Corpo-casa: dança, manifestações populares tradicionais e percursos educativos com barro
Arquivos
Data
2020-03-30
Autores
Silva, Elizabeth Menezes da [UNESP]
Título da Revista
ISSN da Revista
Título de Volume
Editor
Universidade Estadual Paulista (Unesp)
Resumo
O território desta pesquisa é habitado pelas práticas em dança com barro desenvolvidas no percurso de formação e atuação artística pedagógica da autora. Os processos de aprendizagem sobre o corpo e o movimento em contexto educativo, brincante e artístico com a dança – sustentações de minha atuação profissional nessa área – emergem do encontro com a história dos trabalhadores de mutirão para a construção de casas de pau-a-pique e de sua relação com a Dança do Coco Alagoano, que associei ao trabalho com argila desenvolvido com crianças, jovens e adultos. Nessa perspectiva, a questão proposta para esta pesquisa é: como, em um grupo intergeracional, no contexto de educação não formal em um espaço público da cidade de São Paulo, práticas de dança com barro podem contribuir para a construção de um Corpo-casa? Três pilares sustentam esta arquitetura corporal proposta: os Fundamentos da Educação, dos estudos de Rudolf Steiner acerca da Antroposofia, foco da Pedagogia Waldorf; as Manifestações Populares Tradicionais do repertório selecionado de danças e brincadeiras da infância, relacionadas com o Coco Alagoano; e os Princípios do Movimento identificados em estudos de Rudolf Laban e Béziers-Piret, sobre as camadas do corpo, que nas práticas com barro possibilitaram a (in)corporação de saberes em dança, conceituados por Godoy, pelos participantes e pela autora. Por meio do relato de experiência da vivência “Sete encontros em família”, evidenciei aspectos particulares das práticas pedagógicas em dança (com registros em fotos e filmagens de todo o processo que se encontram em versão resumida no youtube https://youtu.be/i9rlhVjTzew) que permitiram a defesa do conceito Corpo-casa por mim criado. Os aportes teóricos usados foram de Béziers e Piret (1992); Laban (1976, 1978, 1990); Lanz (1998); Steiner (1988); Godoy (2013; 2016); Ki-Zerbo (1982); Pallasmaa (2011).
This Dissertation is inhabited by dance practices with clay (argil). Researching body and movement in artistic and educational contexts - my daily environment and work in São Paulo - I incorporated rhythm and lyrics from dancing groups which revive the making of clay houses in Northeastern Brazil. Their ancestors used to dance and sing patterns from the gender "Coco" to energize the collective construction of each house, and tap the clay. With a long-term learning process I started transpositions of this cultural knowledge in body activities with clay, developed with children, youngsters and adults. The dialogue between local Brazilian dances and R. Laban's studies flourished in the concept of House- body, proposed and developed here. In an analogy with the clay house, built with dance and singing. The Dissertation explores aspects of dances with clay, and describes my work with intergenerational groups in public spaces. Three pillars were united, to articulate an architecture of the body in construction: Education fundamentals with R. Steiner's studies on Antroposophy, the focus for Waldorf Pedagogy; Popular dance manifestations (selected repertoire with childhood games and verses related to Coco dance from Northeastern Brazil); and the Principles of Movement identified in R. Laban's and Béziers-Piret's works about body layers, which, in the practices with clay/argil, enabled the (in)corporation of knowledges in dance, as conceptualized by (GODOY, 2013; 2016), and by the participants and the author. I developed field research with a workshop sequence, "Seven meetings in family", and explain this pedagogical practice here, with photo and film resources (edited video online with this link youtube https://youtu.be/i9rlhVjTzew). The process led to the defense of the House-body concept, created by me. Theoretic references used came from Béziers and Piret (1992); Laban (1976, 1978, 1990); Lanz (1998); Steiner (1988); Godoy (2013 [*and 2016?*]); Ki-Zerbo (1982) and Pallasmaa (2011).
This Dissertation is inhabited by dance practices with clay (argil). Researching body and movement in artistic and educational contexts - my daily environment and work in São Paulo - I incorporated rhythm and lyrics from dancing groups which revive the making of clay houses in Northeastern Brazil. Their ancestors used to dance and sing patterns from the gender "Coco" to energize the collective construction of each house, and tap the clay. With a long-term learning process I started transpositions of this cultural knowledge in body activities with clay, developed with children, youngsters and adults. The dialogue between local Brazilian dances and R. Laban's studies flourished in the concept of House- body, proposed and developed here. In an analogy with the clay house, built with dance and singing. The Dissertation explores aspects of dances with clay, and describes my work with intergenerational groups in public spaces. Three pillars were united, to articulate an architecture of the body in construction: Education fundamentals with R. Steiner's studies on Antroposophy, the focus for Waldorf Pedagogy; Popular dance manifestations (selected repertoire with childhood games and verses related to Coco dance from Northeastern Brazil); and the Principles of Movement identified in R. Laban's and Béziers-Piret's works about body layers, which, in the practices with clay/argil, enabled the (in)corporation of knowledges in dance, as conceptualized by (GODOY, 2013; 2016), and by the participants and the author. I developed field research with a workshop sequence, "Seven meetings in family", and explain this pedagogical practice here, with photo and film resources (edited video online with this link youtube https://youtu.be/i9rlhVjTzew). The process led to the defense of the House-body concept, created by me. Theoretic references used came from Béziers and Piret (1992); Laban (1976, 1978, 1990); Lanz (1998); Steiner (1988); Godoy (2013 [*and 2016?*]); Ki-Zerbo (1982) and Pallasmaa (2011).
Descrição
Palavras-chave
Dança, Intergeracionalidade, Manifestações populares tradicionais, Princípios do movimento, Experiência educativa, Dance, Intergenerational, Traditional popular manifestations, Principles of movement, Educative experience, Danças folclóricas brasileiras, Dança na educação, Coco (dança)