A dimensão social do desenho: um estudo sobre as interações no processo de (re) construção imagética da criança no Ensino Fundamental

In the historical-cultural perspective, the drawing is processed by means of a shared and complex way, under diverse relations with the other and with the immersed signs of the culture. That is, something constituted by the social interactions and that can modify the structure of the psychological functions, therefore as socialized sign, propitiates the incorporation of the functions socially. In this way, the figuration carrier sensitive and established meanings historically disclosing the shared experiences and the ways of the subject to think and perceive the world. Such reflections gave shape to the main problem of this research: how to think over about the drawing at the school to incide in the reconstruction of the childs imaginative language? Under such perspective, this work deals with the interactions in the production process of the drawing of the children in a context of teach-Iearning of the elementary school having as goal to analyze the interactions established in the cIassroom in the process of production of the drawings; to propose situations of learnings that favor the advance graphical expression of the students; and to identify in the interactive games some relations between body expression and drawing. For its accomplishment, it was opted for the construction process based in the collaborative investigation by the fact to propitiate negotiations, sharing and confrontation of ideas, becoming possible a joint construction of the knowledge. For this research, the researcher and the collaborating teacher, as well as the involved children, become themselves into co-authors of the context studied. As locus of the research, it was chosen a first cycle class, with 30 students, from Municipal School Profª. Emília Ramos (Natal/RN - Brazil), whose election took in account the fact of this school to constitute in a promotional space of reflections and professional development of teachers in service and, at the same time, for presentinglimitations theoretic- methodological in the field of teaching for Arts. In the process of the research, it was perceived that the children with the support of the verbal language formulates meanings on the seen and imagined object, printing lines and forms that if overlap to the physiological aspects of the visual perception. That is, the drawing discloses a reality appraised, enriched for the picked up vision of the image, but the meanings established for the author, or observer who becomes it perceivable and identified. In the systemizing situations, it was observed that the teaching-Iearning process of the drawing, implies a co-construction between teachers and learners. And, moreover, the necessity to interlace emotion and cognition by means of plastic-corporal interactions that foment drawing experiences, whose process concurs for the imagenative reconstruct of the apprentices

Música e surdez: o ensino de música numa perspectiva bilíngue na escola regular

The present study focuses on the development of pedagogical activities in Music Teaching, aiming to enhance the accessibility of musical knowledge for both deaf and hearing students, using a bilingual approach in regular schools. Few studies address Music and Deafness, and those that do focus exclusively on the context of special education, and specifically the deaf student, which signals the urgent need for conducting research on this issue in the context of inclusion – empirically and carried out on school grounds. Therefore, we developed our study at a Natal City Public Elementary school, in a class of 6th graders, comprised of 37 students, 3 of whom were deaf. The objective of the study was to develop a proposal for a pedagogical intervention in Music Teaching, using a bilingual approach, with deaf and hearing students, in the context of regular school classes. The research is based on the theoretical framework presented in Penna (2010), Brito (2001) and Fonterrada (2008), with reference to music education, and Haguiara-Cervellini (2003), Finck (2009) and Louro (2006), with reference to inclusion in teaching music. To achieve this objective, we developed a proposal for intervention based on the methodological dictates of intervention research, presented in studies by Jobim and Souza (2011) in light of the theoretical concepts posited by Mikhail Bakhtin, which assert that knowledge is produced through interaction between subjects, dialogically and through alterity. This methodology was carried out in pedagogical workshops, conceived as spaces for the construction of knowledge, mobilizing participants to engage in ludic activities of musical experimentation. Content covered in these workshops focused on Pulse and Rhythm – basic elements in music education – demonstrating that awareness about and sensitivity to these elements is not limited to the auditory sensory perception of the student, once the entire body is used as an agent of acquisition and expression. Thus, we began the trajectory of our research from the starting point of the identification and perception of „Pulse‟, using one‟s own body and the body of classmates, representing it through physical expressions and movement. Subsequently, this Pulse was extended from the body to a percussion instrument, and was then represented graphically as lines of rhythm, constituting a process of reading and writing; ultimately the intervention culminated in the class presentation with the musical group De Pau e Lata (Stick and Can). In our analysis, faced with the challenges and possibilities presented in our study, findings showed satisfactory results with regard to the participation of all of the students: completing the activities proposed in the class, asking questions when they did not understand, positioning themselves when they thought it necessary, expressing opinions about the work completed, evaluating the workshops given, interacting, helping in the activities, constructing knowledge collaterally, experimenting and experiencing musical elements through the body in activities that applied to both groups (deaf and hearing) in the one class. These indications elucidate the viability of teaching music to deaf and hearing students, using a bilingual approach, and based on experiences with the body and communicative and cultural specificities involved, confirming, as well, the role of Sign Language as a mediator in the teaching/learning process.