Metodologia de trabalho de projeto: visão e participação

Uma metodologia de trabalho de projeto prima pelas pedagogias dinâmicas, fomentadas pela criatividade e baseadas nas necessidades da criança. Surge por intermédio das mesmas, com o intuito de enriquecer as práticas no jardim-de-infância e oferecer ao grupo de crianças, experiências que proporcionem aprendizagens significativas (Vasconcelos (org), Rocha, Loureiro, Castro, Menau, Sousa, Hortas, Ramos, Ferreira, Melo, Rodrigues, Mil-Homens, Rosado e Alves, 2012). O enriquecimento existe quando observamos interação escola/família, tornando-se o desenvolvimento das próprias crianças mais coerente, na medida em que compreende os quatro pilares da educação. Relembrando Delors (1996): (i) aprender a fazer, (ii) aprender a conhecer, (iii) aprender a viver com os outros e (iv) aprender a ser. O presente estudo pretende abordar qual o impacto da metodologia de trabalho de projeto em contexto de jardim-de-infância, dando a conhecer o impacto desta nos comportamentos das crianças, passando pela perceção dos pais relativamente às mesmas. Optou-se por um estudo de carácter qualitativo, recorrendo para isso, à voz de duas educadoras, à opinião dos pais e à observação dos comportamentos das crianças. Os dados recolhidos, evidenciam-nos que a metodologia de trabalho de projeto beneficia não só o dia-a-dia das crianças inseridas num jardim-deinfância, como desencadeia um conjunto de comportamentos, através dos quais, conseguimos entender quão primordial pode tornar-se para o desenvolvimento das mesmas. Este estudo sugere a avaliação pormenorizada de vários projetos, desenvolvidos por diferentes educadoras, em diferentes contextos.

A supervisão pedagógica na coordenação dos departamentos curriculares: estudo de caso numa escola básica da RAM

A presente investigação visou averiguar o papel do Coordenador dos Departamentos Curriculares, tentando descortinar se no desempenho das suas funções emergem atitudes que se enquadram no paradigma da Supervisão Pedagógica e determinar as características que estas revestem. A pesquisa, com carácter de estudo de caso, centrou-se numa escola pública dos 2.º e 3.º ciclos, localizada no norte da Ilha da Madeira e todos os docentes que a integravam foram selecionados para sujeitos deste estudo. Para além da pesquisa documental e bibliográfica, concebemos como instrumentos de recolha de dados a entrevista, direcionada aos Coordenadores dos Departamentos Curriculares e ainda o inquérito por questionário que foi aplicado aos restantes professores da escola. O emprego simultâneo dos paradigmas qualitativo e quantitativo constituíram a forma mais adequada de apresentar e analisar os dados obtidos recorrendo a uma triangulação de modo a garantir a fidelidade dos resultados. Verificou-se que o Coordenador do Departamento Curricular é percecionado pelos docentes e simultaneamente se autoperceciona como um agente de Supervisão visto que acompanha, orienta, monitoriza e avalia o trabalho desenvolvido por aqueles, ao mesmo tempo que interfere na vida da organização escolar. Para os docentes o pleno exercício deste papel pressupõe a assunção de alguns requisitos, tais como, o saber escutar, partilhar, mediar, cooperar e encorajar bem como a posse de uma formação específica.

A concepção de trabalho escolar a partir de Maurício Tragtenberg: fios e tramas de debate na (des)politização dos sujeitos sociais

This thesis, part of the research line "Work, Society and Education" analyzes, in a dialectical perspective, in the light of Tragtenberg´s studies, the conception of subject of schoolwork, considering the organization and the complexity of this context and inviting the investigative gaze. Our hypothesis is that the workers of education have, in the schoolwork, a fragile politicization field and overcoming the installed model, accepting themselves as executers with self-organizing difficulties, distanced from the effective participation, autonomy and self-management. We consider studies on the logic of the work, believing that the understanding of schoolwork is constitute into the current societal model, in whom its bureaucratic and hierarchical matrix, linked to articulated / articulators of the dominant socio-economic class interests. Scholars such as Braverman, Frigotto and Tragtenberg, among others, are important contributions to this reflection. We have analyzed the logic of the work also in dialogue with pedagogies differentiated, among them, the Libertarian defended by Tragtenberg, aiming to understand the conceptions and practices of the subjects involved. We accomplished a bibliographical critical analysis, in a dialectical character, focusing on the categories: work, schoolwork, control, autonomy and self-management, in order to understand the complexity of the praxis in study, dialoguing with the pillars categories historicity, contradiction and totality, which transversalize the developed analysis. The consideration of these concepts allows us to uncover the dominant bureaucratic structure and its possible overcoming fields. We believe contribute to problematizing and proposers studies, reflections and discussions, strengthening debates, deconstructing naturalizations and contributing to the political process of the subjects.

Ciência, teoria social contemporânea e educação

Os modelos científicos vigentes acabam por refletirem sempre nas práticas escolares, nas pedagogias dominantes, na educação. O objetivo principal deste ensaio é correlacionar os paradigmas científicos com os paradigmas pedagógicos e mostrar como, em parte, “somos filhos de Descartes”. Foi com ele que aprendemos o que era a ciência, o método científico, no singular, e a objetividade como valor sagrado da ciência. Foi o seu Discurso do Método que marcou a ciência do século XX e, também, a pedagogia escolar e a educação em geral. Aprendemos a pensar com a cabeça e não com o coração; desumanizamos, desantropomorfizamos a ciência, o que teve efeitos diretos na educação, essencialmente durante toda a primeira metade do século XX. As Ciências da Educação são assim, a nosso ver, no seu início, mais filhas das ciências experimentais e naturais do que das próprias ciências humanas e sociais. De resto, também elas buscavam para si o estatuto de ciências, procurando generalizar o por vezes não generalizável; procurando leis em que imperam a especificidade e a idiossincrasia do humano. Então, o positivismo do século XIX e do início do século XX, que marca as Ciências Sociais e as Ciências da Educação, que se recusam a ser subjetivas, a serem simplesmente humanas, e, logo, não científicas, vigorou e vigora, ainda, na ciência e na educação.

Transgresión de las identidades tradicionales de género mediante la representación gráfica de mujeres protagonistas para videojuegos desarrollada por niños y niñas

El artículo identifica y analiza el discurso predominante que poseen 12 niños y 7 niñas de 7° y 8° año básico pertenecientes a 4 establecimientos educacionales en la ciudad de Talca en Chile, en torno a la transgresión de las identidades tradicionales de la mujer en los videojuegos. Para ello durante el 1° semestre del año 2014 al interior de un programa de formación de profesores/as en Artes Visuales se implementa una estrategia didáctica centrada en la expresión gráfica denominada “Crea tu propia personaje para videojuego”. Haciendo partícipes a niños y niñas junto a profesionales en formación de una propuesta metodológica basada en la Investigación-Acción enmarcada en las prácticas profesionales. Concluyendo tras el análisis semántico de dibujos y relatos, que las imágenes representativas de la mujer en los videojuegos transgreden las identidades tradicionales de género al interior de un marco androcéntrico predominante.

Site-specific e vídeo-dança: a perceção espacial, corporal e sensorial evidenciada nas disciplinas de Composição Coreográfica e Projeto Coreográfico da ADCS

Relatório Final de Estágio apresentado à Escola Superior de Dança, com vista à obtenção do grau de Mestre em Ensino de Dança.

O ensino do empreendedorismo: o papel do docente, os métodos pedagógicos e a sua relação com a intenção empreendedora

Can entrepreneurship be taught, or be learned? This is a question that brings a broad debate to the table. Indubitably, education has an essential role in attitude development and competences promotion. This assumption has fostered entrepreneurship initiatives and course proliferation, seeking to teach entrepreneurship to individuals. The increasing importance of the entrepreneurial spirit leads to the creation and promotion of entrepreneurship initiatives and encouragement of youngsters to have entrepreneurial profiles. Today, entrepreneurship education has a crucial role promoting entrepreneurial mindset s in younger people. It stimulates competence and skill development, which extends beyond the business world. The effects of such education depend on strategy and teaching pedagogies, but mostly on its effective implementation. This gives teachers and higher education institutions the challenge of finding nontraditional methodologies and alternative ways to teach the subject. Therefore, this study aims to explore, through the theory of planned behavior, the effects of entrepreneurship education and its relationship with entrepreneurial intention. Additionally, the essential and challenging role of the teacher is explored, contributing to a better understanding of its significance in entrepreneurship education that is remarkably poorly explored in the literature. Findings reinforce the strength of the theory of planned behavior as an intention measure; in addition, students were found to increase their entrepreneurial intentions, entrepreneurial knowledge and institutional context perceptions after taking a higher education course. Concerning teachers, a consensus was found between their education aims and similarities among their pedagogic methods, topics and forms of evaluation, along with time and resource management struggles.

European student mobility and intercultural learning at a portuguese university

The purpose of this study is to understand, impact and evaluate the development of intercultural communicative competencies among European credit-seeking exchange students and other sojourners through purposeful intercultural pedagogy. This pedagogy encompasses intentional intercultural- educational approaches which aim to support and enhance sojourners’ intercultural learning throughout the study abroad cycle (pre-departure, in-country and reentry phases). To test and validate these pedagogies a 20-hour intervention was designed and implemented among two cohorts of 31 sojourners during the in-country phase of their sojourn in Portugal. The process to develop and validate the intercultural intervention was driven by a mixed-methods methodology which combined quantitative and qualitative data to triangulate, complement and expand research results from a pragmatic stance. The mixed methods research design adopted is multi-phased and encompasses a multi-case study and an evaluative component. The multi-case component is embodied by sojourner cohorts: (1) the primary case study involves 19 incoming students at the University of Aveiro (Portugal) as participants in the European exchange program Campus Europae; (2) the second case study comprises three incoming Erasmus students and nine highly skilled immigrants at the same university. All 31 sojourners attended two intermediate Portuguese as Foreign Language classrooms where the intervention was employed. Data collection was extensive and involved collecting, analyzing and mixing quantitative and qualitative strands across four research phases. These phases refer to the: (1) development, (2) implementation and (3) evaluation of the intervention, as well as to (4) a stakeholder analysis of the external value of the intervention and of the Campus Europae program. Data collection instruments included pre and posttest questionnaires and semi-structured interviews. Results confirm the intercultural effectiveness of the intervention and the positive impact upon research participants’ intercultural gains. This impact was, however, greater in case study 2. Among explanatory variables, three stand out: (1) participant meaning-making abilities, (2) host language proficiency and related variables, and (3) type of sojourn or exchange programs. Implications for further research highlight the need to systematize purposeful intercultural pedagogy in sojourner populations in general, and in European credit student mobility in particular. In the latter case, these pedagogies should be part of the design and delivery of credit-bearing exchange programs in pre- departure, in-country and re-entry phases. Implications for practice point to the urge to improve intercultural practices in: macro (higher education institutions), mezzo (exchange programs) and micro (sojourner language classrooms) contexts where this research took place, and wider social scenarios they represent.

Gerald Thomas e a (des)encenação do mundo : as paisagens visuais como grafia de intertextualidades, citações e hipertextos

This work is the result of a personal uneasy about the form and development taken by contemporaneous theater concerning its relationship with other media to create new hybrid organisms and organizing itself through new possibilities, connections, as well as with different levels of arrangements in the construction of the scene. The purpose of this research is to study the connections between the scene and the media within the context of the formation of hybrid organism wich is the key element. That stands for an aesthetic characteristic of the post-dramatic condition of contemporary theatre in Brazil. Thus, this work will investigate the concept of visual landscapes within the context of Gerald Thomas Sievers work in Brazil in the period of the first decade of twenty-first century having the play Rainha Mentira (2007) (Queen Liar, 2007) as the main empirical object of analysis, discussion and application of the framework developed in the text

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

A cena contemporânea aos pedaços : observação de um experimento pedagógico

We try to relate this research with other logic, to discover a path of practical approach to approach a creation composed of fragments and a search of parameters for the aesthetics of appropriation. Accordingly, we find relationship with the theater composed of fragments, where different styles are appropriate theatrical and representational styles are merged with each other. Discusses in the first chapter on the theater composed of fragments, and stroll through lanes of the strategies of some directors in the ways of the contemporary scene. In the second chapter we seek procedures and concepts of atmosphere Mikhail Tchekhov (TCHEKHOV, 1996), and the transition from point-to-point by Scott McCloud (2005). In the third part we describe the observation of the experiment conducted by the students of the Bachelor's Degree in Regional Theatre at the University of Cariri in Juazeiro, Ceará, in 2010. Using the methodology of "pesquisa-ação", observing that the scenic writing end of the experiment, called "Toque Me", and the presentation in the cities of Crato and Barbalha, in August 2010, contained elements of the strategies from theater fragmentary scenes and conceptual contents of contemporary theater

A experiência no Tai Chi: possibilidades para pensar o corpo sem órgãos e a preparação do ator

Although research in the field of performing arts has substantially advanced over the last century, the actor, in general, still needs a repertoire of specific references to guide or support his practice. But how the actor must work the material foundation of his art that is his own body? Starting from a prerogative of a idiosyncrasy that is part of theater, this study intend, from the description and reflection about one physical experience with the Tai Chi, to weave relations between this experience and the possible developments of acting preparation. This research is also aimed to highlight the elements of connection between the principles that rules Tai Chi and the body without organs, idealized by Artaud, with the perspective of pointing possible contributions for actors work. The work presented here refers to a qualitative study that considers the body experience in practice of Tai Chi as a reference to dialogue and reflect about the acting preparation. The process of acting preparation presupposes a constant redoing of the body by certain practices. My experience with Tai Chi within this research allowed me verify that the work from established body techniques could be a way of technical preparation for the actor. As the body conscience expands, Tai Chi promotes a greater freedom of creation and expression, giving the actor the possibility of experience the body without organs, the artistic equivalent of the daily body, present, conscious, the organic foundation of emotions, in wich it is possible the materiality of ideas

Escarcéu e escassez no teatro de Mossoró: percursos e percalços de uma dramaturgia na rua

This research is a result of the theatrical Street show named A Árvore dos Mamulengos, an appropriation of the drama text by Vital Santos, this presentation was done from 1989 to 2001, with the Companhia Escarcéu de Teatro, in the city of Mossoró/RN, Brazil. The intention here is to mapping the voices and memories of actors and actresses who have experienced the performance, the developments and achievements which resulted from twelve years of the season. In our study, we consider the importance of the choice for the open space such as streets and squares as the main local for representation considering it as a catalyst factor of aesthetic choice. However, we`ve consider the option for the collaborative process as the methodology staging by interpreters, as well as, the social and cultural determinants that were taking place deeming the realization of the spectacle

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...

O ator que canta um conto: a manipulação de parâmetros musicais na voz do ator

This research started with an investigation about the theatrical speaking. Through an empirical methodology that analyzed a practical experience of creating a play and bibliographical research, the actress/researcher investigated ways to manipulate musical parameters as tools in the creation process of the actor s voice. The actress/researcher attempted to connect theory and practice, moved by the desire to find a vocal expression in theater that unfolds as living and transforming movement. This dissertation also contains the report of pedagogical experiences, in which the actress/researcher explored strategies to teach the appropriation of musical parameters in the construction of the vocal work of the actor. Considering that speaking in theater is closer to singing than everyday speech, she concluded that the actor may compose music as a music composer does in the elaborating process of building vocal scores. Therefore, she demonstrated that it is of fundamental importance a musical training in the development of the actor.