Aulas de arte: reflexões sobre currículo, docência, criatividade e a escola inclusiva
Arquivos
Data
2016-07-27
Autores
Sene, Marta Regina [UNESP]
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Editor
Universidade Estadual Paulista (Unesp)
Resumo
O Currículo de Arte do Estado de São Paulo trouxe inquietações acerca da prática educativa perante as exigências dos conteúdos focados na contemporaneidade e nas quatro linguagens (Música, Dança, Teatro e Artes Visuais). Atender a todos os alunos indistintamente com o mesmo conteúdo e suas especificidades constitui um desafio ao professor. Qual a percepção de professores de Arte sobre o fazer docente com vistas ao Currículo e os desafios da escola para todos na contemporaneidade? O estudo objetiva descrever e analisar as percepções de professores de Arte da rede estadual paulista de uma cidade do interior sobre o fazer docente vinculado ao Currículo oficial e os seus desdobramentos (Caderno do Professor e Caderno do Aluno). A pesquisa configura-se numa abordagem quanti/qualitativa que consiste no estudo de caso do Currículo do Estado de São Paulo. A base teórica fundamenta-se nos pressupostos do campo da Educação, Educação Especial, da Arte-educação, do Currículo e da Teoria da Criatividade. Considera Hargreaves, Earl e Ryan que mencionam uma crise atual na educação e uma crise do Currículo e a concepção de Klimenko de que a Criatividade é o caminho possível para contornar as dificuldades da contemporaneidade e atender a todos. O Município pesquisado situa-se no interior do Estado de São Paulo tendo 148 Unidades Escolares, das quais 57 são públicas estaduais: Os participantes foram nove professores de Arte de sete escolas selecionadas por atender Ensino Fundamental (EF) e Ensino Médio (EM) e ter mais matrículas de alunos Público Alvo da Educação Especial - PAEE. O instrumento principal foi a investigação por questionário e ocorreu análise documental do Currículo e seus desdobramentos (Cadernos do Professor e do Aluno). Para apreciação dos dados adotou-se a análise de conteúdo de Bardin. Dentre os resultados, verificou-se que o documento orienta para a gestão do Currículo e contempla informações especificas aos professores, voltadas ao uso dos cadernos do Professor e do Aluno. Constatou-se que o fazer docente é híbrido, cada professor usa o currículo de um modo distinto que depende da sua formação docente e dos seus interesses e repertórios. Constatou-se que a formação exigida para atuação docente é mais ampla do que a recebida ao longo das graduações, que a postura tradicional se sobrepõe nas avaliações e dificulta a inclusão dos alunos PAEE. E verificou-se ainda, que há insegurança em relação aos conhecimentos das áreas não contempladas pela formação universitária, reforçada quando se depara com os desafios da prática docente, no contexto da diversidade, com o intuito de dominar múltiplas linguagens para atuar com diversos públicos, como é o caso dos alunos PAEE. Assim, o professor domina mais a linguagem de formação que é na maioria, Artes Visuais, embora o contexto exija dele que transite por todas as quatro linguagens da Arte. Desse modo, concluiu-se que o caminho para contornar ou suprir essa lacuna está em uma postura investigativa, criativa diante dos desafios do conhecimento. Reconhecendo as limitações do presente estudo e acreditando no potencial da temática para pesquisas futuras, recomenda-se uma análise do presente Currículo composta pela releitura do material pensando no PAEE, ou seja, na diversidade.
The Arts Curriculum of São Paulo State has raised concerns regarding the educational practice in face of content demands focused on contemporaneity and on the four languages (Music, Dance, Theater and Visual Arts). Assisting all students indistinctly with the same content and its specificities represents a challenge to the teacher. What is the perception of Arts teachers regarding the teaching practice focused on the Curriculum and on challenges of school for everyone in contemporaneity? The study aims to describe and analyze the perception of Arts teachers who work in São Paulo State’s educational network in an inland city regarding the teaching practice bound to the official Curriculum and its developments (Teacher’s Notebook and Student’s Notebook). The research is defined as a quantitative/qualitative approach consisting in a case study of São Paulo State’s Curriculum. The theoretical basis is founded on assumptions from the Education, Special Education, Arts Education, Curriculum and Creativity Theory fields. It considers Hargreaves, Earl and Ryan, who mention a current crisis in education and a Curriculum crisis, besides Klimenko’s conception of Creativity as the possible way to address difficulties of contemporaneity and to assist everyone. The City researched is located in the inland of São Paulo State and has 148 School Units, 57 of which are public (belonging to São Paulo State). The participants were nine Art teachers from seven schools that were selected because they offer Primary and Secondary teaching and also for having more enrollments of students who are the target-audience of Special Education (PAEE). The main instrument used was inquiry by questionnaire besides a document analysis of the Curriculum and its developments (Teacher’s and Student’s Notebook). Bardin’s content analysis was adopted for data evaluation. Among the results, it was found that the document directs to Curriculum management and includes specific information for teachers focused on the usage of both Teacher’s and Student’s Notebooks. It was found that teaching is hybrid. Each teacher uses the curriculum in a different way, which depends on their own teaching education, interests and backgrounds. It was found that the education required to work as a teacher is broader than that of graduation and that traditional stance imposes itself on evaluations and makes the inclusion of PAEE students much more difficult. It was also found that there is insecurity regarding knowledge of areas that are included in university education, which is reinforced when one is faced with the challenges of teaching in a diversity context, with the intention of mastering multiple languages in order to work with multiple audiences, as with PAEE students. Thus the teacher masters mainly their education language, which, in most cases, is Visual Arts, although the context requires that they transit through all the four languages of Art. Therefore, we conclude that the way to overcome or solve this gap is found in an investigative stance, creative in the face of knowledge challenges. Recognizing the limitations of this study and believing in the potential of the theme for future research, we recommend an analysis of the current Curriculum based on the re-reading of the material with PAEE in mind. In other words, with diversity in mind.
The Arts Curriculum of São Paulo State has raised concerns regarding the educational practice in face of content demands focused on contemporaneity and on the four languages (Music, Dance, Theater and Visual Arts). Assisting all students indistinctly with the same content and its specificities represents a challenge to the teacher. What is the perception of Arts teachers regarding the teaching practice focused on the Curriculum and on challenges of school for everyone in contemporaneity? The study aims to describe and analyze the perception of Arts teachers who work in São Paulo State’s educational network in an inland city regarding the teaching practice bound to the official Curriculum and its developments (Teacher’s Notebook and Student’s Notebook). The research is defined as a quantitative/qualitative approach consisting in a case study of São Paulo State’s Curriculum. The theoretical basis is founded on assumptions from the Education, Special Education, Arts Education, Curriculum and Creativity Theory fields. It considers Hargreaves, Earl and Ryan, who mention a current crisis in education and a Curriculum crisis, besides Klimenko’s conception of Creativity as the possible way to address difficulties of contemporaneity and to assist everyone. The City researched is located in the inland of São Paulo State and has 148 School Units, 57 of which are public (belonging to São Paulo State). The participants were nine Art teachers from seven schools that were selected because they offer Primary and Secondary teaching and also for having more enrollments of students who are the target-audience of Special Education (PAEE). The main instrument used was inquiry by questionnaire besides a document analysis of the Curriculum and its developments (Teacher’s and Student’s Notebook). Bardin’s content analysis was adopted for data evaluation. Among the results, it was found that the document directs to Curriculum management and includes specific information for teachers focused on the usage of both Teacher’s and Student’s Notebooks. It was found that teaching is hybrid. Each teacher uses the curriculum in a different way, which depends on their own teaching education, interests and backgrounds. It was found that the education required to work as a teacher is broader than that of graduation and that traditional stance imposes itself on evaluations and makes the inclusion of PAEE students much more difficult. It was also found that there is insecurity regarding knowledge of areas that are included in university education, which is reinforced when one is faced with the challenges of teaching in a diversity context, with the intention of mastering multiple languages in order to work with multiple audiences, as with PAEE students. Thus the teacher masters mainly their education language, which, in most cases, is Visual Arts, although the context requires that they transit through all the four languages of Art. Therefore, we conclude that the way to overcome or solve this gap is found in an investigative stance, creative in the face of knowledge challenges. Recognizing the limitations of this study and believing in the potential of the theme for future research, we recommend an analysis of the current Curriculum based on the re-reading of the material with PAEE in mind. In other words, with diversity in mind.
Descrição
Palavras-chave
Currículo, Arte, Criatividade, Escola inclusiva, Docência, Curriculum, Art, Creativity, Inclusive school, Teaching