Las memorias del lugar en la palma de la mano. Prácticas artísticas y

bienestar

The memories of the Place in the Palm of One’s Hand. Arts Practices

and Well-Being

Teresa Matos Pereira

Recibido 23/09/2025 Revisado 24/09/2025

Aceptado 15/11/2025 Publicado 16/02/2026

Universidad Politécnica de Lisboa

School of Education/CIEBA-Artistic Studies

Research Center

Sandra Pereira Antunes

Universidad Politécnica de Lisboa

School of Education/UNIDCOM-IADE’s Research Unit in

Design and Communication

santunes@eselx.ilp.pt

Resumen:

El texto describe el proceso de trabajo y los resultados de un proyecto de artes visuales

desarrollado con un grupo de mujeres mayores de 65 años y titulado «Un mapa en la palma de

la mano». Asumiendo la memoria de los lugares como tema central, el proyecto, desarrollado en

el territorio de una ciudad del sur de Portugal (Santiago do Cacém), culminó en una

intervención artística en el espacio público, en forma de instalación. En el proyecto participaron

las autoras de este artículo, en calidad de artistas, profesoras e investigadoras; 13 mujeres

mayores de 65 años y una artista residente que había trabajado con el grupo en un proyecto de

promoción del envejecimiento activo y que permitió mediar entre el grupo y las responsables

del proyecto. El proyecto, que se llevó a cabo en forma de taller y residencia artística, se centró

en las prácticas contemporáneas en el ámbito de las artes visuales y se materializó en una

instalación en un espacio público del centro de la ciudad.

Sugerencias para citar este artículo,

Matos Pereira, Teresa; Pereira Antunes, Sandra (2026). The Memories of the Place in the Palm of One’s Hand.

Arts Practices and Well-Being. Afluir (Extraordinario VI), págs. 71-88,

MATOS PEREIRA, TERESA; PEREIRA ANTUNES, SANDRA (2026). The Memories of the Place in the

Palm of One’s Hand. Arts Practices and Well-Being. Afluir (Extraordinario VI), febrero 2026, pp. 71-88,

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Abstract:

This text describes the working process and the results of a visual arts project developed

with a group of women over the age of 65, entitled ‘A Map in the Palm of One’s Hand’. Taking

the memory of places as its central theme, the project, embedded in the territory of a city in

southern Portugal (Santiago do Cacém), has culminated in an artistic intervention in a public

space, in the form of an installation. Participating in the project were the authors of this article,

all as artists, teachers, and researchers; 13 women over the age of 65 and a resident artist who

had worked with the group on a project promoting active ageing and who acted as a mediator

between the group and those responsible for the project. Carried out in the form of a workshop

and artistic residency, the project focused on contemporary practices in the visual arts and

resulted in an installation taking place in a public space in the city centre.

Palabras Clave: Artes visuales, memoria del lugar, envejecimiento creativo,

procesos creativos, prácticas artísticas colaborativas

Key words: Visual Arts, Memory of Place, Creative Ageing, Creative Processes,

Collaborative Artistic Practices

Sugerencias para citar este artículo,

Matos Pereira, Teresa; Pereira Antunes, Sandra (2026). The Memories of the Place in the Palm of One’s Hand.

Arts Practices and Well-Being. Afluir (Extraordinario VI), págs. 71-88,

MATOS PEREIRA, TERESA; PEREIRA ANTUNES, SANDRA (2026). The Memories of the Place in the

Palm of One’s Hand. Arts Practices and Well-Being. Afluir (Extraordinario VI), febrero 2026, pp. 71-88,

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Introduction

This paper reports on a collaborative visual arts project, that was developed with a group

of women over the age of 65, living in Santiago do Cacém, a town in the south of Portugal. Out

of the work process an artistic intervention in a public space has grew, entitled “A Map in the

Palm of One’s Hand”.

This project has been part of a line of action which has been developed in the scope of the

Visual Arts and Technology B.A., at the Lisbon’s Polytechnic University School of Education,

and which is predicated by arts-practice based research. Carried out by multidisciplinary and

multigenerational research teams, comprising teachers and students, the research carried out

since 2016 has provided the framework for various projects involving artistic practices in and

with the community.

This practice, as part of the comprehensive vision of a critical pedagogy, not only enables

the development of skills inherent to artistic and design practice, such as creativity or

collaboration, but is also essentially a way of preparing students for social and cultural

challenges, both now and in their future action (Petters & Barnett, 2024).

Alongside teams composed of elements linked to the academy, these projects have also

involved people with links to outside contexts, thus providing contacts with different social

realities and the development of participatory artistic processes with the community.

In this specific case, the project “A Map in the Palm of One’s Hand”, developed with the

quoted women's group, has involved the joint participation of three visual artists: an artist who

was already accompanying the group in other activities as part of the “Santiago do Cacém Ativo

Séniors 65+” program; and the two authors of this text, who were responsible for designing the

workshops, collecting and analysing the data. In this case, an approach should be highlighted

that simultaneously places us as participants and allows us to collect contributions about our

action (artistic, educational and investigative) developed from our reflection on the practical

experience (Stock, 2000).

Assuming arts-practice based and community-based research as its methodological axis,

this project has made it possible to strengthen collaboration between artists and community

groups, as well as an approach developed from local social realities. This approach has made it

possible to give shape to a shared experience and memory, which emerges from a common

living space: the city's historic area known as Senhora do Monte.

Arts Practices, Participation, Inclusion and Well-Being

The workshops series forming part of the artistic intervention “A Map in the Palm of

One’s Hand” has been developed in association with an ongoing project in the city of Santiago

do Cacém. This project, entitled “Santiago do Cacém Ativo Séniors 65+”, was part of the

“Local Contracts for Social Development 4th Generation (CLDS4G)” program. The CLDS4G

program is part of a European-funded project, aimed at promoting the inclusion of populations

that, in a given territory, show signs of social fragility, also relying on the partnership of

Santiago do Cacém’s City Council. This is, particularly, the case for territories with high levels

of ageing population.

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Increased longevity, while representing an undeniable social and public health

achievement, is accompanied by a set of socio-economic challenges. (Lemos, 2020). In fact,

according to statistical data collected on the PORDATA portal, the population ageing index in

Portugal (people over 65 per 100 young people under 15) has been increasing continuously

since the year 2000 (48.4) by around 10 points, to 58.7 in 2024. (PORDATA, 2025). However,

in the territory where we were developing this project, the ageing index reached 74.1 points in

2024. Given this evidence of an ageing population, with Portugal ranking 7th among the 26

countries that constitute the European Community, it is necessary to consider the development

of health, economic and social policies capable of addressing the impact of this process,

ensuring quality of life for the elderly population.

The World Health Organisation (WHO) defines the concept of quality of life as “an

individual's perception of their position in life in the context of the culture and value systems in

which they live and in relation to their goals, expectations, standards and concerns” (WHO,

2012). Not being synonymous with standard of living, quality of life involves issues of health,

both physical and psychological, the degree of independence, the relationship established with

the environment and society, and includes a perception of the degree of satisfaction in the

context of everyday life.

According to the Action Plan for Active and Healthy Ageing 2023-2026 (PAEAS),

quality of life in the context of healthy and active ageing is based on six fundamental pillars:

health and well-being, autonomy and independent living, lifelong development and learning,

healthy working life throughout the life cycle, income and economics of ageing, and

participation in society (Presidency of the Council of Ministers, 2024). Considering the

interrelationship and cross-cutting nature of these various areas, the project paid particular

attention to participation in social and cultural life as a means of promoting well-being. The

perspective of active ageing has also been taken into account, as a way of breaking with

stereotypes that associate older people with inactivity, passivity and dependence.

In fact, in this particular project, one of the main aims was to promote active ageing,

resulting the artistic action in an urban intervention on the part of the elderly population,

mobilizing the resources and agents available at local level. Associated with the concept of

active and healthy ageing, emerges the concept of creative ageing, which calls for the

mobilisation of artistic practices as ways of promoting physical, emotional and psychological

well-being. Since the 1970s, and especially since the 1980s, programmes aimed at artistic

practices with senior citizens have been created in Europe (Cutler, 2009). At the beginning of

this century, the Second World Assembly on Ageing of the United Nations (UN), held in 2002 in

Madrid, marks a turning point by taking on, as stated in the document produced, the Political

Declaration and Madrid International Plan of Action on Ageing, the challenge of “building a

society for all ages” (UN, 2002). Another turning point in international policy is the Decade of

Healthy Ageing (2021–2030), a global initiative launched by the WHO of the UN, an initiative

in line with the 2030 Agenda for Sustainable Development (Officer & Hérick de Sá, 2023). The

promotion of communities that are capable of valuing the skills, knowledge and experience of

older people, is one of the lines of action for building age-friendly environments. Thus, when

we refer to the creation of creative ageing programmes that integrate artistic practices as their

main driving forces, we cannot limit them to a set of isolated activities or workshops, but they

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must involve an intergenerational dimension of sharing memories and know-how.

Understanding creative ageing as a paradigm that focuses on the potential of older people, rather

than their frailties (Hanna & Perlstein, 2008; Klimczuk, 2016), enables the appreciation of

human capital which, by promoting the transmission of a legacy of knowledge of various kinds,

contributes to cultural and social sustainability.

Considering this concept of creative ageing, special attention has been paid to the role

played by contact with artistic activity. In the areas of health, social inclusion and well-being,

several studies highlight and recognize the contributions of artistic practices (Clift, 2012; Clift

& Camic, 2016; All-Party Parliamentary Group, 2017; Cruz, 2019; Fancourt & Saoirse, 2019;

Fancourt et al. 2020, Moriana, 2021; Balbin Castillo, 2024) to mitigate social fragility factors

such as deteriorating mental health, loneliness, ageing, addictions, unemployment, among

others. In the health sciences research field, interventions involving these populations, whether

through artistic practices or through aesthetic enjoyment, are advised by entities such as the

World Health Organization and considered to be part of a range of broader strategies to promote

health and well-being, which are ultimately aimed at relieving pressure on national health

services. Studies have shown such practices to make a number of contributions towards the

maintenance of well-being throughout life, by particularly: reducing social isolation and

loneliness; improving recovery from illness; promoting physical activity and independence for

vulnerable and elderly people, as well as social cohesion, civic participation, fair and equal

access to cultural goods, events and spaces for people at risk of social exclusion (All-Party

Parliamentary Group, 2017).

In this sense, both participation in artistic practices and the experience of aesthetic

fruition, are seen as individual and/or collective experiences capable of producing positive

effects in terms of physical and mental health, contributing to an increase in quality of life,

whether participants take a “passive” or an “active” role in the creative processes (Vasconcelos

et al. 2024).

Once we begin to envisage art as an act, not as an object (Matarasso, 2019), that is, as an

intentional process of creating and communicating meanings, a process that brings together both

doing and thinking, we open up a space for participation. The term participation implies

engagement and involvement, constituting, from Pablo Helguera's perspective (2011), a broad

term capable of referring to everything from the contemplation of a work of art, which he calls

“nominal participation”, to “collaborative participation” (Helguera, 2011, p.15), in which the

participant is involved in the conception and materialization of the finished work. Ideologically,

the term participatory art is based on a conception of cultural democratization, advocating

access to art and culture for all (Matarasso, 2019) and envisaging the involvement of people

who are not trained artists, but who integrate creative action in different ways. The joint work

between professional and non-professional artists is assumed to be a key element in the

definition of participatory art, aiming at the joint creation of an artistic work (Matarasso, 2019).

The development of a joint creative process, aimed at the conception and final presentation of a

finished work, although not without tensions and ambiguities that could lead to confusion

between participatory art, art education or artistic mediation, assumes a porosity and hybridity

that allows it to build bridges to other non-artistic fields, such as health or the social service.

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According to Cruz (2019), participatory art includes eight dimensions that are crucial when

it comes to understanding the different levels of transformation or change (individual and

collective, institutional, etc.) brought about by artistic practices. These eight dimensions

involve: i) the dynamics established between professionals and non-professionals; ii) the

creation and presentation spaces; iii) the participation methods; iv) the links with the

community; v) the conceptions of art involved; vi) the issues and themes developed; vii) the

creative processes; and viii) the group's internal organisational dynamics.

It is in this sense that participatory art can be integrated into a broader spectrum of

inclusion, which, more than a process or a set of actions, can be constituted as a broad

movement, both social and political, in which various dimensions of life in society converge. It

therefore envisages inclusion as a broad movement, a proposal in the direction of actions such

as the creation of conditions capable of guaranteeing equal access for all individuals to

economic, social, cultural, educational resources, etc.; active and citizen participation,

acceptance, respect, and the ability to be and feel respected for differences.

As it can be understood, artistic practices that take inclusion as their main scope imply

flexible processes, capable of ensuring and guaranteeing equity in the artistic act for everyone

(marginalised groups, people with disabilities, mental health problems, among others).

However, this is an equally dynamic process, since as part of the creative act, it involves

recognising the contributions that come from the differences inherent in any individual,

considering and potentialising the richness arising from a shared intersubjectivity. In the more

specific case of the work carried out with senior groups, it is worth highlighting the knowledge

derived from a universe of mundivities that articulates memory, spatiality, thought and know-

how, among other dimensions.

In this sense, the links between memory and space have been widely debated (Halbwachs,

1990, Seeman 2013) connection which, by allowing multiple forms of (re)knowledge,

tangibility and sensoriality, contribute to the construction of affective bonds with place,

landscapes or territories (Seeman, 2013).

Although memory can be constituted as a phenomenon compartmentalised by a selection

of events over time, to the extent that each individual or group has a different perspective on the

past, the fact is that memory implies a spatial referentiality. According to Halbwachs, collective

memory is in fact inscribed in a spatial framework that allows the reconstitution of a memory,

emphasising the importance of the actual experienced space “that which we have occupied,

through which we have always passed, to which we have access, and which, in any case, our

imagination or our thought is, at every moment, capable of reconstructing” (Halbwachs, 1990,

p.143).

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Our Aims and Objectives

The work process involved a group of thirteen women over the age of 65 with different

professional backgrounds, ranging from domestic work to administrative work, rural work or

teaching. In addition to the age range and the generational common bonds, this group of women

have in common the fact that they all live, or have lived, in the Santiago do Cacém historic area,

in a place of memory known as Senhora do Monte.

Considering a project of this nature involves a triple artistic, aesthetic, and social

dimension, and taking the common belonging as a starting point, without, however, ignoring the

diversity of experiences and the identity of each of the women in the group, the following main

goals were defined:

i. Contributing to the attenuation of social isolation and loneliness, through the promotion of

group activities;

ii. Sharing different perspectives, memories, experiences and representations, regarding the

Senhora do Monte territory;

iii. Mobilising the shared memory to the creation of an artistic object that can be expressive and

identitarian of both the group and the place;

iv. Developing creative processes with and for the group, involving them in the co-creation of an

artistic installation in an urban space;

Enhancing value for the group's shared knowledge through artistic practices and their integration

into the public space.

Research Method

The work carried out with this women's group was drawn up within a qualitative

paradigm, which made it possible to cross community-based art research, storytelling and the

cartographic method.

Community-based art research involves, as mentioned above, a continued dialogue

between artists and community groups, which is based on reciprocity of contributions and

learning (Cohen-Cruz, 2010); on transparency, inclusion, trust, shared values (Victoria Health.

2013) and assumes a contingent nature, since it is aimed at achieving specific results, situated in

a time and place (Jade et al., 2020).

Storytelling is a qualitative research method based on the recognition of the central place

occupied by narrative in human experience, more specifically in the signification of everyday

life. According to Benjamin, the narrator weaves the story from his own experience or the

experience of others, incorporating “the narrated things to the experience of their listeners”

(Benjamin, 1987, p.201). Constituting an ‘artisanal form of communication,’ it preserves the

traces and quality of the narrator's lived experience. Thus, as a data collection method, narrative

allows us to approach the diversity of lived experiences and glimpse perceptions of social,

historical and cultural contexts and their transformations through the intersubjective sharing of

stories (Leavy, 2022).

Cartography was considered not only a key concept in this project; it was also a

structuring process for the whole praxis - which incorporated a humanising and relational

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dimension. Mapping or cartographising are on-going incomplete processes, considered to be

actions in progress, changeable and characterised by no imposed direction (Abrams & Hall,

2006) in search for common ground, but which do not exclude the creative dimension.

According to Corner, mapping constitutes a liberating and empowering activity, as it is based on

an exploratory process, a process of discovery (Corner, 1999), a process that is able to reveal

layers of meaning that could otherwise go unnoticed, or imagine others, enriching the living

experience, diversifying perspectives and world views. Considering these methodological

guidelines, a workshop has been drawn up, which has enabled the development of a collective

process of artistic creation, comprising various moments of conceptualisation, materialisation

and installation, organised into five stages:

i.Auscultation;

ii.Photographic session;

iii.Sharing and recording the memory of the place;

iv.Collaborative work session;

v.Integration into the public space

Auscultation

This moment has marked the first contact with the group of women and the resident artist

and it took place at the Santiago do Cacém’s Municipal Museum, the venue chosen for the

workshop. Through an informal round table discussion, in which two technicians responsible

for managing the ‘Santiago do Cacém Ativo Séniors 65+’ project also took part, some aspects

of these women's different life journeys were shared. In this way, as points that characterise the

diversity within the group, the differing levels of schooling and the variety of these women's

professional activities should be highlighted. On the other hand, it turned out that all these

women had a connection to the historic area of Santiago do Cacém’s city, a place known as

Senhora do Monte. This neighbourhood owes its name to the existence of a 16th century church,

dedicated to Our Lady of the Nativity, which was demolished in 1923 after falling into an

advanced state of decline. A primary school was later built in its place.

The Senhora do Monte neighbourhood, in the historic part of Santiago do Cacém’s city,

has thus emerged as an important aggregator of memories that would be part of the project, both

in its physical and conceptual dimensions. Alongside the geographical location (physical and

human), other aspects emerged following the conversation, such as school attendance and the

working lives of these women. From the narrated stories, it also emerged the idea of the hand as

another aggregating element of the group has thus emerged alongside the experiential space.

Hands that make, that communicate and that hold individual maps in their palms.

Recording

Following the first conversation, a second phase of image and memory recording took

place, drawing from the two focal points that had previously emerged: the individual palm of

the hand and the shared experiences associated with the Senhora do Monte territory.

So, photographs were taken of the palms of the women who had formed the group (figure 1)

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Figure 1. Photographic record of some participants' hands. Own source

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After the first photographic session, a new round of talks was held, on the theme of

sharing memories and experiences related to the Senhora do Monte’s neighbourhood and

territory. In this regard, the neighbourhood ties; the parties at the Philharmonic Recreational

Society Artistic Union headquarters (known as “A Música”); writer Manuel da Fonseca's family

home; the Monte fairground, among others, stand out.

After this recollection of memories, regarding the places in Senhora do Monte's historic

centre, discussions took place to determine the nature of the intervention to be carried out. Out

of this, a set of words, expressions and names have emerged, that poetically encapsulate the

shared experiences of the place, making it possible to identify stories, past times and people

meaningful to that group of women.

The techniques, materials, images and colours to be used were then discussed, leading to

the decision to use photography and the textile moulding of letters, as the technical resources for

the creation of an installation in a public space.

Considering that the memory of the place has took central stage in this project, it was

consequently decided that the installation should occupy a space close to the historic

neighbourhood. A wall was chosen for this purpose. A wall that stands next to a staircase which

connects a high-traffic square in the city to the Senhora do Monte’s silent territory, the staircase

locally known as ‘escadinhas da Senhora do Monte’.

This stage of the project was completed with the graphic inscription of the word on paper,

assuming a suitable scale for it to be clearly legible from a distance (figure 2). By recording the

words on paper on a real scale, they could then be moulded using metal wire as a structure for

the textile intervention developed by the women.

Figure 2. Full-scale word inscription. Own source

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To collectively making it happen

The collective construction of the installation piece to be integrated into the urban space

was carried out over several sessions. These sessions took place at both the Municipal Museum

and the Philharmonic Recreational Society Artistic Union headquarters.

Throughout these sessions, mediated by the resident artist and the authors of this text, it

was made possible to collaborate in the letter construction processes; to intervene on the

photographs that had previously been printed in black and white and then pasted onto a cotton

cloth, and to experiment with articulation solutions between the various elements of the

composition (figures 3 and 4)

However, in addition to the development of the collective work, comprising a creative

and technical nature, the work sessions have also been moments of conviviality, in which there

was always a shared snack and, above all, the chance to talk about issues that marked these

women's daily lives.

To share in the public space

The work process has ended with the piece being integrated into the chosen wall, next to

the Senhora do Monte’s staircase. The assembly of the final piece has also called for the

collaboration and involvement of some local council workers, and its presentation took part of

“SSW - Santiago Style Weekend”, an annual event linked to local commerce, which included

other interventions in the city’s urban spaces, both in the visual arts, music and dance.

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Figure 3. Collective working sessions. Own source

Figure 4. Collective working sessions. Own source

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Figure 5. Installation of the work in the public space. Own sour

Figure 5. The final instalation. Own source

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Results

As a result of the creative and collaborative process, the installation “A Map in the Palm

of One's Hand” (Figure 5) stands out on the wall façade next to the Senhora do Monte staircase,

considered by these women to be a symbolic landmark of the place.

The hands and words articulation was thought out according to the available space, in

order to create a balanced visual composition, and, in the end, it took on the dimension of a site

specific. In this sense, it’s worth highlighting the option of creating, through the textile line, a

network that connects the different elements of the composition, making it possible to introduce

other ways of perceiving the piece.

It was in fact intentional the creation of that visual metaphor between the map linking the

shared memories of life, the stories, the people and the meanings, derived from the places that

are part of Senhora do Monte historic area, and the lines on the palms of the hands that made up

this artistic piece. Both ‘maps’ are part of a life experience cartography, in which

psychogeographies, knowledge and senses, developed in contact with reality over time,

intersect. This visual metaphor opens up the reading horizon to a multiplicity of connections

between time, space and memory, plastically amplified by the interchanging casting of shadows

as the day unfolds.

Discussion

The creative processes developed as part of this project took on different dimensions,

both of an aesthetic-artistic and of a social and cultural nature. In this sense, it is worth

highlighting the contact with contemporary artistic languages and practices in the visual arts

sphere, which mobilise different media, assuming a collective dimension and integrating, in this

case, the site-specific modality.

By invoking the memory of places, the site-specific concept establishes a multiplicity of

links between community and territory. Beyond a purely aesthetic and plastic dimension, this

artistic approach with the women's group has allowed us thus, to investigate social and cultural

issues, inherent to the occupation of spaces and the experiencing of places. The use of the textile

materials also emerges as a metaphor for the intertwining of different perspectives, memories,

experiences and representations of the territory, all of which are embodied in an artistic object

that is expressive and an object of identity for both the group and the place.

The organisation of the work sessions at the Municipal Museum has made it possible to

take advantage of this cultural and memory space, expanding it into a convivial space in which

cultural knowledge (material and immaterial) and the social/playful dimension were combined.

In doing so, the undertaken commitment made to fulfil the installation has established a routine

in the group's daily life, which has involved leaving the house in the afternoons; going to the

museum; socialising and feeling a sense of belonging to a group, thereby contributing to

attenuate the social isolation and loneliness that affect the daily lives of many senior citizens.

Finally, the public visibility of the work carried out emphasises the value of the know-how

shared by the group, as well as its contribution to triggering the collective memory of the places.

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Final note

This project, developed in 2023, two years after of the pandemic confinement, has been

assumed as a safe return to common spaces, moments of sharing and rapprochement between

people. The poetic inscription of memory in the urban landscape, through technical means such

as the textile and the photographic image, has led to a clearer perception of the importance of

valuing gestures that sometimes tend to go unnoticed and, above all, the practical and

conceptual contributions derived from the shared knowledge of a group of women, experienced

in different labour activities throughout their lives. Through artistic action, the materialisation of

a bodily mark of these senior women in a public mural, inscribed in the urban landscape,

contains a questioning over social communication practices generally implemented in urban

space, questioning, in a contribution to the educational city, the role of the image in the

production of meaning and feeling in urban space. According to Vázquez, Gillanders & Garayo

(2021), the presentation of an aesthetic experience in which older people were placed at the

centre of the discourse to ‘re-educate our perspective of the elderly’. At the same time, we

cannot ignore that the aesthetic experience also materialises within the creative process as

pleasure in manual labour and in the conviviality provided by these moments of collaboration.

This is where the work processes take on a central dimension, when we look at the artistic

practices from the physical and psychosocial well-being perspective, because these were not

only moments capable of stimulating thought and the mind, but also a commitment to the

creation of healthy routines. As active participants and mediators in this process, we highlight

all the contributions coming from these collective processes with the community, as they lead us

to reflect on our practices, our ways of doing things, communicating and being with the Other.

These are, for us, learning moments that allow us to combine experimentation with the

intersubjectivity of thinking and expressing knowledge, both in a practical way and through

symbolic languages, of which the visual metaphor is an example.

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Revista de Investigación y

Creación artística

Investigación

ISSN: 2659-7721

doi:10.1177/1757913912442269

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