drawing in childhood as inititiation to the secrets of the world

In order to highlight the intimate relationship between imagining, drawing and making worlds, this essay questions the educational meaning of children to initiate in the action of drawing in face of the growing cultural tendency of the body being less and less required to produce senses. The incarnated action of drawing, as an aesthetic action of touching and being touched by the world when transposing the visible limits and entering into the intimacy of worldly invisibility, constitutes an experience that is as recurrent and trivialized in school daily life as it is existentially complex due to its poetic power to enter the invisible and inaugurate worldviews. The historical disqualification of the image and imagination in Western thought, supported by the separation between subjectivity of the body and objectivity of the world, does not allow educational thought to consider the phenomenon of poetic imagination as an existential experience of language insertion in the world from the gesture of drawing. Gesture that finds its specificity in the instant the hand traces and inscribes lines on the surface of the supports as infinitely creative writing. The aesthetic gesture of drawing, temporalized by the rhythm of the body in the emergence of the fabulation that accompanies the repetition of the marks, implies a poetic experience of language that involves the fusion of two senses: that of the gesture in materiality and that of the mark configured in it, marked and cicatrized in the surface of the support by the body’s action that performed it. The approximation between education, arts and childhood allows us to highlight the philosophical and pedagogical tensions that involve the question of poetic imagination and to take another look at the action of drawing in the context of children's education. What emerges, from the dialogue between Gaston Bachelard, Maurice Merleau-Ponty and Jean-Luc Nancy, is the relevance of the educational intention of caring for the vital function of language as an aesthetic and poetic experience that is constituted in the processuality of the body to make something appear that produces and contains presence, that which promotes and expands the existential density of the real.