EDUCATION
- 2002-2006 Degree in Fine Arts, University of Barcelona (Spain).
- 2008-2009 Masters in Visual Arts and Education, University of Granada (Spain).
- 2009-2014 PhD in Visual Arts and Education, University of Granada (Spain)
- 2025-26 MA in 2D Animation (online) Voxel School, Spain.
WORK EXPERIENCE IN HIGHER EDUCATION
- 2009-2013: Trainee Lecturer in Art Education, Faculty of Education, University of Granada, Spain.
- 2013- 2016: Summer Programme Assistant (part-time), University of California Berkeley Summer Abroad courses in Granada, Spain.
- 2016-2017: Lecturer in Animation (part-time) Wrexham Glyndwr University, United Kingdom.
- 2017-2019: Lecturer in Animation (full-time) and course leader, Wrexham Glyndwr University, United Kingdom.
- 2019-2024: Senior Lecturer in Animation (full-time) and course leader, Sheffield Hallam University, United Kingdom.
- 2024-now: “Profesora Ayudante Doctora” in Design (full-time), University of La Laguna, Tenerife, Spain.
RESEARCH BACKGROUND: PARTICIPATORY ANIMATION, A/R/TOGRAPHY, INCLUSIVITY
I completed a PhD In Visual Arts and Education titled “Creating Audiovisual Narratives: a/r/tography and inclusivity” (2014). The dissertation looked at inclusivity among children and young people with disabilities through the creation of short animated films using the methodology of a/r/tography. A/r/tography is an arts-based educational research methodology that acknowledges the triple identity, ways of doing and thinking of the artist/researcher/teacher. An a/r/tographic dissertation uses artworks to reflect on learning and teaching experiences. You can see some of the pages of the graphic novel that reflected on inclusivity in the Portfolio section. The mentorship of Prof. Rita Irwin and the supervision of Prof. Ricardo Marín Viadel were essential for this PhD to be completed successfully.
A/r/tography is present in the comic when the main character struggles with her expectations during the workshop. I drew a dialogue between the three characters of the artist, researcher and teacher inside her head to reflect on the tensions between the three ways of being. I used a curvy line in the panel to communicate that this was a mental space. The curvy panel had the three characters -the artist, the researcher and the teacher- with three different voices. This allowed me to reflect on the complexities of inclusivity from the three different identities or point of views, and the strong tensions and differences between them.
INTERNATIONAL SINGLE AUTHOR ARTICLES
2012. Sharing our Life Experiences Through Autobiographical Graphic Novels. Visual Arts Research 38 (1), 99-107. DOI: 10.5406/visuartsrese.38.1.0099
2012. Paradox in A/r/tography: Collective Short Animated Film-Making for Social Inclusion. Visual Arts Research 38 (2), 58-68. DOI: 10.5406/ visuartsrese.38.2.0058
2013. Investigando con otros: la investigación en educación artística como praxis de la diferencia. Arte, Individuo y Sociedad, 25 (2), 261-270. ISSN 1131-5598 (Translated article title: “Researching with others: art education research as praxis of difference”).
2014. Inclusivity and Aesth/ethics in Third Participatory A/r/tographic Spaces, Visual inquiry 3 (2), 149-166. DOI: 10.1386/vi.3.2.149_1
2020. Engaging, validating, imagining: a comic-based approach to (non)participation and disabilities. International Journal of Education Through Art 16 (1), 43-61. DOI: 10.1386/eta_00004_1
CURRENT RESEARCH INTERESTS: AUTOETHNOANIMATION AND ANIMATED DOCUMENTARIES
Autoethnoanimation is the combination of elements of autoethnography and Animation Practice as Research. Autoethnography is a methodology used in social sciences and education where researchers look at their personal experience as the main source of data to inform a cultural study.
Autoethnography resonates with a/r/tography as living inquiry, where research is a lived and living process of inquiry. In this paradigm, different aspects of the life of the artist/researcher/teacher cannot be separated from the process of inquiry. In that regard, there is no clear boundary between the personal and the professional self. This resonates with the feminist phrase “the personal is political”. In a similar way, relational autoethnography acknowledges that the focus on the self is always in relation to others, and never about one alone. My aim is to combine aspects of Autoethnography with Animation Practice as Research and create short animated films based on my experience while exploring cultural social issues.
Marta Madrid Manrique 