Ecological and Professional Agility
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Acquiring ecological and professional agility means knowing how to become a stakeholder in the balance of ecosystems. And this approach can easily be part of professional development, particularly through the exploration of auditory perception, hence our musical creativity method. Indeed, resulting from field expertise based on eco-friendly criteria, it provides access to a full-fledged artistic skill that is clearly fully committed to the environment. Therefore, it is not a marketing technique.
Why this precision? To clearly outline the contours of this method, its specificity being to constantly prioritize the audible over the visible in order to preserve vital resources, this approach playing a preponderant role in the process leading to graphic and visual finalities. These therefore, being neither determined nor reduced by technique, technologies, mean that the method does not fall under greenwashing, nor any other similar process and even less, of course, mimicry or cultural appropriation, whatever the form. Especially since it has its roots in the immemorial principle of creativity of polyphonies [1], which includes a holistic and deontological dimension intrinsically linked to green skills (see below). |
[1] Since the dawn of time, in all ethnic groups and beyond any generational consideration, music has incorporated a dimension that preserves nature. So today, this dimension still brings hope.
Green Skills
A Professional Training Issue
Studied and defined in 2015 by the UNESCO Institute for Lifelong Learning (UIL), as part of Green Skills for Sustainable Development, this issue has highlighted elements of study indicating that they were major at the cultural level, the idea being to offer greater attention to this category of skills. This is therefore carried over into the processes of RVA (Recognition, Validation and Accreditation of non-formal and informal learning), in order to enhance this part of experience made up of values and ethical attitudes acquired on-the-job learning.
However, a more spontaneous attention, not only retroactive, can also be given to them in professionalization courses. Proof of this is the eco-responsible approach offered here, resulting from our experience of stage expression, synthesized in 2001 and reinforced thereafter, by crossing it with the scientific resources of acoustic ecology, this field of study that has existed since the 1970s.
So, when the UIL study was published a few years later, our method was reinforced in its usefulness. However, although it found similarities, its own elements of analysis have continued to constitute it, being a field expertise that facilitates intercultural dialogue around environmental realities. Therefore, this method is geared towards a creativity that is sensible, constructive and sustainable, this criterion being moreover central to the educational plan, as indicated in the PISA report (Programme for International Student Assessment, piloted by the OECD).
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