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DOI: hꢁps://doi.org/10.25054/2027257X.4071

The contribution of “the aesthetic”

and “the sensitive” in the formation

of early childhood

Laura Magaly Naranjo Arce*

José Leonardo Ruíz Méndez**

Received: October 15, 2022

Accepted: August 31, 2023

Arꢀcle Type: Scienꢀﬁc and technological research

*

Graduate in Music. Teacher

This academic document was born as result of the

research thesis “The aestheꢀc and the sensiꢀve from the

musical and sound experience in the Garden degree of

the Columbus American School Insꢀtuꢀon”, developed by

the author to obtain the master's degree in the Master of

Educaꢀon, deepening area: University Research and Teaching.

at the Tolima Conservatory.

lauranaranjoarce@gmail.com

0

000-0003-4897-4587

*

Doctor in Educaꢀon

and Environmental Culture

from

Surcolombiana.

at the

University.

leonardo1@usco.edu.co

000-0002-2834-7853

the

Universidad

Professor

Surcolombiana

Rꢀꢁꢂꢃꢀ: The study of musical formaꢀon has been

a topic of interest in the educaꢀonal ﬁeld, as it has

allowed us to recognize the importance it has in

human development as a possibility of experiencing

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Hꢄw ꢅꢄ ꢆꢇꢅꢀ ꢅꢈꢇꢁ ꢉꢊꢋꢆꢌꢀ:

“

the aestheꢀc” and “the sensiꢀve”. This research

Naranjo, L. & Ruiz, J. (2024).

Tꢂꢃ ꢅꢌ

ꢇꢂꢃ ꢍꢃꢎꢇꢂꢃꢇꢉꢄ” ꢍꢆꢏ “ꢇꢂꢃ

ꢄꢅꢆꢇꢈꢉꢊꢋꢇꢉꢅꢆ

aimed to understand how these concepts contribute

to the processes of formaꢀon of corporeality in early

childhood. Through the observaꢀon and descripꢀon of

musical and sound experiences, and the interpretaꢀon

of these, three trends were obtained that occurred in

the aestheꢀc exchanges during the execuꢀon of musical

and sound workshops applied in the preparaꢀon

of this study, which are the manifestaꢀon of the

sensiꢀviꢀes, corporaliꢀes and family ꢀes of infants. To

arrive at such descripꢀons, an observaꢀon grid was

developed that accounted for the how and why of

the behaviors that belong to “the aestheꢀc” and “the

sensiꢀve” and what is observable about them through

“

ꢎꢃꢆꢎꢉꢇꢉꢐꢃ” ꢉꢆ ꢇꢂꢃ ꢌꢅꢈꢑꢍꢇꢉꢅꢆ

ꢅꢌ ꢃꢍꢈꢒꢓ ꢄꢂꢉꢒꢏꢂꢅꢅꢏ. PACA

Journal 16, pp. 17-34.

a

qualitaꢀve-interpreꢀve approach. Through the

descripꢀon, informaꢀon was obtained that facilitated

the reconstrucꢀon of the reality of those who were

observed and interpretaꢀons were generated.

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This research did not aim to ﬁnd answers or data represented in numbers and

measurements, but rather through observaꢀon, part and parcel of the life

experiences of the universe studied was realized.

Once such manifestaꢀons of aestheꢀc exchanges are described and interpreted,

the idea about the relaꢀonship between “the sensiꢀve” and “the aestheꢀc”

from the musical and the sound in the early childhood training processes

is developed and it is demonstrated that the body, experiences, sounds,

discoveries, spontaneity, words, melodies, singularity, are links that mesh with

each other within the learning process, thus having to transcend the context

of the arꢀsꢀc area, so that it also makes part of the enꢀre training task. For all

of the above, it is clear that the method used for this study is qualitaꢀve and

is also a hermeneuꢀc approach, since it promises to provide interpretaꢀons,

appropriaꢀons and compressions of various experiences or realiꢀes such as the

observed experiences.

Kꢀꢍwꢄꢊꢎꢁ: early childhood, “the aestheꢀc - the sensiꢀve”, formaꢀve processes,

body and corporeality, aestheꢀc exchanges, the musical and the sound.

Aꢏꢁꢅꢊꢉꢆꢅ: The study of musical training has been a topic of interest in the

educaꢀonal ﬁeld, since it has allowed recognizing the importance that it has in

the development of beings who experience "the aestheꢀc" and "the sensiꢀve".

This research aimed to understand how these concepts contribute to the

formaꢀon processes of girls and boys in the iniꢀal stage. Through the observaꢀon

and descripꢀon of musical and sound experiences, and the interpretaꢀon of

these, three trends were obtained that occurred in the aestheꢀc exchanges

during the execuꢀon of musical and sound workshops applied in the elaboraꢀon

of this study, which are the manifestaꢀon of the sensiꢀviꢀes, corporeality and

family bonds of boys and girls. To arrive at such descripꢀons, an observaꢀon grid

was elaborated that gave an account of the how and why of the behaviors that

belong to "the aestheꢀc" and "the sensiꢀve" and what is observable of these.

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Once such manifestaꢀons of aestheꢀc exchanges are described and interpreted,

the idea about the relaꢀonship between "the sensiꢀve" and "the aestheꢀc" is

developed from the musical and the sound in the processes of early childhood

formaꢀon and it is shown that the body, experiences, sounds, discoveries,

spontaneity, words, melodies, singularity, are a link that becomes learning and

that should transcend the arꢀsꢀc area to be part of all training processes.

Kꢀꢍwꢄꢊꢎꢁ: early childhood, the aestheꢀc, the sensiꢀve, training processes,

aestheꢀc exchanges, music and sound.

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Iꢐꢅꢊꢄꢎꢂꢆꢋꢄꢐ

Regarding early childhood, diﬀerent studies and research have

demonstrated its importance, since at this stage the brain develops

fundamental aspects for the growth of human beings (UNESCO, 2020);

In addiꢀon, it determines phenomena of the cogniꢀve, social, emoꢀonal,

linguisꢀc and spiritual aspect (MEN, 2007).

When talking about early childhood, the document “Guidelines for

arꢀsꢀc educaꢀon for primary and secondary school” maintains that one

of the competencies presented at this stage is sensiꢀvity. It is at this

moment in life where fundamental personality structures are established

for adulthood and the future of individuals is determined (Bermúdez

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018); In the ﬁrst ﬁve years, an enꢀre brain structure is organized that

encompasses the number of neurons and the synapses between them to

enable learning (De Zubiría 2019), a fundamental context of this research;

However, it must be clear that the purpose of this study is to understand

the sensiꢀve and the aestheꢀc as a pillar that allows the human being

to give himself in the world through his sole existence in the experience

of the sensiꢀve, and that will accompany him during his life in all his

experiences and not only in the arꢀsꢀc area.

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In favor of this research purpose, the work focused on making

observaꢀons of the aestheꢀc exchanges of the Kindergarten students of

the Colombus American School Educaꢀonal Insꢀtuꢀon of the municipality

of Rivera, department of Huila, during the implementaꢀon of musical and

sound workshops; These observaꢀons and their respecꢀve descripꢀons

were recorded in an observaꢀon grid that was designed based on the

theoreꢀcal foundaꢀons of “the aestheꢀc” and “the sensiꢀve” taken as a

reference in the literature for this research.

This study was commiꢁed to invesꢀgaꢀng the experiences presented

in aestheꢀc and sensiꢀve exchanges based on classroom experiences

from the musical ﬁeld; understanding that musical educaꢀon should

not be thought of solely as the teaching of musical language and the

interpretaꢀons or montages that are part of this language, since it is

present in the classroom at all ꢀmes, in the greeꢀng song, in the song to

make the rounds, among other sound moments. It is unimaginable to have

a school, especially early childhood, where music is not the protagonist,

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since during the classroom meeꢀngs the link between the exploraꢀon of

sound and the construcꢀon of corporeality is strengthened. In this sense,

it is important that music cannot be an area subject to a sporadic hour of

class, but that the accompanying teacher must be trained to learn-teach

and live music permanently (Akoschky, 2008).

Taking into account the above, the grid was chosen as an instrument

for the observaꢀon of the facts and the detailed descripꢀon of the

experiences presented during the invesꢀgaꢀon, not leaving any of these

observaꢀons to chance, but rather organizing said descripꢀons, inferences

and interpretaꢀons within the framework. of “the sensiꢀve” and “the

aestheꢀc”.

These categories, in the manner of modaliꢀes and records, were

developed by collaboraꢀng teachers of the Educaꢀonal Insꢀtuꢀon, who in

the role of non-parꢀcipant observers described the exchanges presented

during the workshops designed, prior to the training process.

In the conceptual theoreꢀcal aspects, early childhood was addressed

as one of the research axes, from the perspecꢀve of naꢀonal and

internaꢀonal policies; The concepts of “the aestheꢀc” and “the sensiꢀve”

were also addressed, based on emerging theories and were put into

discussion with other theories.

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With a qualitaꢀve-interpreꢀve-hermeneuꢀc approach and in

accordance with the postulates of Gadamer (1998), three trends were

found as a result of the descripꢀons recorded in the observaꢀon grids.

Tꢈꢀꢄꢊꢀꢋꢆꢉꢌ ꢊꢀꢑꢀꢊꢀꢐꢆꢀꢁ

In the conceptual theoreꢀcal aspects, a tour of the central concepts

of this research is carried out, developing the ideas and foundaꢀons on

which this study is based.

According to UNICEF (2017), early childhood occurs in the ﬁrst years

of life and during this stage vital neural connecꢀons are generated for

the development of the human being for the rest of their life; For this

reason, infants must be guaranteed aꢁenꢀon, nutriꢀon, sꢀmulaꢀon,

communicaꢀon and a daily life around play. On the other hand, Valencia

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(

2017) indicates that early childhood is made up of three moments and

in each of them phenomena occur that, once completed, make up the

development of the human being: intrauterine cycle, sensory percepꢀon

cycle and essenꢀal quesꢀons. María Montessori (1998), for her part,

points out that early childhood is the stage in which girls and boys absorb

all the informaꢀon that occurs around them, be it language, culture,

knowledge, among other dimensions, and it is in This moment in which

arꢀsꢀc educaꢀon will allow the infant to create his or her own reality

based on his or her sensibiliꢀes.

“

The sensiꢀve” is all that relaꢀonship that results from the experiences

between the human being and the outside world; It is the encounter

between the person who feels and what he is feeling, everything that

sensoryity allows to be perceived; It is music based on the sꢀmulus of

sensiꢀvity (Perniola 2008). Emanuele Coccia (2011) deﬁnes “the sensible”

as the way in which human beings exist in the world, and the world

becomes knowable; Furthermore, it is the way in which the world reaches

individuals and is not limited to the sensaꢀons obtained by external

sꢀmuli.

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The aestheꢀc, for its part, is deﬁned as the possibility that human

beings have to understand the world from the diversity of each one of

them. The aestheꢀc is important because of the experiences of arꢀsꢀc

manifestaꢀons and not because of their funcꢀonality or form (Noguera

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000). In this same line of thought, Sánchez's (1992) approach is that the

aestheꢀc does not consꢀtute the deﬁniꢀon of beauty or the grotesque,

but rather the perceptual processes between the subject and the object,

and phenomena such as memory, images and evocaꢀons.

Katya Mandoky (2006) developed categories with which she based

observable aspects on “the aestheꢀc”, and Coccia (2011), on “the

sensiꢀve”. These registers and modaliꢀes are behaviors that occur

during an event that she has called “aestheꢀc exchanges,” which are the

experiences that human beings have with the outside world. For this

study, these categories were organized in an observaꢀon grid in which

the necessary informaꢀon was compiled to understand the theory about

registers and modaliꢀes of the aestheꢀc and the sensiꢀve (Table 1).

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Categories of observaꢀon of “the aestheꢀc” and “the sensible”.

Table 1

Bꢉꢁꢇꢆꢁ

Cꢉꢅꢀgꢄꢊꢇꢀꢁ

Sꢂꢏꢆꢉꢅꢀgꢄꢊꢇꢀꢁ

THE

AESTHETIC

RHETORIC

Lexical Acousꢀc Somaꢀc scopic

record

Record record

record

DRAMATIC

Proxemic modality

THE SENSITIVE

IMAGES

sound images

Sꢄꢂꢊꢆꢀ: Own elaboraꢀon, based on Mandoky 2006.

In order to understand what was observed, ﬁrst of all we must

remember what unꢀl now has been seen as “The aestheꢀc” and “the

sensiꢀve.” For the aestheꢀc to be possible, there must be an “exchange”,

and the exchange is everything that occurs in the relaꢀonships that the

human being establishes with himself, with the everyday and with the

other; Now, “the sensible” refers to the possibility of feeling oneself in the

midst of aestheꢀc exchanges that allow one to construct meaning.

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As seen in the previous table, the concept called “rhetoric” has been

described by Mandoky as the way in which aestheꢀc exchanges are

communicated and “dramaꢀc” is the way in which the statement is made

or expressed.

These two, “rhetoric” and “dramaꢀc,” are divided into subcategories,

which Mandoky has also called “registers” or “channels of exchange” in

the case of “rhetoric,” and “modaliꢀes” in the case of “dramaꢀc.”.

In “the sensible”, Coccia develops an observable category that is

called “sound images”, which are all those sensiꢀve representaꢀons or

manifestaꢀons that make sense in space-ꢀme and puts “dreams” as the

clearest example of what which is an image, but occurred within an event;

an image that is not palpable, but that is an inherent part of the being

and the experience of it. Coccia describes “the image” as a state, a way

of exisꢀng and giving existence to things and this, understood from the

sensible, is a phenomenon that is experienced in a unique way.

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Knowing, therefore, the above, it is now possible to display each of

the records recorded in the Table and some narraꢀve examples of the

observaꢀons obtained in the workshops will be provided.

Lexical Record:

They are groups of words expressed in wriꢁen or oral form, where

symbols, numbers and abstract codes intervene; They are phrases or

speeches, it is the way in which the speech is executed through the sound

of the voice or the image in the text (wriꢀng), the terms, the forms, the

style. All the language, slang or dialects that a subject uses through verbal

statements.

In Workshop No. 2, one of the students tells the research teacher about

her experience while her mother was carrying her and tells her “when

I was in my mother's belly, she made sounds like liꢁle birds”, this is an

experience taken from his mother's narraꢀve.

Acousꢀc Record:

2

3

Also known as the sound register, which includes volume, intonaꢀon,

and ꢀmbre of voice. Speech and words are closely linked to sound, volume

or inꢔecꢀons. A tone of voice in a phrase can determine its meaning, its

veracity or its contradicꢀon, the modulaꢀon of the voice gives meaning

to the phrase, it provides the energy that the word requires to fulﬁll the

objecꢀve of the message. The subcategories for this register are taken

from Parret's (2003) theories on the descripꢀve categories of voice:

•

Volume (intensity-range)

Doorbell movement

Conꢀnuity

Record of phonatory

In Workshop No. 3, one of the observed students makes a narraꢀve

about the appearance of owls at night and proposes that owls make

sounds like CU-CU-CU and with this they make a modulaꢀon in the volume

of their voice and a inꢂecꢀon in sound reproducꢀon.

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Somaꢀc Record:

This category, like acousꢀcs, is also linked to enunciaꢀons, addressing

rhetoric from body expression, gestures, body postures, facial expression,

body temperatures and planes of movement. This category is so important

that, if there were no verbal language, the somaꢀc would be the main tool of

communicaꢀon and expression. The subregisters of this category are proposed

by Hall (1963) in his system of notaꢀon of proxemic behavior and are:

•

Postural

Hapꢀc (science of touch)

Thermal

Olfactory

Eyepiece

In Workshop No. 3, one of the observed students associates the

sounds he hears with a moment that apparently transmits calm to him,

and voluntarily closes his eyes and lies down on the ground with his body

completely relaxed.

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Scopic Record:

It refers to everything that has to do with space-ꢀme, topology,

scenography, props, clothing; This is what you see at ﬁrst. Hence the

importance of dedicaꢀng eﬀorts to making something appear striking in

order to achieve a speciﬁc objecꢀve. It is also the tangible, material way

in which the individual represents his aestheꢀc exchanges and even his

non-verbal rhetoric.

•

Visual and spaꢀal arꢀfacts

Scenography

Topography

Locker room

Props

In Workshop No. 5, three observed students choose to carry out the

acꢀvity with orange and yellow cellophane paper, interpose one paper

with another, look for an area that the sun illuminates and explore

possibiliꢀes of color eﬀects on the paper exposed to the sun.

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Proxemics:

Proxemics has its origins in the dramaꢀc; This modality frames the

proximity or distance that is generated in the relaꢀonships between

individuals, but it does not refer to space-ꢀme itself but to the event,

convenꢀons or behaviors that determine the narrowness in the way of

relaꢀng, that is, proxemics refers to the states of mind, emoꢀons and

aꢕtudes that allow the connecꢀon or disengagement of one human

being with another.

In Workshop No. 10, it is observed that one of the students remains

aꢁenꢀve in the acꢀvity, but when she noꢀces that her partner is not,

she takes her arm and pulls repeatedly; She appears displeased at the

inaꢁenꢀon of her partner.

Sound images:

Coccia menꢀons that sensible life is related to “…the ability to produce

images of things: neither praxis nor poises, but the intermediary sphere

of commerce and producꢀon of the sensible. It is not just about the ability

to embody forms in objects, but rather the ability to make them live for

an instant outside of things and outside of subjects” (2011, p. 66). In this

sense, sensiꢀve life is linked to the producꢀon of sound images, since

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“

only through the sensible – through images – do we penetrate things

and others, can we live in them, exert inꢔuence on the world.” and over

the rest of the living” (Coccia, 2011, p. 65).

“In Workshop No. 9, one of the students evokes an experience about

the construcꢀon of a homemade musical instrument and menꢀons that the

sound of said instrument resembles the sound of the sea; When asked how

she knows that this is what the sea sounds like, she expresses a memory

about a family visit to the sea, and the sound of it in the morning hours”.

Now, to talk about early childhood, "the sensiꢀve" and "the aestheꢀc"

it is also necessary to understand the role of the body in the context of

this research, since this is the place of subjecꢀvity seen from the discovery

and the creaꢀon; The body is the means by which girls and boys transform

the maꢁer of the arꢀsꢀc space into a unique experience; The body should

not be seen as the means to express a sꢀmulus, but to live the experience.

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The results of these sꢀmuli in the body, dance, theater, painꢀng, listening

are transversaliꢀes; The body is the scene of IDARTES experiences (2015).

Mꢀꢅꢈꢄꢎꢄꢌꢄgꢇꢆꢉꢌ ꢉꢁpꢀꢆꢅ

The method that frames this research work is the qualitaꢀve-

interpreꢀve-hermeneuꢀc, since the results were obtained through the

observaꢀon of the behaviors of the sample and with their descripꢀons

the observed reality was reconstructed and interpreted. This study was

not interested in ﬁnding answers or data represented in measures or

numbers, but rather, as menꢀoned, precise descripꢀons were made of

everything that was observed such as experiences, situaꢀons, people,

interacꢀons and manifestaꢀons that were organized within the framework

of some categories, and in each of these the informaꢀon was recorded;

For example, in the workshops carried out with the students, they had the

opportunity to experience sound experiences with birds; Upon coming

into contact with this experience, the body expressions in imitaꢀon of

birds or expressions of placidity, the invenꢀon of sounds like “CUI-CUI”

and the conversaꢀons between them about the experience, were part of

the registers recorded on the instrument.

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Populaꢀon and sample

The populaꢀon corresponds to students from the Columbus American

School – Preschool Educaꢀonal Insꢀtuꢀon. The sample belongs to the

kindergarten grade, made up of 7 girls and 9 boys, with ages ranging

between 4 and 6 years.

To determine the sample, it was taken into account that: a) it was

the largest group b) boys and girls who were compleꢀng the preschool

cycle, close to entering primary school. This selecꢀon contributed to the

purpose of having a group of students with the development of autonomy

and the capacity for wonder.

Instrument

Iniꢀally, ten musical and sound workshops were designed that

contained details of the experiences such as name of the workshop,

materials, duraꢀon, descripꢀon and purpose of the experience.

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To complete the observaꢀons, a grid was created based on the

categories of registers and modaliꢀes belonging to the theory of “the

aestheꢀc” and “the sensiꢀve” proposed by Katya Mandoky (2006). This

grid was completed by the collaboraꢀng teachers who, prior to the

training process, made the descripꢀons of each of the designed acꢀviꢀes.

In total they ﬁlled out forty grids.

Informaꢀon processing and analysis

The compleꢀon of the observaꢀons contained in the observaꢀon grids

were interpreted and organized according to the categories established in

three trends, in accordance with the purposes of the research.

Rꢀꢁꢂꢌꢅꢁ

The descripꢀon and systemaꢀzaꢀon of the results obtained aꢖer

the collecꢀon and organizaꢀon of the observaꢀon grids proposed in the

methodology of this study are presented below (Table 2).

Descripꢀon and interpretaꢀon of the observaꢀons recorded in the

category grids.

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Table 2

Wꢄꢊkꢁꢈꢄp

ꢐꢂꢃꢏꢀꢊ

Wꢄꢊkꢁꢈꢄp ꢐꢉꢃꢀ

Wꢄꢊkꢁꢈꢄp Dꢀꢁꢆꢊꢇpꢋꢄꢐ ꢉꢐꢎ

ꢇꢐꢅꢀꢊpꢊꢀꢅꢉꢋꢄꢐ

1

Bird watching

The girls and boys perform sonorous

and dramaꢀc interpretaꢀons of birds

that they themselves have built with

their imaginaꢀon.

2

3

Creaꢀng sounds

Students evoke sounds and speeches

from their experiences in the womb.

Night sounds

The boys and girls evoke personal

experiences about the sounds of the

night and propose their own sounds

based on their sensiꢀvity.

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4

The sounds of

things

The boys and girls were oﬀered the idea

of recreaꢀng diﬀerent life situaꢀons

with sounds, such as a sunrise or a

growing seed.

5

The

sounds

color

of

Colors were assigned to a scale of 5

sounds, with which the children made

drawings that they then transported

to a musical instrument, and in this

way they obtained their own melodic

composiꢀons.

6

7

Color paleꢁe

In this workshop, children freely

assign colors to sounds and share their

narraꢀves about the reason for their

choices.

Sound

interpretaꢀon

Children carry out diﬀerent free

musical exploraꢀons, and it is observed

that they resort to sound memory

during these exploraꢀons.

2

8

9

Singularity

This is an experience that allows them

to represent music through paint and

color; the trend is to use their own

bodies and those of others to explore

color possibiliꢀes.

Representations

and sound nature

Students use materials from nature

to generate natural sounds. Many of

them make personal evocaꢀons and

then carry out their interpretaꢀons.

1

0

The bridge

Students choose their pairs, based on

their ꢀes and feelings, to carry out

musical dynamics.

Sꢄꢂꢊꢆꢀ: Own elaboraꢀon based on ﬁeld work.

All observaꢀons from each of the grids were described and interpreted,

analyzing the recurring situaꢀons of each record and modality to generate

trends.

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Dꢇꢁꢆꢂꢁꢁꢇꢄꢐ

Trends

Trends are the ﬁndings or coexistences that emerged from each of

the categories displayed in the observaꢀon grid. To obtain these trends

it was necessary to organize the grids, transcribe the informaꢀon on the

observaꢀons made in the ten workshops, record the descripꢀon of each

one taking into account the categories of analysis that were recorded and,

ﬁnally, the discovery of the repeꢀꢀve aspects occurred. in them in light

of the categories, modaliꢀes and records that founded the invesꢀgaꢀon.

The trends found during the processing and analysis of informaꢀon

were three:

1

. Trend of the “Link of the nest and the sensiꢀve”

This tendency corresponds to the descripꢀon and interpretaꢀon of the

sound and narraꢀve manifestaꢀons of the observed corporeiꢀes, where

it is evident that the songs, evocaꢀons, speeches and dramaꢀc gestures

that arose spontaneously have a connecꢀon with the family link.

2

9

2

. Trend of “Feeling in one's own body”

This trend describes the prevailing need of infants to use the body as

the immediate channel with which they experience what they explore,

discover and experience; The body is the stage in which boys and girls

remain expectant before events. IDARTES (2015).

3

. Tendency of the “sound self”

This corresponds to the descripꢀon of the sound manifestaꢀons of

boys and girls such as songs, onomatopoeia, exploraꢀons and discoveries

that have singularity as their main characterisꢀc, since it was found that

these manifestaꢀons belong to sounds that come from the construcꢀon

of imaginaries and, therefore Therefore, they become unique sounds.

The discussion of this study focuses on generaꢀng a comparison

between the ﬁndings and the theories on which it was based. From what

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was found in the trends already presented, it was established that there is

a close relaꢀonship between “the aestheꢀc” and “the sensiꢀve”, and that

this occurs through the connecꢀon of the registers and modaliꢀes that

the human being expresses during the aestheꢀc exchanges it has with the

outside world; The diﬀerent links of these branches become an aestheꢀc

exchange.

This is related to the theory that Katya Mandoky (2006) maintains

regarding the diﬀerent registers and modaliꢀes that consꢀtute “the

aestheꢀc.” Mandoky proposes the rhetorical coordinate and the dramaꢀc

coordinate, and these are part of the human being by their very existence.

It is found that “the sensible” requires a means to be externalized;

This medium is nothing more than the registers that parꢀcipate in the

categories that were already menꢀoned (rhetoric, dramaꢀc and sound

images) and that accompany the human being during his existence.

These ﬁndings together consꢀtute the response to the purpose of the

research, which is aimed at interpreꢀng the relaꢀonship between “the

aestheꢀc” and “the sensiꢀve” from the musical and sound perspecꢀve in

the training processes of early childhood.

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To understand what the contribuꢀon of “the aestheꢀc” and “the

sensiꢀve” in the formaꢀon of early childhood is about, we must refer to

the trend called “Feeling in one's own body”, where the most important

part of the exchanges are the corporeiꢀes, recognizing themselves in the

present as senꢀent beings, based on pure experience, living experience, in

connecꢀon with their interests, with their exploraꢀons, without thinking

about being approved or disapproved through the alphanumeric codes

that They govern the educaꢀonal system in which they are found. During

theresearch, thestudentswerenotoﬀeredcondiꢀoningincenꢀvessuchas

grades, prizes or sꢀmuli that inꢔuenced the behavior for the development

of the workshops, in such a way that during the execuꢀon of these, the

experiences of the infants were free (without lose sight of the orientaꢀon

for the development of the workshops) and their moꢀvaꢀon depended

solely on their own interests regarding the expression and exploraꢀon of

aestheꢀcs and sensibiliꢀes, as well as the nature of their astonishment.

It is in that place and at that moment where “the aestheꢀc” and “the

sensiꢀve” come together with the early childhood training process, since

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here the teacher must understand the structures of these two concepts,

since these are observable and They generate informaꢀon about how

you, as a facilitator, should lead classroom experiences and harmonize

your training oﬀerings.

Cꢄꢐꢆꢌꢂꢁꢇꢄꢐꢁ

The link between the nest and the sensible, feeling in one's own body

and the sonorous self are three propensiꢀes founded by the ideas of the

theoreꢀcal framework; These provided important informaꢀon about

“

the aestheꢀc” and “the sensiꢀve” in the kindergarten grade boys and

girls from their musical and sound experiences in the classroom. The

informaꢀon collected in these trends allows the reader to understand

how the registers and modaliꢀes selected in the study contribute to the

formaꢀon processes in the experiences of corporeality and with this the

general objecꢀve is fulﬁlled.

The design of the workshops was proposed for the ﬁrst speciﬁc

objecꢀve and this, in turn, was the means to give way to the fulﬁllment of

the second speciﬁc objecꢀve, which is the descripꢀons of the experiences

of “the aestheꢀc” and “the sensiꢀve” observed. in each workshop. These

workshops comprise 4 moments divided into 5, 10, 15 and 10 minutes, in

favor of the aꢁenꢀon spans of the ages involved.

3

1

The ﬁrst moment is a welcome to the children; Rules are established

that facilitate the development of the workshop, without these rules

aﬀecꢀng aestheꢀc and sensiꢀve exchanges; The second moment of the

workshop is designed to build a communicaꢀon bridge where children

explore, observe, listen, smell, ask, answer quesꢀons, feel, analyze

and make known their preconcepꢀons; The third moment is the most

important stage of the workshop because it is where the musical and

sound experience of the corporeiꢀes occurs and all the acꢀvity takes place

there; It is the longest space-ꢀme, since at this moment the workshop

is directed towards its main purpose, without establishing rules or

parameters that inhibit the children's behaviors. Materials are delivered

to them according to the workshop they develop in case they are needed

and the experience begins.

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The last moment is the closing of the acꢀvity; Here children are allowed

to encounter their own experience, see the results of their experience

and share their exchanges. The guiding teacher invites them to observe

and rediscover the exercise carried out.

Each workshop is diﬀerent but the structure is maintained; Being

diﬀerent, the resources used in each of them vary according to the interest

of the children.

Finally, an interpretaꢀon of these descripꢀons was carried out as

trends and it was discovered that “the aestheꢀc” and “the sensiꢀve” are

foundaꢀons that are arꢀculated through the registers and modaliꢀes

that we already know, forming links that respond to the third objecꢀve.

speciﬁc that is given precisely through such descripꢀons. This completes

the route that goes in search of an interpretaꢀon between the developed

theory and the contribuꢀons that these ﬁndings mean in the educaꢀon

of girls and boys. The contribuꢀon of “the aestheꢀc” and “the sensiꢀve”

in early childhood educaꢀon has to do with exchanges; They are girls and

boys recognizing themselves in the present as senꢀent beings, based on

pure experience, lived experience, in connecꢀon with their interests, with

their exploraꢀons, without thinking about approvals or disapprovals; It is

there where “the aestheꢀc” and “the sensiꢀve” come together with the

early childhood training process, but the teacher must understand the

structures of these two concepts, since they are observable and generate

informaꢀon about the way in which The teacher must direct his classroom

strategies and not only the strategy, but also his formaꢀve oﬀerings.

3

2

The body, its uniqueness, its spontaneity represents a considerable

link within learning; The words, melodies, sounds, expressions, ideas,

thoughts and movements that come from sensiꢀve and aestheꢀc

exchanges become learning. There is no doubt that the encounter with

music and the sound experiences that occur during the development

of boys and girls consꢀtute a learning-teaching phenomenon and this

phenomenon transcends the arꢀsꢀc ﬁeld, to become a central element

of the training process.

The deﬁniꢀon of the aestheꢀc and the sensiꢀve in the context of early

childhood is the origin of understanding feeling, the felt, the sensiꢀve and

sensiꢀvity. Now, what is sensible or feeling is all that relaꢀonship that

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results from the experience between an individual and the outside world,

being the encounter between who he feels and what he is feeling. It can be

understood as everything that is perceived through the senses. According

to Mario Perniola (2008), within these sensory inputs, there is a prevailing

importance of listening; thus understanding the enormous power of

music in sꢀmulaꢀng sensiꢀvity. Another deﬁniꢀon is that the sensiꢀve

consꢀtutes the ability of human beings to relate to images, the sensiꢀve

forms that represent things, events or phenomena in the outside world,

which become experienceable and also involve percepꢀon; a sensiꢀve

becoming, like that which feels extracorporeal, immaterial, that allows

the human being to become another, explore other ways of manifesꢀng

and recognizing oneself in the other (Coccia, 2011).

Meanwhile,theaestheꢀciswhatallowsthehumanbeingtounderstand

the world from diversity to give meaning to what exists as exisꢀng, and this

meaning is what is recognized as alterity and diﬀerence. (Noguera, 2000

p. 106). It can be said then that the aestheꢀc is the individual experience,

the life experience manifested not only from the arꢀsꢀc area, but from all

areas of life and in the school seꢕng, the subjects.

3

Consequently, understanding the body and corporality during

aestheꢀc exchanges will allow the teacher to feel idenꢀﬁed with them,

rememberingtheirchildhood and, whilethereinthatsensiꢀveexperience,

discover what the students want to learn, what interests them, what

generates them. amazement, what makes them feel alive and, even, what

makes them feel aꢁacked in their learning exercise, beyond the school

processes. Being clear about the concept of “the aestheꢀc” and “the

sensiꢀve” will make the teacher apply his or her own sensiꢀvity and get

closer to a feeling that unites us more as humans.

Bꢇꢏꢌꢇꢄgꢊꢉpꢈꢇꢆ ꢊꢀꢑꢀꢊꢀꢐꢆꢀꢁ

Akoschky, J. (2008). La Música en la Escuela Infanꢀl (0-6). Barcelona, España:

Editorial Graó.

Bermúdez Acuña, E. A. (2018). La infancia desde la perspecꢀva del psicoanálisis:

un breve recorrido por la obra clásica de Freud y Lacan; Klein y los vínculos

objetales. hꢁp://pepsic.bvsalud.org/pdf/tpsi/v50n1/v50n1a16.pdf

Coccia, E. (2011). Vida sensible. Grupal Logisꢀcal y Distribución. Editorial Marea.

Gadamer, Hans-Georg. (1998). Verdad y Método, Vol II. Capítulo 5, pp. 63-70.

Ediciones Sígueme, Salamanca, España.

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Hall, E. T. (1963). Proxemics – Study of man´s spaꢀal relaꢀons.

IDARTES. (2015). Tejedores de Vida. Arte en Primera Infancia. Bogotá, Colombia.

Editorial Buenos y Creaꢀvos.

Mandoky, K. (2006). Prácꢀcas estéꢀcas e idenꢀdades sociales. Prosaica 2. Siglo

XXI editores. México.

Ministerio de Educación Nacional. (2007). Políꢀca educaꢀva- fundamentos

Educación inicial.

Montessori, M. (1998). La Mente Absorbente. Buenos Aires, Argenꢀna: Editorial

Diana.

Noguera, A. P. (2000). Educación estéꢀca y complejidad ambiental. Universidad

Nacional de Colombia. Sede Manizales.

Perniola, M. (2008). Del Senꢀr. Florencia, Italia: Pre-Textos Italianos.

Sánchez Vázquez, A. (1992). Lo estéꢀco. Facultad de ﬁlosoꢗa y letras. Universidad

Nacional Autónoma de México.

UNESCO. (2020). La Atención y Educación de la Primera Infancia. hꢁps://

es.unesco.org/themes/atencion-educacion-primera-infancia

UNICEF. (2017). Desarrollo de la Primera Infancia. La Primera Infancia Importa

para Cada Niño. Nueva York, Estados Unidos: UNICEF.

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