Advanced Diploma in Cultural Mediation: Community, Arts and Technologies

Originating in Europe and widely developed in countries like Canada, cultural mediation has established its status and function within major cultural institutions worldwide. A common definition in Europe describes it as “a set of actions that, through an intermediary (the mediator, who may be a professional, an artist, a facilitator, or a peer), aim to connect an individual or group with a cultural or artistic offering (an original work of art, an exhibition, a concert, a performance, etc.) in order to foster its understanding, knowledge, and appreciation” (Aboudrar and Mairesse, 2018). This definition focuses on processes embedded within traditional cultural spheres, such as museums and major cultural institutions.

This Diploma program takes the premise that many actions and projects could fit the definition of cultural mediation, but that we generally know them under different concepts, depending on the country and academic or intellectual traditions. For example, in our region, the model of the cultural or sociocultural facilitator or the cultural promoter is widespread at different times and with different approaches. Even within the very idea of ​​university outreach or engagement, we could find multiple projects that would fit some ideas of cultural mediation. A common element in all these actions is the idea of ​​connection; that is, thinking of these actions as a way of forging bonds with others, based on cultural and artistic productions, to produce new meanings, deconstruct existing ones, and enable new ways of living in community.

We therefore begin by considering cultural mediation as a practice and as an emerging discipline that has not yet formed a clearly defined field of problems, with the exception of the French case and some Canadian experiences. Although some aspects of the topic have recently been developed in Latin America, for example in Chile (Peters, 2019), it is not yet possible to approach it from an international perspective.

Given this scenario, the need arose to initiate a process of systematizing the diverse trajectories associated with cultural mediation in the region, while simultaneously developing specific training that brings together the knowledge that forms a conceptual framework unique to these latitudes. Therefore, in 2019, the National University of the Arts (UNA) of Argentina launched an initial training program for cultural mediators, which served as the starting point for the implementation of this online Diploma in 2020, in conjunction with the Latin American Council of Social Sciences (CLACSO). This program facilitates dialogue between trainees and cultural producers in Latin America and the Caribbean.

The Higher Diploma in Cultural Mediation: Community, Arts and Technologies is aimed at undergraduate and postgraduate students; teachers at all levels; activists and members of trade unions, social movements and political parties; public officials; members and managers of non-governmental organizations and professionals interested in the subject.

• Sandra Torlucci (National University of the Arts, Argentina) 
• Victor Miguel Vich Florez (Pontifical Catholic University of Peru) 
• Thomas Peters (University of Chile) 
• Damian Del Valle (National University of the Arts, Argentina) 
• Gabriela Augustowsky (National University of the Arts, Argentina)
• Rosario Lucesole (National University of the Arts, Argentina) 
• Marcela Rapallo (National University of the Arts, Argentina) 
• Bianca Racioppe (National University of La Plata, Argentina) 
• Mariana Luterstein (National University of the Arts, Argentina) 
• María Laura Laffue (National University of the Arts, Argentina) 
• Camila Baeza (National University of the Arts, Argentina) 
• Silvia Alderoqui (Coordinator of Programs for Audiences, Cultural Center of Science C3, Buenos Aires, Argentina)
• Sonia Jaroslavsky (Coordinator of the Audience Management Area, Cervantes National Theatre, Buenos Aires, Argentina)
• Rosario García Martínez (Education and Public Programs, PROA FOUNDATION, Argentina)
• Eva García (ComuArt, Barcelona, ​​Spain)
• Lucas Silva de Oliveira (Unesp Institute of Arts, IA, Brazil)
• Walter Mignolo (Duke University, United States)

The program consists of 5 modules of 3 or 4 weekly classes each, taught consecutively and interconnected. The course combines synchronous and asynchronous learning.

Total workload of 128 hours.

The modules that comprise the advanced diploma are: