Professional Documents
Culture Documents
ABSTRACT
679
Educ. Pesqui., So Paulo, v. 41, n. 3, p. 679-694, jul./set. 2015.. http://dx.doi.org/10.1590/s1517-97022015051839 9
O ensino de arte na educao de jovens e adultos: uma
anlise a partir da experincia em Cuiab (MT)
RESUMO
680
Educ. Pesqui., So Paulo, v. 41, n. 3, p. 679-694, jul./set. 2015.. http://dx.doi.org/10.1590/s1517-97022015051839
Introduction accompanies the very evolution of man. It
is at school that the young and the adult
This article presents the results of people will socialize their experiences,
a Master's degree research developed at the develop new skills and learn new concepts
Post-graduation Program in Education of and theories that will accompany them
the Federal University of Mato Grosso, in throughout their lives. Since most of these
which we seek to understand how students already have a wide experience of
pedagogical practices happen in teaching life, they will be able to exchange
art in a class of students in the Youth and experiences with each other, socializing
Adult Education Center (CEJA) in Cuiab, and building knowledge.
Mato Grosso, and concepts underlying
those practices developed in art classes. As Pedagogical practices in art in
methodological procedure, the study was adult education
based on qualitative research, descriptive
and interpretative approach. By this way, The education of young people
we seek to carefully observe and portray and adults in Brazil has constituted, over
the perspective of the subjects, obtaining the recent years, an important form of
descriptive data in direct contact with the education that seeks to confront the social
researcher who studied the situation, which inequalities and school exclusion. In this
favored the understanding of the central sense, school has been an important mean
issue of the study. for the inclusion of those young people
Data collection and analysis tools and adults who, for several different
used in this research were: I) interviews 1 reasons, were unable to start or continue
recorded with students of youth and adult their studies in basic education.
education, which were later transcribed; II) The student diversity present in
written record of the lessons observed adult education, consisting of different
during art classes in the field book and ages, professions and life experiences,
through visual records of the practices of provides a pedagogical and more flexible
the teacher and artistic work of students; curriculum model, in order to fully meet
III) analysis of documents such as the the learning needs of the young and
Pedagogical Political Project (PPP) of the adults. This flexibility can be expressed
surveyed school; lesson plans art teacher, as:
and Resolutions regarding the legalization
of adult education in Brazil and in the State [...] Combinations of classroom
of Mato Grosso. teaching and non-presence in a tune
The article is divided into two with themes of everyday life of the
parts. At first, we seek to present the most students so that they can become
generator elements of a relevant
significant analyses of pedagogical
curriculum. (BRAZIL, 2000, p. 61).
practices used by the art teacher, in order
to reveal how it develops teaching and For Di Pierro (2005), it is
learning of art with a group of Youth and important to the education of youth and
Adult Education (EJA), a high school adults develop next to autonomy from
segment in Cuiab, Mato Grosso. Then we socio-cultural changes more frequent
present the analysis of the conceptions of nowadays, having in the right for
the youth and adult education students education its most important tool for
about art. In this second part, our intention democratization. In this sense, not only
was try to understand which conceptions seeking the right for a quality education,
involved in the survey they had about art but the recognition that young adults are
and how the pedagogical practices used by important subjects of education.
the teacher are justified. From this, education is
The artistic expression indispensable for the exercise of
681
Educ. Pesqui., So Paulo, v. 41, n. 3, p. 679-694, jul./set. 2015.. http://dx.doi.org/10.1590/s1517-97022015051839
citizenship, cultural education and critical experience, important for the process of
sense of the individual. In this reflection, teaching and learning and hence for
according to Paiva (2007), youth and building knowledge. Reflections regarding
adult education does not become just a these related to art education in Youth and
right but an emancipation of human Adult Education instigate us to search for
development for participation in society it in education.
as citizens. During the teacher of art classes
On the other hand, the main EJA- 2
of this discipline, we observed that their
related problems such as truancy, which pedagogical practices with the class of
causes the non-permanence of the student Youth and Adult Education were based
in school, cannot be considered specific on the triangular proposal for teaching
problems in adult education, because it is art. Constant images, videos and
something relevant to the entire Brazilian biographies of visual artists were showed,
basic education (CANDA 2012). We think contextualizing art history topics for
that, in order to understand the generally reality of the young and adults and
low self- esteem present in these students, leading them out of the classroom to
a deeper reflection about the social realize the artistic practice. In other
conditions in which they are is required. words, students were the works of art
So we understand that art classes after the teacher had contextualized the
can be timely spaces for youth and adults content in the classroom or in the video
work "disinhibition, low self-esteem, body room. They used since artistic traditional
awareness and the cultivation of sociality" materials such as brushes, paints and
(BRAZIL 2000, p. 61) as they are subjects pencils to materials such as stones, sand
that present different levels of learning, and plants in artistic production.
which must be observed by the teacher. To Contextualize, read and do.
School exclusion is only one way This is the proposal for teaching art in the
of denying the right of the young and design of the triangular proposal, which
adults to know and experience the effectively seeks to build knowledge in
universal artistic experience, called by art and is quite emphasized by the teacher
Canda (2012) aesthetic illiteracy, which during lessons with the class of adult
refers to no contact or access of the education. From the 90s to the present
individual to different art forms. Thus, the day, this proposal is proving to be the
author contributes by saying: main trend for teaching in Brazilian
schools. Systematized in the late 1980s
The spaces for the production and and put into practice at the Contemporary
artistic enjoyment have been historically Art Museum of the University of So
denied to the popular classes. On the Paulo, in the period between 1987 and
other hand, we consider that training for
full cultural experience encourages the
1993, it has as main objective to meet the
appeal and the appreciation of the real needs of learning and knowledge of
artwork, as a set of symbolic and the art student through making art
cultural knowledge. (CANDA, 2012, p. (creation/production), analyzing or
16). decoding (reading images/ appreciation)
the artwork and dealing with the context
Therefore, we understand that the or information (art history/context)
school environment can offer opportunities (BARBOSA, 1988). That's why one of
for appreciation and artistic production to the goals of this research was also to
the youth and adult education, as long as it understand whether the practices used by
has contact and access to different artistic the teacher are based on the proposal.
languages. Another condition is that the
teacher and the school can offer the student
the opportunity to go through the aesthetic
682
Educ. Pesqui., So Paulo, v. 41, n. 3, p. 679-694, jul./set. 2015.. http://dx.doi.org/10.1590/s1517-97022015051839
The Triangular Proposal derives from a States, based on interference with the
double triangulation. The first is environment in the production of the
epistemological, to designate the work of art. These procedures were
components of teaching/learning for contextualized by the teacher in previous
three basic actions mentally and lessons for the implementation of
sensory, which is: creation (art
sculpture. Therefore, it is important to
making), reading of the art work and
context. The second triangulation is the emphasize that the procedures are varied,
genesis of systematization itself, implicitly present in the elaboration of a
originated in a threefold influence, work "and also unusual, especially when
swallowing three other epistemological it comes to contemporary art, crossing
approaches: the Mexican Escuelas al boundaries between languages"
Aire Libre, English Critical Studies and
the movement of aesthetic appreciation
coupled with the American DBAE
(Discipline Based Art Education).
(BARBOSA, 1998, p. 33-34).
687
Educ. Pesqui., So Paulo, v. 41, n. 3, p. 679-694, jul./set. 2015.. http://dx.doi.org/10.1590/s1517-97022015051839
Arts is organized inter-relating the art liked more in regard to artistic languages:
making, art appreciation and art
history. None of the three areas alone Music. Enough!
corresponds to the epistemology of art (H7) Music. (J6)
(BARBOSA, 2012, p. 33).
I like music! (L9)
It is therefore necessary that this
knowledge is related to learning the art Music, dance, cinema ... (M1)
forms based on dimensions of reading,
process of making and contextualization. Speaking of dancing, I was born dancing
By building knowledge on art, which also ... My brother ... that is my foster-father,
involves understanding artistic styles, who... my father left too early, then
artists, materials and technical procedures he,10 years older than me, he took me as
used throughout art history, students of his son. So he was a born dancer of our
YAE can learn to perceive, think, analyze regional music, so ... we lived music
and distinguish the world around them, indoors, so we like a lot of dancing.
expanding its playability of reality. Today I learn, because I never had art
The different representations of class so when a kid, and now back in
art in the social environment raise and the classroom I'm heading out the art,
influence the design that young people studying modern art, such as cubism,
and adults have on art. We know that expressionism ... so things are new to
students live in an imagery society. The me, but what I'm loving it, too, but the
image of different languages invade their stronger the same dance. (O9)
homes, work, in short, it is present almost
anywhere, because they have a great My music and cinema ... I do not live
power of representation, influence the art without cinema! (R3)
concepts formed by young people and
adults. When they get to school, they Music ... (R6)
bring these pre-formulated concepts
according to their experiences with visual Music, but the teacher does not work. I
culture. like theater nowadays ... (V5)
Nowadays, the young and the
adults are faced constantly with various The speeches of the students
forms of languages such as verbal have left us surprised because, although
imagery (design, for example) among the music is present in people's lives not
many others, important for human only as an artistic and cultural event, but
communication, which will be examples also as a leisure, almost all young people
of how it can convey ideas, concepts and and adults responded that they liked
information to each other. music, one of the languages the teacher
In this sense, language is directly did not work during art classes observed,
linked to the act of communicating with even if their training is in this setting. It
each other, transmitting information and was also not found in teacher planning
experiences that can be individual or any topic related to music. Therefore, we
collective. From this, art plays an can say that she would hardly work with
important role in society to be the this language during the period of
language that expresses and transmits classes, even students having shown
more information and directions to interest on this language, as the hours of
people, because of the diversity of discipline at school was greatly reduced
languages and existing artistic procedures compared to other curriculum subjects
in their field of knowledge. school.
So, we asked students what they
688
Educ. Pesqui., So Paulo, v. 41, n. 3, p. 679-694, jul./set. 2015.. http://dx.doi.org/10.1590/s1517-97022015051839
The absence of this language school curriculum addressed virtually
was recognized by the student V5, who practical classes, students today are
declared that the teacher did not work surprised when classes take other codes
with music during art classes, which such as writing, for example. It is then
showed how much students are necessary that the teacher knows how to
aware of the pedagogical work of the handle this situation by proposing
teacher in the classroom. dynamic, creative and interesting
It is known that there are many classes, so that students do not continue
languages of art that are imposed as to think that art class is just practice.
important for the school to prioritize. But
it is important that this is done in detail When she shows us videos. (M1)
and in their specificities (IAVELBERG,
2003), even knowing, from the speeches To paint. (S2)
of the students and the observations in
loco carried out in the field of research, According to their reports,
students had contact primarily with students like most to paint, perhaps
drawing and painting. When they were precisely because painting is the language
asked about what they liked to do in art most used by the teacher during class. For
classes, young people and adults some students, such as E1 and M1, they
described: prefer watching videos, which were the
times when the teacher contextualize the
I like to paint ... In her classes, I think it's subject worked in the classroom, showing
pretty cool. (C3) students pictures and information about
the history of art.
Watch a video and do a work after the Then we ask the young people
video is very good. (E1) and adults about what they did not like to
do the art classes. The responses were as
I love watching the videos. follows:
(J2)
To draw. (E1)
Painting is very cool! (K8)
Regarding the fact of drawing,
I like painting! (L9) we realize that in some classes, because
Ah ... Draw. (J6) they have alleged that the teacher could
not draw, it was avoided practicing such
I do not like to write, no. Art class is activity, performing it just as leisure
something of arts. (L5) outside of school, as might be found in
their speech. Often this type of the
Copy matter. Copying I do not students reaction of, especially when
like. (R3) Write. (R6) dealing with practical classes because
they require skills to develop certain
The same part of the design. activities. However, for art education
(S2) Draw it. (T4) what matters is not whether the student
draws or does not draw, if he knows or
More than half of the students not how to perform certain artwork, but
said not to like drawing and writing. if he can learn and develop his cognitive,
Also understand that being art class, do aesthetic and cultural training.
not need to be committed to writing, but Even those students who spoke
its practical class. It turns out that, as a that do not draw anything are able to
historical problem, in which art in the learn to look at a work of art, learn to
689
Educ. Pesqui., So Paulo, v. 41, n. 3, p. 679-694, jul./set. 2015.. http://dx.doi.org/10.1590/s1517-97022015051839
raise questions about the work, such as: opened. (O9)
how the artist made the work? What
time is it? Simply launch this learning, Yes, I attend. I am a member of Chorinho
take the first step. You need to enable here, here the Choro Club, attend the
the young to adult learning and Chorinho weekly play there too. Play
knowledge of art. guitar, percussion ... (R3)
You can teach like to learn art
with art itself (IAVELBERG, 2003). The film, yes ... I love to listen to music.
Thus, to promote better conditions of (R6)
human life in the natural and social
environment. So it is necessary that the Yes. All of what there is at SENAI, the
young adult has contact with art, to have Pantanal events, always when there is
the opportunity to make artistic some exhibition at the mall. (S2)
experimentations, which can learn and
know the art by practice and reading, and I go to the movies with my colleagues,
not just watching. But to do so, there my friends. (T4)
must be adequate space for the
development of artistic practice. I got to go to concerts ... like theater too.
The school must provide the (V5).
young and the adult not only the
construction of knowledge in art, but also Most students attend cultural
enable the expansion of this knowledge, and artistic events, especially concerts.
to visit art museums, exhibitions of However, we had the attention called to
artists, diverse cultural expressions, the fact that nobody mentioned places
among many others. In this sense, he was like museums or art exhibitions.
asked students if participating in cultural Art is theory. Art is practice.
and artistic events: Art is an aesthetic wonder that produces
knowledge. Therefore, the artistic
I go to cinema. (E1) knowledge enables cognitive skills
throughout life (QUADROS, 2013).
Attend. ... Dance theater cinema ... Regarding the young and adult, these
concerts... for sure! (H1) experiences are unique of their
experiences accumulated over their
Only concerts. (I7) lives. Thus, it is because art is present in
different forms in society that proved
I'm going to take my children ... I'm going relevant to know and understand how it
to the movies with them. (J2) interfered and was manifested in the
lives of young people and adults during
Yes. Often ... Concerts, enough. (J9) art classes.
BARBOSA, Ana Mae. A imagem no ensino da arte: anos 1980 e novos tempos. 8. ed. So
Paulo: Perspectiva, 2012.
1 - The interviews with the subjects in this study met the ethical procedures established for
scientific research, respecting their anonymity.
2 - The teacher holds a degree in art education, major in music. It is effective teacher in the
state of Mato Grosso 18 years ago, 15 of those dedicated to Youth and Adult Education.
Gustavo Cunha de Arajo Master's Degree in Course Education from the Universidade
Federal de Mato Grosso and graduated in visual arts from the Universidade Federal de
Uberlndia. Brazil.
693
Educ. Pesqui., So Paulo, v. 41, n. 3, p. 679-694, jul./set. 2015.. http://dx.doi.org/10.1590/s1517-97022015051839
This is an Open Access article distributed under the terms of the Creative Commons
Attribution Non-Commercial License, Which permits unrestricted non-commercial use,
distribution, and reproduction in any medium, provided the original work is properly cited.
694
Educ. Pesqui., So Paulo, v. 41, n. 3, p. 679-694, jul./set. 2015.. http://dx.doi.org/10.1590/s1517-97022015051839