This paper is based on a questioning about Contemporary Art Education, taking into account a need to analyze its social and political context, from where the cultural bases of artistic production are created.

On the idea of ​ Failure of the Western cultures and democratic societies, born in the Modernity project, we analyze contexts of intercultural artistic education that allow us to refute and deconstruct the basic values ​​of these societies, under the guise of concepts such as Democracy, Human Rights, Freedom and Equality. Failing mainly to assume diversity and diversion, these values ​​are hostage to the invisibility of oppressions, in a network of cultural mass and artistic productions that contribute to a hegemonic and discriminatory order.

In this contemporary context, Artistic Education in Europe lives on a great complexity and difficulty in finding a way to constitute itself as a hypothesis of creation of its own critical and agonistic educational space, within a social system that accentuates inequalities and discrimination, failing to find paths that revitalize the words of hope shouted since the late nineteenth century.

It becomes insufficient to understand Artistic Education as a space for the development of the individual's creativity, focusing on the author's value and thus, on an individualistic basis, or as a therapeutic form and an island of personal happiness, assuming a normalizing function of the individual in society, diverging its broader hypotheses from an irreverent and disobedient field. It is necessary to understand first of all that this path solidifies Artistic Education as socially innocuous educational practices, serving the neoliberal scam that each one has the responsibility to be a good citizen according to the majority and meritocratic values, forgetting the value of the common, of the shared diversity and in the realization of the becoming of the communities, promoting the possibility of another happening.

The complexity of finding in the field of Western Art Education spaces of disobedient action to the hegemonic devices, given the dimension of the institutional bonds, by the growing bureaucratization, by the established power relations, by the valorization of individual merit, accentuates in our research group perplexity and interest in looking outside Europe, to understand what can transform our declared finitude, adding in our practices a new way of being.

This paper will focus on two different groups, where authors are part of at least one of them, that found their own Artistic field of intercultural practices as way to give their voices and to create a deviation from the capitalized logic that builds westerns societies’ powers.

ID_ Colectivo de Acção e Investigação is formed by a group of researchers from Porto, Portugal, that, for almost twenty years, have been involved in research activities that have been displaced to an intercultural terrain. We attend educational and cultural experiences in Mozambique, in Cape Verde and in the Northeastern Sertão of Brazil.

GAIAC – Grupo de acção e Intercâmbio Artístico e Cultural is a portuguese organization that works with intercultural and European projects, for almost 17 years, creating artistic exchanges with artists and youngsters and different parts of Europe. This group is composed of teachers and artists which form a mixture of European cultures also descended from southern countries.

The presentation focuses on shared experiences in the Quilombola Community of Conceição das Crioulas in Brazil and with artists and participants in intercultural projects with Gaiac, mainly in Portugal.

The presentation tries to reveal, through the voice of its participants, what is understood as Differentiated, Intercultural and Artisitc Education as a clash between the structured social realities and what they find as practices of artistic and intercultural diversion.

The paper presents an autobiographical view of its authors, based on discussions shared with the communities and research group, and by the contribution of the participants in the two mentioned projects, thus having a diverse opinion of their experiences in the Artistic Education. On the one hand, the sharing of the meaning of art and culture as a struggle of the Quilombo Community of Conceição das Crioulas, on the other hand, the experience of intercultural and artistic creation in nomadic and ephemeral groups in European projects. It is based on the sharing of testimonies from each of the groups, having different actors, such as teachers, artists, social workers, etc. These contributions will be present in the article as a form of shared conversation between the theoretical frame and authors and the different experience on the ground. It will also be created a small multimedia presentation.

The article intends to foment the discussion about the potentialities of Arts Education as a field of agonistic relations, spaces of sharing and creation that go beyond teaching others the authority and the authorship of the arts according to their role of prominence in the hegemonic social logics and movements that became a force in our daily lives. Through its foundation with the testimonies of different actors in distinct cultural and social contexts and in their interpretations of the possibilities of Arts Education, this research sharing aims above all to suspend the preconceptions related to this field of research, transforming them into processes that need to be built through debate and reflection.

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