Project Ariel [Implementation Guide]

[ INTRO ]

Hans Christian Andersen tells us how "The Little Mermaid", caught in the middle of two worlds, falls in love with a human. The magical being seeks, by all means, to be with his beloved and goes to a witch to change her tail for a pair of legs. The price she paid was her beautiful voice.

Therefore, between mutilated and half-dead she emerges from the depths of the sea to conquer her prince, but without being able to tell her love all that she feels for him.

The same thing happened to Hans Christian Andersen, he fell in love with another man, they had an affair, but by the rules of society, he got married and the writer also had to silence his

love.

In the Disney adaptation –this has the ending that many would have wanted– Ariel, as in the original story, also loses her voice.

Hence the name of the project, which aims to teach us to visualize ourselves, to empower ourselves, to speak and to shout from our whole being, humanity and magic.

Let's reclaim our voice!

[Introduction por Milton RodrĂ­guez]

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[ PROJECT ARIEL ] It is a series of workshops for LGBTQ people, without excluding all existing acronyms in the LGBTTTQQIAAP spectrum: lesbians, gays, bisexuals, transgenders, transsexuals, 'two-spirits', 'queer', 'questioning', intersexuals, asexuals, allies , pansexuals).

Participants will be able to perceive the language used to define them in their own environment, critically analyze the meaning of that language, define their opinion about it, and translate it into a piece of visual culture that educates about the language they choose to identify themselves as LGBTQ people, or not.

This curriculum follows the theoretical framework of an art and visual culture education focused on performativity, which combines the following theories: (a) Paulo Freire’s ideas on critical education in which oppressed groups should become aware of their own situation to achieve freedom; (b) Judith Butler's theories about language performativity, which promotes the repetition of pejorative terms or

words in different contexts to modify their meaning; and, (c) notions of public

pedagogy wherein, through visual culture outside the institutional, new concepts can be taught and learned. The final objective of this theoretical formulation is to be able to give voice to discriminated groups and help them get a little closer to freedom.

Based on the "Wayfinding" approach, a curriculum has been designed to be taught in 2 main parts: the first, about self-exploration, critical analysis and design of the piece; and the second one, of expression through the implementation of such piece to be later exhibited to the general public (as defined by each participant).

A third part, about feedback, has been included. In this part, the opinions and experiences of all the participants in the previous stages are gathered to define the impact of the project in their lives and in those of others.

Since two of the main objectives of the workshop are the analysis of language and visual expression by the participants, the visual resources recommended for the workshop are text, typography and/or illustration.

With these resources as tools for expression, participants are expected to create pieces of visual culture that promote the use of new LGBTQ-related language and meanings.

These visual pieces can be defined, according to the context of each workshop, such as printing on t-shirts, creating murals, designing banners, counter-advertising campaigns, 'culture jamming' applications, or any other means of street art.

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THEORETICAL BASIS OF CURRICULAR DESIGN: ART AND VISUAL 1 CULTURE EDUCATION FOCUSED ON PERFORMATIVITY

The diagram explains how critical education of visual culture creates a new language that is included in visual culture through activism, thus generating a critical public pedagogy that gives voice to the participants. The new language, when repeated within the identity (individual and cultural), acquires a new meaning when passing from acquired language to being part of the language that is inherited and that becomes common use. This language and its new meaning are assimilated by the cultural identity, helping the participants in the search for freedom.

1 Sorto, Pedro. "Theoretical foundations for a performative art and visual culture education."

Communication Design 5, no. 1-2 (2017), 145-164. doi:10.1080/20557132.2017.1398925.

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METHODOLOGY OF CURRICULAR DESIGN: "WAYFINDING" APPROACH FOR CURRICULAR DESIGN 2

The diagram explains how in the process of "Wayfinding", the content to be transmitted and the resources that will help assimilate this content are combined with research and the appreciation of the participants' previous history, to define hypotheses and objectives that will be achieved when designing various activities or pathways. The results of each pathway are evaluated to improve them or create new ones.

2 Beudert, Lynn, and Marissa McClure. Curriculum Inquiry and Design for School- and Community-Based Art Education. Reston, Virginia: National Art Education Association, 2015.

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[ CURRICULAR PLANNING ] Previous history Facilitators should try to know the previous history of the participants and the level of knowledge they have about the contents: - the meaning of the acronym LGBTQ; - concepts of sexuality and diversity; - language and discrimination; - any LGBTQ events in the community; and, - design, art and artistic expression.

The personal stories of the participants and facilitators may be shared at various stages of the curriculum implementation. Opinions based on personal experiences help to contextualize and give meaning to the topics, concepts and messages within the workshop.

Research (by the facilitator)

The facilitator should investigate and be aware of the latest projects, findings and theories, both globally and locally, on the issues involved in the project: - Art and design as tools for communication and expression.

- Anything related to the type of art chosen as a resource. For example, if Street Art is chosen, its techniques, instruments and acceptance within the community should be studied.

- Suppliers and availability for the media chosen as resource. For example, if Tshirt printing is chosen, options for it should be sought in the area.

- Information about any LGBT awareness day celebration, festivals and parades in the region.

- The language related to the LGBT spectrum within the community.

Among the theories that must be analyzed and understood, and which are the basis of this curricular design, are: - The theoretical framework for designing a curriculum of art and visual culture with a performative approach, which is based on Freire, Butler and public pedagogy.

- The structure of curricular design with the Wayfinding approach, by Beudert and MacClure.

- The steps of the creative process, both for the generation of textual copies, and for the generation of visuals.

- The use of the "Gilbert" typography created as a tribute to Gilbert Baker, designer of the LGBT flag.

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Content The curricular content may be concentrated to the understanding of: - The meaning of the acronym LGBTI[QTTA].

- Concepts of sexuality and diversity: sex, gender and sexual orientation.

- Language and discrimination.

Resources Since the objective of the workshop is the analysis of language and visual expression by the participants, some visual resources recommended for the workshop are: - Typography, lettering, or typographic illustration, among others.

- T-shirt printing by screen-printing, block printing, etc.

- Any of the applications of urban art: graffiti, muralism, tagging, street posters, sticker art, banners, etc.

- The "Gilbert" typeface as an element, for example.

Examples of LGBTQ-themed visual culture products around the world.

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Hypothesis

1. SELF-EXPLORATION AS PART OF A DISCRIMINATED GROUP: Regarding the curricular content, the participants will understand the meaning of the terms within the initials LGBTQ, some of the terms related to human sexuality, and the discrimination of these groups through language.

2. CRITICAL THINKING APPLIED TO LANGUAGE: Participants will list, understand, analyze and criticize the language used in their daily lives to define and/or discriminate them as members of the LGBTQ collective. In order to better analyze the language, they must classify it in terms that are in current use within their context, in terms that are no longer used (or should not be used), and terms that have a pejorative and/or discriminative misuse.

3. CRITICAL THINKING APPLIED TO VISUAL CULTURE: At the same time, participants should critique the language used within the visual culture of their personal contexts. Visual pieces should be analyzed, such as television programs, advertising, fashion, art, etc.

4. TRANSFORMATION OF LANGUAGE: By using creativity methodologies, participants will be able to reuse the LGBTQ-related language, transforming it, changing its meaning or creating a new one.

5. DESIGN OF THE VISUAL CULTURE PIECES: By using creativity methodologies, and with the aim of educating others and/or expressing themselves, participants will create their own visual messages in which the new language is transmitted. For example, they can create typographical illustrations, illustrated texts, lettering, etc.

6. APPLICATION IN PUBLIC PEDAGOGY: The members, assuming the role of "public pedagogues" and agents of change, will have the opportunity to transmit their visual messages through an artistic or design medium, which is translated into pieces of their own visual culture. For example, they can capture their visual messages on printed t-shirts, make banners for a parade, etc.

7. FEEDBACK: At the end of the implementation of visual culture pieces and the observation on their effect on others, participants must share and analyze their experiences to define future actions and the impact of the project in their lives. The contribution to the performativity of the language must be analyzed.

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Structure of the curricular design 1. WORKSHOP (Part I, duration: 3-4 hours): SELF-EXPLORATION, CRITICAL ANALYSIS and DESIGN OF PIECES - INTRODUCTION - PATHWAY 1: ABSORPTION OF THE CONTENT and SELF-EXPLORATION - PATHWAY 2: CRITICAL THINKING APPLIED TO LANGUAGE AND VISUAL CULTURE (USE, DISUSE AND MISUSE) - PATHWAY 3: TRANSFORMATION OF THE LANGUAGE (RE-USE) - PATHWAY 4: DESIGN OF NEW PIECES OF VISUAL CULTURE

2. WORKSHOP (Part II, duration: 3-4 hours): EVOLUTION and IMPLEMENTATION - PATHWAY 5: IMPLEMENTATION OF THE PIECES

3. WORKSHOP (Part III): FEEDBACK and EXHIBITION - PATHWAY 6: DOCUMENTATION and FEEDBACK - PATHWAY 7: EXHIBITION

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CURRICULUM DESIGN / WORKSHOP (Part I, duration: 3-4 hours): SELF-EXPLORATION, CRITICAL ANALYSIS AND DESIGN OF PIECES

- INTRODUCTION Since sharing personal data and stories is important for the development of the curriculum, it is necessary that participants and facilitators t feel comfortable and confident. For this, the facilitator defines the activities according to their experience and common sense.

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FACILITATOR ACTIONS

Introduction to the workshop objectives

PARTICIPANTS EXPERIENCES

Questions and comments

“Say your name and, if you had a superpower, what would it be?

And, why?”

"I am, I am not" Exercise (taken Directions for the introduction 2a from "GALE, the Global Alliance exercise 2 for LGBT Education").

Materials: slate, projector, whiteboard markers, vignettes names

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ENVIRONMENT DESIGN

Directions for the introduction exercise

Round table or in a circle

- PATHWAY 1: ABSORPTION OF THE CONTENT / SELF-EXPLORATION Introduction to the content: the meaning of the terms within the acronyms LGBTQ, some of the classifications of sexuality, and discrimination of these groups through language.

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FACILITATOR ACTIONS

PARTICIPANTS EXPERIENCES

Presentation and explanation of Questions and comments the topics and concepts (ppt) 3 Exemplify, with visuals, the [re] Questions and comments volution of "queer" Materials: projector, visual presentation (ppt)

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ENVIRONMENT DESIGN

Round table or in a circle

- PATHWAY 2: CRITICAL THINKING APPLIED TO LANGUAGE AND VISUAL CULTURE / USE, DISUSE AND MISUSE: Participants must list, understand, analyze and critique the language within their daily lives used to define/discriminate them as members of the LGBTQ collective. In order to analyze the language in a better way, they must classify it in terms that are in current use within their context, in those that are no longer used (or should not be used), and those having a pejorative and/or discriminative misuse. #

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PARTICIPANTS EXPERIENCES

ENVIRONMENT DESIGN

Word Association: propose a short list of common words related to LGBTQ issues

FACILITATOR ACTIONS

Write next to each word the first idea that comes to mind Share your results

Collect the results

Compartir sus resultados

Individual work in personal notebooks (or pages) Whiteboard or projector Round table or in a circle Work in pairs in personal notebooks (or pages) Whiteboard or projector (in a single table *) Round table or in a circle

Conversation / debate on the results of word association.

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Explanation of the exercise Use, disuse and misuse

Listing all the words used in their environment related to LGBTQ

Compilation of words or terms in a single table

Classification of all terms in their lists

Conversation / debate on the results of use, disuse and misuse.

- Illustrate the use, disuse and misuse of language in visual Conversation about the uses of Round table or in a 6 culture language in our visual culture circle - Invite criticism of the examples Materials: notebooks or pages, pencils or pens, whiteboard, projector, whiteboard markers

*Example of the term collection table for the Use, Disuse and Misuse exercise: LIST OF WORDS OR TERMS related to LGBTI USE

DISUSE

MISUSE

Words that are currently used Old words that are no longer and that are not necessarily used - or should not be used pejorative

Words in use that have a pejorative or discriminative meaning

Sort the words in these spaces

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- PATHWAY 3: TRANSFORMATION OF THE LANGUAGE / RE-USE use creativity methodologies, participants can reuse the language related to LGBTI people, transforming it, changing its meaning or creating a new one. #

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FACILITATOR ACTIONS

- Introduction to the methodology of creating "texts" - Exemplify with similar cases and images Indications of the stages of the methodology: - Brief: Based on the analysis of the LGBTQ-related language, create a message (in a phrase or term) that promotes new uses and / or linguistic meanings, and then be embodied in a piece (e.g. a t-shirt) - Objectives: choose between (a) Educate others about the language that should be used; (b) Express feelings; or, (c) both or another (according to group needs) - Message: define the message that you want to transmit in the piece. It can be a sentence, a question.

- Exploration: define how the message will be transmitted.

- Illustrate with similar cases of LGBQ supporting sentences

PARTICIPANTS EXPERIENCES

- Questions and comments - Create workgroups by affinity

ENVIRONMENT DESIGN

Round table or in a circle

- Questions and comments about In groups of 5 the brief

By groups, select what the objective of their piece will be

Define in consensus, and taking the opinions of all members, the message of the piece, in a clear, simple sentence - Generate a long exploratory list of creative phrases to convey the message - Modification of Method 635 (6 people, 3 ideas, 5 minutes) - Share with everyone the best ideas of each group

In groups of 5

In groups of 5

In groups of 5

Round table or in a circle

- Selection: of the best idea -By voting, analysis and criticism, In groups of 5 select the best idea of each group Materials: notebooks or pages, pencils or pens, whiteboard, projector, whiteboard markers

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- PATHWAY 4: DESIGN OF NEW PIECES OF VISUAL CULTURE: By using creativity methodologies, and with the aim of educating others or expressing themselves, participants can create their own visual messages in which the new language is transmitted. For example, they can create typographical illustrations, illustrated texts, lettering, etc. #

FACILITATOR ACTIONS

- Introduction to the stages of the methodology: - Inspiration: Show examples of similar cases (e.g. fonts, typographical illustrations, lettering, etc.)

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PARTICIPANTS EXPERIENCES

- Talk, criticize and ask - Choose what type of visual will be made: (a) typographical phrase, (b) lettering, (c) typographic illustration

- Brainstorming of ideas for the - Ideation: demonstration of the visual of the piece, in text or in fast sketching process visuals (pencil or pen) - Ask: how many visual forms can - Visual Brain Dumping, in visuals help us to transmit the message? (pencil or pen) - Analyze all the ideas, pre-select 3 and present them to all - Illuination: Evaluation of - Give feedback and opinions on options and selection of an idea the ideas of all groups to evolve - Ask: what is the best idea to transmit the message?

- Select 1 final idea

ENVIRONMENT DESIGN

In groups of 5

In groups of 5

Round table or in a circle

In groups of 5

- Evolution (internal): Create a final sketch for the piece

Evolve the selected idea and sketch it in color and at the actual size

In groups of 5

- Prototyping: testing the final ideas with all the participants

- Cut the sketches, photocopy if necessary, and paste them with tape to our shirts - Take group photos to analyze the application of the sketches

In groups of 5

Collection of financial support for materials (inks, paints, etc.) and development of final arts 10 for final application (screen-printing frames, stencils, etc.) by the participants and/or

sponsoring institution Materials: notebooks or pages, pencils or pens, whiteboard, projector, whiteboard markers, colored pencils, markers, etc.

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CURRICULUM DESIGN / WORKSHOP (Part II, duration: 3-4 hours): EVOLUTION AND IMPLEMENTATION

- PATHWAY 5: IMPLEMENTATION OF THE PIECE: The members, assuming the role of "Public educators" and agents of change, will have the opportunity to transmit their visual messages through an artistic or design medium, which is translated into pieces of their own visual culture. For example, they can express their visual messages on printed t-shirts, make banners for a parade, etc. #

FACILITATOR ACTIONS

PARTICIPANTS EXPERIENCES

ENVIRONMENT DESIGN

Organize the remaining stages of the methodology:

- Evolution (external): intervention of the final sketches Comments on the process (if by experts (eg designers, Online 11 necessary) and final arts illustrators, artists, etc.) communication approval

- Implementation of final arts and delivery to the expert (e.g. expert in screen printing, muralist artist, designer, etc.)

Actions of the expert. In the case Collaborate with financing of screen printing: Online 12 and/or collection of materials (if - prepare materials and communication necessary) elements.

- Implementation (Serigraphy): final application of the pieces in the workshop (e.g. printing the Follow the steps of screen shirts, making the mural, etc.) printing: (1) prepare the art,

emptying and gluing; (2) stamp 13 - Guide and support for the In groups of 5 with screen frames; (3) drying expert in the implementation of and preservation of the final the pieces (e.g. silkscreen pieces. workshop: theory, preparation, stamping, drying and preservation) Encourage participants to join Follow and coment on the social Individually the social media group network group - Initial Testing: Document the During the workshop, take 14 final result of the workshop and photos of the finished pieces and In groups of 5 encourage sharing with others share them on social networks, during the (according to the needs of the and then analyze external workshop participants) reviews Materials: T-shirts, serigraphic inks, cut vinyl, transfer, serigraphic frames, squeggees, mineral solvent, thinner, vegetal paper, iron, sponges, etc.

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CURRICULUM DESIGN / WORKSHOP (Part III): EVOLUTION AND IMPLEMENTATION

- PATHWAY 6: DOCUMENTATION and FEEDBACK At the end of the implementation of visual culture pieces and observe their effect on others, participants must share and analyze their experiences to define future actions and the impact of the project on their lives (and those of others). #

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ACCIONES DEL FACILITADOR

ACCIONES DE LOS PARTICIPANTES

Organize actions to collect information through social networks

Share your photos in the social networks of the project

Follow up, organize and collect comments and experiences

Share comments and experiences

Analyze information and plan future actions (e.g. organize a meeting, celebration, etc.)

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DISEÑO AMBIENTAL

Online communication

Facilitator’s individual work

Materials: internet, others (depends on the event to be performed)

- PATHWAY 7: EXHIBITION At the end of the workshop, facilitators and participants should agree and to organize an exhibition event within the community, which can have many forms and contexts. #

ACCIONES DEL FACILITADOR

- Final Testing: Take an active part in the actions compartment (e.g. attend the march, take pictures, share and comment, etc..)

16 - Analyze the results based on

the corroboration of hypotheses and the fulfillment of objectives - Evaluate modifications for future applications of the curriculum

ACCIONES DE LOS PARTICIPANTES

- (b) Utilizar las piezas en una marcha o celebración LGBTI, tomar fotos y compartirlas en redes sociales, para luego analizar comentarios externos

- De forma libre después del taller

- Compartir comentarios a largo plazo - Servir como personas voceras al Depende de cada compartir sus testimonios en situación en futuras ediciones del taller particular - Ayudar como instructores en futuras ediciones del taller

Materials: internet, camera, others (depends on the event to be performed)

DISEÑO AMBIENTAL

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