Page 52 - AC-2-1

Arts & Communication Performance arts, public space, and early childhood

and coinhabited? By observing other convivial experiences reflect on what cultural policies for early childhood might
between adults and children, we can reflect on the extent encompass. When it comes to public policies for this
to which our current social forms contribute to a new segment, in addition to being recent in Brazilian history,
understanding of human relationships and the sense of they focus on issues directly linked to the physical space
community: of coexistence, services, education, health, protection, and
security. Artistic and cultural issues emerge transversally
Indigenous childhood, Mundukuru childhood, is and can be inserted into larger strategic axes, which
very free. We went around to all the houses, and it concern education, accessible use of space, the right to
is common, since we were children, to understand free play, intergenerational coexistence, and participation
that the whole community is responsible for our in activities (in general) that stimulate and favor integral
education. Hence, we do not have just one father human development.
and one mother; we have several, as all those who
have children are parents of the other children, We, therefore, emphasize the need for a more
too. Hence, we grew up without fear, without pronounced positivization of the artistic experience in
barriers. It is a bit of this circular thinking, childhood and its relationship with adults, in the city’s
where everything goes well when everyone takes public facilities, in its open spaces and gardens, in schools,
responsibility for how things go . and at the heart of family life. Beyond merely offering
23
specific cultural agendas and physical and leisure activities,
Daniel also points out: “And where do we get closer? we advocate for the cultivation of the esthetic experience
We create this bridge in childhood.” The survival of the in childhood as a structuring axis, not only for cognitive
world today, and, above all, of humanity in the world today, and social development but also as a philosophical attitude
depends on the creation of alternatives for the occupation toward life – a pursuit of Buen Vivir. This pursuit aims
4
of space, the capture and use of natural resources, a to seek a new way of organizing our lives in the world,
new understanding of human relations, and a sense of privileging sensitive perception, the experience of the body,
community. To do this, we see the need to strengthen the relationship with space and the environment, and the
common experiences, which should be more qualitative exploration of gestures, sounds, shapes, textures, colors,
than quantitative, including children and offering a words, and emotions, thereby reviewing our relationship
new way of perceiving things. Together, we can face the with others and the world.
challenges of contemporary barbarism.
What many scientists have not dared to admit or
The esthetic experience in EmQuanta creates a specific think about for a long time, and which many still
perception in the spectator, providing a way of coexisting dispute, has been felt intuitively by artists who
that creates a temporary community around a playful have been approaching their art accordingly for
action, of which the children are a structural part. New decades. Through their actions, performances,
relationships, new perspectives, new movements, as well as installations, and other spectacles, they made
new affections are created as they inhabit the event. As Erika it possible for themselves and the spectators
Fischer-Lichte points out: “It is the esthetic experience, to experience and live the recognition of the
that is, the liminal experience as such, that organizes the mysterious non-dispositionality. Here, both
non-esthetic liminal experiences and eventually integrates groups were able to experience and live the
them” . world as enchanted, and this means thinking
24
From this experience of an artwork that is performed of themselves in a process of transformation, as
25
live between artists, children, and adults, we become beings in transition .
experiencers of the city space itself, welcoming the In this delicate moment that we are going through as
relationships that are formed around play, the corporealities humanity, it is essential that we bring actions and reflections
that intersect in artistic action, and the use of space as an that can contribute to building more cooperative, less
esthetic territory. By interfering in the city’s spaces and developmental, more diverse, and less colonized societies.
harnessing the potential power of the landscape of gardens In this way, children, as bearers of novelty in the world,
and parks, we seek the enjoyment of an urban space that
formulates new notions of a city, which can have a direct 4 Buen Vivir is a concept developed by Ecuatorian Alberto
impact on its repertoires and dynamics of use. Acosta, which reflects on sustainable economic development.
It opposes the idea of perpetual accumulation and seeks
Considering that inequalities in cities directly influence harmony with nature, reciprocity, and solidarity between
the raising and development of children and that a individuals and communities. This concept is based on the
welcoming city is a better city for everyone, we can also cultural experiences of South American indigenous people.

Volume 2 Issue 1 (2024) 10 https://doi.org/10.36922/ac.1668