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Sinergias educativas

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eISSN: 2661-6661

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Received: March 04 , 2024

Approved: June 12 , 202

Youth Participation in Museums for

Cultural and Artistic Development in

Guayaquil

La Participación Juvenil en Museos para el desarrollo

cultural y artístico en Guayaquil

Ana Luisa Löpez Brunett

Génesis Asunción

Abstract

The study aims to compare the perspectives of different authors on

the participation of young people in Guayaquil in artistic activities

and visits to museums. A comprehensive approach combining

qualitative and quantitative methods was used, using a representative

sample of theses and scientific papers, together with documentary

review techniques and data collection sheets. In conclusion, the

analysis showed that in order to increase youth participation in

Guayaquil's museums and promote their cultural and artistic

development, it is crucial to address the challenges identified by

several authors through promotion and dissemination strategies,

taking advantage of the opportunities offered by the digital world.

Keywords: Artistic, Development, Cultural, Young people,

Guayaquil

Msc. Instituto Superior Universitario Espiritu Santo,

Ecuador, https://orcid.org/0000-0001-7040-3807,

alopez@tes.edu.ec

Msc. Instituto Superior Universitario Espiritu Santo, Ecuador,

https://orcid.org/0000-0003-2448-716X, gasuncion@tes.edu.ec

Article

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Resumen

El estudio tiene como objetivo comparar las perspectivas de

diferentes autores sobre la participación de los jóvenes de Guayaquil

en actividades artísticas y visitas a museos. Se utilizó un enfoque

integral que combinó métodos cualitativos y cuantitativos, utilizando

una muestra representativa de tesis y documentos científicos, junto

con técnicas de revisión documental y fichas de recolección de

información. En conclusión, el análisis demostró que para

incrementar la participación juvenil en los museos de Guayaquil y

promover su desarrollo cultural y artístico, es crucial abordar los

desafíos identificados por varios autores mediante estrategias de

promoción y difusión, aprovechando las oportunidades ofrecidas por

el mundo digital.

Palabras clave: Artística, Desarrollo, Cultural, Jóvenes, Guayaquil

Introduction

Before going into the analysis of youth participation in museums for

cultural and artistic development in Guayaquil, it is essential to

contextualise the cultural panorama of the city. Guayaquil, being one

of Ecuador's main urban centres, is home to a rich cultural diversity

ranging from its historical heritage to contemporary expressions of

art and culture. However, despite this richness, there is a gap in the

active participation of youth in the local cultural scene, reflected in

the low number of young visitors to museums and cultural events.

In this sense, it is imperative to understand the crucial role that

museums play as spaces of encounter, learning and reflection for

young people in Guayaquil. These spaces not only preserve and

exhibit the city's cultural heritage, but also offer opportunities for

artistic exploration, intercultural dialogue and identity building. The

active participation of youth in museums not only enriches their own

cultural and artistic development, but also contributes to

strengthening the social fabric and fostering a more informed

citizenry committed to their cultural environment.

The lack of interest of young Guayaquileños in the art and culture of

their city poses a significant problem in the cultural context of

Guayaquil. This phenomenon manifests itself in a lack of active

participation in cultural activities, such as visits to museums,

attendance at artistic events or involvement in community cultural

projects. This lack of interest can be attributed to a variety of reasons,

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including the predominance of a consumerist and superficial

entertainment culture, the lack of economic accessibility to cultural

events and the absence of a comprehensive arts and humanities

education in the educational system.

The formulation of the problem lies in understanding the underlying

causes behind the low interest of young Guayaquileños in the arts

and culture of their city, as well as identifying the specific difficulties

they face in developing a deeper cultural appreciation. These

difficulties include the lack of resources and educational

programmes that promote knowledge and appreciation of local art

and culture, as well as the influence of external factors such as the

predominance of globalised popular culture and the lack of cultural

role models within the youth community. Understanding these

difficulties is crucial to designing effective strategies to foster

greater participation and cultural appreciation among young people

in Guayaquil.

Conduct a comparative study of various authors who have addressed

the degree of involvement of young people in the city of Guayaquil

in the artistic sphere and their participation in museum visits. This

can reveal nuances and dimensions that might go unnoticed if only

one source of information is considered. Furthermore, by contrasting

the opinions and findings of different authors, common patterns,

discrepancies and areas of convergence can be identified, which

enriches the research and provides a more solid basis for formulating

conclusions.

The study is justified by the need to understand in depth the cultural

dynamics of Guayaquil's youth in relation to the city's art and

cultural heritage. This comparative analysis offers a unique

opportunity to discern the factors that influence youth participation

in artistic and cultural activities, as well as to identify possible

barriers that may hinder their involvement in the museum field.

The relevance of this study lies in its potential to inform and guide

cultural policies and strategies aimed at fostering the active

participation of young people in the artistic and museum sphere in

Guayaquil. Ultimately, this study will not only contribute to the

advancement of knowledge in the field of culture and education, but

could also have a significant impact on the cultural and social

development of Guayaquil.

The how of this study implies a methodical and rigorous approach,

where previous research and studies carried out by different authors

will be compiled and analysed from a critical and reflexive

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perspective. A process of selection of relevant and representative

sources will be carried out, followed by a systematic comparison of

each author's findings, methodologies and conclusions. This

meticulous approach will ensure the reliability and validity of the

results obtained, as well as objectivity in the interpretation of the data

collected.

The role of the arts in education arises from the context, highlighting

the intention to use arts instruction as a tool to foster understanding,

transformation and integration. In this way, the arts assist us in

interpreting culture in diverse settings, both verbally and visually

(Mariño, M. 2021).

Arts instruction is not only limited to transmitting knowledge about

techniques and forms of expression, but also acts as a powerful tool

for exploring and understanding the world around us. In this sense,

the arts offer us the opportunity to interpret culture in its many facets,

whether through visual or verbal language. By integrating the arts

into education, a more complete and meaningful learning is

promoted, which not only enriches students' educational experience,

but also provides them with skills to understand and actively

participate in the society in which they live.

As cited by Anchundia, H., & Schoenfeld, A. (2023), with regard to

growth in the artistic domain, the process of acquiring knowledge

about different forms of artistic expression enhances fundamental

cognitive skills, such as conditioned reasoning and the ability to

mentally organise creative problem solving in everyday life,

generating a long-term impact.

When addressing the field of cultural education, it is commonly

argued that in an environment characterised by an overabundance of

visual stimuli, it is essential to foster a critical attitude towards

images (Fajardo, J., & Chin, L. 2021). By cultivating critical

thinking, young people become more aware of the different cultural

and social perspectives expressed through art, allowing them to

enrich their own sense of identity and understanding of the world

around them. Principle of the form

Inquiring about young people's participation in cultural activities and

visits to museums, leads us to ask ourselves what we know about the

motivations of the new generations for culture, according to Antoine,

C., & Carmona, J. (2015), the predominant perception about the

relationship between young audiences and museums focuses on the

idea of disappointment, where it is believed that young people find

it boring to visit these spaces. This view is followed by an ideological

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assumption that is presented as an established truth, i.e. the notion

that going to the museum will contribute to their education and

cultural knowledge. However, these views stand above detailed

research that sheds light on young people's precise relationship with

cultural objects, practices and institutions, such as books,

participation in cultural activities and museums themselves.

For Robles, A. (2017), it is crucial to bring together both museums

and the public, particularly children and young people. This

partnership has been examined for several decades and, moreover,

contributes to an effective management of the museum offer,

including its promotion, which will surely increase the number of

visitors, especially those interested in the cultural offer provided.

Ochoa, L. (2008), believes that all museums, especially those of an

anthropological nature that I have analysed here, are politically

charged because they deal with contents and values linked to specific

perspectives of society, human evolution and the development of

nations or communities. These contents can rarely be separated from

ideology and have a significant impact on the formation of

imaginaries and subjectivities, be they national, ethnic, gender, class

or other.

In order to capture the attention of children and young people,

museums are becoming spaces where non-formal cultural and

educational work is developed, which is entertaining and dynamic,

and which complements or surpasses the teaching given in the

classroom. Tovar, C. (2019), mentions that this does not mean that a

relationship should not be established between these two educational

institutions. In fact, it would be beneficial that before the visit,

teachers and museum monitors design educational and recreational

projects, which would undoubtedly enrich both parties and, above

all, benefit the students.

Proposals such as those of Mendoza, M. (2022), highlight the

relevance of technology as a source of advanced innovations, as well

as mentioning the availability of digital information as a means of

dynamically promoting the development of digital citizenship. This

implies involving children and young people actively and

collaboratively in the construction of an online society based on

ethical principles.

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Materials and methods

To investigate this study, a process was designed to integrate both

qualitative and quantitative approaches (Babativa, C. 2017). The

qualitative research focused on understanding young people's

perceptions, experiences and motivations in relation to visiting

museums, while the quantitative research provided numerical data

on the frequency and type of participation of young people in cultural

activities (Bejarano, M. 2016).

The sample used in this study consisted of a wide range of thesis

studies and scientific papers related to youth participation in

museums and cultural development in Guayaquil. Research that

specifically addressed the topic and provided relevant information

for the research objectives was carefully selected, and the search not

only took data from young people in the city of Guayaquil, but also

from other provinces, which serves as a counterpart for the results

both in the city and in other regions of the country.

The main technique employed was the documentary review, which

involved the exhaustive and systematic collection of information

from existing studies, research reports, academic articles and other

relevant documents (Blanco, G., & Mesa, B. 2022). This technique

allowed us to obtain an overview of previous research on the topic,

as well as to identify patterns, trends and gaps in knowledge.

For data collection, data collection sheets were developed that

included specific categories related to youth participation in

museums, such as frequency of visits, thematic preferences and

perceived benefits. These sheets provided an organised structure for

recording and analysing the data collected during the desk review,

thus facilitating the comparison and synthesis of information

obtained from different sources.

Results

The results of this process highlight the need to promote the museum

as a tourist attraction of cultural importance. From a professional

point of view, it is recommended to promote this place through

advertising in digital media and social networks, given that the

majority of the population currently uses these platforms. Of the 112

respondents in the study by Acosta, J. (2022), 43.8% indicated that

they would occasionally recommend the popular music museum,

39.3% stated that they would do so usually, while 10.7% mentioned

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that they would do so almost always. Only 6.2% indicated that they

would almost never suggest it.

Factors such as cultural globalisation, migration, marketing and

media have a strong influence. The finding of González, Y. (2015),

is worrying, as it reveals that a percentage of the population shows

no interest in visiting museums and does not know how many there

are in the city. With the omnipresence of the internet, there are

currently two types of societies: the real society and the virtual

society, where reality is increasingly lived virtually, gradually

leaving many places empty.

In this study, of the 69 respondents representing 77% of the

participants who are in favour of linking museum activities with

schools, 54% consider that it would definitely be a direct method of

learning. All results related to this question were positive, with an

additional 23% expressing that they would find it novel and that it

would help them to better remember information taught in class.

Suárez, P. (2020), in his study on the Strengthening and

diversification of tourism offerings based on underestimated cultural

assets and spaces, the case of the museum and municipal library of

Santa Elena canton, findings indicated that the Museum houses a

wide range of valuable objects. However, surveys revealed that both

tourists and local residents are unaware of the place and do not visit

it. Therefore, the importance of preserving the cultural richness of

St. Helena is highlighted. According to those interviewed, most

tourists choose to visit the province of Santa Elena mainly for its

beaches, such as those of Salinas, La Libertad and the Spondylus

Route. Among these, Montañita stands out as a favourite destination

for foreign tourists, who usually come with family and friends to

enjoy the local gastronomy by the sea.

The study conducted by Cisneros, A., et al. (2021) on the Visitor

Experience of the Presley Norton Museum in the city of Guayaquil

revealed that 53.9% of the 385 young respondents are not familiar

with the institution. In addition, 44.1% cited lack of time as a reason

for not visiting, highlighting the difficulties of communication

between the museum and the public.

According to the findings of the study by Díaz, S. & Fiallos, D.

(2022), which focused on young people's digital activity on

museums during the COVID-19 confinement, it was observed that

the Museo Nacional del Prado experienced a 15% increase in its

followers on social networks, with a 37% increase in visits to its

website. During the month of April, the online audience increased

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by 25% compared to March, surpassing 12 million visitors during

the entire confinement period.

Discussion

The analysis of the study conducted by Acosta, J. (2022), reveals that

there is significant variability in the respondents' answers regarding

the recommendation of the museum of popular music. It is observed

that a considerable part of the participants would be willing to

recommend the museum at different levels of frequency, from

occasionally to almost always. However, a minority is also identified

as showing little interest in making recommendations about the

museum. This pattern of responses suggests a diversity of attitudes

and perceptions among respondents towards the popular music

museum, which could be indicative of the need to implement

promotion and dissemination strategies to increase its visibility and

attractiveness.

The analysis provided by González, Y. (2015), underlines a

significant concern regarding the lack of interest of part of the

population in visiting museums and their lack of knowledge about

the cultural offer of the city. This phenomenon could indicate a

growing disconnection between the community and cultural heritage

spaces. Furthermore, the reference to the real and virtual society

highlights an emerging dynamic in which experience is increasingly

shifting to the virtual realm, which could have negative implications

for the preservation and appreciation of tangible cultural heritage.

The transition to a society where reality is largely experienced

through virtual means could contribute to the gradual emptying of

physical places of cultural significance, highlighting the importance

of addressing these challenges in the current context.

Analysis by Suárez, P. (2020), highlights the disconnection of both

tourists and local residents with this important cultural heritage. In

addition, it is noted that young people also show a lack of interest in

visiting such spaces, which could further contribute to their

underestimation and lack of recognition. Despite the wide variety of

valuable objects housed in the museum, the lack of awareness and

visits highlights the urgency of actions to preserve St. Helena's

cultural richness and promote greater awareness and appreciation of

its heritage among the population, including youth. Meanwhile, the

preference of tourists for local beaches, especially destinations such

as Montañita, underlines the need to diversify tourism options and

highlight the cultural offer to attract a wider public and promote a

more sustainable and enriching tourism.

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For Cisneros, A., et al. (2021) the museum faces challenges in

disseminating its offer and connecting with this key demographic

segment. It also highlights that a considerable proportion of

respondents identified lack of time as a barrier to visiting the

museum, which points to the need to implement strategies to make

visiting the museum more accessible and convenient for the general

public. This difficulty in communication between the museum and

the public reflects the importance of improving information and

promotion channels to encourage greater participation and

engagement with the cultural institution.

Authors such as Díaz, S. & Fiallos, D. (2022), examined the digital

activity of young people in relation to museums during the COVID-

19 confinement, this, highlights the significant impact that the

pandemic had on online behaviour. It is remarkable how the Museo

Nacional del Prado managed to take advantage of this situation,

registering a notable increase in both the number of followers on

social networks and visits to its website. This increase in online

audiences during the month of April, especially compared to the

previous month, demonstrates how the pandemic prompted people

to seek out cultural experiences online as a way to compensate for

the lack of access to physical spaces during the confinement.

This contrast with other countries highlights the adaptive capacity of

some cultural institutions to respond to the challenges left by the

pandemic and take advantage of the opportunities offered by the

digital environment to reach new audiences and maintain

engagement with their audiences, even in times of crisis, creating an

opportunity for this to be applied in other types of countries such as

Ecuador.

To further explore the issue of youth participation in museums for

cultural and artistic development in Guayaquil, new questions arise

that could guide future studies. For example, what are the specific

barriers faced by young people in Guayaquil to actively participate

in cultural and artistic activities in museums? How can museums

better adapt to the preferences and interests of Guayaquil's youth to

encourage their participation? Furthermore, what is the impact of

digital access to museum collections on youth participation and how

can it be improved? Another relevant question is how can museums

collaborate with educational and community institutions to more

effectively engage young people in their programmes and

exhibitions? These questions offer a direction for future research and

can provide valuable information for designing more effective

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strategies to promote greater youth participation in Guayaquil's

museums.

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Jaramillo como atractivo turístico de la ciudad de

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