{"id":33786,"date":"2026-03-05T08:31:43","date_gmt":"2026-03-05T07:31:43","guid":{"rendered":"https:\/\/educationalevidence.com\/?p=33786"},"modified":"2026-03-06T09:04:44","modified_gmt":"2026-03-06T08:04:44","slug":"requiem-per-un-professor-exemplar","status":"publish","type":"post","link":"https:\/\/educationalevidence.com\/ca\/requiem-per-un-professor-exemplar\/","title":{"rendered":"R\u00e8quiem per un professor exemplar"},"content":{"rendered":"

Pexels<\/a> –\u00a0Pixabay<\/a><\/p>\n

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Llic\u00e8ncia Creative Commons<\/a><\/p>\n

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Mar\u00eda Hern\u00e1ndez-Fern\u00e1ndez<\/strong><\/p>\n

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Aquesta elegia en prosa celebra Fernando S\u00e1nchez Santos (1968-2025) i el seu llegat com a docent, psic\u00f2leg, escriptor, inventor, activista i ballar\u00ed a trav\u00e9s del col\u00b7lectiu de dansa integrada Liant la Troca<\/em><\/a> <\/span>i del documental A Way to B<\/a><\/em><\/span> (2022)<\/em><\/span><\/a>, que desafia la mirada normativa sobre la diversitat funcional.<\/p>\n

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Lit\u00fargia capacitista.<\/strong> El mestre de cerim\u00f2nies demana als assistents que ens posem drets com a signe de respecte. Ho diu amb veu neutra, protocol\u00b7l\u00e0ria, sense vacil\u00b7lar. Al meu voltant, la majoria dels cossos romanen imm\u00f2bils: cadires de rodes alineades, que han hagut d’esperar fins al final de la passarel\u00b7la de b\u00edpedes per col\u00b7locar-se inc\u00f2modament als passadissos i al fons de la sala, gaireb\u00e9 sense visibilitat. Suports, respiracions contingudes, arqueig de celles. Em quedo asseguda com a signe de respecte.<\/p>\n

Tota una vida de lluita i reivindicaci\u00f3, i les barreres no han desaparegut. Ni tan sols aqu\u00ed, el dia del teu funeral, estimat amic. M’havia assabentat de la teva mort uns dies abans, per xarxes socials, mitjan\u00e7ant una publicaci\u00f3 de l’artivista Xavi Dua<\/a><\/span>. Com? No m\u2019ho podia creure. Tu, que vas arribar a la meva vida quan era una adolescent mutant, rara, insegura, inadaptada. Tu vas ser la primera persona que em va parlar de les barreres arquitect\u00f2niques i del mite de la caverna de Plat\u00f3. Jo tindria uns catorze anys, no tocava de peus a terra. Comprenia perfectament la teva idea dels murs. Els reconeixia di\u00e0riament en la sensibilitat \u2014o en la seva manca\u2014 de la majoria d’adults.<\/p>\n

Te\u2019n recordes encara o ja has begut l’aigua del Leteu? Eres professor i psic\u00f2leg de l’institut l’Alzina (Barcelona), i pod\u00edem demanar hora amb tu si ho necessit\u00e0vem. El teu despatx era darrere d’una porta, al forat d’una escala, a la planta baixa: no tenia llum natural ni finestres; era molt petit, un zulo<\/em> on amb prou feines hi cab\u00edem un parell de persones. I tot i aix\u00ed, aquell espai precari era un territori d’escolta radical, perqu\u00e8 educar tamb\u00e9 significa sostenir una conversa a la penombra. En aquell espai confident, jo podia expressar-me amb llibertat, parlar de deliris i fantasies. Mai no oblidar\u00e9 la teva veu: po\u00e8tica, segura i suau. Havia estudiat hipnosi ericksoniana i, en aquella adolesc\u00e8ncia incompresa, la idea que la paraula pogu\u00e9s obrir altres percepcions em fascinava.<\/p>\n

Amb el pas dels anys, la nostra relaci\u00f3 va transcendir all\u00f2 acad\u00e8mic i terap\u00e8utic: es va convertir en una amistat. Vaig assistir amb entusiasme a la publicaci\u00f3 del teu primer llibre de contes, Muerte en seis escenas<\/em> (Ediciones \u00c1ltera, 2000), en la lectura del qual vaig comprendre el dur tr\u00e0nsit del teu pas per l’hospital, despr\u00e9s de l’accident que amb tot just 16 anys havia transmutat la teva exist\u00e8ncia. Anys m\u00e9s tard, em vas posar en valor com a professional. Em vas demanar amb orgull la revisi\u00f3 filol\u00f2gica i la correcci\u00f3 d’estil de la teva primera novel\u00b7la, El c\u00f3mplice necesario<\/em> (Escribe tu libro<\/em>, 2008), que em vas regalar amb el disseny d’un punt de llibre autom\u00e0tic \u2014la teva primera patent\u2014 i una meravellosa dedicat\u00f2ria: \u201cquan l’aprenent es converteix en mestra\u201d.<\/p>\n

Ve\u00efns del barri com \u00e9rem, un dia em vaig trobar amb tu pel carrer i em vas dir:<\/p>\n

\u2014Estic en una companyia de dansa, vols venir a una classe?<\/p>\n

Dit i fet. Recordo que vam anar amb autob\u00fas. Et vaig acompanyar a una d’aquelles sessions a la Caldera. Va ser una experi\u00e8ncia reveladora. Vaig sentir que podia fluir i experimentar sense sentir-me jutjada. Alguna cosa es va obrir llavors: un esperit de joc, una llibertat inesperada per compartir coreografies i co-crear una poesia del cos. Aquell espai va ser un oasi, un punt de partida i el descobriment d’un llenguatge art\u00edstic nou per a mi. Imagino que tu ja ho sabies.<\/p>\n

Asseguda aqu\u00ed, a la sala del teu funeral, percebo amb tanta claredat la viol\u00e8ncia del \u201cposar-se dret\u201d! Per qu\u00e8 no van dir: \u201cara podeu dansar com a signe de respecte\u201d? I per aix\u00f2, quan els teus companys del col\u00b7lectiu Liant la Troca<\/em> em parlen del documental A Way to B<\/em>, trobo una porta al mur, aquesta conversa pendent a la penombra, una manera de seguir ballant amb tu. Tot i que el film es va estrenar el 2022, avui el veig com a part del teu llegat creatiu, una obra que segueix respirant i que mereix ser revisitada, per a obrir-se pas enmig d’una \u00e8poca fren\u00e8tica, sempre ansiosa de novetats i tan disposada a oblidar.<\/p>\n

\u201cParlar, parlar, parlar\u2026 dir paraules buides, per omplir espais buits\u201d. El focus il\u00b7lumina l\u2019actriu que declama aquest text. “Per qu\u00e8 tant parlar? Si el m\u00e9s rellevant \u00e9s mirar l’altre als ulls i tocar-lo de deb\u00f2. El m\u00e9s rellevant \u00e9s… comunicar”. Sagetada directa al cor. Una cosa tan senzilla i tan potent. A Way to B<\/em> dialoga de manera inc\u00f2modament actual amb un present que segueix sense saber com mirar certs cossos. El documental de Jos de Putter i Clara van Gool, centrat en el col\u00b7lectiu Liant la Troca<\/em>, desafia les categories del statu quo des de la for\u00e7a de l’art i la comunitat. No \u00e9s casual que form\u00e9s part del cicle de la Filmoteca de Barcelona Per amor a les Arts<\/em> (2023-2024), una programaci\u00f3 que va proposar el di\u00e0leg entre el cinema i altres disciplines art\u00edstiques com la dansa, el teatre o la m\u00fasica. En aquest context, A Way to B<\/em> troba un marc especialment f\u00e8rtil: la pel\u00b7l\u00edcula ent\u00e9n el cos com un llenguatge pol\u00edtic i la dansa com una manifestaci\u00f3 perform\u00e0tica del pensament. Cada gest i cada coreografia q\u00fcestionen els est\u00e0ndards normatius que determinen quins cossos s\u00f3n leg\u00edtims i quins queden fora del relat dominant. L’escenari esdev\u00e9 aix\u00ed un espai d’afirmaci\u00f3 i disputa simb\u00f2lica.<\/p>\n

A Way to B<\/em> es construeix com un retrat dansat de diversos membres del col\u00b7lectiu catal\u00e0 Liant la Troca<\/em>, fundat per Patricia Carmona i dirigit per Jordi Cort\u00e9s Molina. La pel\u00b7l\u00edcula acompanya el grup en la creaci\u00f3 i la presentaci\u00f3 d’un dels seus espectacles, alternant assajos, actuacions i moments d’intimitat quotidiana. Des de l’inici, el film deixa clar el car\u00e0cter h\u00edbrid: documental i dansa s’entrellacen i es transformen m\u00fatuament, donant lloc a una forma narrativa oberta i org\u00e0nica. Les coreografies \u2013t\u00e0ctils, voluptuoses i estilitzades\u2013 ocupen espais diversos: el teatre, el carrer, una pla\u00e7a, un bosc o l’interior d’un habitatge. Aquests escenaris s\u00f3n extensions del cos i de l\u2019experi\u00e8ncia dels int\u00e8rprets. Alhora, els ballarins comparteixen amb franquesa les seves viv\u00e8ncies personals, marcades per barreres f\u00edsiques, urbanes i socials que continuen condicionant el seu dia a dia. Els seus testimonis posen paraules al maltractament i als prejudicis soferts, que es contraposen per for\u00e7a transformadora de l’art.<\/p>\n

El film no esquiva la diversitat dels cossos: alguns int\u00e8rprets ballen amb cadira de rodes, altres caminen amb pr\u00f2tesis o cotilles d’acer; alguns tenen membres amputats, altres no tenen visi\u00f3\u2026 No obstant aix\u00f2, aquestes realitats mai no es presenten com a l\u00edmit narratiu, perqu\u00e8 s\u00f3n un punt de partida per repensar el moviment, el desig i la relaci\u00f3 amb l’altre. La dansa apareix aix\u00ed com una forma de pensament, una manera diferent de mirar, estimar i comunicar-se m\u00e9s enll\u00e0 de la paraula.<\/p>\n

Estructurada com un recorregut al llarg d’un dia de tardor a Barcelona i rodalies, A Way to B<\/em> proposa una mirada poc habitual sobre la resili\u00e8ncia i l’amor. La pel\u00b7l\u00edcula avan\u00e7a entre assaigs finals, actuacions en espais p\u00fablics i representacions esc\u00e8niques, i subratlla la idea de la dansa com a llenguatge universal capa\u00e7 d’interpel\u00b7lar l’espectador i transformar mentalitats. M\u00e9s que documentar un proc\u00e9s art\u00edstic, el film convida a habitar-lo. De fet, la proximitat amb qu\u00e8 la c\u00e0mera acompanya el col\u00b7lectiu refor\u00e7a aquesta proposta. El seguiment atent de les diferents personalitats que conformen Liant la Troca <\/em>genera una sensaci\u00f3 d’intimitat poc freq\u00fcent, basada en la confian\u00e7a i el temps compartit, una relaci\u00f3 que permet emergir una veritat emocional complexa, feta de fragilitat, humor, tensions i afectes reals.<\/p>\n

En definitiva, A Way to B<\/em> despla\u00e7a de manera clara el discurs habitual sobre la diversitat funcional. En comptes d’insistir en la mancan\u00e7a o la limitaci\u00f3, el film posa l’accent a la pot\u00e8ncia: el gaudi del moviment, el desig de crear, l’energia col\u00b7lectiva. La vitalitat que travessa la pel\u00b7l\u00edcula es nega a convertir les dificultats al centre del relat. Benvolgut Fernando S\u00e1nchez Santos, amic i professor, potser aqu\u00ed s\u2019hi trobi la lli\u00e7\u00f3 m\u00e9s profunda que ens vas deixar: el que roman \u00e9s una celebraci\u00f3 de la vida en com\u00fa i de la capacitat de l’art per reforestar la imaginaci\u00f3 i re-encantar el m\u00f3n.<\/p>\n

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* Les cites audiovisuals incloses en aquest text s’acullen al dret de cita amb finalitats d’an\u00e0lisi cr\u00edtica d’acord amb la legislaci\u00f3 vigent. A Way to B (Jos de Putter i Clara van Gool, 2022).<\/p>\n

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