pág. 7018
TRENDS IN THE USE OF ART AS A TOOL
FOR UNIVERSITY OUTREACH IN
HIGHER EDUCATION
TENDENCIAS EN EL USO DEL ARTE COMO HERRAMIENTA DE
EXTENSIÓN UNIVERSITARIA EN LA EDUCACIÓN SUPERIOR
Carlota Bayas Jaramillo
Universidad de Guayaquil
Arturo Damián Rodríguez Zambrano
Universidad Laica Eloy Alfaro de Manabí
Cintya Maribel Zambrano Zambrano
Universidad Laica Eloy Alfaro de Manabí
Genny Andrea Quijije Franco
Universidad Tecnológica Equinoccial
pág. 7019
DOI: https://doi.org/10.37811/cl_rcm.v9i5.20092
Trends in the Use of Art as a Tool for University Outreach in Higher
Education
Carlota Bayas Jaramillo 1
carlota.bayasj@ug.edu.ec
https://orcid.org/0000-0003-4047-6989
Investigación e Innovaciones Pedagógicas
Universidad de Guayaquil
Arturo Damián Rodríguez Zambrano
arturo.rodriguez@uleam.edu.ec
https://orcid.org/0000-0002-7017-9443
Investigación e Innovaciones Pedagógicas
Universidad Laica Eloy Alfaro de Manabí
Cintya Maribel Zambrano Zambrano
cintya.zambrano@uleam.edu.ec
https://orcid.org/0000-0002-0129-9134
Universidad Laica Eloy Alfaro de Manabí
Genny Andrea Quijije Franco
genny.quijije@ute.edu.ec
https://orcid.org/0009-0004-4697-0907
Universidad Tecnológica Equinoccial
ABSTRACT
Artistic expressions can play a vital role in university outreach programs. The objective of this study is
to explore how universities can weave innovative artistic practices into efforts that foster social
inclusion and cultural growth. For example, some institutions have found that art helps communities
connect more deeply. Communities often become more engaged when universities incorporate art into
their outreach. This approach can address pressing issues like inequality or mental health. In Ecuador,
some programs that revive ancestral traditions while encouraging student activism have shown real
promise. The study explore the role of art in universities, I relied on a literature review and case studies,
pulling insights from academic articles and institutional reports. For example, some studies suggest that
when universities weave art into their programs, communities tend to engage more deeply. This
approach can address pressing issues like inequality or mental health. In Ecuador, for example, efforts
to revitalize traditional customs and promote student involvement have gained momentum. Art can
serve as a compelling force for societal transformation. However, obstacles such as scarce resources
and doubt from organizations frequently pose barriers. One perspective is that art’s impact depends on
its careful incorporation and cooperation across fields. These observations provide a foundation for
deeper exploration and actionable measures to integrate creative initiatives into higher education,
encouraging civic participation and igniting social progress.
Keywords: art, university outreach, social cohesion, social transformation, higher education
1 Autor principal
Correspondencia: carlota.bayasj@ug.edu.ec
DOI: https://doi.org/10.37811/cl_rcm.v9i5.20092
Trends in the Use of Art as a Tool for University Outreach in Higher
Education
Carlota Bayas Jaramillo 1
carlota.bayasj@ug.edu.ec
https://orcid.org/0000-0003-4047-6989
Investigación e Innovaciones Pedagógicas
Universidad de Guayaquil
Arturo Damián Rodríguez Zambrano
arturo.rodriguez@uleam.edu.ec
https://orcid.org/0000-0002-7017-9443
Investigación e Innovaciones Pedagógicas
Universidad Laica Eloy Alfaro de Manabí
Cintya Maribel Zambrano Zambrano
cintya.zambrano@uleam.edu.ec
https://orcid.org/0000-0002-0129-9134
Universidad Laica Eloy Alfaro de Manabí
Genny Andrea Quijije Franco
genny.quijije@ute.edu.ec
https://orcid.org/0009-0004-4697-0907
Universidad Tecnológica Equinoccial
ABSTRACT
Artistic expressions can play a vital role in university outreach programs. The objective of this study is
to explore how universities can weave innovative artistic practices into efforts that foster social
inclusion and cultural growth. For example, some institutions have found that art helps communities
connect more deeply. Communities often become more engaged when universities incorporate art into
their outreach. This approach can address pressing issues like inequality or mental health. In Ecuador,
some programs that revive ancestral traditions while encouraging student activism have shown real
promise. The study explore the role of art in universities, I relied on a literature review and case studies,
pulling insights from academic articles and institutional reports. For example, some studies suggest that
when universities weave art into their programs, communities tend to engage more deeply. This
approach can address pressing issues like inequality or mental health. In Ecuador, for example, efforts
to revitalize traditional customs and promote student involvement have gained momentum. Art can
serve as a compelling force for societal transformation. However, obstacles such as scarce resources
and doubt from organizations frequently pose barriers. One perspective is that art’s impact depends on
its careful incorporation and cooperation across fields. These observations provide a foundation for
deeper exploration and actionable measures to integrate creative initiatives into higher education,
encouraging civic participation and igniting social progress.
Keywords: art, university outreach, social cohesion, social transformation, higher education
1 Autor principal
Correspondencia: carlota.bayasj@ug.edu.ec
pág. 7020
Tendencias en el Uso del Arte Como Herramienta de Extensión
Universitaria en la Educación Superior
RESUMEN
Las expresiones artísticas pueden desempeñar un papel fundamental en los programas de extensión
universitaria. El objetivo de este estudio es explorar cómo las universidades pueden integrar prácticas
artísticas innovadoras en iniciativas que fomenten la inclusión social y el crecimiento cultural. Por
ejemplo, algunas instituciones han descubierto que el arte ayuda a las comunidades a conectar más
profundamente. Las comunidades suelen involucrarse más cuando las universidades incorporan el arte
en sus programas de extensión. Este enfoque puede abordar problemas urgentes como la desigualdad o
la salud mental. En Ecuador, algunos programas que rescatan tradiciones ancestrales a la vez que
fomentan el activismo estudiantil han demostrado ser muy prometedores. Para explorar el papel del arte
en las universidades, me basé en una revisión bibliográfica y estudios de caso, extrayendo información
de artículos académicos e informes institucionales. Por ejemplo, algunos estudios sugieren que cuando
las universidades integran el arte en sus programas, las comunidades tienden a involucrarse más
profundamente. Este enfoque puede abordar problemas urgentes como la desigualdad o la salud mental.
En Ecuador, por ejemplo, los esfuerzos para revitalizar las costumbres tradicionales y promover la
participación estudiantil han cobrado impulso. El arte puede ser un factor determinante para la
transformación social. Sin embargo, obstáculos como la escasez de recursos y las dudas de las
organizaciones suelen representar barreras. Una perspectiva es que el impacto del arte depende de su
cuidadosa incorporación y cooperación entre campos. Estas observaciones sientan las bases para una
exploración más profunda y medidas prácticas para integrar iniciativas creativas en la educación
superior, fomentando la participación cívica e impulsando el progreso social.
Palabras clave: arte, extensión universitaria, cohesión social, transformación social, educación superior
Artículo recibido 02 setiembre 2025
Aceptado para publicación: 29 setiembre 2025
Tendencias en el Uso del Arte Como Herramienta de Extensión
Universitaria en la Educación Superior
RESUMEN
Las expresiones artísticas pueden desempeñar un papel fundamental en los programas de extensión
universitaria. El objetivo de este estudio es explorar cómo las universidades pueden integrar prácticas
artísticas innovadoras en iniciativas que fomenten la inclusión social y el crecimiento cultural. Por
ejemplo, algunas instituciones han descubierto que el arte ayuda a las comunidades a conectar más
profundamente. Las comunidades suelen involucrarse más cuando las universidades incorporan el arte
en sus programas de extensión. Este enfoque puede abordar problemas urgentes como la desigualdad o
la salud mental. En Ecuador, algunos programas que rescatan tradiciones ancestrales a la vez que
fomentan el activismo estudiantil han demostrado ser muy prometedores. Para explorar el papel del arte
en las universidades, me basé en una revisión bibliográfica y estudios de caso, extrayendo información
de artículos académicos e informes institucionales. Por ejemplo, algunos estudios sugieren que cuando
las universidades integran el arte en sus programas, las comunidades tienden a involucrarse más
profundamente. Este enfoque puede abordar problemas urgentes como la desigualdad o la salud mental.
En Ecuador, por ejemplo, los esfuerzos para revitalizar las costumbres tradicionales y promover la
participación estudiantil han cobrado impulso. El arte puede ser un factor determinante para la
transformación social. Sin embargo, obstáculos como la escasez de recursos y las dudas de las
organizaciones suelen representar barreras. Una perspectiva es que el impacto del arte depende de su
cuidadosa incorporación y cooperación entre campos. Estas observaciones sientan las bases para una
exploración más profunda y medidas prácticas para integrar iniciativas creativas en la educación
superior, fomentando la participación cívica e impulsando el progreso social.
Palabras clave: arte, extensión universitaria, cohesión social, transformación social, educación superior
Artículo recibido 02 setiembre 2025
Aceptado para publicación: 29 setiembre 2025
pág. 7021
INTRODUCTION
Artistic expressions integrated within university settings spark transformative dialogues that surpass
simple aesthetics, deeply influencing cultural and social dynamics in academic environments. Crossway
diverse sociocultural environments, evidence suggest that this approach effectively promotes social
cohesion and tackles complex societal challenge. University Outreach (UO) acts as a purposeful
collaboration with communities, responding to social needs while urging academia to reconsider its
position in knowledge creation and intercultural dialogue (Hintea, 2024; Rueda et al., 2020; Barrera,
2015).
Public murals, performances, and exhibitions are becoming part of academic life. These aren't only
artistic expressions. As Aladro et al. (2018) observed, these projects frequently develop into
collaborative learning journeys for all involved.
One salient feature of these programs is their transcendence of mere cultural supplementation. Often,
students find themselves deeply engaged with the communities they serve, creating meaningful
connections. The educational journey gains richness and concreteness through these direct interactions.
Sometimes, students develop a deeper cultural sensitivity through their involvement. Empathy, too,
sometimes follows. Many researchers have noted this important change unfolding over recent years.
Katz (2024) and Fegan (2017) describe how these programs gradually reshape students' perceptions and
interactions with cultural diversity, beginning subtly but growing stronger over time.
This transformation involves more than just feelings or attitudes. Rather, by participating directly in
community-based projects, students start noticing patterns and social dynamics they may have never
considered. Wood and Meyer (2016), for example, suggest that theoretical knowledge becomes easier
to grasp when applied in real-life settings. It feels more grounded. Especially in scenarios involving
direct student participation alongside local collectives (Ho et al., 2017; Bernal et al., 2023). This might
explain why their understanding seems to expand.
Luna and Arguello (2023) have observed something similar. Artistic involvement allows students to
recognize and reflect on the subtle routines that constitute cultural life. A possible interpretation is that
this leads to more personal reflection. These transformations occur progressively, as practical
engagement contextualizes and enriches theoretical constructs.
INTRODUCTION
Artistic expressions integrated within university settings spark transformative dialogues that surpass
simple aesthetics, deeply influencing cultural and social dynamics in academic environments. Crossway
diverse sociocultural environments, evidence suggest that this approach effectively promotes social
cohesion and tackles complex societal challenge. University Outreach (UO) acts as a purposeful
collaboration with communities, responding to social needs while urging academia to reconsider its
position in knowledge creation and intercultural dialogue (Hintea, 2024; Rueda et al., 2020; Barrera,
2015).
Public murals, performances, and exhibitions are becoming part of academic life. These aren't only
artistic expressions. As Aladro et al. (2018) observed, these projects frequently develop into
collaborative learning journeys for all involved.
One salient feature of these programs is their transcendence of mere cultural supplementation. Often,
students find themselves deeply engaged with the communities they serve, creating meaningful
connections. The educational journey gains richness and concreteness through these direct interactions.
Sometimes, students develop a deeper cultural sensitivity through their involvement. Empathy, too,
sometimes follows. Many researchers have noted this important change unfolding over recent years.
Katz (2024) and Fegan (2017) describe how these programs gradually reshape students' perceptions and
interactions with cultural diversity, beginning subtly but growing stronger over time.
This transformation involves more than just feelings or attitudes. Rather, by participating directly in
community-based projects, students start noticing patterns and social dynamics they may have never
considered. Wood and Meyer (2016), for example, suggest that theoretical knowledge becomes easier
to grasp when applied in real-life settings. It feels more grounded. Especially in scenarios involving
direct student participation alongside local collectives (Ho et al., 2017; Bernal et al., 2023). This might
explain why their understanding seems to expand.
Luna and Arguello (2023) have observed something similar. Artistic involvement allows students to
recognize and reflect on the subtle routines that constitute cultural life. A possible interpretation is that
this leads to more personal reflection. These transformations occur progressively, as practical
engagement contextualizes and enriches theoretical constructs.
pág. 7022
Many projects tackle pressing social issues like racial injustice, urban transformation, and stigma
around mental health—challenges that resonate deeply beyond mere conversation. According to
Lajones et al. (2022), such themes often emerge in university-community art collaborations. They begin
to engage with concrete social experiences. At that point, education acquires a deeper dimension.
Bertling (2012) has noted that empathy tends to grow in these moments. And although not every
program goes that far, Rufino et al. (2023) believe that art can open the door to powerful, even
transformative conversations.
Still, scaling up these efforts is no easy task. It would be overly optimistic to assume that such projects
thrive everywhere. In fact, some face substantial difficulties. Funding, for one, is often unstable. These
programs have not been free from scrutiny; scholars have questioned how effective they are and whether
their goals are genuinely meaningful (Slingerland, 2015). In a recent in-depth analysis, Blatt and
colleagues (2023) found that even the best-designed UO programs sometimes fall short of their
ambitious goals for long-term transformation. True transformation is only possible when broad systemic
and organizational backing goes beyond just individual efforts (Waddock, 2022). To maintain progress,
collaboration, consistent policies, and an understanding of change’s complexity are essential. Without
them, even the best initiatives risk stagnation.
The Ecuadorian setting introduces specific nuances to this broader discussion. Working with local
communities is no longer secondary; it has become central to the mission of universities in Ecuador.
The intention is to bridge scholarly knowledge and practical societal issues, as noted by Rueda et al.
(2020). It is important to note that such frameworks are the result of evolving institutional and societal
dynamics. According to Cabrera (2018), transformations at the national level have redefined the UO
missions of universities in Ecuador. Although knowledge transfer is central, the mutual enrichment
between academia and community must not be overlooked. Communities also teach universities.
When that exchange happens, something valuable occurs. Students start to understand why they study
what they study, they connect theory to life and universities, in turn, gain insight into the social concerns
that might otherwise remain invisible. Bernal et al. (2023) describe how this feedback loop leads to
more relevant, more grounded research. Occasionally, innovation springs from it. Especially when UO
intersects with fields like technology, education, or environmental work.
Many projects tackle pressing social issues like racial injustice, urban transformation, and stigma
around mental health—challenges that resonate deeply beyond mere conversation. According to
Lajones et al. (2022), such themes often emerge in university-community art collaborations. They begin
to engage with concrete social experiences. At that point, education acquires a deeper dimension.
Bertling (2012) has noted that empathy tends to grow in these moments. And although not every
program goes that far, Rufino et al. (2023) believe that art can open the door to powerful, even
transformative conversations.
Still, scaling up these efforts is no easy task. It would be overly optimistic to assume that such projects
thrive everywhere. In fact, some face substantial difficulties. Funding, for one, is often unstable. These
programs have not been free from scrutiny; scholars have questioned how effective they are and whether
their goals are genuinely meaningful (Slingerland, 2015). In a recent in-depth analysis, Blatt and
colleagues (2023) found that even the best-designed UO programs sometimes fall short of their
ambitious goals for long-term transformation. True transformation is only possible when broad systemic
and organizational backing goes beyond just individual efforts (Waddock, 2022). To maintain progress,
collaboration, consistent policies, and an understanding of change’s complexity are essential. Without
them, even the best initiatives risk stagnation.
The Ecuadorian setting introduces specific nuances to this broader discussion. Working with local
communities is no longer secondary; it has become central to the mission of universities in Ecuador.
The intention is to bridge scholarly knowledge and practical societal issues, as noted by Rueda et al.
(2020). It is important to note that such frameworks are the result of evolving institutional and societal
dynamics. According to Cabrera (2018), transformations at the national level have redefined the UO
missions of universities in Ecuador. Although knowledge transfer is central, the mutual enrichment
between academia and community must not be overlooked. Communities also teach universities.
When that exchange happens, something valuable occurs. Students start to understand why they study
what they study, they connect theory to life and universities, in turn, gain insight into the social concerns
that might otherwise remain invisible. Bernal et al. (2023) describe how this feedback loop leads to
more relevant, more grounded research. Occasionally, innovation springs from it. Especially when UO
intersects with fields like technology, education, or environmental work.
pág. 7023
But not always. Nonetheless, Palma et al. (2023) argue that the expanding integration of art in university
outreach signifies an important transition toward participatory and inclusive pedagogies.
This shift has implications. Universities are not just places for abstract thinking anymore. They are also
becoming spaces where collective problem-solving takes place. Within this framework, art transcends
ornamental purposes. It becomes part of the institution’s cultural identity. Gradner et al. (2021) speak
of this evolution. However, internal resistance exists. Some institutions, as noted by Davies (2016) and
Padilla (2024), struggle with internal politics or rigid structures that slow progress. That may explain
why some promising projects lose momentum.
It’s also worth noting that the effects of these efforts vary widely. That variation is not necessarily a
weakness. It might be due to local conditions—differences in leadership, available funding, or
institutional priorities. Despite this, the underlying idea remains powerful. UO connects learning with
real action. It makes space for sharing ideas. In some cases, it sparks creativity. A few authors suggest
that UO programs also help identify pressing social issues and imagine alternative responses: technical,
educational, even artistic ones (Rueda et al., 2020; Quintanilla & Bravo, 2018; Torriente & González,
2013). In Ecuador, however, UO is still mostly focused on continuing education and social assistance.
Less attention has been paid to entrepreneurship or tech transfer (Rueda et al., 2020). That might be due
to financial limitations. Or perhaps strategic focus. Regardless, this topic invites further thoughtful
consideration.
Faculty and students alike actively engage in these UO efforts. They often focus on professional training
to respond to social needs. Yet more integration is needed. In many cases, these programs remain
isolated from other academic processes. Their impact could grow if their visibility increased (Bernal et
al., 2023). Clearer strategies might enhance how students grow, not just professionally, but socially and
personally too. And there’s still confusion around definitions. Some institutions wrongly classify
activities like graduate tracking as university outreach. That points to a lack of shared criteria (Rueda
et al., 2020).
Taking all this into consideration, this study looks more closely at the role of arts and cultural education
in university outreach. A growing number of institutions are embracing these approaches.
But not always. Nonetheless, Palma et al. (2023) argue that the expanding integration of art in university
outreach signifies an important transition toward participatory and inclusive pedagogies.
This shift has implications. Universities are not just places for abstract thinking anymore. They are also
becoming spaces where collective problem-solving takes place. Within this framework, art transcends
ornamental purposes. It becomes part of the institution’s cultural identity. Gradner et al. (2021) speak
of this evolution. However, internal resistance exists. Some institutions, as noted by Davies (2016) and
Padilla (2024), struggle with internal politics or rigid structures that slow progress. That may explain
why some promising projects lose momentum.
It’s also worth noting that the effects of these efforts vary widely. That variation is not necessarily a
weakness. It might be due to local conditions—differences in leadership, available funding, or
institutional priorities. Despite this, the underlying idea remains powerful. UO connects learning with
real action. It makes space for sharing ideas. In some cases, it sparks creativity. A few authors suggest
that UO programs also help identify pressing social issues and imagine alternative responses: technical,
educational, even artistic ones (Rueda et al., 2020; Quintanilla & Bravo, 2018; Torriente & González,
2013). In Ecuador, however, UO is still mostly focused on continuing education and social assistance.
Less attention has been paid to entrepreneurship or tech transfer (Rueda et al., 2020). That might be due
to financial limitations. Or perhaps strategic focus. Regardless, this topic invites further thoughtful
consideration.
Faculty and students alike actively engage in these UO efforts. They often focus on professional training
to respond to social needs. Yet more integration is needed. In many cases, these programs remain
isolated from other academic processes. Their impact could grow if their visibility increased (Bernal et
al., 2023). Clearer strategies might enhance how students grow, not just professionally, but socially and
personally too. And there’s still confusion around definitions. Some institutions wrongly classify
activities like graduate tracking as university outreach. That points to a lack of shared criteria (Rueda
et al., 2020).
Taking all this into consideration, this study looks more closely at the role of arts and cultural education
in university outreach. A growing number of institutions are embracing these approaches.
pág. 7024
And in a context like today’s—where both education and society are rapidly changing—this seems like
a timely moment to revisit their potential.
MATERIALS Y METHODS
This study looks at how art is integrated into University Outreach (UO) programs by combining a
review of the literature with an analysis of specific case studies. To gather information, multiple
secondary sources were reviewed, including peer-reviewed journal articles and institutional reports.
This strategy sought to provide a broad understanding of trends, both globally and within local settings,
concerning the use of arts-based methods in educational. Various regions around the world were
considered, but there was a special focus on Ecuadorian community-centered arts initiatives.
To analyze the cases, an interpretative approach was taken, where data from the reviewed documents
were organized through thematic coding. The documents were grouped according to things like
program design, the people involved, and the social effects reported. This made it possible to spot
patterns and differences in how universities use art to promote outreach efforts. Along the way, both
challenges and successes of these initiatives came into view.
Cases were chosen through a comparative process, looking at things such as how wide the geographic
reach was and how long the interventions lasted. The results were then compared with current theories
about art’s role in education and fostering social bonds. Finally, the study weaved in views from the
authors consulted, using direct quotes here and there to back up the findings and offer a critical
perspective on what was observed.
RESULTS AND DISCUSSION
New research shows how when people take part in creative projects, universities can build closer ties
with communities and contribute meaningfully to society. They activate audiences not only by
including them in creative processes, but also by encouraging collaboration at different levels (Crespo-
Martín, 2020). What’s interesting is that, more and more, artists are stepping away from solitary, studio-
based creation. Instead, they are exploring ways of working collectively—something that challenges
traditional artistic norms and, in some cases, helps validate their work through the very act of
participation (Tafur, 2019).
And in a context like today’s—where both education and society are rapidly changing—this seems like
a timely moment to revisit their potential.
MATERIALS Y METHODS
This study looks at how art is integrated into University Outreach (UO) programs by combining a
review of the literature with an analysis of specific case studies. To gather information, multiple
secondary sources were reviewed, including peer-reviewed journal articles and institutional reports.
This strategy sought to provide a broad understanding of trends, both globally and within local settings,
concerning the use of arts-based methods in educational. Various regions around the world were
considered, but there was a special focus on Ecuadorian community-centered arts initiatives.
To analyze the cases, an interpretative approach was taken, where data from the reviewed documents
were organized through thematic coding. The documents were grouped according to things like
program design, the people involved, and the social effects reported. This made it possible to spot
patterns and differences in how universities use art to promote outreach efforts. Along the way, both
challenges and successes of these initiatives came into view.
Cases were chosen through a comparative process, looking at things such as how wide the geographic
reach was and how long the interventions lasted. The results were then compared with current theories
about art’s role in education and fostering social bonds. Finally, the study weaved in views from the
authors consulted, using direct quotes here and there to back up the findings and offer a critical
perspective on what was observed.
RESULTS AND DISCUSSION
New research shows how when people take part in creative projects, universities can build closer ties
with communities and contribute meaningfully to society. They activate audiences not only by
including them in creative processes, but also by encouraging collaboration at different levels (Crespo-
Martín, 2020). What’s interesting is that, more and more, artists are stepping away from solitary, studio-
based creation. Instead, they are exploring ways of working collectively—something that challenges
traditional artistic norms and, in some cases, helps validate their work through the very act of
participation (Tafur, 2019).
pág. 7025
In certain cases, these shared artistic experiences seem to help increase the visibility and self-worth of
marginalized groups. This might have to do with the fact that when people feel invited to co-create,
they also feel their voices matter. A number of authors suggest that this kind of engagement can
empower communities, highlighting their talents and contributions in ways that ripple outward (Caicedo
& Moreno, 2017). Projects like community workshops, collaborative spatial designs, and artistic
interventions in urban spaces are being used—not just as creative outputs—but as tools for social
change. Hernández (2019) explores several such cases. It’s not just theory; these things are happening
on the ground.
This brings us to the next part, which focuses on trends in the academic literature. Table 1 offers a
snapshot of the main patterns identified. But before diving into that, it’s worth pointing out something
the literature doesn’t always capture. From our own work in Ecuadorian higher education, we’ve
noticed a steady presence of artistic outreach initiatives in many universities. Strangely, these actions
are rarely written up in journals. They’re visible in practice, though—often vibrant and deeply
meaningful. So, while not formally recorded, they still form part of what university outreach looks like
today.
Tabla 1.Emerging Trends in the Use of Art for University Outreach
Observed Trend Highlighted Examples/Projects Main Impacts
Art as a humanistic
element
curArte I+D (Ávila et al., 2014; Castillejo
et al., 2018)
Integration of arts in medicine and
healthcare in Colombia (Romero, 2018)
PACHA Project and Artistic Laboratories,
Universidad de las Artes (Sánchez-
Quinchuela, 2024)
Foster a caring space where
patient welfare comes first.
Encourages conversations
across different fields
Creation of artistic
groups and spaces
La Casona de las Artes, Central University
of Ecuador (Corral et al., 2023)- Wiñay
Ñan, National University of Education
(Saquichagua, 2023)
Inspire local people to engage
actively and with passion.
Revitalizes ancestral and local
knowledge
In certain cases, these shared artistic experiences seem to help increase the visibility and self-worth of
marginalized groups. This might have to do with the fact that when people feel invited to co-create,
they also feel their voices matter. A number of authors suggest that this kind of engagement can
empower communities, highlighting their talents and contributions in ways that ripple outward (Caicedo
& Moreno, 2017). Projects like community workshops, collaborative spatial designs, and artistic
interventions in urban spaces are being used—not just as creative outputs—but as tools for social
change. Hernández (2019) explores several such cases. It’s not just theory; these things are happening
on the ground.
This brings us to the next part, which focuses on trends in the academic literature. Table 1 offers a
snapshot of the main patterns identified. But before diving into that, it’s worth pointing out something
the literature doesn’t always capture. From our own work in Ecuadorian higher education, we’ve
noticed a steady presence of artistic outreach initiatives in many universities. Strangely, these actions
are rarely written up in journals. They’re visible in practice, though—often vibrant and deeply
meaningful. So, while not formally recorded, they still form part of what university outreach looks like
today.
Tabla 1.Emerging Trends in the Use of Art for University Outreach
Observed Trend Highlighted Examples/Projects Main Impacts
Art as a humanistic
element
curArte I+D (Ávila et al., 2014; Castillejo
et al., 2018)
Integration of arts in medicine and
healthcare in Colombia (Romero, 2018)
PACHA Project and Artistic Laboratories,
Universidad de las Artes (Sánchez-
Quinchuela, 2024)
Foster a caring space where
patient welfare comes first.
Encourages conversations
across different fields
Creation of artistic
groups and spaces
La Casona de las Artes, Central University
of Ecuador (Corral et al., 2023)- Wiñay
Ñan, National University of Education
(Saquichagua, 2023)
Inspire local people to engage
actively and with passion.
Revitalizes ancestral and local
knowledge
pág. 7026
Organization of
public art events
Pre-Textos® Poetry Workshop,
Universidad San Francisco de Quito
(Zambrano, 2019)- Art + Activisms,
Universidad San Francisco de Quito
(Murillo et al., 2021)
Fosters dialogue on
contemporary social issues
Engages youth in cultural
activism
Inclusion of diverse
art forms
Photography and multisensory learning
(León, 2021)- Theater in the Cuenca Social
Rehabilitation Center, University of Azuay
(Liger, 2019)
Promotes critical thinking
and holistic student
development
Stimulates imagination and
creativity
Promotion of
interdisciplinary
dialogue
Isaac Julien installation at MUAC
(Olivares, 2016)
Challenges traditional
academic structures
Critically explores the
impact of global capitalism
Art as a Humanistic and Multidisciplinary Element in Professional Education
Fields like medicine and chemistry often lean heavily on technical expertise. But in practice, that’s not
enough. Delivering quality services—especially those that truly center on the human experience—
requires something more: a meaningful integration between scientific knowledge and humanistic
perspectives. For instance, Romero (2018) points out that in Colombia, the rapid expansion of medical
schools, along with a strained healthcare system, has exposed a clear lack of humanistic training. Even
in areas like chemistry, similar concerns have come up (Galván-Madrid, 2011; Ruiz et al., 2018). It
seems that technical know-how on its own doesn’t cut it when the goal is to offer compassionate,
human-focused support.
There’s a growing recognition that humanistic and multidisciplinary experiences are not just
complementary—they might actually be essential. A project that illustrates this quite well is curArte
I+D. Its approach has shown how art can open up new ways of thinking about health, prevention, and
well-being. In some cases, the process itself becomes transformative. Ávila et al. (2014), along with
Castillejo et al. (2018), describe how teams made up of sexologists, psychiatrists, nurses—and also
educators, researchers, artists, and students—have come together to design and carry out creative
Organization of
public art events
Pre-Textos® Poetry Workshop,
Universidad San Francisco de Quito
(Zambrano, 2019)- Art + Activisms,
Universidad San Francisco de Quito
(Murillo et al., 2021)
Fosters dialogue on
contemporary social issues
Engages youth in cultural
activism
Inclusion of diverse
art forms
Photography and multisensory learning
(León, 2021)- Theater in the Cuenca Social
Rehabilitation Center, University of Azuay
(Liger, 2019)
Promotes critical thinking
and holistic student
development
Stimulates imagination and
creativity
Promotion of
interdisciplinary
dialogue
Isaac Julien installation at MUAC
(Olivares, 2016)
Challenges traditional
academic structures
Critically explores the
impact of global capitalism
Art as a Humanistic and Multidisciplinary Element in Professional Education
Fields like medicine and chemistry often lean heavily on technical expertise. But in practice, that’s not
enough. Delivering quality services—especially those that truly center on the human experience—
requires something more: a meaningful integration between scientific knowledge and humanistic
perspectives. For instance, Romero (2018) points out that in Colombia, the rapid expansion of medical
schools, along with a strained healthcare system, has exposed a clear lack of humanistic training. Even
in areas like chemistry, similar concerns have come up (Galván-Madrid, 2011; Ruiz et al., 2018). It
seems that technical know-how on its own doesn’t cut it when the goal is to offer compassionate,
human-focused support.
There’s a growing recognition that humanistic and multidisciplinary experiences are not just
complementary—they might actually be essential. A project that illustrates this quite well is curArte
I+D. Its approach has shown how art can open up new ways of thinking about health, prevention, and
well-being. In some cases, the process itself becomes transformative. Ávila et al. (2014), along with
Castillejo et al. (2018), describe how teams made up of sexologists, psychiatrists, nurses—and also
educators, researchers, artists, and students—have come together to design and carry out creative
pág. 7027
workshops. These aren’t isolated efforts. They blend artistic practices with health education and aim to
promote real dialogue across generations and social contexts. Actually, one might forget to mention the
setting: these projects have taken place in both clinical and community environments.
Along the same lines, Marcelino and Merchán (2022) present an interesting example from the Youth
Offender Rehabilitation Center in Loja, Ecuador. Their account highlights the importance of
multidisciplinary approaches. Especially those that involve artistic expression, which seem to have a
meaningful impact in socially vulnerable contexts. It may be that this effect is partly due to the
collaborative nature of the programs. Different professionals come together—not only to teach or
intervene—but also to listen and co-create. This collaborative process, more than anything else, might
be what really opens the door to change.
Creating Artistic and Cultural Spaces with Community Participation
There is a growing recognition that art in educational contexts constitutes more than a transient trend;
it serves as a strategic pedagogical tool. Artistic activities often become a bridge that brings
communities closer together. Beyond just creating, these spaces let people talk and think about what
really matters in their lives. Artistic initiatives can facilitate the development of collaborative learning
environments, enabling participants to engage around mutual concerns. Various universities have been
exploring this route. For instance, Luna and Arguello (2023) mention how some educational models
are shifting towards approaches that invite students to connect with communities outside the classroom.
Others, like Macaya and Valero (2018), emphasize that these interactions can help students understand
academic content through more authentic, lived experiences. This may also foster civic engagement
and intercultural sensitivity, as some studies suggest (Van Zanen & Ginsberg, 2016).
These experiences don’t just stay within institutional walls. Artistic groups and public exhibitions often
emerge from these programs, offering the broader community an opportunity to get involved in creative
activities. Sometimes, this involvement can spark a ripple effect that goes beyond what the university
originally intended. For instance, Olivares (2016) points out that these spaces can transform everyday
public areas into spots where people exchange reflections. This shift might open up new ways to think
about ordinary environments.
workshops. These aren’t isolated efforts. They blend artistic practices with health education and aim to
promote real dialogue across generations and social contexts. Actually, one might forget to mention the
setting: these projects have taken place in both clinical and community environments.
Along the same lines, Marcelino and Merchán (2022) present an interesting example from the Youth
Offender Rehabilitation Center in Loja, Ecuador. Their account highlights the importance of
multidisciplinary approaches. Especially those that involve artistic expression, which seem to have a
meaningful impact in socially vulnerable contexts. It may be that this effect is partly due to the
collaborative nature of the programs. Different professionals come together—not only to teach or
intervene—but also to listen and co-create. This collaborative process, more than anything else, might
be what really opens the door to change.
Creating Artistic and Cultural Spaces with Community Participation
There is a growing recognition that art in educational contexts constitutes more than a transient trend;
it serves as a strategic pedagogical tool. Artistic activities often become a bridge that brings
communities closer together. Beyond just creating, these spaces let people talk and think about what
really matters in their lives. Artistic initiatives can facilitate the development of collaborative learning
environments, enabling participants to engage around mutual concerns. Various universities have been
exploring this route. For instance, Luna and Arguello (2023) mention how some educational models
are shifting towards approaches that invite students to connect with communities outside the classroom.
Others, like Macaya and Valero (2018), emphasize that these interactions can help students understand
academic content through more authentic, lived experiences. This may also foster civic engagement
and intercultural sensitivity, as some studies suggest (Van Zanen & Ginsberg, 2016).
These experiences don’t just stay within institutional walls. Artistic groups and public exhibitions often
emerge from these programs, offering the broader community an opportunity to get involved in creative
activities. Sometimes, this involvement can spark a ripple effect that goes beyond what the university
originally intended. For instance, Olivares (2016) points out that these spaces can transform everyday
public areas into spots where people exchange reflections. This shift might open up new ways to think
about ordinary environments.
pág. 7028
The installation by Isaac Julien at MUAC stands out as a strong example of how today’s art can spark
meaningful conversations. The artwork really stands out and draws people in from the start.. More than
being beautiful, the piece pushes us to question how the global economy works. Art helps us see major
world issues, even if we don’t understand everything right away. Julien does not just critique these
systems. His art shows how vital it is to have spaces where all types of knowledge can meet and mix
(Olivares, 2016). It’s possible that this kind of intersection makes certain critiques more accessible.
Turning to Ecuador, some universities have taken this philosophy quite seriously. One notable example
is the “Casona de las Artes” initiative led by the Central University of Ecuador. Although the project
focuses on the arts, its real impact lies in how it weaves creative practices into everyday life in the La
Tola neighborhood in Quito (Corral et al., 2023). The National University of Education (UNAE) has
developed a somewhat similar line of work. Its Wiñay Ñan project aims to recover and share community
knowledge through educational practices that value intercultural dialogue. Saquichagua (2023)
discusses how this initiative highlights the richness of ancestral wisdom.
On a different note, the Universidad de las Artes has also made efforts in this direction. Through the
PACHA project and its community-based art labs, faculty and students have worked closely with local
organizations. In places like Isla Trinitaria in Guayaquil, these changes have felt especially significant..
From 2021 to 2024, workshops helped folks share stories, do art, and grow closer. These activities
might have helped people see their own history and creativity in a new ligh (Sánchez, 2025). However,
organizing them was not always easy. Infrastructural issues in the area often posed significant
challenges. Still, the outcomes suggest these initiatives may encourage dialogue across generations and
support creative resilience. Various authors have noted that community art can act as a bridge for social
ties and cultural continuity.
Another notable case happened within the Kichwa community of Saraguro. There, muralism did more
than just preserve cultural traditions. It opened new doors to explore Indigenous perspectives and
worldviews. It lets communities show their identity as they navigate contemporary changes. Research
indicates that Indigenous art balances tradition and modern influence. That could be why murals speak
to the Saraguro—it shows both where they come from and for what they hope.
The installation by Isaac Julien at MUAC stands out as a strong example of how today’s art can spark
meaningful conversations. The artwork really stands out and draws people in from the start.. More than
being beautiful, the piece pushes us to question how the global economy works. Art helps us see major
world issues, even if we don’t understand everything right away. Julien does not just critique these
systems. His art shows how vital it is to have spaces where all types of knowledge can meet and mix
(Olivares, 2016). It’s possible that this kind of intersection makes certain critiques more accessible.
Turning to Ecuador, some universities have taken this philosophy quite seriously. One notable example
is the “Casona de las Artes” initiative led by the Central University of Ecuador. Although the project
focuses on the arts, its real impact lies in how it weaves creative practices into everyday life in the La
Tola neighborhood in Quito (Corral et al., 2023). The National University of Education (UNAE) has
developed a somewhat similar line of work. Its Wiñay Ñan project aims to recover and share community
knowledge through educational practices that value intercultural dialogue. Saquichagua (2023)
discusses how this initiative highlights the richness of ancestral wisdom.
On a different note, the Universidad de las Artes has also made efforts in this direction. Through the
PACHA project and its community-based art labs, faculty and students have worked closely with local
organizations. In places like Isla Trinitaria in Guayaquil, these changes have felt especially significant..
From 2021 to 2024, workshops helped folks share stories, do art, and grow closer. These activities
might have helped people see their own history and creativity in a new ligh (Sánchez, 2025). However,
organizing them was not always easy. Infrastructural issues in the area often posed significant
challenges. Still, the outcomes suggest these initiatives may encourage dialogue across generations and
support creative resilience. Various authors have noted that community art can act as a bridge for social
ties and cultural continuity.
Another notable case happened within the Kichwa community of Saraguro. There, muralism did more
than just preserve cultural traditions. It opened new doors to explore Indigenous perspectives and
worldviews. It lets communities show their identity as they navigate contemporary changes. Research
indicates that Indigenous art balances tradition and modern influence. That could be why murals speak
to the Saraguro—it shows both where they come from and for what they hope.
pág. 7029
Vera (2022) describes how this use of urban art allowed community members to reimagine their cultural
narratives in public spaces.
Additionally, university theater groups have played a key role in bringing academic and cultural
expression into the public sphere. Groups like Arawa and Katharsis from the Universidad de las Artes
have been especially active in this regard (Suárez, 2021). So has the University Theater of Loja
(Chaviano, 2015). The Central University of Ecuador has gradually become known for its public
performances held at Plaza Indoamérica. As Albán Castro (2012) notes, these events have gradually
captured growing interest. Though not always formally called "outreach," these efforts are still key for
universities to stay in touch with local communities. Sometimes, these exchanges reveal a true
dedication to tackling social challenges. These informal ties may be essential in linking the academic
world with everyday people.
Scheduling Events for the Socialization of Artistic Expressions
Artistic programs designed to promote community engagement have gained relevance lately. They
appear to be adapting uniquely to the shifts happening in their communities. These actions tend to do
more than simply gather people. They can transform public spaces and highlight local traditions, which
creates room for meaningful conversations about shared concerns. For instance, some authors like
Cartagena (2015) and Elizondo (2019) suggest these events may foster a sense of belonging while also
addressing pressing social problems. A possible interpretation is that this dual role — cultural
expression and social dialogue — contributes to stronger community ties.
Artists and cultural facilitators, sometimes called placemakers, play a key role here. Their work, which
includes everything from murals to participatory performances, can ignite creativity and encourage
critical reflection. This is pointed out by Rodrigo (2018), among others. A possible interpretation is that
such interventions contribute not only artistically but also socially, helping communities rethink their
realities (Rodrigo, 2018). One could say they provide new ways for communities to talk about
themselves.
Some of these initiatives have emerged within the university context in Ecuador. A good example is
the PACHA project. This initiative promoted street art activities in public parks, where participants
painted murals, created puppets, and staged open-air performances.
Vera (2022) describes how this use of urban art allowed community members to reimagine their cultural
narratives in public spaces.
Additionally, university theater groups have played a key role in bringing academic and cultural
expression into the public sphere. Groups like Arawa and Katharsis from the Universidad de las Artes
have been especially active in this regard (Suárez, 2021). So has the University Theater of Loja
(Chaviano, 2015). The Central University of Ecuador has gradually become known for its public
performances held at Plaza Indoamérica. As Albán Castro (2012) notes, these events have gradually
captured growing interest. Though not always formally called "outreach," these efforts are still key for
universities to stay in touch with local communities. Sometimes, these exchanges reveal a true
dedication to tackling social challenges. These informal ties may be essential in linking the academic
world with everyday people.
Scheduling Events for the Socialization of Artistic Expressions
Artistic programs designed to promote community engagement have gained relevance lately. They
appear to be adapting uniquely to the shifts happening in their communities. These actions tend to do
more than simply gather people. They can transform public spaces and highlight local traditions, which
creates room for meaningful conversations about shared concerns. For instance, some authors like
Cartagena (2015) and Elizondo (2019) suggest these events may foster a sense of belonging while also
addressing pressing social problems. A possible interpretation is that this dual role — cultural
expression and social dialogue — contributes to stronger community ties.
Artists and cultural facilitators, sometimes called placemakers, play a key role here. Their work, which
includes everything from murals to participatory performances, can ignite creativity and encourage
critical reflection. This is pointed out by Rodrigo (2018), among others. A possible interpretation is that
such interventions contribute not only artistically but also socially, helping communities rethink their
realities (Rodrigo, 2018). One could say they provide new ways for communities to talk about
themselves.
Some of these initiatives have emerged within the university context in Ecuador. A good example is
the PACHA project. This initiative promoted street art activities in public parks, where participants
painted murals, created puppets, and staged open-air performances.
pág. 7030
These events were not merely artistic showcases. They turned into places where trust was built and
stress lowered in conflict-affected areas (Sánchez, 2025). Curiously, the act of creating was as
meaningful as the finished piece. This might be why some locals stayed involved even after the official
activities stopped.
At Universidad San Francisco de Quito, similar efforts have taken place. One project that stands out is
a poetry workshop that blended Pre-Textos® methodologies with tools from La Poderosa Media
Project. The goal wasn’t just to teach poetry—it was to encourage young people to reclaim their cultural
voice through the arts (Zambrano, 2019). In a similar vein, the university also hosts “Art + Activisms,”
a yearly gathering that features migrant artists and explores how their creative work intersects with
political and social engagement (Murillo et al., 2021). Actually, that event has been gaining some
visibility lately, although outside academic circles it still goes somewhat unnoticed. The Central
University of Ecuador, meanwhile, chose a different path. A public competition was held to design the
Casona de las Artes. The goal wasn’t just to build something, but to shape a cultural hub that could
evolve with Quito’s people López (2023) even highlights that the goal reached further than just
building.I n doing so, they tried to make art something people can relate to in their daily lives. By letting
people help shape the project, the university showed it valued the participatory spirit behind many of
the arts it promotes. Their aim was to make art feel close and relevant to everyday experience.
Case studies show that local art practices aren’t just about beauty—they carry social, cultural, and
political meaning. Art offers spaces—both physical and symbolic—where people feel seen and imagine
the future together. Some research shows these spaces help people feel connected and part of something.
Still, the lasting impact of these projects is not entirely clear. This means we need to keep assessing and
thinking critically to grasp their long-term value.
Inclusion of Diverse Art Forms
The inclusion of different art forms—like visual arts, music, and theater—within educational programs
has been gaining more attention recently (Cartaya, 2023). It is possible that educators are turning more
often to these creative fields to spark students’ imagination and encourage links between various
disciplines (Padilla, 2024). For example, the aim usually involves challenging dominant cultural ideas,
while promoting self-reflection and valuing diverse points of view (Monea et al., 2020).
These events were not merely artistic showcases. They turned into places where trust was built and
stress lowered in conflict-affected areas (Sánchez, 2025). Curiously, the act of creating was as
meaningful as the finished piece. This might be why some locals stayed involved even after the official
activities stopped.
At Universidad San Francisco de Quito, similar efforts have taken place. One project that stands out is
a poetry workshop that blended Pre-Textos® methodologies with tools from La Poderosa Media
Project. The goal wasn’t just to teach poetry—it was to encourage young people to reclaim their cultural
voice through the arts (Zambrano, 2019). In a similar vein, the university also hosts “Art + Activisms,”
a yearly gathering that features migrant artists and explores how their creative work intersects with
political and social engagement (Murillo et al., 2021). Actually, that event has been gaining some
visibility lately, although outside academic circles it still goes somewhat unnoticed. The Central
University of Ecuador, meanwhile, chose a different path. A public competition was held to design the
Casona de las Artes. The goal wasn’t just to build something, but to shape a cultural hub that could
evolve with Quito’s people López (2023) even highlights that the goal reached further than just
building.I n doing so, they tried to make art something people can relate to in their daily lives. By letting
people help shape the project, the university showed it valued the participatory spirit behind many of
the arts it promotes. Their aim was to make art feel close and relevant to everyday experience.
Case studies show that local art practices aren’t just about beauty—they carry social, cultural, and
political meaning. Art offers spaces—both physical and symbolic—where people feel seen and imagine
the future together. Some research shows these spaces help people feel connected and part of something.
Still, the lasting impact of these projects is not entirely clear. This means we need to keep assessing and
thinking critically to grasp their long-term value.
Inclusion of Diverse Art Forms
The inclusion of different art forms—like visual arts, music, and theater—within educational programs
has been gaining more attention recently (Cartaya, 2023). It is possible that educators are turning more
often to these creative fields to spark students’ imagination and encourage links between various
disciplines (Padilla, 2024). For example, the aim usually involves challenging dominant cultural ideas,
while promoting self-reflection and valuing diverse points of view (Monea et al., 2020).
pág. 7031
Universities, for their part, are also bringing art into their outreach efforts in various ways. This
encompasses learning through photography and stage performances (Ávila, 2025; Cruz et al., 2020).
For example, muralism-centered workshops have fostered participants’ cultural understanding and
group solidarity.. Eco-friendly materials are frequently incorporated in these activities. Painting
sessions, in contrast, seem to encourage creative self-reflection and build artistic confidence. These
sessions incorporate methods like guided meditation, group feedback, and reflective questioning, as
some studies suggest (Ávila, 2025).
In public spaces, activities centered on photography tend to increase student engagement and curiosity.
It is possible that encouraging multisensory exploration and teamwork plays a role in this effect, as
León (2021) notes. The University of Azuay runs a theater program at the Social Rehabilitation Center
in Turi, Cuenca This shows how art can promote social involvement and have therapeutic outcomes
(Liger, 2019).
Additionally, Marcelino and Merchán (2022) emphasize programs at Universidad Particular de Loja
where multiple types of artistic expression—such as crafts, music, dance, theater, and painting—are
used in reintegration efforts for youth in conflict with the law. One could suggest that this variety of
artistic approaches contributes to rehabilitation in multiple ways.
However, Scholars such as Galabay (2023) argue that for these artistic practices to be effectively
included, better policies and more resources are needed within Ecuador’s curriculum. Art may be part
of the curriculum early on, but it usually does not get the same love or funding as other subjects.,
particularly in higher education. As a result, students who are deeply interested in art tend to seek out
extracurricular options. Guerra (2020) has analyzed how art-based methods can enhance how
internships are shared and strengthen educational training and research capacity. Furthermore,
rehabilitation programs grounded in the arts have yielded positive results, implying that artistic
education could contribute to social integration and peace initiatives (Saúl García Marcelino & Álvarez,
2022).
Universities, for their part, are also bringing art into their outreach efforts in various ways. This
encompasses learning through photography and stage performances (Ávila, 2025; Cruz et al., 2020).
For example, muralism-centered workshops have fostered participants’ cultural understanding and
group solidarity.. Eco-friendly materials are frequently incorporated in these activities. Painting
sessions, in contrast, seem to encourage creative self-reflection and build artistic confidence. These
sessions incorporate methods like guided meditation, group feedback, and reflective questioning, as
some studies suggest (Ávila, 2025).
In public spaces, activities centered on photography tend to increase student engagement and curiosity.
It is possible that encouraging multisensory exploration and teamwork plays a role in this effect, as
León (2021) notes. The University of Azuay runs a theater program at the Social Rehabilitation Center
in Turi, Cuenca This shows how art can promote social involvement and have therapeutic outcomes
(Liger, 2019).
Additionally, Marcelino and Merchán (2022) emphasize programs at Universidad Particular de Loja
where multiple types of artistic expression—such as crafts, music, dance, theater, and painting—are
used in reintegration efforts for youth in conflict with the law. One could suggest that this variety of
artistic approaches contributes to rehabilitation in multiple ways.
However, Scholars such as Galabay (2023) argue that for these artistic practices to be effectively
included, better policies and more resources are needed within Ecuador’s curriculum. Art may be part
of the curriculum early on, but it usually does not get the same love or funding as other subjects.,
particularly in higher education. As a result, students who are deeply interested in art tend to seek out
extracurricular options. Guerra (2020) has analyzed how art-based methods can enhance how
internships are shared and strengthen educational training and research capacity. Furthermore,
rehabilitation programs grounded in the arts have yielded positive results, implying that artistic
education could contribute to social integration and peace initiatives (Saúl García Marcelino & Álvarez,
2022).
pág. 7032
CONCLUSION
This study on arts-based participation experiences has highlighted diverse approaches within both
educational and community settings. In higher education settings, collaborative artistic initiatives have
been implemented to foster inclusive interactions and stimulate the creative participation of people with
varied capacities. Likewise, in city settings, the development of local cultural and artistic spaces has
proven effective in enhancing psychological health and strengthening social bonds. The organization
of artistic expression events reflects experiences in which the university sector plays a central role.
Moreover, Bringing together diverse artistic forms is now considered a key strategy addressing various
modes of expression in academic and work-related contexts.
In conclusion, The evidence shows that when universities run arts and culture programs, they can play
a crucial role in reinforcing university-community linkages. By means of diverse initiatives,
Universities not only promote artistic development but also foster intercultural dialogue, analytical
thinking and collaborative learning experiences. The Ecuadorian examples explored here show that
artistic practices can serve as effective instruments for renewing local knowledge systems and
safeguarding heritage.
Arts education transcends simple acts of performing or displaying by creating environments where
academic discourse meets daily experiences, encouraging communication, participation, and reflection.
Such initiatives play a key role n shaping communities that are united, creative, and committed to civic
life prepared to take part in collective decision-making.
BIRIOGRAPHIC REFERENCES
Aladro-Vico, E., Jivkova-Semova, D., & Bailey, O. (2018). Artivismo: Un nuevo lenguaje educativo
para la acción social transformadora. Comunicar: Revista Científica de Comunicación y
Educación, 26(57), 09-18. https://doi.org/10.3916/C57-2018-01
Albán Castro, J. del P. (2012). Propuesta de un plan de comunicación institucional, con el fin de
potenciar la imagen del Teatro Universitario y la Plaza Indoamérica de la Universidad Central
del Ecuador, como centros académicos, culturales y artísticos [bachelorThesis, Quito:
Universidad de las Américas, 2012]. http://dspace.udla.edu.ec/handle/33000/5595
CONCLUSION
This study on arts-based participation experiences has highlighted diverse approaches within both
educational and community settings. In higher education settings, collaborative artistic initiatives have
been implemented to foster inclusive interactions and stimulate the creative participation of people with
varied capacities. Likewise, in city settings, the development of local cultural and artistic spaces has
proven effective in enhancing psychological health and strengthening social bonds. The organization
of artistic expression events reflects experiences in which the university sector plays a central role.
Moreover, Bringing together diverse artistic forms is now considered a key strategy addressing various
modes of expression in academic and work-related contexts.
In conclusion, The evidence shows that when universities run arts and culture programs, they can play
a crucial role in reinforcing university-community linkages. By means of diverse initiatives,
Universities not only promote artistic development but also foster intercultural dialogue, analytical
thinking and collaborative learning experiences. The Ecuadorian examples explored here show that
artistic practices can serve as effective instruments for renewing local knowledge systems and
safeguarding heritage.
Arts education transcends simple acts of performing or displaying by creating environments where
academic discourse meets daily experiences, encouraging communication, participation, and reflection.
Such initiatives play a key role n shaping communities that are united, creative, and committed to civic
life prepared to take part in collective decision-making.
BIRIOGRAPHIC REFERENCES
Aladro-Vico, E., Jivkova-Semova, D., & Bailey, O. (2018). Artivismo: Un nuevo lenguaje educativo
para la acción social transformadora. Comunicar: Revista Científica de Comunicación y
Educación, 26(57), 09-18. https://doi.org/10.3916/C57-2018-01
Albán Castro, J. del P. (2012). Propuesta de un plan de comunicación institucional, con el fin de
potenciar la imagen del Teatro Universitario y la Plaza Indoamérica de la Universidad Central
del Ecuador, como centros académicos, culturales y artísticos [bachelorThesis, Quito:
Universidad de las Américas, 2012]. http://dspace.udla.edu.ec/handle/33000/5595
pág. 7033
Ávila, K. J. . (2025). Incidencia de Talleres Artísticos en la Formación de Públicos desde la Vinculación
Universitaria . Revista Científica y Arbitrada de Ciencias Sociales y Trabajo Social: Tejedora.
ISSN: 2697-3626, 8(19), 640–649. https://doi.org/10.56124/tj.v8i19.040
Ávila, N., Orellana, A., Cano, M., Antúnez, N., & Claver, D. (2014). Arte, salud y prevención: Primeras
colaboraciones. Gaceta Sanitaria, 28(6), 501-504.
https://doi.org/10.1016/j.gaceta.2014.07.002
Barrera, D. (2015). Examining Our Interdependence: Community Partners’ Motivations to Participate
in Academic Outreach. Journal of Higher Education Outreach and Engagement, 19(4), 85–114.
https://files.eric.ed.gov/fulltext/EJ1086109.pdf
Bernal, S. A. M., Abad, C. A. P., Bacuilima, W. R. M., & López, D. P. C. (2023). La vinculación con
la sociedad como factor clave para acrecentar los niveles de calidad en la universidad
ecuatoriana. Debate Universitario, 13(22), Article 22. https://doi.org/10.59471/debate202346
Cabrera, H. A. S. (2018). La vinculación con la sociedad en el Ecuador: Reflexiones sobre su itinerario
curricular. Revista Vínculos ESPE, 2(1), Article 1. https://doi.org/10.24133/rvespe.v2i1.563
Caicedo, L. O., & Moreno, A. F. (2017). Ser en el arte: Caminos de reconocimiento. Arteterapia.
Papeles de arteterapia y educación artística para la inclusión social, 12, 25-43.
https://doi.org/10.5209/ARTE.57560
Cartagena, M. F. (2015). Arte, educación y transformación social. Index, revista de arte
contemporáneo, 00, 44-61. https://doi.org/10.26807/cav.v0i00.10
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A win-win learning opportunity for campus and community? Journal of Education, 65.
https://doi.org/10.17159/i65a02