ABSTRACT The trauma wrought by fascism in Spain continues to haunt the country and spur various memory-oriented inquiries. However, the youth has not demonstrated thus far that it will continue the memory projects currently conducted mostly by the third generation, aged approximately between fifty-five and thirty-five. Activist art inspired by critical pedagogy can provide one effective framework for engaging the Spanish youth in remembrance of the Second Republic and the trauma caused by Francoism. The inspiration for Pinta Pasado, Crea Futuro was Judith Baca’s The Great Mural of Los Angeles for which she employed hundreds of marginalized youth in the late 1970’s. This project provides a framework for the Spanish youth to publicly recreate their own historical narration on the democratic achievements of the Second Republic and the crimes against humanity perpetrated by the fascist uprising, the ensuing war, and Franco’s dictatorship. While learning history in an academic setting rarely invites students to do anything with their knowledge, activist art inspired by critical pedagogy puts the youth in the saddle of transmitting history. Interacting with the past in this fashion can motivate the participants to become involved in historical memory.

中文翻译：

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Pinta Pasado，Crea Futuro：纪念第二共和国、内战和佛朗哥独裁统治的新方法

摘要西班牙法西斯主义造成的创伤继续困扰着这个国家，并激发了各种以记忆为导向的调查。然而，到目前为止，年轻人还没有表明他们会继续目前主要由第三代进行的记忆项目，年龄大约在五十五到三十五岁之间。受批判性教学法启发的激进主义艺术可以提供一个有效的框架，让西班牙青年记住第二共和国和佛朗哥主义造成的创伤。Pinta Pasado, Crea Futuro 的灵感来自 Judith Baca 的洛杉矶伟大壁画，她在 1970 年代后期雇佣了数百名边缘青年。该项目为西班牙青年提供了一个框架，让他们公开重现他们自己关于第二共和国民主成就以及法西斯起义、随后的战争和佛朗哥独裁统治所犯下的危害人类罪的历史叙述。虽然在学术环境中学习历史很少邀请学生用他们的知识做任何事情，但受批判性教学法启发的激进艺术使年轻人处于传播历史的马鞍上。以这种方式与过去互动可以激发参与者参与历史记忆。受批判教育法启发的激进主义艺术将青年置于传播历史的马鞍上。以这种方式与过去互动可以激发参与者参与历史记忆。受批判性教学法启发的激进主义艺术将青年置于传播历史的马鞍上。以这种方式与过去互动可以激发参与者参与历史记忆。