O entre do carvão ao corpo - em - arte de ator-brincante

I propose with this paper a reflection on the experiences contained in the creation of the body- in-art (FERRACINI, 2006a, b) that originated the show Rosmaninhos... This process was developed within the coletivo UZUME teatro from João Pessoa PB, through recreations and resignifications of the corporeity and physicality contained in the steps, loas, aboios, songs and choreography observed in the manners that Mestre Zequinha plays in his group of Cavalo Marinho (Sea Horse), resident in the city of Bayeux - PB, and starting from the appropriation of the text Hamlet of William Shakespeare. The body-in-art is understood in this work as a vectorial body that dilates its daily functionality, recognizing a potential learning area capable to generate creative escape lines that destabilize the "subject centered in an individuality and identity" (FOUCAULT apud FERRACINI, 2006b, p.14), being open to the differentiation of itself, indicating the possible existence of an itself-other and of the exchange-in-art space. This process of construction of the body-in-art based on Master Zequinha s ways of playing the Cavalo Marinho was methodically guided by the appropriation of the coletivo UZUME teatro of the stages of Observation, Codification and Theatricalization contained in the technique of corporal mimeses proposed by the LUME Teatro (Campinas - SP). That use resulted in two phases: Active Observation and Composition of the body-in-art. Through the repetition of these aesthetic matrixes of the Cavalo Marinho, the actors discovered actions that when, codified and organized, can configure their body-in-art, which created a vectorial exchange-in-art space to what was found in the Cavalo Marinho party. This search proposed the means of potentiating the actors' work when it comes to a preparation that allowed to dilate the scenic presence and stimulated the production of actions, which culminated in the mounting of the show Rosmaninhos...

Investigação etnomatemática em contextos indígenas: caminhos para a reorientação da prática pedagógica

From the investigation, analysis, discussion and pondering about the activities developed by the lndians from the Porteira hamlet, members of the Xerente community, in the Tocantins state, we developed an investigative and descriptive study about the reality of this people with the aim of helping in the conceptual formation and in the reorientation of the pedagogical practice of the local teachers. In this sense, the undertaken research involved the teachers, the main representatives and experts in that cultural tradition, in order to investigate how the everyday activities (agriculture, food handling, assets distribution among the community members, etc.) and the cultural tradition (log race, body painting, clan division, Xerente numeration, Indian myths and histories, etc.), may enable the contextualization of the mathematics teaching in the lndian School Srêmtôwê of this hamlet, under a more transversal and globalizing perspective of the local and school knowledge. We based this research in the sociocultural conceptions of knowledge generation proposed by D Ambrosio (1990; 2002); Vergani (2007); Oliveras (1996); Gerdes (1991; 2002); Bishop (1999) e Sebastiani Ferreira (1997; 2004). ln the process of this study we propose some viable ways so that the Indian teachers may reorganize their classroom knowledge and actions, based in the strengthening of their history and culture. The observation of some social practices and knowledge as well as of the Xerente traditions helped us to point some possibilities of projection of a didacticalpedagogical dimension of these activities and practices, in the development of the school mathematical knowledge in this community

A representação social de educação tecnológica de docentes da Rede Federal de Educação Profissional e Tecnológica: CEFETs do Rio Grande do Norte

The aim of this study was to investigate the social representation of technological education teachers at the Federal Technological Education Network. The survey was conducted from 2007 to 2010, and the respondents were 275 teachers, 135 of the Federal Center for Technological Education (CEFET in portuguese) in the state of Amazonas, in Manaus unit headquarters; 140 of the CEFET in the state of Rio Grande do Norte, a unit based in Natal. We adopt the concept of technological education as the top level of professional education, that is to say, the undergraduate programs of short duration called technological courses. The Federal Technological Education Network gathers hundreds of related institutions, coordinated and supervised by the Office of Vocational and Technological Education of the Ministry of Education. Although many of these institutions offer courses in technology education, no research addressing this subject from the perspective of Social Representations Theory (SRT) was found in the literature. We seek to unravel the social representation of technological education of the teachers by adopting the procedural approach of SRT. This is a qualitative approach, focusing on significant aspects of the representative activity and the formation mechanisms of the representation. Therefore, we search the socio-genesis of the representation in the articulations between discourses, social institutions and practices. We initiated the research through applying critical reading and an analytical perspective on the historical and regulatory documents of technological education in Brazil, from the early twentieth century to the present day. We adopt the Procedure for Multiple Classifications (PMC) from the Free Words Association Technique (FWAT) to access the elements of representational content. For the analysis of the data obtained with FWAT and selection of major words / phrases pertinent to the semantic field of education technology, we used Hamlet II software. For the data analysis of PMC and Free Classification (FC) we used the SPSS ® (Statistical Package for the Social Sciences) version 17.0 and used the method of multidimensional scaling - Multidimensional scaling - (MDS). The output from the central MDS takes the form of a set of scatterplots - "perceptual maps" - of which the points are the elements of the representational content. For the FC data analysis we used the Scalogram Multidimensional Analysis (SMA) - which makes use of the original data in its raw form and allows categorical data to be interpreted in the map as measures of (di)similarity. In order to help with the understanding of the settings of the perceptual maps of FC, we used the Content Analysis of the discourse fragments of the teachers interviewed. The results confirm our initial hypothesis regarding the presence of a single plot among the socio-cognitive study subjects, which is the basis for a social representation of technological education in line with the historic assumption of the dichotomy between mental and manual labor. In spite of the three merging representational elements of the representational content, the perceptual maps compiled from the MSA statistics corroborates the dichotomy, with the exception of the map relating to the subgroup of teachers belonging to the humanities

O entre do carvão ao corpo - em - arte de ator-brincante

I propose with this paper a reflection on the experiences contained in the creation of the body- in-art (FERRACINI, 2006a, b) that originated the show Rosmaninhos... This process was developed within the coletivo UZUME teatro from João Pessoa PB, through recreations and resignifications of the corporeity and physicality contained in the steps, loas, aboios, songs and choreography observed in the manners that Mestre Zequinha plays in his group of Cavalo Marinho (Sea Horse), resident in the city of Bayeux - PB, and starting from the appropriation of the text Hamlet of William Shakespeare. The body-in-art is understood in this work as a vectorial body that dilates its daily functionality, recognizing a potential learning area capable to generate creative escape lines that destabilize the "subject centered in an individuality and identity" (FOUCAULT apud FERRACINI, 2006b, p.14), being open to the differentiation of itself, indicating the possible existence of an itself-other and of the exchange-in-art space. This process of construction of the body-in-art based on Master Zequinha s ways of playing the Cavalo Marinho was methodically guided by the appropriation of the coletivo UZUME teatro of the stages of Observation, Codification and Theatricalization contained in the technique of corporal mimeses proposed by the LUME Teatro (Campinas - SP). That use resulted in two phases: Active Observation and Composition of the body-in-art. Through the repetition of these aesthetic matrixes of the Cavalo Marinho, the actors discovered actions that when, codified and organized, can configure their body-in-art, which created a vectorial exchange-in-art space to what was found in the Cavalo Marinho party. This search proposed the means of potentiating the actors' work when it comes to a preparation that allowed to dilate the scenic presence and stimulated the production of actions, which culminated in the mounting of the show Rosmaninhos...