The communication that is intended to present reveals  the pulse of an action-research process in which the authors are involved, within a process of development, long lasting, which takes places in two communities (Lagedos and Planalto Norte), the island of Santo Antao in Cape Verde. It refers to a movement promoted by the people who fight for the improvement of their territory and their lives. They assume their leadership and coordination, a share with an NGO (Atelier Mar) and with a Cape Verdean higher institute of art and culture (M_EIA - MINDELO, International School of Art). What is written records a phase of a long process of ongoing action, - for over a decade -, and with no visible end. This is a art-development project shared among the researchers of M_EIA and Research Center on Arts Education placed at i2ADS, at the Faculty of Fine Arts, University of Porto. What we intend to discuss is not properly the exemplarity of any process of solving communities' problems, but the range of possibilities that teachers / artists / researchers in the arid territory of these two communities experience, the educational settings that are disclosed and the learning processes that can be shared through the presence of their divergent, critical and speculative thinking about the diversity of solutions and procedures that can happen. It is from the nature of this particular artistic irreverent critical thinking, necessarily synchronic with a political thought, and against the naturalized solutions, that we promote this writing. What we intend to discuss is this being, the artist who moves his place of comfort, suspending his authorial making facing the perception that invades a territory (although their presence in the community is from the order of hospitality - Derrida), where it is indulged as a gift (Marcel Mauss). The suspension of the artist means, in this context, a self-presentation with our knowledge and utopias. The learnings that come off this intercultural relationship allow researchers, involved and engaged in the action, a confrontation of their theoretical fields located in the 'art' and 'art education' and its empirical knowledge with the complex reality of the territories where they move. It is intended, from the narrative that the research provokes, a defense of an epistemological discomfort and a displacement for an intercultural confrontation, a critical posture of hegemonic values in behalf of an agonistic debate (Mouffe). We prefer the promiscuous relationship between the art and the political and not the coat of neutrality or 'meaningless'. We prefer the suspesion of the artistic, the learning impotentiality of  art (Agamben) and its potentiality within precarious social contexts, which allows each community to share and build artistic invisibilities and to construct of inventive socio-cultural realities that possess meaning for intelligence and life.

Because it is built on an implicetd investigation that is shared by the authors, the paper is collaborative and corresponds to a moment of a long process of research. Within research we use 'field diaries',  map devices, video-recordings that represent the implicated experience among the population, interviews, free recordings, as well as hundreds of photographic images of the processes. Our research methodology is multiple and shared among the participants, what we can call a real action/ research, where what happened occupies the centrality, where ethnographic processes are adopted and the study of direct 'life narratives' of the populations of the two communities, and the researchers themselves. The writing will be the result of intimate conversations and debates with the community of M_EIA's students and teachers, involved in the process. The reflections and academic work carried out in this context are also elements of study and analysis.

The aim of this research is to promote a critical reflection among teachers / artists / researchers in order to fight the naturalized narratives and academic methodological traditions on research about art and arts education, facing the myths that endure of enlightenment rationalism and the euro-centrism colonizer. The reflection is done by moving to intercultural contexts in territories 'other', remote and isolated from academic comfort, in which the legitimized knowledge and the dominant and hegemonic construct of our representations are questioned. Thus, in the arena of intercultural confrontation, we try to find an agonistic writing, not retained in a 'time' that does not promote room for a community to come, nor provides the desirable dimension for renewed readings 'in art' and 'artistic education' and the possibility of an implicated process of research. And in this process returns the pleasure of contemplation before the sublime and understanding of the impossibility of recording it.