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...

Tecendo Papéis:viagem pelos saberes e práticas do ensino de arte

Nowdays, recycling became a relevant social and educational aim among many other factors, which involve balance between man and nature. This study relates the experiences with the production of recycled handmade paper directed at the teaching in Universidade Federal do Rio Grande do Norte UFRN, and through workshops of carnauba recycled handcrafts papers as a pioneer activity accomplished at the Felix Rodrigues Foundation, in the city of Pendências, Açu Valley, Rio Grande do Norte. A bibliographic review was done about the history of handmade paper and a discussion about carnauba´s paper artistic possibilities in art-education. Analyses within the context of art teaching, accordingly to Ana Mae Barbosa´s triangle propose and, also, Buoro, Ostrower and Nachmanovitch´s pedagogy of art. It deals with a group of artisans in order to establish the nature of their relationship and the possibilities of achieving more ecological awareness. Finally, we intend to realize a dialogue with Morin and other authors

Tear identitário:a prática docente em arte como conhecimento compartilhado

This investigative tissue is about the formation of identification processes of teachers and pedagogical practice of Art, in Teresina city. This search comprised the sum of the needs presented, agreed upon with the teachers engaged in the process, it was developed through the establishment of interactive environment Loom Team where collaboration and critical reflection were steering actions to promote the understanding of existing connections or relations within the processes of identifications and the pedagogical practice of Art. The tissue is formed by the polyphonic plot of the critical reflection of nine teachers of Art who engaged voluntarily and this investigation of formative nature and a production of knowledge. All these teachers have degree and the course of artistic education and especial qualification in Fine Arts and/or Drawing. The texture, which we denominated Identification Loom: The pedagogical practice of Art as share knowledge is (de) (re) construction of knowledge resulting from the critical reflection, in an environment of collaboration, which may have implications and ethical political attitudes in the pedagogical practice of the group. Within this context, we pose the following question: - How does the pedagogical practice in Art influence and/or be influenced by the identification processes of the teachers, and how do they interfere with the search and manifestation of the knowledge involved and the investment in professionalization? In view of this query, we make use of the cooperative investigation, having social history as theoretical reference and as analytic perspective of interactive and dialogical-reflexive processes. Thus, social historic theory, cooperative approach and pedagogical practice were the major components of the plot. The methodological texture counted on the threads of dialogical reflexion, of mediation and of collaboration. The conceptual formulation, the recording in videos of classes and the narratives of formations were the main threads of the analytic substrate of the investigation. With this articulation, theses threads appear as developers of processes leading to a major approximation of the thought on the identity/alterity dialectical pair of the participants involved. The language within this plot had a decisive importance in all the moments of the search of signification, embracing and connecting the identification/alterative processes, the pedagogical practice of Art and the knowledge shared. In such processes involving (de) (re) construction, one can notice a close correlation of the triad social identity, pedagogical practice and knowledge shared. For this reason, the vigotskian, guetmanovian and kopnian theoretizations were the major framework for the analysis of conceptual formulations; and, as for discourse analysis, Baktin and Orlandi were our masters. For these teachers, the experience shared throughout the process of this typology of tri-axial investigation focused the experience of many theoretical and practical assumptions. Such an experience enabled them to state that this, with collaboration, can make reflection on the practice a starting and promoting element, within the individual level of self-management, in addition to being a space of (de)(re)construction of meanings, of knowledge and of reinvention per se

O lugar pedagógico da educação física na educação infantil: saberes (re)construídos na formação continuada do PAIDÉIA/UFRN

The present study aimed to investigate the overview of teachers in continuing education program who work in kindergarten, about the continuing education developed by the Paideia/UFRN through the Course of Specialization in Art Teaching and Physical Education in Childhood, having as key focus, the knowing / doing related to physical education in Childhood. From this general goal, it was elected some specific objectives as: to know the interests and expectations that motivated the teachers to participate of that referred training; the evaluation by teachers on regard of the continuing education proposed: boosters factors for possible changes in teaching activities regarding the practice of teaching physical education in kindergarten. The methodology took the principles and techniques of qualitative research strategy and the characteristics of descriptive and interpretive strategy. The locus of this research was the Course of Specialization in Art Education and Physical Education in childhood, having as the citizens of this research twenty three teachers taking that specialization course. For building and systematization of the data, we used the following tools and procedures: a questionnaire, a semi structured interview and documents analysis. The data was constructed based on the technique of content analysis, focusing the reflections and speech of the teachers about the creation of new meanings and senses for the knowing / doing in Physical Education. It was found, among other results, the need and quest for improvement of teacher education, in order to improve educational practice. It was also evident that the situations of dialogues (interactions with peers, with their professors and other professionals in the related area or not) were mentioned by most teachers in the course as a relevant moment of redefinition of knowledge. In relation to Physical Education, it was found that participation in the course of specialization provided the recognition of teaching practice of physical education as part of the curriculum and the importance of inclusion of its specificities in their educational planning. From these elaborations, we come to the conclusion that knowing the perspectives of the teachers about continuing education can contribute to the theoretical and methodological discussions in teachers education and the creation of new actions - projects and programs of continuing education constructing increasingly ways towards a successful teacher formation, able to provide new forms of acting in the educational context