelling game that developed a
new way to perceive and understand this art form.
Every art form has a story to tell. For me, having worked for several
years in audience development projects for younger people in museums, symphony
orchestras and children’s foundations, taught me the importance of the way,
quality and frequency of the stories we tell children to get them involved in
the arts.
In Ecuador, most of the performing arts activities are free for
children, so why are ecuadorian younger audiences so detached from the artistic
environment? I think the problem starts with the ‘willingness’ of educational
institutions and parents to bring them to a performing arts show or rehearsals
(which are almost all open on specific days to the public). My question now is,
what is the story we are telling educators and parents about the benefits of
attending a performance, and how do local arts institutiosn plan their
activities to serve younger audiences? And how sustainable are arts
institutions going to be in the years to come, since the arts and music is no
longer a mandatory subject in schools and when other kinds of entertainment are
being consumed by the population?
Maestro Ivan Fabre (Guayaquil Symphony Orchestra´s first violin) giving a concert for kids at Fundacion Niños con Futuro. (Photo: Consuelo Hidalgo) |
We still haven´t got any formal studies on the impact of arts education
programmes on younger audiences in Ecuador. Our parametre to measure results is
the feedback given by parents and teachers. I clearly remember when my first
‘formal’ arts education programme was taking shape, “Cultura para todos”
(Culture for everyone). I was working at the colonial art Museum Nahim Isaias
and, as you can imagine, getting kids excited about colonial arts was a very
tough call. So, I started playing with concepts used by our curators in our
exhibitions that could be presented as a parallel story in a familiar language
for pupils. For example, based on a permanent exhibition inspired in iconography,
we created a special programme, in accordance with the academic standards
established at national and local levels. Each teacher received a
worksheet to guide students and was supposed to implement the programme in the
classroom, while specific art and iconography concepts were taught during the
museum visit. The programme was designed to support arts learning in
classrooms. The purpose of this, as well as of the following young audience
development programme at the Guayaquil Symphony Orchestra, was to engage
students through a creative approach to education, provide arts experiences for
children and empower students with tools of self expression. This experiences
included visits to the museum where the children received a special workbook
with fun activities, like, crosswords, riddles, and clues to play a mistery
game guided by the staff, and visits to the symphony orchestra and strings
quartet concerts at their schools, also with a workbook focused on their
experience after the concerts. The response we had from teachers and parents
was very positive, since they could clearly see an increase in students’
engagement in learning and a more active and sustained appreciation for the
arts. The most rewarding experience for us was to see these children coming
back with their parents on the weekend (and letting us know they came back), as
well as to know that schools that participated in our programmes were know
including arts and culture fair in their academic calendar (we were invited to
inaugurate eight of these fairs).
This was how, eight years ago, I started developing community-based
partnerships, as a means of building the audience required to ensure
high-quality arts learning for young people, and settled my goal to improve
schools and community capacity to embrace the arts, which would hopefully
develop a systemic demand for arts education in the future.
Children from Fundacion Niños con Futuro visit the theatre in Guayaquil. (Photo: Consuelo Hidalgo) |
So, what is the story we should be telling society about the importance
of arts in children’s lives? Art is a relevant strategy for education in all
areas. In early childhood, it enhances creative, reflective and critical
thinking. It is a learning tool that stimulates the ability to create and
innovate. So, we can certainly say that, through art, children can express
their feelings and creativity as they develop critical thinking skills.
The question we are now facing is not one of "education minus
art" versus "education plus art," but, rather, what is the
quality of the core skills set with which we hope to - and must - equip future
generations? Will it be a tool kit designed for the performance of simple
practical tasks? Or will it promote, instead, the sort of flexible, imaginative
and critical thinking that is required to deal with the complex and
ever-shifting challenges posed by the contemporary world? Will it limit its
compass to the classroom? Or will it, instead, become a lifelong resource for
personal growth and enrichment? Will it make us more aware of the subtle
details of life, instead of hungry for all quantifiable consumers’ gratification
goods?
Being involved with the arts as a child changed my life forever. I
wouldn’t be so active working on this specific matter if it wasn’t so. This is
the story I want tell you and, hopefully, I will find similar stories in the
future from the generations to come.
Consuelo M. Hidalgo is a journalist. She
is currently working as the Executive Director at Fundacion Niños con Futuro.
Before that, she worked for 4 years as cultural promoter at The Guayaquil
Symphony Orchestra, where she was responsible for audience development
programmes, international relations and educational programmes. She started her
professional career as PR Manager at the Colonial Art Museum Nahim Isaias, in
Guayaquil. During the time she worked at the museum, she developed multiple
cultural projects that pursued the integration of people with fewer resources
in the museum´s the cultural activities. This project was called Cultura Para
Todos and it has been taken to other cities in the country. In 2006 she was
offered a position at the MAAC, an anthropologic and contemporary art museum,
to manage a new project called Vivir La Cultura - offering free performing arts
presentations to the citizens by using regenerated areas of the city as their
main stage. In 2008, she participated in the U.S Department of State’s Bureau
of Education and Cultural Affairs and the John F. Kennedy Center for the
Performing Arts International Cultural Exchange Fellows Mentoring Program for
Performing Arts Managers. She just finished her Arts management fellowship at
the DeVos Arts Management Institute at the John F. Kennedy Center for the
Performing Arts.
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