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The teaching of art in adult education: an analysis from the

experience in Cuiab city, BrazilI

Gustavo Cunha de Arajo1


Ana Arlinda de Oliveira1
1
Universidade Federal de Mato Grosso, Cuiab, MT, Brazil. Contacts:
gustavocaraujo@yahoo.com.br; aarlinda_oliveira@hotmail.com

ABSTRACT

This article presents the results of a Masters study conducted at


the Graduate Program in Education of Universidade Federal do
Mato Grosso, which sought to understand how educational
practices occur in the teaching of art in Youth and Adult
Education in Cuiab city, Mato Grosso state, Brazil, using
qualitative, descriptive and interpretative methodology.
Conceiving teaching in a constructivist perspective, based on the
triangular proposal for the teaching of art, which emphasizes
actual doing, reading and contextualization during the classes,
we observed how the teacher acted as a mediator in the
construction of the knowledge of Art. Such knowledge is
important as education is grounded on the construction of
knowledge, which is actually achieved by human activity and, in
this case, art. Although some young and adult students had
concepts of art that needed to be expanded, the teacher sought,
through the contact with the different artistic expressions, to
lead students to develop the concept that art is a human
production, that is, an object of knowledge which has been an
integral part of life since the dawn of mankind. She also sought
to teach that learning how to read, how to understand a work of
art, makes the students become competent readers who can
produce meaningful interpretations of the world around them.
Therefore, the concepts and practices of art produced by the
students are important, as they are constructions of knowledge
based on their life experiences.

Keywords: Teaching art; Youth and adult education;


Educational practices; Concepts of art.

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O ensino de arte na educao de jovens e adultos: uma
anlise a partir da experincia em Cuiab (MT)

Gustavo Cunha de Arajo


Ana Arlinda de Oliveira

RESUMO

O artigo apresenta os resultados de uma pesquisa de mestrado


desenvolvida no Programa de Ps-graduao em Educao da
Universidade Federal de Mato Grosso, na qual buscamos
compreender como acontecem as prticas pedaggicas no ensino
de arte na Educao de Jovens e Adultos (EJA) em Cuiab,
Mato Grosso. Como procedimento metodolgico, o estudo
fundamentou-se na pesquisa qualitativa, de carter descritivo e
interpretativo. Concebendo a docncia em uma concepo
construtivista, baseada na proposta triangular para o ensino da
arte, ressaltando o fazer, a leitura e a contextualizao durante
as aulas, observou-se como uma professora agiu como
mediadora na construo do conhecimento em arte. Esse
conhecer importante, pois a educao fundamentada na
construo de conhecimento e tem na atividade humana, neste
caso, a arte, a sua concretizao. Embora alguns jovens e adultos
tenham demonstrado conceitos de arte que necessitem ser
ampliados, por meio do conhecimento das diferentes
manifestaes artsticas, notou-se como a professora procurou
desenvolver nesses educandos a concepo de que arte uma
produo humana, ou seja, objeto de conhecimento que faz parte
da vida desde os primrdios da humanidade. Alm disso,
procurou ensinar que aprender a ler e a compreender uma obra
so aes que fazem dos alunos leitores competentes para
produzirem interpretaes significativas do mundo sua volta.
Portanto, as concepes e prticas produzidas pelos alunos
acerca da arte so importantes, pois so construes de
conhecimento baseados em suas experincias de vida.

Palavras-Chave: Ensino de arte; Educao de jovens e


adultos; Prticas pedaggicas; Concepes sobre a arte.

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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
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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
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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).

In this regard, we emphasize that


any "content of any visual and aesthetic
nature can be explored, interpreted and
operated through the Triangular Proposal"
(BARBOSA, 1998, p. 38), while also
allowing the teacher to research. Hence
justified the fact that the Curricular
Proposal in the State of Mato Grosso,
with regard to teaching art, is also built on
that proposal.
Humans have always used
images to represent the reality that
surrounds him, emerging hence the
relationship between art and reality.
Being young and adults creators, authors
of their works, we can say that from the
work done by adult education class, (COUTINHO, 2009, p. 179).
students were able to reflect a new human
reality.
Figure 1 - Sculpture of St. Benedict.
The artistic work of the students
surveyed showed the creative process of
From these reflections, we
each, giving rise to interesting works of
understand that the art work was a
art. An example is the sculpture of St.
dialogue and communication tool, in
Benedict (Figure 1), a contemporary work
which the student of the youth and adult
made from the theme of religiosity very
education could express his ideas,
significant aspect in the context of
feelings, emotions that once objectified,
cuiabania - term used to mark the identity
were socialized and shared.
of cultural expressions, ways of life and
During the classes, the teacher
values in the city of Cuiab, MT. It is a
told the students that art has several
unique, ephemeral work as contemporary
functions, including the denouncing, or
art allows, but drafted according to
toward the awareness of man in nature,
the technical procedures of the Land Art
so that it can preserve the environment
or Art earth - artistic movement emerged
in which it appears, meeting the Land
in the mid-twentieth century in the United
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Art. He also said that when there was the social and historical construction.
nature, the man did not exist. She (ALVARES, 2012, p. 44).
completed stating that the students
should see art among its various A very important aspect to be
languages, carefully, with a detailed look highlighted in the teacher practice was
and not lost. the fact of pointing out, even briefly,
The teacher also affirmed that art works by Brazilian artists during the
is part of students' knowledge, and today performance of work done by the
there is a very rich cultural heritage and students. In our view, this is very
preserved for people to see and know the important because it removes some
art of other times. She encouraged European hegemony so present in our
students to meet other themes and issues society. The art teacher should not only
related to the arts, even after finishing the enhance international artists, but also pay
classes because, according to her, art attention to artistic local, regional and
contents change during the school year. national production. It is a way of valuing
According to Coutinho (2009), the art produced in Brazil which,
mediation broadens the interpretation of incidentally, is very rich. Students need to
the work. Ie when new information - have that contact, extend this knowledge.
communication media, for example - are In Mato Grosso state,
socialized to people and when the specifically in Cuiab city, there are
mediator - the teacher, for example - great artists that stand out in the state,
suggests instigators issues that may be the country and abroad too, such as
significant to this guy on visual work, it Gervane de Paula, Nilson Pimenta,
helps to expand the interpretation and Clovis Irigaray, among others. These
knowledge of the work. artists were presented to the students by
In this sense, we believe it would the teacher, which shows the importance
be a rich and good opportunity for the the teacher gives the contextualization of
young and the adult people to enjoy and the art produced at the place where those
participate in an art exhibition held with young and adults are inserted, so that
their jobs, because they were the authors they can know and understand the art
of the works. It is also why we think not produced in their country.
only in spaces such as museums and On the other hand, it is
cultural centers for the youth and adult important to note that some texts worked
education student get access to. Yes, out by the teacher with the students of
these spaces are very important. But the the YAE, in our assessment, were
school can also offer this opportunity to superficial because it brought some
educate the art of socialization, since it incomplete or confused information
allows him suitable spaces for the about the themes and art content
realization and consequent exposure of discussed in class, such as Land Art,
these works, comprising not only the art Brazilian rock art and modern art, and
as a field of knowledge and discipline of some have not been read in the
the school curriculum, but the very work classroom. We observed that some
done by the young and adults. examples brought by the texts were
scored by the students, especially in
School, in the literate society, is an practical classes, as in Land Art, which
institution dedicated to the was a good thing.
development of the individual, and to Take texts to work with
promote the meeting of what is students, especially the young and the
universal in humans. All adults, is a way of instigating these
understanding, no matter how small it subjects to the importance reading can
is, related to artistic expression, is a
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have in their lives, but for that it is this was due to the fact that the discipline
necessary the teacher to make the of art has reduced working hours in the
student interested in reading and school curriculum, which can harm the
motivated to it. We believe that the students, making they lose the
reading habit can have cultural and opportunity to learn and expand their
family influence, but the student is the knowledge. Therefore, it is important to
center of learning and the teacher should give more attention to this subject in
be the mediator so they can perform school, since it is an area of knowledge
visual and textual readings that are and promotes knowledge construction.
critical and significant. Young and adult can learn to
On each class observed the appreciate an art work. The artistic
teacher had a different purpose. There knowledge is a learning that begins by
were times when she only worked with observing a work. Then stakeholders need
printed texts, but most of the classes to continue this knowledge seeking the
emphasized the artistic practice. There context of the work, author etc. We know
were also classes that were more that knowledge in art expands the
explanatory and other more questioning. understanding of the world and improves
In other words, it was not just what the the ability of expression. This happened
teacher explained, but also the when students created their original
questionings. Perhaps this explains why works such as the sculpture of St.
some classes do not have as much to do Benedict, very contemporary (Figure 1)
with each other. However, all should be and a good example of how the socio-
guided by a common point: relate the cultural context of the city was worked
topic to the earth issue, which was the into the school curriculum.
educational project worked by the school According to the work done by
in the quarter. Therefore, we believe it is the YAE students during art classes, we
important the teacher to question can say that basically all were drawers,
students about the art world, so that they which shows how this language is still
can feel motivated: prevalent in society and visual culture.
Even though drawings of observation,
[...] To question and find answers to imagination or memory, people still
questions about the artistic works from represent reality through this language.
our midst, their authors, viewers, with This observation leads us to say
a time-based context/regarding local that the design language historically in
and international space, can support the
visual culture is the basis for several
expansion and diversification of our
practical and theoretical repertoire
productions and contemporary visual
concerning the dimensions of the expressions - painting, printmaking,
artistic process. During the course of comics, graffiti etc. Hence its presence
these exercises analysis, comparison so strongly marked in the work of the
and contrast between Brazilian art YAE class, as it follows.
works of our region and other regions The output with the students to
and countries mobilize transformations perform most of the work guided by the
in our knowledge reaching new teacher made it possible to intensify
"levels" of understanding in the field of social interactions among all, and have
art and its history. (FERRAZ; the opportunity to search and use
FUSARI, 2010, p 141).
different objects for artistic production,
such as stones, sand, soil plants among
According to the teachers plan,
others, as it can be seen in figures 2 and
which was quarterly, it was noticeable
3:
that she did not include all the required
content for it in the period. We thought
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interviews made with the subjects of
this study, which were recorded and
transcribed.

What the Youth and Adult


Education students think
about art

The art education has an


important role to provide young people
and adults new experience, making
individuals better prepared to realize the
social environment in which they live
and learn to understand it and interact
with it, seeking an expanded
understanding of art and their different
languages.
While it essentially human, art
is produced at one time, context, culture
and society, which holds values,
concepts, emotions, meanings and
expression of the reality that surrounds
it. Therefore, it:

[...] Stimulates intelligence and


contributes to the integral formation
of the individual, without having the
focus on artistic training itself,
therefore it can be considered that art
arises as an important educational
Figure 2 - Working on Land Art 1. work for the human dimension.
(QUADROS 2011, p. 55).
Figure 3 - Work on Land Art 2.
The interviews with these
We also note that from the individuals revealed, among other
fact that the students carry a concepts, the art understood as human
significant life experience, they were knowledge and expression of feelings:
able to be more participatory in class.
The teacher looked beyond some It's a learning ... learning ... (I7)
works done in the classroom and,
establishing relations with the Expression. Way to express yourself.
student's reality, centralizing (R3)
education in their life stories, aimed at
contributing to the process of teaching Knowledge ... Knowledge about
and learning. everything, general. (S2)
To broaden the
understanding of the pedagogical Art is a way to express oneself. (T4)
practices used by the teacher and
uncover concepts that students of For me art is joy, is the way to express
YAE had about art, we will next the feeling we're feeling at that moment,
discuss, the significant analyses from sometimes moments of sadness,
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sometimes joy, it is the expression of practice and analysis of art in productions
joy. (O9) (FERRAZ; FUSARI, 2010).
When asked about what kind of
Art tries to convey to us joy ... I think knowledge in art is learned at school,
it's very important in the life of people, many of the students stressed the
on a daily basis. (R6) languages which they had contact during
their school life, with emphasis on the
Art is to express ... Any form, by drawing design and painting:
... (M1)
I learned to paint, learned to mix colors,
In these lines, we realize that it is also very cool, mix the colors I did
most students understand art as a way to not know before ... (C3)
express their feelings, and it is recurrent
the term joy in their statements, but also Many things ... I learned a lot of
as a way of knowledge, by emphasizing drawing, painting. (E1)
words like expression, knowledge and
learning. It is design ... (J6)
The art arouses different
sensitivities. It can awaken joy, sadness, Especially painting. The painting was
or even serve as a way and expression to for me the most interesting. It is one
denounce or criticize any social or more knowledge we got. To tell the
political event occurred in society. truth, you know the art by the colors, the
However, it is important to note that one primary colors and then you will ...
should not only conceive art as an drawing, highlighting more ... (J2)
expression of sensitive, as well as
clarifies Barbosa (2008), because, that Crafts, painting. (K8)
way, knowledge in the art will not be I learned that it's not just stand there
fully exploited. On the contrary, besides painting ... even a doodle is a work of
expressing sensitive, art should fully art, even people passing a brush there is
contribute to the cultural development of a work of art. (V5)
these students in the process of teaching
and learning. The statements showed an
Therefore, "art is seen as interesting aspect: more than half of the
language, expression, construction, students believes that the knowledge
knowledge" (FERRAZ; SIQUEIRA, learned in art school is related to some
1987) and as a feeling (READ, 1987). kind of artistic language experienced at
These conceptions are present in the school, such as drawing and painting,
speeches of the youth and adult education the latter being the language that teacher
students. In this reflection, art favored the worked more in art lessons with these
development of creativity, imagination students, despite their academic training
and critical sense of these important is in music.
subjects of education. In this sense it is important to
Finding out that the student has highlight that knowledge in art should
knowledge in arts, with regard to not be geared to learning the artistic
languages and artistic experiences, also languages without being related to
shows relevant to a good performance of making, experimentation and
the teacher, and to unveil how this information of art history, namely:
knowledge is being built in art classes. It
is also necessary to organize classes that [...] When I talk about art know, I talk
can address activities involving artistic about a knowledge that the Visual

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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
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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
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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.

I will ... Where have I go to the SESC Final considerations


Port has art there, dance, part art, music,
part art Conceiving teaching in a
... theater ... I'm always in theater, movie constructive concept based on triangular
theater . (J9) proposal for teaching art, the teacher
acted as mediator in the construction of
Certainly, I've been to several plays, I knowledge in art for the young and adult
already attended the theater of learners. This meeting is important
Universidade Federal de Mato Grosso, because education is grounded in
the Cuiab city movie theater when it knowledge production and has human
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activity, in this case the art and its understand the social environment in
achievement. which they live and interact socially,
The make of the YAE student is getting to know new and different
very important to building and languages and cultures. It is necessary to
expanding knowledge in arts that have contact with different artistic
develops gradually from the contact with expressions and make use of them for
artistic expression, for his aesthetic and different purposes.
cultural training. But for that, we need We found that students were
the mediation of the teacher, who able to produce significant and quite
can organize, prepare, analyze, present contemporary artwork, which
and discuss the different artistic contributed so they could know a little
procedures worked in the classroom, more of the artistic universe - quite
because the main axis of teaching and unknown to most of them - and also to
learning in this context is the student, so broaden their aesthetic experience, and
this should be the focus. become more participatory in class.
Although some young adults The young and adults build
have demonstrated concepts of art that knowledge through what they do. The
need to be expanded through the teacher is the main mediator to produce
knowledge of different artistic this knowledge and mobilize the
manifestations, the research showed that student's desire to learn. The teacher is
the teacher sought to develop with these responsible for this learning and training
students the idea that art is a human process. Thus, we understand that the
production, therefore an object of teacher tried to mediate the production
knowledge that makes part of human life of knowledge in art in YAE, having as
since the beginning. Furthermore, she parameter the triangular proposal for
tried to get them to learn to read the work teaching art. The language used by the
through doing, seeking to form competent teacher in class were the drawing and
readers to understand the different visual painting, which reinforces the
texts present in their social environment, dominance of the visual arts in art
producing significant interpretations of classes in Brazilian basic education.
the world around them. Cultural and artistic spaces such
The drawings about art produced as art museums can enable the YAE
by the students are important because student to further increase this artistic
they are constructions of knowledge knowledge. But we understand that this
based on their life experiences. However, knowledge can also be produced in
we understand that one of the young and school. Hence the importance of both
adult forms to expand knowledge and the teacher and the teaching to
hence their aesthetic experience, is adequately mediate this process by
attending museums, cultural centers and offering real opportunities for the young
liking to do that, so they have a full and adults to learn and enjoy art.
contact with art in its pure form. But to do Through this knowledge, they can reflect
so, it is necessary to eliminate the gap and question the aesthetic standards
between this type of art designated in present in the locality where they live.
society as elitist. Everyone deserves to Art is an interdisciplinary
have access to and contact with the knowledge. In addition to providing
universal, not just a minority. knowledge to all areas, it contributes and
The discipline of art should brings meaning to teaching and learning
provide students with the Youth and in school education. Art is essentially a
Adult Education these experiences, human production, so it is important at
making individuals prepared to school.
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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.

Received: March 13, 2014;


Accepted: August 12, 2014.

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.

Ana Arlinda de Oliveira Doctorate in Education from Universidade Estadual Paulista


Julio de Mesquita Filho. PhD in Education from the Universidade Federal de Minas Gerais.
She is associate professor at the Institute of Education of the Universidade Federal de Mato
Grosso. Brazil.

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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.

Faculty of Education, University of So Paulo


Av Universidade, 308. Library, 1st floor 05508-040 - So Paulo SP
Brazil Tel / Fax .: (55 11) 3091-3525. revedu@usp.br

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