Educate While Informing







The challenge of interconnecting study programs with current events is a commendable undertaking. Nowadays, one very common difficulty faced by young people is how to relate what they see at school with the realities faced by their families and the communities to which they belong. That is reflected in a often-repeated question that is never far from the minds of school drop-outs: What use is going to school?

School ceases to be a place of learning by rote memory to become a forum where students learn to better understand what is happening at the individual and societal levels. For that reason, the efforts of El Mundo newspaper to distribute 14,000 copies a day (2011 figures), working to combine learning with the news, have an enormous impact in terms of education and information.

Young people who are better prepared and better informed grow into citizens who are more participatory, responsible, and aware of the reality that surrounds them. 


GOALS SOUGHT

This initiative reflects the role of the newspaper, as a mass-media outlet, to assume joint responsibility in education. By handing out daily educational materials that interconnect the contents of study programs with everyday events, this initiative works to help strengthen the capacity for reflection, criticism, and assessment of students and teachers, to promote the development of tolerance, coexistence, and democratic values. Thus, the initiative works to create democratic awareness among students and teachers, and to foster their interest in participating in the public life of their communities.

WHAT IT INVOLVES

The initiative focuses on the daily distribution of 14,000 copies of El Mundo newspaper with specific contents for students and teachers at more than 118 places of learning. The daily deliveries of educational material are accompanied by courses for the teachers, so they can learn how to use the material, and by various school-press workshops where the students receive support for producing their own youth newspapers.


TARGET AUDIENCE

El Mundo newspaper sees itself as a media outlet at the service of democracy; consequently, its public is all citizens, meaning any inhabitant of the territory who is subject to rights and duties. Within that broad public, El Mundo targets its “Educar mientras se informa” strategy at children and young people aged between 5 and 20 who attend public schools in rural and urban municipalities of Antioquia.

ACHIEVEMENTS

El Mundo is a newspaper with the chief mission of upholding the rights and duties of freedom of expression and true and timely information for the defense of democracy. Thanks to its pedagogical approach, the reading of El Mundo in the street and in the classroom has not only helped improve reading and understanding skills, it has also provided readers with an awareness of a reality that should not be alien to them, in which they can get involved and participate.

In addition, the initiative has also promoted a more critical reading of the newspaper itself. A newspaper is invariably a text that lends itself to debate, to controversy, much more so than a school book or scientific treatise. We believe that one basic civic skill is the critical capacity that arises from reading the newspaper.




SPECIFIC ACTIVITIES IN WHICH THE PARTICIPANTS COME INTO DIRECT CONTACT WITH THE MEDIA

As a part of the initiative, during 2011, 30 school-press workshops were held (each with a duration of two weeks) at 30 different institutes of education. Eight hundred and forty students learned to write their own school newspapers, and one was jointly produced at each participating school (for a total of 30 newspapers). Each newspaper was printed and distributed free-of-charge among the entire school community.


As for the readership of El Mundo newspaper, since 2011 and during 12 weeks (three months) of each school semester, a daily average of 14,000 copies were handed out, from Monday to Friday, at 118 institutes of education in Antioquia. Each copy contains additional teaching materials, according to the education campaign of the day, such as jigsaw puzzles, posters, playing cards, pages for coloring, etc. 


CHANGES IN THE WAY THE PARTICIPANTS UNDERSTAND AND USE THE MEDIA

For most of the children and young people who receive copies in their classrooms, this is their first contact with the non-sensationalist press. The initiative’s follow-up program has shown that, on the first days, the students do the activity indicated by their teachers and then discard the rest of the paper. But after a few days, not only are they pleased to receive the paper:  they read or make use of different sections (crosswords, pastimes, leading questions) in their spare time. When distribution stops, the students demand newspapers for themselves and their homes. As for the students who attend the school-press workshops, their pride in seeing the results of their efforts in print is evident. They also note the importance of making themselves heard, upon seeing the consequences of what they have written.


INVESTMENT AND FINANCING

During 2011, “Educar mientras se informa” had several sources of funding, including funds from the newspaper itself and from public, private, and civil-society donors.

This initiative was carried out with an annual investment of approximately one million, eight hundred thousand (1,800,000) U.S. dollars. In 2012, however, because of the change in municipal and regional authorities, there was a major cutback in funding; as a result, some 1,400 copies a day were distributed during the first half of the year. This represented an investment of two hundred and fifty-nine thousand (259,000) U.S. dollars.

EVALUATION AND RESULTS


Evaluations are carried out by the initiative’s own organizers through qualitative and quantitative surveys. Among the reported results, teachers were said to have changed their negative view of the media and to have accepted El Mundo’s proposal by adopting the paper as teaching material in their classes.

The students increased their interest in their surrounding reality. The older students developed a much more participatory and critical attitude. The younger students overcame their fear of “reading the paper,” which they previously saw as an activity for adults. Even the smallest children became familiar with the newspaper and, before they knew how to read, were thumbing through the papers and “reading” the pictures.

The experience of the school journalism workshops, in addition to their educational value for the participants, proved to be an initiative that triggered important dynamics within each school (identity, sense of belonging, problem recognition, good practices, and talents) and – since each school also received the work of the other students and they were thus able to increase their understanding and awareness of other realities – between the different participating schools. 

RISK FACTORS


The risks identified within this initiative can be classified into three groups:

Economic factor:  as can be seen, the program is very robust and funding for projects of this kind depends entirely on the sponsors’ understanding of the goals set.

Political factor:  given the need for relations with local administrations and their education departments, the newspaper must remain respectful without sacrificing its independence and critical capacity.

Ethical factor:  for the newspaper to forget its joint responsibility with education and begin inserting (on account of the revenue it would generate) advertising copy that is exaggerated or unsuitable for educational establishments. For El Mundo, joint responsibility takes precedence over any economic gain.

FUTURE PLANS

During the preparation of this portfolio, El Mundo concluded the legal transfer of stock to FundaMundo, a nonprofit organization of a strictly educational nature. This foundation has taken charge of the initiative and was created with the purpose of “promoting or pursuing all activities related to social communication that encourage the exercise of free and impartial journalism, together with those related to the promotion, production, and/or mass development of educational projects and programs in different fields of knowledge, guided by the goals set for education in Colombia and with the aim of contributing to the emergence of participatory, thinking citizens who are committed to strengthening our cultural identity and to the defense of common interests and Colombian democracy” (Statutes of FundaMundo, Art. 4).

In addition, they hope to establish partnerships with other regional media outlets to sell their educational materials and give the project a nationwide scope. They will also continue to work for synergies with other foundations and corporations for the joint development of educational campaigns. 



PERSON IN CHARGE: Irene Gaviria Correa. Editora General.  “El Mundo” Newspaper. ediciongeneral@elmundo.com.

REDESEARTE Culture of Peace






“I saw the class through the window and decided to sign up because it looked interesting... Here I can meet up with my friends and learn... it’s not boring like school… Here you lose your inhibitions and if you make a mistake everyone helps you; no one makes fun of us.”
Marco Javier Lerma Contreras. Age 10. 


It represents an innovative strategy whereby, for the first time in Mexico, the arts are seen as an educational tool that helps strengthen individuals’ identities and the social fabric and reclaim public spaces and coexistence in diversity, among children, adolescents, young people, and their families. This experience is a part of local-level social development programs, particularly in Ciudad Juárez (state of Chihuahua, Mexico), one of the cities most affected by violence, which managed to counter that trend through an interinstitutional intervention where art education was given a place to reestablish social coexistence and to address the affective needs of the population.

This artistic education program, sponsored by the Ministry for Social Development, ConArte, and the Ciudad Juárez municipal government, provides an example of how, through cooperation between civil society and the three levels of government – federal, state, and municipal – strategies can be created that make use of art education tools to construct a culture of peace and to promote respect for diversity and active social participation, which helped revert a climate of extreme social violence.

This strategy is put into practice through the creation of arts workshops (dance, music, theatre, song) at the municipality’s Centers for Community Development, which for the first time offer art education and education for diversity. These art workshops, which have a particular orientation that promotes community coexistence and a culture of peace, create opportunities for affection, security, and learning and foster new expressive, analytical, and communicational abilities among children, adolescents, young people and their families. In this way, art education is interconnected with other fields of development, such as health, nutrition, etc.

Another of the reasons why this experience was selected was the emphasis it places on the development of new local capacities – through teacher training at the local level, for example – for ownership and development of art education methods designed for implementation in highly marginalized areas.

Finally, as a result of the replication of this experience in other cities (Nogales, Sonora; Tapachula, Chiapas; and San Luis Potosí, SLP), a network of RedeseArte Cultura de Paz cities has been created.


GOALS SOUGHT

RedeseArte Cultura de Paz was created in Ciudad Juárez with the aim of promoting and developing the art and culture skills of the city’s children and young people, and of creating mechanisms for improving neighborhood coexistence and the integral development of citizens in those Juárez communities facing the gravest problems of poverty and violence.

The experience seeks to connect the city’s outlying areas and zones of highest marginalization through the establishment of a community network based on artistic education. Within this network, methodologies targeting children, adolescents, young people, and their families are implemented that contribute to restoring coexistence in diversity and reclaiming public spaces, both of which are seen as basic strategies of social development.




WHAT IT INVOLVES

It is an artistic education program, implemented by the Ministry for Social Development, ConArte and the Ciudad Juárez municipal government, that expands the tools and opportunities for artistic training among the children, adolescents, and young people of Ciudad Juárez, as a vehicle for coexistence, trust, and respectful dialogue within diversity.

It encourages integral development to channel the creative energy of young and old alike into the reconstruction of cohesive community values.

The program was launched in Ciudad Juárez, at a time when public life was in a state of extreme decay because of violence. Its actions are channeled in three directions:
  1. By organizing workshops where the languages of art are combined in education strategies for diversity, local artists are trained to work with methods designed to assist children, adolescents, young people, and their families in highly marginalized peripheral urban areas. The program is thus designed as a process of technology transfer geared toward strengthening the capacities of the artistic sector that seeks to be locally sustainable and replicable.
  2. Workshops – such as Urban Dance, From Salsa to Hip Hop, Scenic Arts, Youth Groups and Music Ensembles, ¡Ah qué la Canción!, Mexican Music in the Community, Strategies for Coexistence in Diversity – based on methods created by the International Art and School Consortium, A.C., a nongovernmental nonprofit organization operational in the country since 2006 and in Ciudad Juárez since 2009. The workshops offer collective, cooperative spaces that redefine the role of the person, the body, and individual and social spaces, and that promote the artistic and cultural skills of children and young people. They are held in Community Development Centers, where they have close ties with the health, nutrition, and employment programs implemented by the municipality and the Ministry for Social Development.
  3. They promote community coexistence, emphasizing the recovery of public spaces and the social ownership of the cultural infrastructure to which, previously, the marginalized populations of the outlying areas did not have access. As a part of this component, artistic presentations are held at the Community Centers and/or the city’s leading performance venues where, each year, all the participants put on a monumental event that mobilizes the entire city. 

TARGET AUDIENCE

It is aimed at children, adolescents, and young people. However, when applied at the community level, its beneficiaries also include adults and senior citizens, who have already signed up as students at twenty-five (25) Community Development Centers in Ciudad Juárez.

The population served totals two thousand, five hundred (2,500) children, adolescents, and young people.

This program has also enabled the training of more than a hundred and twenty (120) Juárez artists.

ACHIEVEMENTS

The transformation of their children and young people is highly appreciated by families and the community. Some, who dreamed of being contract killers, have found new ways forward and, in some cases, have gone back to school.

In spite of their surroundings, they have acquired new social, cognitive, and expressive skills and new ways to relate to their families, schools, and communities.

The bases of the methodology and the work with the body, movement, and rhythm are based on respect, conscious discipline, teamwork, and the acknowledgment of diversity. This form of participation enables them to conceive of themselves and act as more committed citizens, since from an early age they are an active part of the community.

The arts, in a formative and experience-transforming sense, are creating a new generation in Juárez. 


HOW THE COMMUNITIES PARTICIPATE

The children and young people are involved in the learning process, and they propose and create their own phrases, movements, scenes, narratives, and rhythms.

The teachers serve to facilitate and structure the experience and, frequently, they also act as counselors. Volunteer promoters from the community–chiefly women and young people–promote the workshops and also receive training in strategies for coexistence in diversity.

The center coordinators are involved with the promotional efforts, and in all the presentations held as a way to recuperate public spaces and to use the cultural infrastructure. Groups of parents accompany the different activities at other centers and in theatres.

TEACHERS’ PROFILE

Professionals in music, dance, and theatre who answered a public invitation to artists in Ciudad Juárez “with love and passion” to work in zones that were previously no-go areas.

To be selected, they must have professional training in the arts, particularly in the discipline they plan to represent. If they do not have that training, evidence of experience is requested.

The selected artists receive approximately 50 hours of training in ConArte’s methods. Only the best professionals become teachers of the RedeseArte Program.

The training is continuous over a space of three years, after which they can embark on the training of new trainers. Because this stage in the development of the project has come to an end, some of the teachers from Ciudad Juárez have already begun to participate in training efforts in other cities.

INVESTMENT AND FINANCING


The annual budget for this initiative is six hundred and seven thousand, two hundred (607,200) U.S. dollars, 100% of which was initially contributed by the federal Ministry for Social Development (SEDESOL).

Since 2012, the municipal authorities of Ciudad Juárez have been contributing 40% of the budget.

EVALUATION AND RESULTS

Evaluation are conducted every four months by the ConArte trainer trainers. Evaluation is performed through academic monitoring at the Centers. The use of qualitative methods allows the implementation of the academic program and the methodological development of the teachers to be monitored.

Quantitative methods are used to keep monthly records of student attendance. Those records are kept by the ConArte coordinator in Ciudad Juárez.

In conjunction with SEDESOL, community dynamics and ties with the health, nutrition, and other programs are assessed by means of another evaluation.



RISK FACTORS

One of the identified risks is related to the fact that, although Ciudad Juárez has made a great deal of progress in combating violence compared to the critical years of 2009 and 2010, security perceptions are still one of the main problems affecting the city; as a result, sometimes community participation in everyday activities is still irregular.

Another risk is that a change in government could affect social development priorities. On occasions, and in certain sectors of the different levels of government, the idea that art and culture are not a priority still prevails.

FUTURE PLANS

The program is planned to be carried out over three years by ConArte, SEDESOL, and the municipality. Work is currently underway on a strategy to ensure its sustainability–both within the community and vis-à-vis its sources of funding–through the legal incorporation of a local NGO called ConArte Juárez.


Other challenges to be met include the inclusion of trainer training in institutional accreditation plans, and the expansion in other cities of the role of the Juárez teachers as trainer trainers. 

REPLICATION POTENTIAL

Because of the Program’s impact in the city, several other mayors asked for the program to be implemented in their municipalities. ConArte and SEDESOL have extended the RedeseArte Cultura de Paz program to Nogales (Sonora), Tapachula (Chiapas), and San Luis Potosí, where teachers from Juárez have already provided training for trainers. 




PERSON IN CHARGE: Daniel Miranda Cano. Consorcio Internacional Arte y Escuela, A.C. (Civil society organization, nationwide scope) daniel.conarte@gmail.com

Pentagram Program






Pentagrama is a public policy of Guatemala’s Ministry of Education that uses music to provide children with internal structures and identities, through training based on a methodology inspired by different international experiences.




With this policy, music is seen as an essential tool for developing personal effort and the capacity for teamwork.

The policy has expanded to different schools and departments in Guatemala, which underscores its ability to attract the interest of children and adolescents, as well as of their parents.





GOALS SOUGHT

The initiative seeks to establish forums within the Guatemalan education system that expose children and young people to music, through the creation of music groups with artistic merit that enable the constructive use of free time and that create opportunities for the cultural and social development of their members.

WHAT IT INVOLVES

It involves a system of Music Classrooms, located in the departmental capitals or other municipalities in the country’s 22 departments, open according to flexible timetables in line with the communities’ needs. Each classroom works with the children and young people for a minimum of 16 hours a week.

The Music Classrooms are manned by local music teachers with experience in the areas of choral music, symphonic bands, symphony orchestras, estudiantinas, and marimba.



The pedagogical work with the symphonic bands and symphony orchestras involves exercises in the following areas:  physical condition, breathing, aural rhythm, reading and writing music, individual instrument practice by instrument section, and full rehearsals. The choirs’ exercises include physical conditioning, aural rhythm, breathing, vocalization, and memorizing the repertory. In the preparatory singing exercises, emphasis is placed on the educational value of play as a way of learning.


TARGET AUDIENCE

Children and young people who, regardless of socioeconomic level, are studying at primary or secondary schools in the country’s education system and who belong to Guatemala’s various ethnic and cultural groups.

This initiative’s numbers are as follows:

  • 2009: fifty-five (55) Music Classroom principals and teachers, and seven hundred and seventy (770) children and young people.
  • 2010: fifty-eight (58) principals and teachers and six hundred and eighty (680) children and young people.
  • 2011: fifty-eight (58) principals and teachers and seven hundred (700) children and young people.


ACHIEVEMENTS

The work of the Music Classrooms encourages the socialization and development of art, self-awareness, the positive channeling of emotions, and sensitivity. 



HOW THE COMMUNITIES PARTICIPATE

In coordination with local education authorities and governmental and nongovernmental authorities, the Music Classrooms organize concerts, events, and cultural activities at schools.

Another of its strengths is the participation of parents, the support of municipal authorities, and the training the teachers receive from the program’s coordinators.

PROFILE OF TEACHERS

The Music Classrooms are manned by local music teachers with basic knowledge of creating choirs or playing an orchestral or band instrument (strings, woodwind, brass, percussion), marimba, and guitar. The principals and teachers are trained in conducting, strengthening playing skills, and instrument maintenance and repair. 


INVESTMENT AND FINANCING

Annual investment: $205,740 U.S. dollars. Those funds come from the state and from special contributions made by Ricardo Arjona’s Adentro Foundation; support is also received from private companies. The resources were increased after an agreement was signed with the Ministry of Culture and Sport.

EVALUATION AND RESULTS


The ministerial policy encourages evaluations of the Music Classrooms’ operations by means of the FODA technique and, also through evaluations of the teachers’ musical performance. Evaluations are carried out by the General Directorate of Education Quality Management (DIGECADE) through its Department of Artistic Education. Those evaluations are performed annually. 


RISK FACTORS


One risk factor is absenteeism among the children on holidays and during the examination season. Another is children abandoning the program because they do not have instruments or because they have moved on to another year at school. Another situation that requires monitoring relates to the management, care, safekeeping, and maintenance of the instruments.

In financial terms, one risk factor is the lack of money to pay the teachers and also the failure to allocate suitable facilities for their teaching work:  often, they have to work in places that are not suitable for the purpose. 

FUTURE PLANS

Strengthen the 22 Music Classrooms, and create music centers in each department, located near to the premises of each Music Classroom.

REPLICATION POTENTIAL

The Music Classrooms system has been expanded to cover all the departmental capitals or other municipalities of the country’s 22 departments. 



PERSON IN CHARGE: Rubén Darío Flores HernándezMinistry of Education of Guatemala. digecade@mineduc.gob.gt & rflores@mineduc.gob.gt

DIA Program






“I think the DIA class gave us all something, and it was something different for each of us; what it left me was something I never, ever used to do: thinking about what I say.” 
Julio César Estrada




This program was selected because of its potential for creating, within elementary school classrooms (in both the public and private sectors), an environment of freedom, expression, and communication, based on the appreciation of the plastic arts.

It is also notable because it shows how a private company, acting with social awareness, has succeeded in developing, through plastic art, a form of public-private cooperation for strengthening esthetic education.

Another of this program’s contributions is the priority it places on investments in educational methodologies and evaluations, two essential elements in the provision of quality education.


GOALS SOUGHT

The general objectives of this program are the following:


  1. Incorporating art as a means to achieve human development.
  2. Training DIA (Development of Intelligence through Art) teachers as mediators with a transcendent vision of education and who are open toward adapting their teaching practices and bolstering learning and development processes.
  3. Promoting their own integral development and that of their students through exercising four areas of skills: cognitive, communicational, affective, and social. 
  4. Creating a place of learning that fosters in teachers the capacity for pedagogical mediation to develop skills, dialogue, and the collective construction of knowledge, in an atmosphere of harmony and respect.


WHAT IT INVOLVES

The DIA program is a didactic methodology that uses visual art as a stimulus for developing the intelligence of students and teachers. It involves creating a dialogue about works of visual art within an environment that allows the free expression of experiences, opinions, and knowledge, in which the teacher-mediator – by encouraging the construction of learning and the development of cognitive, affective, communicational, and social skills – motivates active participation by the students.

DIA classes are weekly 50-minute sessions, held throughout the school year during the six grades of primary education.

The program covers three developmental stages for the students:  language for learning, imagination for understanding, and interpretation and construction of meanings. It also provides three levels of training for teachers, monitors, and facilitators: sensitization, observation and active listening, and meaningful dialogue and collective construction of knowledge. Specialized programs in literacy, arts appreciation and parents are also offered.



TARGET AUDIENCE

The DIA program has different kinds of beneficiaries in various areas:

  • The teachers, who are trained by the program and who include, in the classrooms of public and private schools, the capacity for pedagogical mediation through visual art;
  •  The monitors or principals and directors of schools and organizations, who provide the teachers with monitoring and assistance; and
  •  The facilitators, who replicate the program by training teachers and monitors. These teachers mainly serve children in preschool, primary, and secondary education. Also, the DIA Program works in other non-school environments – such as shelters, museums and libraries, prisons, and other community forums – serving the needs of disabled children, indigenous populations, etc.
ACHIEVEMENTS

Building a sense of citizenship demands the ability to reflect and to dialogue. In DIA classes, the inherent skills needed for those processes are encouraged, including:  systematic observation, understanding, the construction of hypotheses, and debate; the security needed to express an opinion; attention to what one is trying to communicate and to do so in a clear, structured, and assertive way; listening, openness, respect for the ideas of others; and the self-regulation of actions. Through the methodology of the DIA program, teachers create a learning environment in which the students’ ideas are heard, respected, and appreciated, knowledge is built, and different situations are explored with awareness, creativity, and a critical attitude.

COMMUNITY PARTICIPATION

The DIA program has progressed hand-in-hand with the facilitators, teachers, and students. It is they who, with daily practice and the discoveries they make, set the guidelines for adapting the methodology to each different classroom and to each group of people with whom they work. 



TEACHERS’ PROFILE

School teachers, mediators, museum docents, cultural promoters, and preschool, primary-, and secondary-school teachers receive training to work and embrace the DIA methodology.

These teachers’ profiles change significantly as they open up to new strategies for communication, perception, and skill development to encourage their students to express themselves and to investigate, and to construct language and thought, thereby helping create a place of diversity where they can tell their own stories and express their imaginations.

Training for DIA teachers involves 20 classroom hours and 12 hours of practice and feedback; it offers the know-how and skills necessary to put into practice the pedagogical mediation methodology proposed in the program.

 INVESTMENT AND FINANCING

The program is funded through the sale of its products and by public and private sponsorship. It invests an annual amount of one million, one hundred and thirty-eight thousand (1,138,000) U.S. dollars.

EVALUATION AND RESULTS

The impact of the DIA program was assessed between 1998 and 2008, through different quantitative and qualitative investigations that made use of case studies and comparative studies:

  • “Impact of the DIA Program on modifying the intellectual, affective, social, and communicational skills of school-children” (carried out by the Tanesque Educational Center in three stages, which lasted three years and three and a half months (1998-2001).
  • “Evaluation of the DIA Program at the preschool level” (conducted during the 2003-2005 school year by De la Riva Consultants and volunteer teachers from the National Kindergarten Teachers’ School)
  • “Impact assessment of the DIA Program. Case study: Catorce de Abril primary school” (carried out between 2007 and 2008 by a research team under the coordination of Dr. Adriana Andrade Frich, a researcher at the Ibero-American University). The main findings of this evaluation were organized according to the program’s results among teachers and pupils.
  • “Evaluation of the dia workshop Kaleidoscope ‘The Art of Seeing’” (carried out by the Department of Academic Development, Secretariat of Medical Education, Faculty of Medicine, UNAM). Capacity-building in boys and girls was corroborated in order for them to have a subjective perspective about human beings, recognize that each person perceives the world differently, and improve their capacity to observe.

    Taking into consideration the results and conclusions of the research, we can assure that dia creates the knowledge learning, abilities, attitudes and values needed to have thoughtful, active, respectful, open and supportive students. Likewise, teachers have demonstrated to have developed capacities for mediation and to build learning environments for dialogue and knowledge-building.
RISK FACTORS

According to the institution behind the DIA program, it faces challenges that could be considered structural:

  • Restriction on the participation of private institutions in the implementation of new educational methodologies in school practices.
  • Resource limitations that may be due to low sponsorship levels from private institutions that support low income schools and institutions.
  • Difficulty to give continuity within each institution due to regulatory problems; this impacts the permanence of teachers and principals at schools, together with that of the education authorities.
FUTURE PLANS

Expand the work that is being developed to other contexts, and begin implementing a new and extensive impact research. Also, this program plans to prepare three training projects:

  • DIA Parents’ Council, a proposal to provide parents with a forum for dialogue, reflection, learning, and coexistence.
  • DIA Language and Expression, a proposal to encourage the pleasure of reading among primary-school children, build their reading comprehension, and foster creative writing.
  • DIA Art, an opportunity to create, appreciate, discover, analyze, and criticize different periods in art history. 



In 2012, progress was also made with the consolidation of the program; for example, with the publication of the book DIA 1, which includes updates to the methodology. In addition, progress was made with strengthening the DIA community with on-site and distance monitoring, and with the development of strategic alliances with national and international institutions.

Another future plan is to expand the project by extending its work with at-risk children and adolescents who suffer from either chronic or terminal illnesses, cognitive disabilities, or socio-cultural disadvantages.

REPLICATION POTENTIAL

For 15 years this initiative has been impacting formal and nonformal public and private education, covering thirty (30) of the thirty-two (32) states of the Mexican Republic, around three thousand (3,000) basic-education schools (mostly at the primary level), and fifty-three (53) centers of tertiary education. It has trained more than five hundred (500) DIA facilitators, and two thousand, three hundred (2,300) monitors who monitor and assist almost twenty-five thousand (25,000) DIA teachers, with an impact on six hundred thousand (600,000) basic-education students and more than twenty-seven thousand (27,000) higher-education students.

In 2009, the program embarked on a new phase with the inclusion of the teacher-training colleges for primary-school teachers. As of 2011, around fifty (50) teacher-training colleges have been served and one hundred and forty (140) professors have been trained as DIA teachers. 




PERSON IN CHARGE: Edwin Triujeque Woods, Academic Coordinator.La Vaca Independiente, S.A. de C.V. (Private institution at the national level.) nerwic@lavaca.edu.mx