The present paper discusses about an experience on education in the teaching of visual arts accomplished at school with a group of five students in the first grade of high school in Marco Polo School in Santa Maria/RS. This study utilizes the language of graffiti for questioning the visual features of school environment. Teacher and students interact in an educational process grounded on the scope of visual culture. The education of the visual culture by presenting a multidisciplinary character makes possible interrelationships of spaces and convergence as a field of knowledge, permeated by visual. The research was supported in Research Based in the Arts (IBA) or Arts Based Research (ABR), which is a type of qualitative research approach and it is not focused on the researcher or the researched object, but as a researcher, developer, reader can write and build that together. The most important authors participating in this theoretical construct are: HERNANDEZ (2000, 2007, 2008), Martins (2004, 2007) and MIRZOEFF (2003) regarding the field of visual culture; Lazzarini (2007) and Silva (2005) with reference to graphite, and Costa (2009), SILVA (2000, 2000a) and Pereira (2010), concerning the space to the school. These influences are brought by the survey are still settling into other possibilities. Among the results, it can be highlighted the new learning as a collective group that covered the meetings with new textures with different views, trying to rephrase things and try other ones, mainly to build a space for dialogue to discuss art. / A presente pesquisa versa sobre uma experiência educativa no ensino das artes visuais realizada no recinto escolar com um grupo de cinco estudantes do primeiro ano do ensino médio, do colégio Marco Polo, em Santa Maria/RS. Este estudo utiliza-se da linguagem do grafite para problematização da visualidade do espaço escolar. Professor e estudantes interagem num processo educacional embasados na perspectiva da cultura visual. A educação da cultura visual por apresentar um caráter transdisciplinar possibilita espaços de interelações e convergências como campo de conhecimento, permeado pelo visual. A investigação apoiou-se na Investigação Baseada nas Artes (IBA) ou Arts Based Research (ABR), que é um tipo de abordagem de pesquisa qualitativa, que não está focada no pesquisador ou no objeto pesquisado, mas no que pesquisador, colaborador, leitor podem escrever e construir juntos. Os principais autores que participam desta construção teórica são: HERNÁNDEZ (2000, 2007, 2008), MARTINS (2004, 2007) e MIRZOEFF (2003) em relação ao campo da cultura visual; LAZZARIN (2007) e SILVA (2005) com referência ao grafite e COSTA (2009), SILVA (2000, 2000a) e PEREIRA (2010), ao concernente ao espaço escolar. As ressonâncias trazidas pela pesquisa são muitas que ainda estão se acomodando em outras possibilidades. Dentre os resultados, destaca-se as novas aprendizagens do grupo enquanto coletivo que revestiu os encontros com novas texturas com diferentes visões, na tentativa de redizer coisas, arranhar outras e, principalmente, construir um espaço de interlocução para discutir sobre arte.

This Master's Thesis of the Postgraduate Program in Education (PPGE) of the Federal University of Santa Maria (UFSM) has as theme the continuing education in visual arts and is based on stories from the perspective of Arts-Based Research (ABR). This qualitative approach has emerged as a possibility of questioning traditional forms of research, long considered as the only acceptable types of research. ABR supports the use of different formats of writing and the combination of various narrative modes in research reports. Thus a narrative interview will be used as a technique for data collection, because it allows the telling and hearing of stories. The visual and textual narratives are central in this work for they ascribe to the interaction of the group the employee‟s identity and subjectivity by means of the reporting of their experiences. Based on the thematic axes of continuing education and visual culture, we seek to dialogue through the following questions: What conceptions of continuing education the research collaborators have? How do these teachers of visual arts propose spaces for talking about their experiences, listening to and discussing issues related to visual arts education? Does the present problem aim at reflecting upon how the subjectivation and the teachers‟ identities interrelate with the continuing education in visual arts? The survey was conducted with three contributors, all teachers of visual arts in office in Santa Maria/RS. / A presente Dissertação de Mestrado do Programa de Pós Graduação em Educação PPGE - da Universidade Federal de Santa Maria UFSM tem como temática a formação continuada em artes visuais e baseia-se em narrativas a partir da Investigação Baseada nas Artes - IBA ou Arts Based Research ABR. Esta abordagem qualitativa surgiu como possibilidade de questionar as formas tradicionais de pesquisa, consideradas por muito tempo como os únicos tipos de pesquisas aceitáveis. A IBA aceita a utilização de diferentes formatos de escritura e a combinação de várias modalidades narrativas nos relatos de pesquisa. Dessa forma, será utilizada a entrevista narrativa como técnica de levantamento dos dados, pois a mesma permite o contar e escutar histórias. As narrativas visuais e textuais são centrais neste trabalho, pois trazem ao convívio do grupo a identidade e a subjetividade dos colaboradores através de seus relatos de experiências vividas. A partir dos eixos temáticos de formação continuada e cultura visual busca-se dialogar em torno das seguintes questões: Que concepções sobre a formação continuada têm os colaboradores da pesquisa? Como estes professores de artes visuais propõem espaços para falar sobre suas vivências, escutar e discutir questões relacionadas a educação das artes visuais? O problema que se apresenta busca refletir sobre como se inter-relacionam a subjetivação e as identidades docentes com a formação continuada em artes visuais? A pesquisa foi realizada com três colaboradoras, todas professoras de artes visuais em exercício na região de Santa Maria/RS.

Au cours d’une carrière amorcée sous le Second Empire et achevée dans les années vingt, Albert Robida (1848-1926) participa à cent sept périodiques et illustra quatre-vingt-quatorze livres. Il acquit une autonomie créatrice par la fondation, en 1880, de son propre journal humoristique, La Caricature, et par la publication de quarante-sept ouvrages écrits et illustrés de sa main. Il exprime, en tant que dessinateur la forte tension entre tradition et modernité palpable dans le monde parisien de l’édition au tournant des XIXe et XXe siècles. Sa notoriété actuelle est principalement due au premier de ses romans d’anticipation Le Vingtième Siècle (1883). Par cette forme originale, Robida livre une satire de son époque, tout en proposant la vision dystopique d’une société régie par la mécanisation. Dans la perspective de l’histoire de l’art, on s’interrogera sur la pratique graphique traditionnelle défendue par Robida, qui pourtant avait si bien entrevu, dès le début des années 1880, le potentiel médiatique des images animées. Afin de résoudre ce paradoxe, sa production graphique a été analysée selon de trois axes de recherche complémentaires. Le premier concerne les mécanismes de diffusion de ses dessins dans le secteur de l’édition, que ce soit à travers la presse, les livres ou les estampes. Le deuxième axe s’intéresse à la singularité de Robida dans la fin de siècle. Il analyse les modes de créations qui lui permirent de se dégager des contraintes inhérentes au monde de l’édition par la mise au point de son propre style de caricature, par l’auto-illustration et par sa participation aux livres de bibliophilie. Le troisième axe cerne les limites que Robida fixait au métier de dessinateur par une enquête orientée vers la peinture, la photographie et le cinéma. / During his career from the Second Empire to 1926, Albert Robida (1848-1926) took an active part in a hundred and seven newspapers and illustrated ninety-four books. He acquired a creative self-sufficiency by founding, in 1880, his own satirical newspaper, La Caricature, and by publishing forty-seven works which he himself wrote and illustrated. His career and his drawings express the strong tension between tradition and modernity in the Parisian world of edition from the end of the nineteenth century to the beginning of the twentieth century. His present fame is mainly due to Le Vingtième siècle (1883), the first of his works of science-fiction. Through this new form, Robida renders a satire of his time, while offering a dystopic vision of a society run by mechanization. Although he foresaw the media possibilities in animated pictures in the early 1880's, he defended his traditional graphic practice which will be examined in the art history angle. To resolve this paradox, his graphic production has been analyzed according to three further axes of research. The first one is about the distribution of his pictures in the publishing sector through newspapers, books or etchings. The second one is focused on the peculiarity of Robida in the “fin de siècle”. It analyses the creative forms which allowed him to free himself from the constraints connected to the publishing sector by focusing on his own style as a caricaturist, on his auto-illustrations and on his participation in books on bibliophilia. The third axis centers on the limits which, as an illustrator, Robida set to his own profession by a research directed towards painting, photography and cinema.

Submitted by Ana Carolina Costa (karoll.costa2013@gmail.com) on 2018-10-14T12:40:21Z No. of bitstreams: 1 DISSERTAÇÃO - Versão repositório.pdf: 3971401 bytes, checksum: f0adf483f08a8c158f8283dbdc869088 (MD5) / Approved for entry into archive by Lucilene Cordeiro da Silva Messias null (lubiblio@bauru.unesp.br) on 2018-10-15T19:16:35Z (GMT) No. of bitstreams: 1 costa_ac_me_bauru.pdf: 3971401 bytes, checksum: f0adf483f08a8c158f8283dbdc869088 (MD5) / Made available in DSpace on 2018-10-15T19:16:35Z (GMT). No. of bitstreams: 1 costa_ac_me_bauru.pdf: 3971401 bytes, checksum: f0adf483f08a8c158f8283dbdc869088 (MD5) Previous issue date: 2018-08-30 / Esta pesquisa se propõe a investigar as marcas da cultura audiovisual contemporânea inscritas nas propagandas produzidas pela Al Hayat Media Center, braço midiático do Estado Islâmico (EI) especializado na produção de conteúdos em inglês e idiomas europeus. A investigação cerca-se de um repertório teórico que procura elucidar os motivos por trás das escolhas discursivas e técnicas que dão forma a essas produções, o que nos conduz a três etapas iniciais de trabalho. A primeira é o mapeamento do processo de ascensão dos movimentos fundamentalistas islâmicos modernos, o que nos dá um vislumbre da narrativa que influenciou o pensamento dos ideólogos criadores do Islamismo no século XX, cujas ideias servem como base para a construção do discurso do EI. O passo seguinte é desvelar as práticas midiáticas do movimento do qual o grupo deriva, mostrando como elas evoluíram paralelamente ao processo de globalização e disseminação de novas tecnologias da comunicação. Reflexões sobre os processos constitutivos da cultura e os impactos dos novos sistemas de informação e comunicação sobre eles, sob o viés da midiatização, completam a apreensão do fenômeno, assim como os parâmetros da cultural audiovisual contemporânea que nos ajudam a situar as ações do Estado Islâmico numa sociedade permanentemente "atacada" por bombas de imagens que reavivam o poder do realismo. A partir dessa base teórica, analisamos 10 vídeos lançados pela Al Hayat Media Center entre 2014 e 2016. Disponibilizados no repositório online mantido por Aaron Zelin, pesquisador do The Washington Institute For Near East Policy, eles atendem dois critérios principais: foram divulgados no período de ascensão do Estado Islâmico como personagem global (por isso sintetizam seus anseios e estratégias publicistas) e constituem uma rica amostra do hibridismo das peças audiovisuais do grupo destinadas à audiência ocidental, sustentando a hipótese de que elas fundem elementos da cultura audiovisual contemporânea e da cultura jihadista, neste caso fortemente representada pelo formato do vídeo nashīd. Nos propomos a identificar as características de cada produção e traçar pontos de conexão que nos permitem agrupá-las em grandes categorias, que chamamos de "marcas audiovisuais" e cujo objetivo é provar onde a propaganda do Estado Islâmico busca seu respaldo. Para tanto, propomos um método de análise baseado no esqueleto metodológico criado por Francis Vanoye e Anne Goliot-Lété (1994) para analisar os spots publicitários. Ele baseia-se em dois eixos centrais: estilo e discurso. O primeiro é composto por quatro diretrizes que nos ajudam a descrever a estrutura dos vídeos e determinar suas particularidades estilísticas: duração, matéria visual, característica dos planos e montagem. O segundo eixo procura determinar como a mensagem do grupo é articulada em cada vídeo. Para isso, propõe três locais de observação baseados na funcionalidade do "contrato de comunicação" proposto por Patrick Charaudeau (2006). A combinação desses dois polos nos permite comprovar que a propaganda do EI dispõe de lógicas construtivas e ferramentas de edição naturalizadas pela cultura audiovisual contemporânea, o que converte o arsenal simbólico do Estado Islâmico num exímio exemplar da nova face do terror. / This study aims to investigate the marks of the contemporary audiovisual culture inscribed in the propaganda produced by Al Hayat Media Center, a media arm of the Islamic State (IS), specialized in the production of content in English and European languages. The investigation bases on a theoretical repertoire, which seeks to clarify the motives behind the discursive and technical choices that shape these productions, leading us to three initial stages of work. The first is the mapping of the ascension process of modern Islamic fundamentalist movements, which gives us a glimpse of the narrative that influenced the thinking of the ideologists who created Islamism in the 20th century and whose ideas serve as the basis for the construction of the IS discourse. The next step is to unveil the media practices of the movement from which the group derives, showing how they evolved in parallel to the process of globalization and dissemination of new communication technologies. Reflections on the constitutive processes of culture and the impacts of the new information and communication systems on them, under the mediatization bias, complete the apprehension of the phenomenon. In addition, the parameters of contemporary audiovisual culture help us situate the actions of the Islamic State in a society permanently “attacked” by bombs of images that revive the power of the realism. It is the background, which supports the analysis of 10 videos released by the Al Hayat Media Center between 2014 and 2016. Available in the online repository by Aaron Zelin, a researcher at the Washington Institute for Near East Policy, they respond to two main criteria. One of them being the fact that they were released in the ascension period of the IS as global character (for this reason synthesizes its publicist longings and strategies) and constitute a rich sample of the hybridism of the group’s audiovisual pieces intended for the western audience. The other is the evidence that they sustain the hypothesis that they merge elements of contemporary audiovisual culture and jihadist culture, in this case strongly represented by the format of nashīd video. From the detailing of the videos, we propose to identify the characteristics of each production and draw points of connection between them to group them into large categories, which we call “audiovisual marks” and which the objective is to prove where the Islamic State propaganda seeks its backing. For this purpose, we propose a method of analysis based in the methodology framework developed by Francis Vanoye and Anne Goliot-Lété (1994) to scrutinize a genre that shares the genetic material of our object of study: the propaganda spots. It bases in two central axes: style and discourse. The first one consists of four guidelines that help us to describe the structure of the videos and determine their stylistics particularities: duration, visual material, characteristic of plans and assembly. The second axis seeks to determine how the group message articulates in each video. To this end, it proposes three observation spots based on the functionality of the “communication contract” proposed by Patrick Charaudeau (2006). The combination of these two poles allows us to proof that the IS propaganda has constructive logics and editing tools naturalized by the contemporary audiovisual culture, which turns the symbolic arsenal of the Islamic State into an eximious model of the new face of terror.

The subject matter for this research is the representation of femininities and masculinities in Roman art with particular reference to that of Roman Britain. The study focuses on the visual presentation of gender for specific deities, personifications and figural images in funerary art; this includes concepts of sexuality that in some cases become entwined with the study of gender. I have endeavoured to demonstrate how socially constructed values add to the understandings of gender and Roman art. The first chapter concentrates on Roman concepts relating to masculinities and femininities, detailing how these are portrayed in visual culture. This entails the identification of gender markers in various forms including clothing (for example the toga and stola), jewellery (such as the bulla) and distinct objects (for instance, military paraphernalia, weaving combs and spinning equipment). Following this broad introduction to gender in Roman art, the study then centres on specific deities, commencing with Venus and Mars, then Diana and Apollo, and Minerva and Hercules - each one has a particular gender ascription. I examine these in terms of visual representation and how their specific femininities and masculinities were presented. Personifications and figural funerary art, respectively, are the following and final chapters of the research. The former deals with the use of personifications in Roman art and the latter with patronage and presentation of figural tombstones and inscriptions. Both chapters observe these issues with preference towards the demonstration of gender allocation and any undertones implicated.

Esta dissertação tem como questão central as noções de beleza feminina corporal da infância feminina Kaingang moradora da cidade. A investigação foi realizada com dezesseis meninas com idades entre quatro e doze anos residentes em uma comunidade indígena localizada no bairro Lomba do Pinheiro em Porto Alegre. A pesquisa se desenvolveu entre os anos de 2009 e 2011 e buscou investigar, analisar e discutir em que medida as representações de beleza dos corpos femininos veiculadas nos meios de comunicação funcionam como pedagogias visuais e afetam as noções de beleza corporal feminina das meninas Kaingang. Procurou ainda compreender como essas meninas Kaingang absorvem as práticas de embelezamento e da cultura da cidade ao se relacionarem em diferentes territórios urbanos. Foram analisados aspectos corporais relacionados aos marcadores de gênero, classe social, raça e cor como construções históricas, sociais e culturais. A pesquisa de campo de cunho participante foi embasada em aportes da etnografia e em referenciais teóricos dos Estudos da Infância, Estudos Culturais e da Cultura Visual. As análises foram qualitativas nas quais foram cruzados os dados gerados a partir dos dizeres, desenhos e registros fotográficos das meninas Kaingang. Os resultados demonstraram que as meninas Kaingang da cidade possuem preocupações com a aparência de seus corpos que influenciam em suas feminilidades. Pela forma de lidarem com suas peles e cabelos, suas maneiras de vestir e se comportar as análises denotaram que suas valorações quanto ao que consideram ser belo e feio nos corpos femininos são absorvidas por meio das pedagogias culturais e visuais. A investigação explicitou ainda, que as meninas Kaingang sofrem influências dos ambientes territoriais nos quais circulam. Os meios midiáticos ou mesmo sociais e culturais da cidade reverberam nos valores que atribuem à beleza dos corpos femininos e, consequentemente, em suas identidades femininas infantis. / The main objective of this dissertation is clarifying notions of urban Kaingang female children‟s bodily beauty. The investigation was conducted with sixteen four- and twelve-year-old girls living in an Indigenous community at Lomba do Pinheiro in Porto Alegre (RS). The research was developed between 2009 and 2011 and sought to investigate, analyse and discuss how representations for female bodies‟ beauty provided in the media work as visual pedagogies and act on notions of Kaingang girls‟ bodily beauty. It has also sought to understand how these Kaingang girls receive cosmetic practices and the city culture as they live in different urban territories. Bodily aspects concerning gender, class, race, and colour markers were analysed. The participating field research was drawn on ethnographic issues and theoretical referential for Child Studies, Cultural Studies and Visual Culture. Analyses were qualitative and data from Kaingang girls‟ statements, drawings and photographic shots were cross-referenced. The results demonstrated that Kaingang girls are concerned about how their bodies look like, which affect their femininity. In tune to the way they treat their skin and hair, the way they dress and behave, analyses noted that the value of what they regard as beautiful and ugly in female bodies are received through cultural and visual pedagogies. The investigation has also shown that the environment act on Kaingang girls. The city media, society and culture act on values ascribed to female bodily beauty and so their female child identities.

This thesis explores the mutual constitutions of visuality and empire from the perspective of gender, probing how the lives of China's ethnic minorities at the southwest frontiers were translated into images. Two sets of visual materials make up its core sources: the Miao album, a genre of ethnographic illustration depicting the daily lives of non-Han peoples in late imperial China, and the ethnographic photographs found in popular Republican-era periodicals. The study highlights gender ideals within images and aims to develop a set of 'visual grammar' of depicting the non-Han. Casting new light on a spectrum of gendered themes, including femininity, masculinity, sexuality, love, body and clothing, the thesis examines how the power constructed through gender helped to define, order, popularise, celebrate and imagine possessions of empire. In order to examine the visual transformations of images of non-Han, this study places the Miao albums and modern photographs side-by-side for comparison, revealing the different ways of seeing ethnic minorities when Han Chinese gender norms were de/reconstructed. The insights into the visual codes of gender also aim to place Chinese imperial models in a cultural context, testing how well the case of China fits into theories of empire generated mainly from European models. This thesis asks how imported imperial tools, in particular European technology and the science of human variations, were localised within the conceptualisation of nations in modern China. It also considers the relationship between text and image in historical analysis, uncovering the values of images to historians in novel ways. By taking an interdisciplinary approach, the thesis aims to contribute to the fields of gender, visual culture and imperial studies.

Esta dissertação aborda a narrativa visual gráfica da revista Bravo! na perspectiva dos Estudos da Cultura Visual. Considera a maneira como estão articuladas as linguagens verbo-visuais no planejamento gráfico da revista, como ela se relaciona com seu público leitor nas diversas instâncias da sua atuação na vida cotidiana e as diferentes maneiras como é vista e percebida tanto no seu contexto de comercialização quanto no universo educacional. Através da análise de seis capas, reflete como a articulação dos elementos visuais constroem conceitos de identidades culturais e como estes se referem à cultura brasileira. Neste contexto, o autor formula diversos questionamentos em relação ao universo da revista, como, por exemplo: Que papel elas representam nos meios de informação? De que maneira os suportes digitais se relacionam e influenciam o design visual das revistas? Como os periódicos estão inseridos no cenário urbano contemporâneo? E, ainda, de que maneira as narrativas do design gráfico contemporâneo estão articuladas e produzem pedagogias do ver? Esta pesquisa se utiliza também das imagens para compor o seu conteúdo, no sentido de que elas auxiliam a construir esta narrativa. / This study discusses the design and visual narrative of the Bravo! magazine according to the conceptual framework of Visual Culture Studies. It focuses on how verbal and visual languages articulate in its graphic design, how design relates to its readership in the different instances of their daily activities, and how it is seen and perceived in commercial and educational contexts. The analysis of six magazine covers shows how the articulation of visual elements builds concepts of cultural identity and how they relate to Brazilian culture. Several questions are raised and discussed: What role do magazines play in media? How do digital supports relate to and affect the visual design of magazines? How are magazines inserted into contemporary urban scenarios? Finally, how do contemporary graphic design narratives articulate and produce forms of teaching how to see? Magazine pictures that support the construction of this narrative are also used to develop this study.

A pesquisa tem como foco a discussão das visualidades encontradas e, principalmente, produzidas no/do/com o cotidiano escolar, e suas relações com os currículos. O estudo se desenvolveu, tomando como base, o registro e recolhimento de dados a partir da nossa prática docente no ensino de arte, numa escola municipal do Rio de Janeiro. A escolha da problemática deste estudo surgiu do desejo de discutirmos as experiências vividas cotidianamente nos espaçostempos da escola, e de refletirmos em torno dos posicionamentos dos sujeitos deste contexto, frente às fissuras epistemológicas e conceituais que aí se apresentam. O debate em torno dos currículos vigentes e os praticados estão inseridos nesta investigação, trazendo à tona as imposições oficiais e as tessituras captadas nos entrelinhas dos cotidianos. As imagens que cercam este espaço, tanto as criadas quanto as que invadem tal cenário, são discutidas aqui quanto ao seu potencial emancipatório. Abordamos os desafios encontrados no exercício do ensinar/aprender na perspectiva contemporânea, levando em consideração as múltiplas identidades que transitam poeticamente na escola e as subjetividades que as caracterizam. Buscamos, ainda, incentivar as relações dialógicas com os docentes e suas atuações no campo escolar, acreditando que é na prática, e na reflexão sobre ela, que nos formamos enquanto educadores / The research focuses on the discussion of visualities found and produced in/of/with the school quotidian and their relations with the curriculum. The study was developed based on the recording and gathering data from our teaching practice in teaching art in a public school in Rio de Janeiro. The choice of the problem of this study arose from the desire to discuss her experiences daily in spacetimes of school, and reflect around the positioning of subjects in this context, forward to the epistemological and conceptual cracks that are presented. The debate around the current curriculum and practiced are included in this investigation bringing up the official charges and tessitura captured in the lines of everyday. The images that surround this space, both created and those that invade such a scenario are discussed as to its mancipator potential. We address the challenges encountered in the exercise of teaching / learning in contemporary perspective, taking into account the multiple identities that transit poetically in school and subjectivities that characterize them. We also seek to encourage dialogical relations with teachers and their performances in the school field, believing that it is in practice, and reflection on it, we graduated as educators

The Master's thesis is associated to the research line 'Education and Arts' of the Post-graduation Program of Studies on Education in the Federal University of Santa Maria/RS. Therefore, the present thesis is aimed at investigating how teachers perceive the world of visual culture in the municipal school Elementary School Valentine Bastianello (school of nucleum) in the town of Dilermando de Aguiar - RS. The methodology was qualitative, marked by Investigation Based on the Arts - IBA. Thus, data were gathered through semi-structured interviews and narratives from images, beside of a field diary. The theoretical background of the research was constructed from the conceptions by Efland; FREEDMAN and Stuhr (2003); FREEDMAN (2006), Hernández (2000; 2006; 2007; 2008); MIRZOEFF (2003); BREA (2005); MARTINS (2008) and DIAS (2008). These authors disscuss the importance of the debates on visual culture in the curricula, the argument of this relationship in planning, teaching, and finally the relevance of the images and interpretations of visual representations. / A referida dissertação de mestrado está vinculada à Linha de Pesquisa de Educação e Artes do Programa de Pós-Graduação em Educação da Universidade Federal de Santa Maria/RS. Concebe como objetivos investigar como as educadoras percebem a cultura visual no universo da Escola Municipal de Ensino Fundamental Valentim Bastianello (escola-núcleo), no município de Dilermando de Aguiar - RS. A metodologia caracterizou-se por uma abordagem qualitativa, balizada pela Investigação Baseada nas Artes (IBA). Os dados foram agrupados por meio de entrevistas semi-estruturadas e narrativas a partir de imagens, além do diário de campo. O marco teórico da pesquisa foi construído a partir do diálogo com autores como EFLAND; FREEDMAN e STUHR (2003); FREEDMAN (2006); HERNÁNDEZ (2000; 2006; 2007; 2008); MIRZOEFF (2003); BREA (2005); MARTINS (2008) e DIAS (2008), os quais discorrem acerca da importância da discussão da cultura visual nos currículos, da discussão desta relação nos planejamentos de ensino, e finalmente a relevância das imagens e as interpretações das representações visuais.