Fuera de la escuela, en serio | Laura Benbenaste | TEDxRiodelaPlataED
Summary
TLDREl relato de un voluntario que, tras un incidente violento en tren, decide no abandonar su proyecto social en San Fernando. Con el tiempo, crea un programa educativo fuera de la escuela llamado Puerta 18, enfocado en la creatividad artística, científica y tecnológica para niños de 3 a 18 años. Este espacio comunitario promueve el aprendizaje experimental y el desarrollo de vocaciones, transformando a los niños en agentes activos de su propio crecimiento y aprendizaje. La narración destaca la importancia de la educación complementaria y el apoyo emocional en el proceso de enseñanza. Además, aborda los desafíos de inclusión social y oportunidades laborales para jóvenes talentosos, proponiendo un modelo de becas y apoyo basado en el conocimiento y la inversión en la trayectoria de cada individuo.
Takeaways
- 🚄 **Experiencia traumática en tren**: El narrador fue herido por una piedra lanzada mientras viajaba en tren con otros voluntarios.
- 🏠 **Promesa y renuncia**: Después de llegar a casa y ver la preocupación de sus padres, prometió abandonar el proyecto, pero al día siguiente no pudo hacerlo.
- 🤔 **El miedo y la determinación**: Se dio cuenta de que si dejaba que el miedo lo invadiera, perdería su identidad y sería dominado por la ira y el miedo para siempre.
- 👪 **Conciencia de la situación de los niños**: En el comedor social, muchos padres le habían contado que no podían brindar los necesidades básicas a sus hijos, lo que reforzó su compromiso.
- 🛠️ **Creación de un mecanismo de cambio**: Decide crear un programa para desafiar el destino de los niños y años después su sueño se hizo realidad.
- 🏢 **Nacimiento de Puerta 18**: Creó un programa social en una fundación, buscando complementar la educación tradicional con actividades creativas y tecnológicas.
- 🌞 **Espacio físico inspirador**: El programa se desarrolla en una casa de dos pisos llena de luz natural, ubicada en Abasto.
- 👥 **Equipo interdisciplinario**: Se formó un equipo con profesionales de tecnología, recreación y trabajo social, todos con la intención de crear algo nuevo y amoroso.
- 👶 **Enfoque hacia los niños**: El programa buscaba involucrar a los niños solitarios que se encontraban en el área de Abasto.
- 🎓 **El aprendizaje activo de 'The Padawans'**: Los mayores y más informados, llamados 'The Padawans', ayudan a los demás niños compartiendo su conocimiento y liderando equipos.
- 🔄 **Deseo de aprendizaje y descubrimiento**: El programa se enfocó en despertar el interés de los niños, probando con distintas actividades hasta que encontraran sus propias vocaciones.
- 💼 **Desafíos en el mercado laboral**: Afrontaron la barrera de la discriminación geográfica y el modelo de beca tradicional, creando becas más flexibles y que reconocen el esfuerzo y la pasión.
- 🌟 **Impacto en la comunidad**: El programa ha impactado positivamente en las vidas de más de 2,500 niños y en sus familias, y continúa evolucionando.
Q & A
¿Cuál fue la actividad que realizaban los voluntarios en San Fernando durante los dos años anteriores?
-Los voluntarios proporcionaban apoyo educativo y realizaban actividades recreativas en un comedor social en San Fernando.
¿Qué incidente desencadena el conflicto en el que el narrador es herido?
-Una piedra afilada atravesó el vidrio del tren y cortó la cara del narrador cuando este se disponía a despedirse de los niños a través de la ventana.
¿Cómo se sintió el narrador después de ser herido y qué promesa le hizo a sus padres?
-El narrador se sintió impactado y prometió a sus padres que abandonaría el proyecto, pero al día siguiente no pudo cumplir con su promesa.
¿Qué decisión tomó el narrador después de su experiencia traumática y por qué?
-El narrador decidió crear un mecanismo para desafiar el destino de los niños cuya vida está determinada por la pobreza. Se dio cuenta de que la educación y el apoyo social eran fundamentales para cambiar su futuro.
¿Cómo se llamó el programa social que el narrador creó y qué edad de niños atendía?
-El programa se llamó Puerta 18 y atendía a niños de 3 a 18 años, fomentando la creatividad artística, científica y tecnológica.
¿Qué fue la primera acción que tomaron los fundadores de Puerta 18 para involucrar a los niños de la comunidad?
-Salieron a buscar a los niños, llevando computadoras, cámaras, robots a las escuelas de la zona durante los recreos para invitarlos a unirse a su programa.
¿Cómo se llama a los niños más grandes y experimentados en el programa de Puerta 18 y por qué?
-Se llaman 'The Padawans' en honor al aprendiz jedi de la película Star Wars, ya que son los niños más grandes que comparten su conocimiento y lideran equipos.
¿Qué modelo de aprendizaje implementaron en el programa y cómo promueve la igualdad y el intercambio de conocimientos?
-Implementaron un modelo de aprendizaje en comunidad donde todos enseñan y aprenden, desmontando el modelo de conferencia y transformándolo en un círculo de colaboración y experimentación.
¿Cómo se enfrentó el programa a los desafíos del mercado laboral y qué cambios realizó?
-El programa se inmersión en el mercado laboral, ampliando su equipo y su alcance de trabajo para ayudar a los jóvenes a encontrar empleos en posiciones calificadas que les permitan hacer lo que les apasiona.
¿Qué sorpresas encontró el narrador al buscar becas para los jóvenes y cómo abordaron estos desafíos?
-Se encontraron con becas que solo reconocían el rendimiento académico y no el esfuerzo o la pasión. En respuesta, crearon becas genuinas basadas en conocer a los jóvenes y invertir en su trayectoria, permitiendo flexibilidad y aprendizaje a lo largo de su vida.
¿Cómo abordó el narrador el problema de la discriminación geográfica en las entrevistas de trabajo?
-Desarrollaron estrategias para evitar la discriminación basada en el lugar de origen de los jóvenes, decidiendo actuar como su 'capital social', garantizando y respaldando sus relaciones en el proceso de búsqueda de empleo.
¿Qué invitación hace el narrador al final de su discurso y cuál es su visión para el futuro?
-El narrador invita a la audiencia a ayudar a扩大 ('ampliar') el programa a 1,000 espacios similares, con la visión de ver a más niños enfocar sus proyectos con orgullo y ver a sus familias mejorar su realidad.
Outlines
🚄 Experiencia traumática y compromiso con la educación
El relato comienza con un incidente en el tren Mitre, donde un proyectil rompe el vidrio y hiere al narrador. Este evento traumático lleva al compromiso de abandonar un proyecto de apoyo en un comedor social, pero finalmente decide continuar luchando contra el miedo y la violencia, con la firme intención de crear un mecanismo para cambiar el destino de los niños en situación de vulnerabilidad. Se describe la creación de un programa social en una fundación, buscando complementar la educación tradicional con actividades creativas y tecnológicas.
🏠 Nacimiento de Puerta 18 y su enfoque innovador
Se narra la creación de Puerta 18, un programa social extraescolar gratuito que promueve la creatividad artística, científica y tecnológica para niños de 3 a 18 años. El programa busca encontrar y fomentar las vocaciones y talentos de los niños, desafiando la educación tradicional y ofreciendo un espacio propio para los niños. Se destaca la importancia de la interdisciplinariedad del equipo fundacional y la estrategia de acercamiento a los niños en sus propios entornos escolares.
👩🏫 Desarrollo del método de aprendizaje experimental y la comunidad de Padawans
El relato continúa con la evolución del programa, enfocándose en estimular el interés y el aprendizaje en los niños. Se describe el proceso de integración de actividades variadas, desde diseño gráfico hasta programación, para que los niños descubran sus pasiones. Nace la idea de los "Padawans", niños más mayores que comparten su conocimiento con los más pequeños, guiados por el concepto de aprendizaje cooperativo y comunidad. Se destaca el crecimiento del programa y su impacto en la comunidad.
📈 Inserción laboral y superación de barreras sociales
Se aborda el reto de integrar a los jóvenes en el mercado laboral, destacando la importancia de la experiencia y la formación en tecnología para abrir puertas a nuevas oportunidades. Se cuestionan los modelos de becas tradicionales y se proponen becas más flexibles y personales, que se adaptan a las necesidades y trayectorias de cada estudiante. Se comparte la historia de Agustín, un joven que pasa de ser un simple espectador a un estudiante de ingeniería, enfrentando los desafíos de la discriminación geográfica en las entrevistas de trabajo. El programa se presenta como un modelo en desarrollo, que busca transformar vidas a través del apoyo y las oportunidades educativas.
Mindmap
Keywords
💡Voluntarios
💡KITCHEN
💡Miedo
💡Destino
💡Programa Social
💡Interdisciplinario
💡Puerta 18
💡Padawan
💡Mercado Laboral
💡Becas
💡Capital Social
💡Transformación
Highlights
Volunteers provided educational support and recreational activities at a soup kitchen in San Fernando for two years.
A violent incident on the Mitre train motivated the speaker to quit the project, but they couldn't due to their commitment.
The speaker realized that fear and anger could subdue them forever, and decided to challenge fate.
Many parents couldn't provide for their children's basic needs, which inspired the speaker to create a social program.
Puerta 18 was created as a free after-school social program focusing on artistic, scientific, and technological creativity for kids aged 3 to 18.
The program sought to complement the education system, which was often one step behind children's interests.
An interdisciplinary team was assembled, consisting of professionals from technology, recreation, and social work fields.
The team discovered that many lonely children needed a place that belonged to them and provided companionship.
Puerta 18 was established in a two-story house filled with natural light, becoming a place for children to explore their interests.
The program proactively sought out children, bringing resources to schools and inviting them to join.
Agustín, a 14-year-old interested in music and video games, was one of the first to join the program.
Teaching basic skills was only part of the process; the program also needed to contain and support the children.
The program aimed to integrate social support with content sharing, rather than separating the two.
As the number of children grew, the focus shifted to discovering vocations and talents without restrictions.
The program dismantled each discipline, making learning accessible and engaging through games and dynamics.
Agustín's request to be told what to do led to a shift in the program's approach, focusing on sparking the children's interest.
The Padawans, named after the Jedi apprentice, were older kids who shared their knowledge and led teams.
The program became a community for experimental learning, engaging over 2,500 children.
Technology helped break the traditional teacher-learner asymmetry, fostering a collaborative learning environment.
The program expanded to work with the 18 to 24 age range, focusing on preparing them for the job market.
The program created genuine scholarships based on understanding the children and investing in their personal growth paths.
Agustín's story highlights the challenges of securing scholarships and jobs due to socio-economic background.
The program aims to be a social capital for the children, helping them secure job opportunities.
The speaker's dream is to see the children succeed in their chosen paths and improve their families' realities.
The program has been offered government support to expand, but the focus remains on quality and impact rather than rapid growth.
Transcripts
Translator: Lucas Mohnen Reviewer: Gisela Giardino
We were going home on the Mitre train with a group of volunteers.
We had been going to that soup kitchen in San Fernando for the past two years
to provide educational support
and do recreational activities.
I was leaning on the window,
waving at to those that had come to say goodbye.
As soon as the train started moving, chaos broke out.
A sharp stone went through the glass
and cut my face.
Right here.
Above my left eye.
Those that had thrown it knew us;
they had tried to hurt us.
I got home with my t-shirt covered in blood,
and among my parents' cries I made a promise:
"Tomorrow I quit the project."
But when the time came, I couldn't.
I felt that if I let the fear in,
I would never be the person I was;
that if fear and anger took over,
they would subdue me forever.
During those years in the soup kitchen
many mothers and fathers had told me
they couldn't even provide their children with the basic needs.
I had met those children
and I knew their future was totally conditioned
by that fate which places a person
under a certain roof,
in a certain context,
and marks them for the rest of their lives.
At that moment, I decided
I would create a mechanism to challenge that fate.
After a few years,
my dream became reality.
I created a social program from scratch, in a foundation.
After working with young people in different situations
I knew what I wanted.
I wanted to create something out of school
for real.
I knew the education system
was always one step behind children's interests
with its times and bureaucracies;
that school couldn't cover it all
and more spheres were needed to complement it.
I knew what I wanted to do
but I didn't know where to start.
So I started researching,
walking around the Abasto area,
talking to organizations that were working there
and looking inside colonial-style houses.
What I saw were a lot of lonely children.
Hours and hours all by themselves.
As if it were a puzzle, there I found the first clue.
We need a place that belongs to them
where we can keep them company.
We assembled an interdisciplinary team
with professionals from the technology,
recreation and social working fields.
They were all highly experienced in their own discipline,
but we all agreed about the desire to produce something new,
something mystical,
something magical,
something brimming with love.
After months of planning
we set up the physical space
in a two-storey house
on the corner of Zelaya street
in Abasto, filled with natural light.
That's how Puerta 18 was born,
a free after-school social program
that focuses on artistic, scientific and technological creativity
for kids aged 3 to 18.
It didn't make sense to wait for them to come,
so we went out looking for them.
We would bring computers, cameras, robots
and show up at schools of the area during recess
to tell them an idea.
We invited them to come.
One of the first to come was Agustín,
who was throwing bang snaps on the street when I approached him.
He told me he was 14 years old
and was fond of music and video games.
We invited him to come and see the place
and we told him our proposal:
to discover vocations and talents through technology.
He stared at us with eyes wide open
but didn't say a word
because he lacked even the most basic skills to use a computer.
Soon we realized
that teaching was going to be only one part of the process.
We had to be able to teach and contain at the same time.
It wouldn't be the standard social program
in which those two aspects are separated;
in which those that deal with social issues
are on one side
and those that share the contents are on the other.
We wanted to do everything at once.
Delegating tasks while providing support
became our own unique way of doing.
As time went on, the number of children began to rise
and we resumed our original idea with much more strength:
to find vocations
without restrictions;
let talent and effort be the only key.
How can you know whether your thing is
animation, robotics
or special effects?
There are still many disciplines
that are of difficult access to.
You need someone to teach you
and a technological infrastructure in order to learn.
We began dismantling each discipline,
content by content,
incorporating games, dynamics,
making easy what was difficult
and ensuring that everyone
could learn and try.
Agustín kept coming.
But one day he sat down with a grave face, arms crossed, and said:
"You know what? Stop asking me what I want to do.
Why don't you tell me what to do and be done with it?"
It came as a shock.
In our innocence,
we thought that once the space had been created,
lots of children would come along
with ideas and projects
and that we would only show them the necessary tools
to communicate them.
But none of that happened.
It didn't happen to Agustín
and it didn't happen to a lot of children that came after him.
"Tell me what I have to do."
From that moment on,
our work focused on one thing only:
to spark their interest.
To spark their interest.
How could we stimulate the desire to know?
How could we encourage them to have something to tell?
We worked out a plan.
We were going to make them try everything.
Every day a different thing:
graphic design, music, special effects,
animation, robotics, programming,
from the simplest activities
to the most complex.
Developing other people's ideas until they had their own.
That was when The Padawans were born.
We called them like that in honor of the Jedi apprentice
from the movie Star Wars.
The Padawans are the older kids;
those that are more knowledgeable
and are willing to share their knowledge.
They bring ideas and lead teams.
Being a Padawan is an honor,
something you earn and everyone else respects.
They were a great discovery
when searching for tools
to spark the interest of other children.
As time went on, that tiny little program
became a real community for experimental learning
in which more than 2,500 children have engaged in.
(Applause)
Technology has both forced us to
and helped us
break with the asymmetry of the teacher-learner interaction,
because someone who knows a lot about programming
knows nothing about filming movies.
We dismantled the lecturer-listener model
and transformed it into a circle
in which we all teach and learn;
in which all the time you can hear someone say "let's try together!"
because the truth is nobody has an answer
for most of the things we experiment with.
The first kids to participate in the program
were now turning 18, and they were still taking part in it.
It was an opportunity, but also a decision,
to start working with the 18 to 24 age range.
It immersed us fully into the labor market
and challenged us to enlarge our team
and broaden our scope of work.
Just to give you some data:
in Argentina in 2014
the technological market
had more than 10,000 job vacancies.
It is estimated that this year that figure will double.
There it is, once again,
the possibility of bringing them closer to valuable, life-changing experiences.
The challenge is not just to get them a job,
but to allow them to work
doing what they choose to do, and in skilled positions.
Agustín went in no time from playing with bang snaps
to needing money to help at home.
We thought it a good option to apply for a scholarship
but we were met with some surprises.
On the one hand, most scholarships are for academic excellence.
That means only academically brilliant students
can be eligible.
If he is an average student who puts a lot of effort
that's it, the scholarship doesn't recognize that.
How can effort be measured on an application form?
How can passion be assessed?
On the other hand, scholarships are relentless.
If you chose architecture, you'll end up being an architect.
There's no room for change
because a scholarship is a door to a course of studies, not to a person.
Once we understood that, we began creating genuine scholarships
based on knowing them and investing in their path.
A path that may have its ups and downs
just like real life,
because I refuse to think of choosing a vocation, dreaming,
and above all making mistakes
as luxury goods.
Eventually, Agustín got his scholarship,
but soon afterwards he wanted a job.
He was doing his second year of engineering
and his account of how the interviews had developed was conclusive.
He said: "when I tell them where I live their faces change.
It all goes to rack and ruin."
Once again the dreaded story.
Once again that "where are you from?" marking how far you can go.
We spent weeks thinking strategies
to dodge that moment in interviews.
We asked each other
how we had gotten our first jobs
and we all replied the same: "through a friend,"
"through an acquaintance," "through a relative."
Then someone said: "that's what we should be:
their social capital. We should be the guarantor of that relationship."
What I'm sharing with you today
is a work model still in development
based on knowing the options,
choosing, delving into and professionalizing;
and it is powerful enough to break limits.
The one thing that matters is who you want to be from this moment on.
Soon after starting the program
we were visited by a high government official.
He liked the experience a lot
and made us a proposal:
to open 10 spaces like that in the city.
We refused, arguing we weren't ready.
Today, we still think the same way.
We want to make 1,000 and we want you to help us.
Each day I hear the bell ringing
and I see hundreds of children coming in
and focusing on their work, proud of their projects.
I see them going to production companies, studios and businesses
to show what they can do.
I see their families' realities changing for the better.
I see myself fulfilling my own dream.
I like to think that afternoon on the train,
I chose my fate;
that the stone that injured me was also my foundation.
Every now and then, I think about it and hope that whoever threw it
has, at some point, been to Puerta 18.
(Applause)
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