Orientador: Rogério Adolfo de Moura / Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-08-25T12:53:19Z (GMT). No. of bitstreams: 1 Silva_FernandaRobertaLemos_M.pdf: 4133577 bytes, checksum: 43eb8ccec909a4a1a9ee29235128d3d3 (MD5) Previous issue date: 2014 / Resumo: A partir da minha experiência como arte-educadora de Teatro na Fundação Casa busquei questionar: Qual a compreensão e o sentido atribuído ao trabalho do arte-educador ( professor de teatro) em centros socioeducativos? Realizando entrevistas semiestruturadas com arte-educadores ministrantes de oficinas de teatro, em Centros socioeducativos integrantes do "Projeto Arte para todos", coordenado pela ONG GADA (Grupo de Amparo ao Doente de AIDS) parceiro da Fundação Casa em Ribeirão Preto SP e para ampliar o escopo dessa pesquisa também entrevistei jovens egressos. Através da narrativa dos sujeitos entrevistados, essa pesquisa teve como objetivo analisar aspectos do trabalho do arte-educador nesse espaço de cumprimento de medida socioeducativa, e os enfrentamentos do trabalho com arte-educação nesse contexto. Foram utilizados nesse trabalho como material de apoio, os relatos do desenvolvimento de oficinas teatrais realizadas em centros socioeducativos (por mim desenvolvidos) bem como os textos teatrais criados pelos adolescentes, enriquecidos por registros fotográficos e relatos de ex-alunos, referentes à participação na oficina de teatro. A descrição dos processos teatrais realizados com os adolescentes propiciaram por um lado a problematização no âmbito e no campo da arte-educação e em parte da pedagogia teatral, mas também possibilitaram estabelecer relações com o ainda incipiente processo de profissionalização das profissões sociais como a educação social. Pode-se constatar nessa pesquisa contradições entre a experiência dos arte-educadores (a minha e dos arte-educadores entrevistados) nos Centros e a proposta de Arte e Cultura da Fundação Casa, no sentido de como essa se transforma em atividade prática. No relato dos entrevistados houve indícios de que práticas estéticas e artísticas possibilitadas pela arte teatral apontam que o trabalho do arte-educador com jovens em conflito com a lei cria subsídios para que arte , resignifique o espaço de trabalho dos centros socioeducativos embora os processos teatrais vivenciados por esses jovens são intermitentes / Abstract: From my experience as art educator in home theater at Fundação Casa sought to question: What is the understanding and the meaning attributed to the work of art educator ("Acting teacher") in socio-educational centers? Conducting semi-structured interviews with art teachers ministering to theater workshops in socio-educational centers that integrante the "Arte para todos" (Art for All), coordinated by the Ong GADA ( Group of Support to Sick of AIDS) which is a partner of Fundação Casa in Ribeirão Preto SP, and to enlarge the scope of this survey also interviewed young inmates . Through the narrative of the interviewees, this research aimed to examine aspects of the work of art educator in space under socio, and clashes of working with art education in this context. Were used in this study as support material, reports the development of theatrical workshops on socio-educational centers ( developed by me ) as well as dramas created by teenagers , enriched by photographic records and accounts from former students , relating to the participation in the workshop theater . The description of the theatrical process conducted with adolescents propitiated by a hand under the questioning and the field of art education and part of Acting pedagogy , but also enabled establishing connections between the yet incipient process of professionalization process of social professions such as Social education . Contradicitions between personal experience of art-educators from the Centeres (mini and the interviewed¿s) and the propositions from Fundação Casa¿s Art and Culture, in the sense of as how to put it to practice, were made noticed. In reporting respondents were indications that aesthetic and artistic practices afforded by theatrical art show that the work of art educator with youth in conflict with the law creates subsidies for art , resignifique the workspace of youth centers although the theatrical processes experienced these young men are intermittent / Mestrado / Educação, Conhecimento, Linguagem e Arte / Mestra em Educação

Orientador: João Francisco Duarte Júnior / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-19T14:24:05Z (GMT). No. of bitstreams: 1 Goncalves_EdsonAntonio_M.pdf: 18997944 bytes, checksum: 2088f44ef38ed6c46231aedcfb578860 (MD5) Previous issue date: 2011 / Resumo: A intenção deste trabalho pode ser justificada em sua essência: uma experiência em arte-educação. Ele destaca propostas de atividades com metas realistas, mais próximas ao universo do aluno e que possam ser realizadas dentro da sala de aula. Neste sentido, a educação (do) sensível - estimulada pela experiência e observação estreita do nosso cotidiano, a contemplação da natureza e a simbiose com vivências e pesquisas oferecidas pela Cultura Popular - demonstrou ser forte aliada. Os procedimentos foram cruciais para facilitar a aprendizagem conceitual e para despertar o interesse na produção de esculturas nas aulas de artes. O desenvolvimento de obras tridimensionais com os alunos do Ensino Fundamental parecia ser um grande desafio, uma vez que estamos cientes da falta de equipamentos apropriados e espaços adequados para tal prática. A confecção dos bonecos gigantes constituiu a provocação necessária para despertar o interesse dos educandos, e a oficina de artes realizadas no âmbito da Escola CEFI (Centro de Educação e Formação Integrada) facilitou o desenvolvimento do processo. A prática da reciclagem de materiais de uso diário descartados, por meio de obras em assemblage, permitiu não só sensíveis encantos, mas também refinou a sensibilidade estética dos aprendizes. Além disso, gerou consciência e respeito ao meio ambiente. Estimulou iniciativas de conservação e preservação. O entendimento da Cultura Popular, conseguida através deste projeto, transformou uma ação pedagógica, inicialmente restrita ao ambiente de uma escola, em um compromisso prazeroso com a sociedade. Este processo possibilitou o retorno dos Bonecos Gigantes ao Carnaval de Atibaia, que há vinte anos haviam desaparecido. Houve grande apelo emocional e desenvolvimento mútuo. Os alunos produziram esculturas que reuniram o público no centro da cidade, onde puderam interagir e se complementar: obras e espectadores / Abstract: The intention of this work can be justified in its essence: it is an experiment in art education. It highlights proposals of activities with realistic goals, closer to the student's universe and that can be undertaken within the classroom. In this sense, sensitive education - stimulated by the experience and close observation of our everyday life, the contemplation of nature and the symbiosis with experiences and research offered by popular culture - was a strong ally. The aforementioned procedures were crucial to facilitate conceptual learning and to awaken the interest in the production of sculptures in art classes. The development of three-dimensional works with students in elementary school seemed like a great challenge for us, given that we are aware of the lack of appropriate equipments and suitable spaces for such practice. The confection of giant puppets was the teaser to awaken the student's interest, and the arts workshop carried out within CEFI School (Center for Integrated Education and Training) has facilitated the development process. The practice of recycling materials of daily use, by means of works of assemblage, resulted not only in sensitive enchantment, but also raised the aesthetic sensibility of the apprentices. Furthermore, it advanced awareness and respect for the environment and encouraged conservation initiatives. The understanding of popular culture achieved through this project transformed a pedagogical action, initially restricted to the ambient of a school, into a pleasurable engagement with society. This process also recovered the Giant Puppet Carnival at Atibaia, that disappeared twenty years ago. There was great emotional appeal and mutual development. The students produced sculptures that met the public in the city center, where they interacted and complemented each other: works and spectators / Mestrado / Artes Visuais / Mestre em Artes

This study presents Aboriginal artists' perspectives on the study of Native art in the school curriculum. The case study is a naturalistic inquiry that employs ethnographic techniques to interview nine Saskatchewan artists, five females and four males. Overall, the artists agree on having Native art content in school programs, especially for Native students. All the artists believe that Aboriginal peoples should be involved in the definition and presentation of their art in the school curriculum. The artists show that content, and materials, may or may not be traditional. The artists prefer an observing and modelling approach to teaching bead and leather work, and to teaching drawing and painting. The male artists, primarily, support a research approach for studying the vast, diverse, and complex art of indigenous peoples. As well as learning about the art, the artists stress learning from the art including history, ecology, and about art from a non-Western perspective. The words, stories, and views of all the artists emphasize that art is a dynamic part of Aboriginal peoples' lives and cultures; one which they are willing to explain and share. Native art is a rich resource for school curriculum. It is a resource that must be and can be shaped by Aboriginal peoples. / Education, Faculty of / Curriculum and Pedagogy (EDCP), Department of / Graduate

Orientador: Márcia Maria Strazzacappa Hernández / Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-08-18T11:29:00Z (GMT). No. of bitstreams: 1 Leiria_LiviaRodriguesPinheiro_M.pdf: 2564692 bytes, checksum: 28a40548683e0e67425592ebe1fdef3d (MD5) Previous issue date: 2011 / Resumo: A presente pesquisa teve como objetivo compreender qual a contribuição da Arte de contar histórias no processo de formação continuada de professoras do Ensino Fundamental da rede estadual do Estado de São Paulo. Foi desenvolvida por meio do oferecimento de uma oficina de formação de "narração de histórias" a um grupo de professoras, na qual foi dada a oportunidade de pensarem sobre a arte de contar histórias e as suas possibilidades em sala de aula. O grupo-sujeito da pesquisa era formado por professoras (todas mulheres) que lecionam na cidade de Campinas, nas séries iniciais (1º ao 5º ano) do ensino fundamental. A oficina foi composta por oito encontros de três horas cada, por mim dirigida. Na oficina buscou-se: sensibilizar as professoras para a arte de contar histórias, utilizar os recursos cênicos para trabalhar a expressão corporal, oferecer às participantes oportunidades de reflexão e estudo sobre as obras literárias e os contos populares e como trabalhar com os mesmos em sala de aula, proporcionar momentos de criação e descoberta de si e do outro, usar diversas linguagens (desenho, música, dança entre outras) como forma de manifestação de ideias e sentimentos. A pesquisa pretende relatar e analisar o percurso desse grupo de professoras por meio dos relatos e entrevistas recolhidas, como também através dos registros do diário de campo, buscando evidenciar as mudanças ocorridas neste processo do trabalho na oficina oferecida, e os possíveis desdobramentos dessa prática nas atividades em sala de aula ou na relação professor-aluno. / Abstract: The study observed the possible benefits that the storytelling art might have had on the ongoing training process of teachers in the São Paulo elementary education public system. A storytelling workshop was offered to a group of teachers; the main goal was to have the teachers reflect upon the different possibilities of implementing storytelling in the classroom. The study group was composed by educators (all females), who taught at the elementary level (1st to 5th grade) in the city of Campinas. The storytelling workshop had eight meetings and each meeting lasted three hours. I personally conducted all the meetings. The main targets of the workshop were: to help the teachers create an awareness of the storytelling art; to utilize artistic resources to develop body expression; to offer the participants the opportunity to reflect on and to study literary pieces and popular tales; to discuss strategies to incorporate the literary pieces and the popular tales in the curriculum; to offer experiences that developed creativity, self discovery and the discovery of others; to use various communication channels (drawing, music, dance, and others) as ways to express ideas and feelings. This research focused on narrating and analyzing the trajectory of the subject group throughout the workshop meetings. Data was collected via interviews, spontaneous observations, and journal entries. The study tried to identify the progress and changes in the teachers as a result of the experiences they had in the workshop, and the possible implications that these changes might have had in the classroom instruction and in the teacher-student relationship. / Mestrado / Educação, Conhecimento, Linguagem e Arte / Mestre em Educação

Orientador: Silvana Barbosa Rubino / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-27T06:19:41Z (GMT). No. of bitstreams: 1 Paz_RaissaAlvesColaco_M.pdf: 4624279 bytes, checksum: 14f36d0ad14fea392bf772a1e05f4696 (MD5) Previous issue date: 2015 / Resumo: Frequentemente se considera que as décadas de 1940 e 1950 em Recife foram de "efervescência cultural" e de "intenso movimento artístico", tendo como base tanto a grande quantidade de material sobre atividades artísticas que supostamente estariam ocorrendo nessa cidade, quanto o conteúdo dele, o qual em parte advoga explicitamente essa ideia. Contudo, esse procedimento utilizado para "constatar" determinadas experiências deixaram de problematizar quais os sujeitos, grupos e instituições que divulgaram essa ideia. Desse modo, este trabalho procura acompanhar as discussões empreendidas naquele momento sobre as artes plásticas a partir do estudo da trajetória de uma organização que reuniu alguns artistas, o Atelier Coletivo da Sociedade de Arte Moderna do Recife. Nesse intento, alguns temas se mostraram fundamentais para o entendimento daquele cenário: arte moderna, regionalismo nordestino, folclore, educação artística, educação popular, práticas arquivísticas e memória / Abstract: It¿s frequently considered that the decade of 1940 and the decade of 1950 in Recife were of "cultural effervescence" and "intense artistic movement", based upon both the large amount of material about artistic activities supposedly taking place in this city as well as its content, which in part explicitly advocates this idea. However, this procedure utilized to "verify" certain experiences failed to problematize which subjects, groups and institutions disseminated this idea. Thus, this work seeks to follow the discussions undertaken at that moment about the fine arts from the study of the trajectory of an organization that brought together some artists, the Society of Modern Art of Recife¿s Collective Atelier. In this intent, some subjects proved fundamental to the understanding of that scenario: modern art, northwestern regionalism, folklore, artistic education, popular education, archival practices and memory / Mestrado / Politica, Memoria e Cidade / Mestra em História

Orientador: Ana Angélica Medeiros Albano / Tese (doutorado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-08-27T13:17:54Z (GMT). No. of bitstreams: 1 Reyes_RoseHelena_D.pdf: 19938134 bytes, checksum: 11b97fdc7cd1bb24a5afd74a84626a53 (MD5) Previous issue date: 2014 / Resumo: A presente pesquisa consiste no relato de uma práxis pedagógica construída ao longo de 23 anos no âmbito do Ensino Fundamental, na Escola Casa Via Magia. É um relato da história de uma experiência de ritual de passagem com as crianças do quinto ano, último ano delas na nossa escola. Uma montagem de teatro que foi se tornando um drama ritual que busca favorecer as mudanças na vida dessas crianças nesse momento: crescer, mudar de nível escolar e de escola. Traz a memória dessa construção, uma reflexão sobre o tecer da metodologia e da cosmovisão desse trabalho de encenação, que inclui um diálogo entre os saberes, entre as artes e delas com as ciências, entre artistas educadores e as crianças, entre as crianças elas mesmas e de cada um consigo mesmo. Retoma certas referências do teatro contemporâneo e/ou experimental (Stanilavski, Artaud, Grotowski e Brook), da arte-educação de Read e da psicanálise (especialmente de Lacan e Freud, entre outros). Faz contato com a pesquisa antropológica de Lévi-Strauss, Van Gennep, Turner, DaMatta e outros, assim como contato com reflexões filosóficas, especialmente de Heidegger e dos estudiosos de sua obra. Em última instância trata-se de dar atenção aos encontros e despedidas de nossas vidas e do desvelamento do nosso ser, sempre ser-com. Um cuidado que a arte, a educação e a rede de afetos têm podido potencializar nessa experiência a ser compartilhada / Abstract: This research consists on the report of a pedagogical praxis built over 23 years within the framework of elementary teaching at Casa Via Magia Elementary School. It is a report of the history of a rite of passage experience with children of the fifth grade that are leaving the school. A theater production that became a ritual drama which aims to encourage changes in the lives of these children in this specific phase: growing, changing of school and educational level. It brings the memory of that construction, a reflection on the weaving of this methodology and the worldview of this staging work, which includes a dialogue between knowledges, arts, arts with sciences, between art educators and children, between the children themselves and each one with themselves. Reviewing certain references of contemporary and/or experimental theater (Stanilavski, Artaud, Grotowski and Brook), Read¿s art-education and psychoanalysis (especially Lacan and Freud, among others). Getting in touch with the anthropological researches of Lévi-Strauss, Van Gennep, Turner, Da Matta and others, as well as contacts with philosophical thoughts, especially Heidegger¿s and researchers on his work. Ultimately it is about giving attention to encounters and farewells of our lives and the unveiling of our being, always being-with. A well care that art, education and the network of affections have been able to enhance in this experience to be shared / Doutorado / Educação, Conhecimento, Linguagem e Arte / Doutora em Educação

Orientador: Jorge Luiz Schroeder / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-27T17:05:36Z (GMT). No. of bitstreams: 1 Cesca_SaraCecilia_M.pdf: 6884782 bytes, checksum: d7111f9589d15d512f06dc7e5caa22da (MD5) Previous issue date: 2015 / Resumo: A presente dissertação consiste numa proposta reflexiva em torno da invenção e da produção artística em diferentes contextos educativos mediante a apropriação teórica da estética da formatividade. Elaborada pelo filósofo Luigi Pareyson, os estudos da teoria da formatividade desvelam os problemas estéticos que circundam o processo inventivo e realizativo da obra de arte enquanto matéria formante. Para efetuar essa reflexão, apropriar-me-ei das observações concretas de L. Pareyson com o intuito de compreender e conceber de forma legítima o processo de produção artística presente nas práticas educativas musicais / Abstract: This essay consists in a reflexive proposal about the artistic invention and production in different educational contexts in coherence with the theorical appropriation of formativeness of aesthetics (teoria della formatività). The studies of the formativeness of aesthetics, elaborated by philosopher Luigi Pareyson, reveal the aesthetic problems involving the inventive process of art production in development. To make this reflection, I am going to use Pareyson¿s concrete observations to understand and conceive the process of artistic production found in music educational practices properly / Mestrado / Música, Teoria, Criação e Prática / Mestra em Música

In seeking to create a richer learning environment in a junior high art classroom, the author develops a theory of presence. Closely connected to object-centered learning, a theory of presence in the art classroom places value on students being in the presence of, interacting with, and responding to artworks, artists, and other individuals and objects from the visual arts community. The author then describes how curricular plans are influenced by this theory of presence. Using an action research methodology, the author engages in the spiral process of planning, acting, observing, and reflecting on curriculum that explores the possibilities of connecting students with objects, artifacts, and people that privilege physical interaction and presence. Guest artist visits, utilizing a local art museum, and other methods are explored as possibilities for this to be achieved.

For years now, students have been learning from two different types of teachers: Teachers who received certification from a traditional training program at a university and teachers who became certified through alternative certification routes. Does the educational preparation of an art teacher matter? Is alternative certification as effectual as traditional teacher preparation programs? Darling- Hammond (2006) says, "Evidence indicates that teachers who have had more preparation for teaching are more confident and successful with students than those who have had little or none." This thesis will examine and analyze alternative teacher certification in art education for the state of Florida, in a selected county in central Florida, and the traditional teacher certification program via a university path. I am choosing to base this study on my own program of study. I am on the path receive a Bachelor's degree through a traditional art education preparation program. This topic will be discussed by conducting a review of literature. Articles from scholars will be cited in order to provide evidence to support the conclusion that art teachers who are traditionally certified are better prepared for the art classroom than art teachers who attained certification via an alternative route. In order to carry out this investigation, an autoethnography will be included, which will include personal experiences, such as going through a traditional art teacher certification program, which is a four year Bachelor's degree in art education and observing art teachers who have completed different types of certification, leading me to the conclusion that traditionally certified art teachers are more prepared.

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