“Theater behind bars”, an inclusion route: good practices of an inclusive process of art education with young people deprived of liberty Buenas prácticas de un proceso inclusivo de arte educación con jóvenes privados de libertad

Abstract

This article proposes a reflection on the educational potential of scenic art as a resource used in the process of socio-educational education of young people deprived of liberty based on records of good practices experienced in the Center for Adolescent Offenders (CAI) in the city of Loja, Ecuador. This serves as a reference for the discussion on a necessary change of panorama of said reality. The experience in the CAI began with a first work focused on emotions from the creation of a diary to record impressions on plastic, visual and scenic activities, based on techniques of the theater of the oppressed. Given the success of the practice, evidenced in the behavior change of the young inmates, a staging was developed so that they could create their own poetics based on the exploration of a seed whose condition of being a body deprived of liberty could be transformed into a free spirit. Both initiatives strengthened interdisciplinary work, commented here in dialogue with authors who support the theme of social responsibility from artistic education as an inclusive axis in the process of prison partner education.

Art education

Theater

Deprivation of freedom

Inclusion

Humanism