Arte e institucionalização: (o papel das atividades artísticas musicais no processo de institucionalização do menor)

O objetivo deste trabalho foi o de tentar entender o contexto do menor institucionalizado, questionando até que ponto a arte na instituição é buscada pela arte; se a arte propicia a busca de identidade e influi na auto-estima do menor, e se ela contribui para a reintegraçãodo me nor na sociedade. Este estudo volta-se em sua introdução para a ca racterização da problemática do menor partindo de uma descrição sobre o SAM (Serviço de Assistência a Menores) e a FUNABEM (Fundação Nacional do Bem-Estar do Menor) para poder situar o menor institucionalizado e compreender o seu processo de institucionalização, ressaltando, nesta, dados relativos às atividades mucicais. Inicialmente, apresenta-se o resultado de estudos de teses e subsídios de livros e artigos publicados sobre o menor institucionalizado e o processo de institucional ização. A seguir o referencial teórico é explicitado abor dando-se aspectos importantes e, em especial os efeitos da institucionalização e da arte no desenvolvimento psicossocial do menor. Duas instituições foram mais de perto descritas: (SAM e FUNABEM) e, em seguida, partiu-se para a caracterização da ASSEAF (Associação de. Ex-alunos da Fundação Nacio nal do Bem-Estar do Menor), onde foram buscados os ex-alunos que participaram da pesquisa. A metodologia da pesquisa se aproxima a fenomeno lógica, tendo como sujeitos os ex-alunos do SAM e da FUNA BEM ligados à arte, os quais se encontravam alguns na ASSEAF, e outros, no Corpo de Bombei ros do Estado do Rio de Janeiro. Estes ex-alunos deram seus depoimentos em situação de entrevistas semi- estrutura das. Foram realizados também discussões em grupo, levantamento de documentos e outras informações constantes dos arquivos da ASSEAF. Os resultados da análise são discutidos tendo sido feita a categorização de todo o material recolhido. Concluiu-se, do ponto de vista dos ex-alunos,que a arte musical deveria ser procurada, respondendo por uma vocação - em alguns casos isto até acontece - mas, na instituição, esta procura funciona como uma troca de vantagens e benefícios; prestígio para o aluno versus prestígio para a instituição. Nessa troca de benefícios, a arte posibilita a busca de identidade à medida em que proporciona oportunidades de realização pessoal, elevação da auto-estima, melhoria de relacionamentos, e, sobretudo, uma identificação com a música. Porém, os efeitos da prática das atividades artísticas musicais não são suficientemente consistentes no sentido de determinar a plena reintegração do menor a sociedade, pois depende de um grande número de fatores. Mesmo no plano dessa visão positiva em relação à arte musical, encontram-se evidências de ambiguidade que perpassam por todas as representações analisadas nas conclusões. Assim é que os ex-alunos, muitas vezes, reforçam o uso institucional da prática artística musical, em contraposição aos efeitos benéficos que dela advêm. E, quando falam na música como centro de sua identificação, indicam o interesse e o esforço pessoal como fatores marcantes em direção a essa possibilidade de identificação.

Que corpo é esse?

Que corpo é esse? é o título desta dissertação, que encontra uma poética referenciada nos meus desenhos. É o resultado da investigação realizada no mestrado, tendo como objeto de estudo a minha produção plástica do período entre 2001 e 2004. A utilização do desenho como meio para a realização das minhas intenções (idéias, vontades e desejos) foi o instrumento que permitiu a investigação do corpo nos seus mais diferentes aspectos: a representação e apresentação do corpo humano, o meu próprio corpo enquanto artista que realiza o gesto, a ação no desenho, e o corpo do trabalho, que é o desenho propriamente dito. Ressalto que essa reflexão encontrou subsídio teórico em autores como Flávio Gonçalves e Edith Derdyk, que abordam os processos fenomenológicos do desenho. Já para a temática do corpo, tive o embasamento teórico de autores como Paul Schilder, dentro de um viés da concepção de corpo mais holística, e Juan-David Nasio, numa vertente psicanalítica. Como referencial artístico, estabeleci relações da minha produção plástica com o trabalho de Louise Bourgeois e Kiki Smith.

Uso e administração da informação mercadológica sobre a concorrência: posição atual do estado da arte e tendências

Depois de estabelecido o esqueleto e constituído o corpo de Administração Mercadológica, os estudiosos e praticantes de Marketing estão voltando as suas atenções para o seu sistema circulatório e apoio. A base da Administração de Marketing é a informação. Sem a informação mercadológica adequada não é possível planejar, organizar, dirigir e controlar adequadamente as estratégias de produto, preço, distribuição e promoção. A informação mercadológica é, portanto, também um recurso, sem o qual a empresa não poderá administrar seus outros recursos ou variáveis mercadológicas sob seu controle. Cada vez mais as empresas reconhecem que as operações tanto a curto como a longo prazo não podem ser conduzidas sem informação adequada. Quanto mais cresce o tamanho das empresas, mais ela necessita de um sistema formal de informação.

Corpo, fenômeno e manifestação : performance

Corpo, Fenômeno e Manifestação: Performance é uma pesquisa em Poéticas Visuais onde convergem questões de um processo artístico de performance, respaldado por uma prática intensa na dança, experimentações, apresentações, leituras filosóficas e reflexões. Dessa confluência de fatores originou-se a produção textual que investiga e traz à tona as questões do corpo enquanto fenômeno e manifestação na arte da performance. As performances feitas, no decorrer do processo de pesquisa, bem como a observação de performances de outros artistas e estudos sobre teorias da arte, propiciaram o embasamento para a escrita. Puderam ser observados procedimentos operatórios similares, que me levaram a diferentes configurações, em distintas circunstâncias. Por exemplo, a toda performance apresentada foi fundamental o trabalho perceptivo corporal envolvendo todas as articulações de meu corpo, bem como sua musculatura; nesse sentido podia me assegurar que um ser sensível e responsivo surgisse para a atuação, que estivesse ali – o ser -, em pleno domínio de seu estado de presença. A tal procedimento deu-se o nome de corpo percepcionado. A preparação do ambiente, onde a ação performática seria realizada, isto é, o ambiente que receberia o meu corpo, também passou a fazer parte de um regramento para atuar. A esse procedimento chamei espaço preparado. Ao espaço preparado se trouxe a luz, elemento que passou a gerar influência sobre minha poética e sobre a estética que se fazia surgir. O corpo vivo, na performance, é elemento plástico; sua presença interfere no espaço. Percebi que a luz intensificava o lugar do espaço e o lugar do corpo que se pretendia em evidência; era um desencadeador perceptivo. Uma via dupla se estabelecia, entre a ação do corpo e o olho do receptor, através dos recortes de luz no espaço e no corpo, durante as ações realizadas. O corpo, no que lhe cabia, operava o procedimento de reunir as informações colhidas e os elementos trazidos, a cada performance realizada. Nessa questão se estabeleceu a proposta de uma dialética entre corpo e espaço; enquanto isso, no corpo, sínteses se pronunciavam e determinavam a configuração apresentada. Cheguei à conclusão que é justamente assim – em plena percepção de suas possibilidades de ação sensorial e motora, e na preparação e apropriação do ambiente imediato que o circunda - que meu corpo, em sua temporalidade, assume o espaço e, juntamente com suas memórias – e grande parcela de intencionalidade – configura uma aparência. Mais do que na aparência, centra-se o objeto do presente estudo na questão do fenômeno; do que permite o corpo fenomenal engendrar uma manifestação. Palavras-chave: percepção, corpo, espaço, ação, configuração, performance.

Arte, prazer e bisturi: construção corporal através da body modification

In view of a field research carried out by a team connected to the universe of body modification, it is possible to discern some uses and meanings linked to these forms of body interventions. Body modification or body change is part of the circuit of piercings and tattoos, although they are socially less thinned and more extreme, like scarifications, subcutaneous implants, bifurcated tongues, surfaces and body suspensions. The aim of this paper is to cast an anthropological glance on these practices, joining at the same context all the subjects involved with these techniques, placing them inside the same relational focus and capturing their journeys and trajectories. The discussions are concentrated on the notion of body building and urban life style. Ideas as personal distinctness and prestige imitation are also present in this universe, as well as matters attached to genre, pleasure, art, and to the so-called alternative circuit . This way, the ethnography so far presented here, reveals the complex and contemporaneous character of these practices of body markings in which the body appears as the central element in the experiences of the subjects of this study

O tema no processo criativo da asmarias companhia de teatro

Seted in the context of the educational actions of Casa Renascer, a non-governmental organization, located in Natal city, which had as its primary purpose the care with children and adolescent girls in vulnerable situations, this research is based on describing and analysis on the topic in the creative process developed by Asmarias Theatre Company from 1993 to 2003, a process that culminated in the assembly of the dramatic text, Mateus e Mateusa, of Qorpo-Santo. In this research is focused on the route of the Theatre Company has done so much theater in its early history (1993), with the practice of reading and dramatic writing in the preparation of didactic material called Primer of Inventions, as in the procedures with theater street and forum theater (1997 to 2000) to the reunion in 2001 of seven teenagers which articulated the last group formation next to the assembly's text Qorpo-Santo (2002- 2003). During the development on this learning, the evolution of the creative process based on institutional theme when asked if one can provide moments of educational experiences through the traditional form of theater, with reference to the issues inherent in the dramatic texts considered classics. The debate on the issue through research and analysis in its descriptions and finds in the interim between his past and present indications that lead to conclusive guises. The methodology, which is guided by research, is based in theatrical archeology (PAVIS, 2005), the evidential paradigm (GINZBURG, 1989) and the second approaches the experiences narrated by Benjamin (1985). We selected documents in formats of written texts, photographic and filmed, and identified in these files, marks and tracks which took us to understand the subject in the creative process of Asmarias Theatre Company during the tests with the dramatic text, Mateus and Mateusa, of Qorpo-Santo. In this theatrical practice, located in the field of the theater pedagogy, it appears that the actions across thematic theater in the Casa Renascer and allowed the formation of critical aesthetic perspective and personal social dimension of the subjects involved. The theme has gained a significant proportion in the theatrical activity as a guiding point of the creative process of Theatre Company, taking in the theatrical art form. In this sense, the creative process with the dramatic and classic texts won the educational dimension to address the issue in the movement of the drama as the focus of individual creation which added to the collective universe of the interactive game

Dançando às avessas: relatos de um processo de criação

The term body without organs is present in a poem by the french writer, actor and director Antonin Artaud, written in 1947 and titled: To Have Done with the Judgement of God. I aim, in this work, from what we call investigative scenic writing, to problematize this term and its possible relations with the theater and also with some aspects of the Hindu myths. I unite the idea of the body without organs with the body in trance present in the stories of an Indian master named Caitanya Mahaprabhu. These ideas, along with the development of practices that come from some principles of Theatre Anthropology, are incentives for a creation process that highlights the work of preparation and creation of corporeal work of the actor. The relationship between the concepts and the practice raise discussions about where I stand as an actor-researcher in process

Crenças e quebranças de um corpo que dança: poéticas do benzimento na criação cênica

This work is a discussion of the artistic process of an artist-researcher made from field research with benzedeiras and benzedores the state of Rio Grande do Norte. This is an investigation on the cultural universe of the popular benzeção as poetic element to the artistic dance. To discuss the different stages of the research and the relationships between the artist-researcher, the benzedeiras/benzedores and the creation/composition scenic, the work takes as reference the triangular relationship created by anthropologist Claude Lévi-Strauss, in his discussion on the effectiveness of symbols of healing, adapted to the context of benzeção . For dialogue between tradition, popular knowledge, scientific and artistic knowledge this work approaches as analytical reference the epistemological model of the type rhizome proposed by Deleuze and Guattari, understanding it as a model that seeks to form a network of relations in different paths of research, to establish connections between elements without target them or subordinating them. In the universe of benzeção , benzedeiras and benzedores carry a symbolic power that issued in whispered prayers, in peculiar gestures that form crosses in space, heal those who seek your prayers and blessing. In this research, the mixture of popular knowledge, artistic and academic knowledge, born an artistic work in the context of Performing Arts, more specifically dance, and between branches, saints, candles and conversations the work allowed other looks poetic for our popular culture, (re)asserting their cultural and human values through the art

Dramaturgia do aqui e agora: presença, recepção e sentido no corpo do ator

The actor is an actor during all the phases of creation and development of his character. (S) He goes beyond the moment of interpreting. In this sense, in her (his) daily life, the actor may use her (his) potential to extract from reality the necessary elements for the work of creation. This is a theoretical research which focus on the concept of presence in the actor s work, stretching the concept beyond the scene, encompassing different components such as the body, the word, the silence, the technique and the acting as the actor s stance in regards to his own reality. The objective of such stance is to integrate him (her) self in the environment, balancing his (hers) inner life with the outside life flow. To reach this objective, the research drew theoretical resources from the concept of presence in the actor s work according to BROOK, BARBA, GROTOWSKI and MNOUCHKINE and the studies on reception theory in ISER, 1996; GUMBRECHT, 2010. Thus, the dialogue between reader and actor high lights both as receivers in this work. A practical description of a street theater Kamchàtka show, featured by the Kamchàtka Company is used as an example of the research on the presence. The elements localized in this show are: play, listening, word, silence, meaning, relationship with here and now and the effects of the said presence

A Poética do corpo no mito e na dança butô: por uma educação sensível

The thesis presents the body poetry and its inscribing in the myth and Butô dance. The argumentation highlights the sensitive dimension present in these itineraries, as a possibility to operate the emergency of knowing inscribed in the body, bringing a kind of rationality that links the fragments, that allows the knowing to break through the barriers of disciplinary isolation, that abandons the certainties and goes through the ways of creation and that gives the body new space and time, featuring epistemological elements, ethical and esthetical, that can permit a sensitive education. All along the way, we comprehend by sensitive education, a education that considers the relinking of logical, analogical, symbolic and artistic knowledge and therefore reconsiders the own act of knowing as a continuous and inconcluded process. That sensitive education is also understood as retaking the body experience, its sensitive nature, as well as being meaningful to reading the world. It includes the body memory, its history and creativity, opening it to innovation, change, sense amplification and dialogue with other bodies and world, because it is within them. It is about an investigation of phenomenologic nature, that dialogues philosophy and art, pointing breakdowns of this reflection foe the body and education studies. We find it necessary to notice the body language, that allows one to think through movements, articulate a thought that is risen from articulations, guts and all the body. This incarnated reason starts the expressive body action, that makes us move to mean, communicate, inaugurate senses. Among these senses, we present a possibility of approach of the elements of Butô dance teaching and physical education, as ways of sensitive education showings of body poetry

Uma educação tecida no corpo

In theory say the education as a knot of meanings made in the body. We take as a reference for demonstration of this argument the shows Folguedos, Guarnicê and Flor do Lírio and built within such spectacles cultural, symbolic and aesthetic meanings, which reveal the education woven in the body. Education that can happen not only in the formal space like the classroom or the university, but also in the area of art and the inclusion of individuals in the world of culture. So during the construction of the thesis we reflect on the following issues: what is the construction of culture and art that have in the Parafolclórico group? What way theses shows in their buildings bring significant elements that might compose an educational activity. How objectives sought asking the dichotomies present in the concepts of art and culture; critically systematize a work of artistic, cultural and educational production in the group, in addition to expanding the understanding of education, considering the body experiences. The phenomenological attitude of Merleau-Ponty, is a reference methodology of this study, which places the reference knowledge as a result of our experience in the world, our world lived. Thus, this study considers the experience of the researcher in the three shows in tariff, represented by scenes described, as a dancer and spectator. Therefore we understand that Folguedos, Guarnicê and Flor do Lírio in their artistic, aesthetic and cultural languages, allow many meanings that occur in the body, which invites the perception and extend the experience of the subject, demonstrating an education that allows sight and knowledge, seeking new sensations and experiences, we show our intimacy with the world, with the objects and with the other. The art is understood as virtuality, as a human creation that carries the reality and that allows many readings and experiences, each perception can recognize and know new horizons, having as base and material the culture. This entails the heterogeneous, is not closed but that individuals can interpret it entered and recognize the symbols they created the same way, confirming a unit. The art and culture show us significant evidences of an education woven in the body

Alimento como metáfora, metáfora como alimento : a arte de nutrir uma educação complexa

Cette narrative fait le parcours d une recherche et de ses reflexions ici annoncé comme une odissée gastronomique et une géografie gourmante , dont les elements interpretatifs rendent possible concevoir qu une lecture de la métaphore et de la stéthique alimentaire puissent contribuer pour penser une éducation sensible, complexe, une education guidée par une experimentation esthétique de la condition humaine, qui provoque les sens, qui permettent évoquer et récuperer les connaissances et les savoirs pertinents, et qui confirme l indissociabilité du sujet dans ses plusieurs poles : nature et culture, émotion et raison. Comme contribution epistémologique, la dissertation, cherche étendre la compréhension d études qui abordent le Corp, l Aliment, la Métaphore, l Esthétique et l Éducation, en déclanchant des relations entre les espaces académicien et cotidien, en expérimentant d autres formes de sentir, penser et d être dans le monde. Poussée par une raison gourmande, et comme dans un rituel de préparation d aliment, j opte par les rélations transversales des savoirs ; je construis un dialogue entre les auteurs de domaine de connaissances multiples, comme la Filosophie, l Antropologie, l Étologie et l Éducation, en travaillant une reconstruction de concepts. Pour la tâche de cette odissée gastronomique, je découvre l approche entre un programme, comme méthode, et un livre de recettes culinaires hermétiques. J ai choisi de construir des estratégies métodologiques qui indiquent les chemins sur les quelles l imagination, la créativité et la réinvention, non seulement puissent mais doivent servir comme des épiceries qui emprègne d odeurs, de saveurs et de couleurs la connaissance, sans laisser de côté la rigueur, principe inégociable dans une science ouverte. J ai choisi, pour m accompagner dans cet étude, des sages, des scientistes et des poètes, entre eux je fais remarquer Michel Onfray, Boris Cyrulnik, Merleau-Ponty, Edgar Morin e Conceição Almeida. Avec eux, j ai déssiné des cartes, goûté des géographies, des terres, des ciels. J ai fréquenter des histoires et des personnages concrets et imaginaires; j ai convoqué des souvenirs acumulés pendant l enfance, avec ses trames, ses textures, ses saveurs, ses parfuns, ses couleurs, ses images, ses gestes, ses mots et ses silences, où le corp devient un médiateur d accès à la connaissance. Comme artifice complémentaire pour suivre la route, je parie sur le rapport fondamental entre le corp, l aliment, la métaphore, l esthétique et l Éducation, je m utilise du Cinéma, en cherchant d apprendre dans cet art, une éxistentialité humaine par le rapport entre la vie, l aliment et les personnages. Finalement, je reaffirme l importance de nourir des affections par une formation et une manière de penser capables de conecté des connaissances d univers dinstingués, et qui contribuent pour une conscience de la condition humaine et l apprentissage d une éducation de la vie et pour la vie

DANÇA: linguagem do corpo na educação infantil

This production is a reflection about the practices/experiences involving the teaching of the dance developed by the teachers in the Núcleo de Educação Infantil (NEI/UFRN), with the children from 2 to 7 years old, having as objectives: describe and interpret the lived experiences with the dance focusing on the meaning of the dance and organization of the pedagogic job, identify blanks in the pedagogic practices of dance and appoint possible perspectives to the teaching of dance on the infant education. The way from the investigation has begun with the following question: Who do the teachers understand the dance and live it on the Núcleo de Educação Infantil? The research of phenomenological orientation toke as methodological reference the qualitative approach from the placed phenomenon type, this one has as beginning the interest on the phenomenon by the way as it happens on the lived experience from where comes the knowledge with we can present about the world, trying to interpret it, understand it on its essence/existence. The interviews showed that the researched subjects give to the dance different meanings and consequently present variations on the manner to organize the work around this knowledge. The most of the teachers recognizes the dance as a culture expression, being a priority on the school the job with the folkloric dances. They recognize too the dance as knowledge/content coming from the Arts and Physical Education areas and its relation with the knowledge from others areas on the pedagogic action. There were found different process on the way to conduct the job with the dance in relates from experiences done with dance at NEI and, therefore, of teach/learn this knowledge. Its perceptible that exists a systematic work with the objective of develop the dance and its various educative possibilities, starting from the research about its origins, the exploration of the movement, the contextualization until the artistic practice. Those possibilities are reinforced on the school s curricular propose. Some experiences have as a priority the free expression, the dance s vision without context or the reproduction of movements as stand manners of teaching dance, situations like those observed on the investigation as products from the blanks on the academic formation from the teachers with must be fixed. The interpretation of the experiences with dance, described by the teachers from NEI, connected with the theoretical referential from the investigation, allowed to appoint three perspectives to the work with dance in the infant education, having as main interlocutors Merleau-Ponty and Rudolf Laban: the dance as the body s language; the dance and its movement factors; imitate, improvise and play: manners of draw ways to dance. On those process are emphasized the dance on the scholar context, the elements that constitute this language and the forms of appropriate from it supported in a ludicrous, poetic and educative vision, having as focus the children s education on its peculiarities and possibilities

Anagramas do corpo, processos de repetição e representação da condição humana: um diálogo entre Hans Bellmer e Pina Bausch

La relation entre l`ignorance, l`apprentissage et de la création composent un décor provocant pour nous faire réfléchir sur l`éducation et la science. Pour éclaircir cette réflexion, nous démarrons sur les propositions de Ilya Prigogine (1986), pour qui l`art est une métaphore qui représente la science au XXe siècle, les idées d`Edgar Morin (2004), en soulignant la contribution fondamentale de l`art à l`état humain, et Maurice Merleau- Ponty (1980), qui crédite à l`art la possibilité d`un nouveau regard sur le monde, un regard sensible, esthétique. Ayant par référence la présence de ces arguments, nous réaffirmons la thèse de que l`art peut présenter des métaphores pour considérer la science, l`éducation et la condition humaine sur des bases complexes et transdisciplinaires. Nous nous concentrons sur des catégories particulières de la déformation et de la répétition. La première est considérée comme un désordre nécessaire au corps, à la science et à l`éducation, des lieux de métamorphose constante, d`après les principes de la complexité. La seconde est appréciée comme un opérateur sans lequel la variation, l`écart, le nouveau et l`invention ne peuvent pas émerger. Nos métaphores ressortent des travaux esthétiques de deux artistes de renom: Pina Bausch et Hans Bellmer, les délinquants qui certainement se rebellent contre la trivialité dans l`art et la vie. Ils exploitent des rêves, des démonstrations affectueuses impertinentes, esthétiques inaugurales, antiparadigmatiques et audacieuses. En un mot, ils incarnent ce qu`on appelle une pensée complexe. Nous comprenons que les deux artistes déclenchent des dispositifs qui dialoguent avec le manifeste de Merleau-Ponty lorsque l`on cherche dans l "aisthesis" la possibilité d`une production naturelle qui est en elle-même, créative. Ayant comme horizon cette puissance créatrice nous concentrons notre regard sur les anagrammes du corps proposés par Bellmer et sur la répétition exprimée par Pina Bausch. La déformation et la répétition sont des étapes embryonnaires de la création

Somos todos canibais: antropofagia, corpo e educação sensível

Cette étude présente l anthropophagie comme une notion théorique et experiementale du corps qui réhabilite le sensible et réveille le monde perçu. L argumentation fait ressortir la dimension sensible du corps et de la connaissance, en considerant sa sensibilité et motricité, corps qui ne se sépare pas de la nature et de l histoire, en actuant dans le monde comme présence vive, originaire, en mouvement ; en supposant un sujet qui, au même temps que construit ses propres senses, il dépend de l expérience de l autre et du monde, en créant et en recréant la culture, et il agrandit le processus de connaître, de sentir, de penser, d agir, d être, de se transformer. Cette attitude annonce une connaissance sensible et un corps qui est suscetible de sensations, mais d expréssions aussi, de communication, de création, aspects indispensables pour se pensar l éducation comme un space sensible, d apprantissage et réssignification de la culture ; que dévient possible la communion avec le corps, le temps, le space ; qu enseigne à réapprendre à voir le monde, que considère la réversibilité des senses et l esthésie comme champs de l expérience sensible et de l imputation des senses ; qu évoque la beauté des multiples léctures du vécu et qu agrandit la compréhension du soi et de l autre. L objectif de ce travail est comprendre l anthropophagie comme une attitude du corps et de la connaisance sensible, qu approfondit la rélation de l être au monde, la rélation avec l autre et permet la création de senses culturelles, ésthetiques et éxistentielles our l éducation. Nos présentons l attitude phénomologique de Maurice Merleau-Ponty comme référence théorique et méthodologique de notre recherche. Il s agit d une attitude de la pensée qui place la conaissance au centre de nos expériences vécues au monde ; une attitude qui ne propose pas un sens définitif des choses et des personnes et qui contribue pour la compréhension de l anthropophagie, du corps, du sensible, du monde et de l autre, en indiquant des développements de ces réflexions pour l éducation. En créant des horizonts de sense et strastégies de pérception sur l anthopophagie, nos considérons comme choix notre expérience vécu, comme les voyages; atelier d extension avec des élèves du cours de Technologie en Production Culturelle de l Institut Fédéral d Éducation, Science et Technologie du Rio Grande do Norte-IFRN, Campus Cidade Alta ; l anthropophagie comme élement de l Art Moderne Brésilien ; les créations et les récits des élèves ; images ; filmes et livres recherchés ; dialogues avec les penseurs Lévi-Strauss, Montaigne et Oswald de Andrade, qui constituent nos principales références conceptuelles et qui ont permis traversé des savoirs et promouvoir un dialogue entre divers champs de connaissance, comme l Anthropologie, la Philosophie, l Art et l Éducation. Ces stratégies constituent le resultat partiel et inachevé d un processus de connaisance de soi et de l autre, que permet de revivre des mémoires, faire ressortir des couleurs, des senses, des goûts, des découvertes sensibles et encourageantes sur la connaissance, sur l art, des découvertes sur soi même, sur l autre, sur le monde, sur la vie, indiquant que l éducation peut être un processus fort sensible, dans lequel le corps est une présence indispensable, aussi comme le toucher, le créer, les delires, les affections, les encontres et l invention