Aula de arte com surdos: criando uma prática de ensino
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Data
2016-07-07
Autores
Cruz, Andreza Nunes Real da [UNESP]
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Editor
Universidade Estadual Paulista (Unesp)
Resumo
Na escola bilíngue, alunos surdos e professores ouvintes estão junto para construir seus processos de ensino e aprendizagem. A análise desta relação ao longo dos anos revela um histórico de dominação e controle cultural. Hoje, dentro do bilinguismo, é possível dizer que trabalhamos para a emancipação dos alunos surdos, considerando seu ponto de vista na concepção do currículo? No ensino de arte, como essa relação entre professor ouvinte e alunos surdos influencia os resultados na fruição e produção de arte em sala de aula? Diante destas questões, foi conduzida esta pesquisa, que teve como objetivo investigar o exercício de ambos os papéis em interação, através de um estudo de caso e à luz do referencial teórico. Foi analisado o desenvolvimento de duas propostas de planos de aula, da quais a primeira, chamada “Humanos e heróis – Possibilidades de leituras de imagem”, foi baseada nos processos de leitura de imagens realizados por uma turma de alunos surdos do 7º ano, usuários de Língua Brasileira de Sinais, nas aulas de arte, e a segunda, intitulada “Vibração: percepção de ritmos”, que teve como objetivo o ensino e aprendizagem do ritmo, pela participação efetiva dos estudantes em processos criativos voltados a experimentação desse elemento através do modo de vibração de um telefone celular. Com estas ações, buscou-se compreender os processos de significação da experiência visual do surdo na aprendizagem de arte, a partir de sua construção cultural. Ao mesmo tempo, avaliou-se a postura do professor ouvinte e seu constante movimento de construção e desconstrução de expectativas sobre seus alunos, sobre suas aulas e sobre si mesmo, enquanto busca propor planos de aula ajustados à realidade do aprendiz, não à sua própria. Reconhecendo no surdo a potência da construção de conhecimento e buscando modelos culturais para os alunos, foi possível reconstruir parte do percurso de luta social dos movimentos surdos permeados pela produção artística, que veio a ser reconhecida no movimento De’Via e seu manifesto sobre arte produzida por e para este público. Concluiu-se que professor e alunos adentram a sala de aula com suas experiências particulares e que a aula de arte acontece no encontro desses saberes, no diálogo entre eles. Também, que a experiência visual do surdo deve ser explorada nas aulas de arte, embora ela não seja, por si só, o recurso principal para a construção de sentidos na interpretação da imagem. É preciso considerar e incentivar a ampliação do repertório dos alunos, de onde eles tomarão as bases para novos aprendizados.
In bilingual school, deaf students and hearing teachers are together to build their teaching and learning processes. The analysis of this relationship over the years reveals a history of domination and cultural control. Today, in bilingualism, can we say that we work for the emancipation of deaf learners, considering their point of view on curriculum design? In art teaching, how does this relationship between hearing teacher and deaf student influences the results in art enjoying and art producing in the classroom? Faced with these questions, this research was conducted, aiming to investigate the performance of both roles in interaction through a case study and under the light of theoretical framework. The development of two lesson plan proposals was analyzed. The first of them, called “Humans and heroes – Possibilities of image reading”, was based on image reading processes in a 7th grade deaf students group, Brazilian Sign Language users, in art class, and the second, entitled “Vibration: rhythms perceiving”, aimed to allow rhythms teaching and learning, through students´s effective participation in creative processes focused on experimenting this element by means of a cell phone vibration mode. With these activities, it was sought to understand deaf´s visual experience processes of significance construction in art learning, concerning their cultural perspective. At the same time, the posture of listeners teachers was evaluated, considering their constant movement of constructing and deconstructing expectations about their students about their classes and about themselves while attempting to propose lesson plans tailored to learners’ reality, and not to their own. Recognizing in deaf people the power of knowledge construction and seeking cultural models for students, it was possible to reconstruct partially the course of deaf movements´ social struggle, permeated with an artistic production, which came to be reaffirmed in De'Via movement and its manifesto about art produced by and for this audience. It was concluded that teacher and learners step into classroom with their particular experiences, and the art class takes place in the meeting of their mutual knowledge, in the dialogue between them. Also, the visual experience of the deaf must be explored in art classes, though it is not, by itself, the main resource for meaning construction in the image interpretation. The repertoire of students must be considered and its expansion should be encouraged, once it is where they will look for basis for further learning.
In bilingual school, deaf students and hearing teachers are together to build their teaching and learning processes. The analysis of this relationship over the years reveals a history of domination and cultural control. Today, in bilingualism, can we say that we work for the emancipation of deaf learners, considering their point of view on curriculum design? In art teaching, how does this relationship between hearing teacher and deaf student influences the results in art enjoying and art producing in the classroom? Faced with these questions, this research was conducted, aiming to investigate the performance of both roles in interaction through a case study and under the light of theoretical framework. The development of two lesson plan proposals was analyzed. The first of them, called “Humans and heroes – Possibilities of image reading”, was based on image reading processes in a 7th grade deaf students group, Brazilian Sign Language users, in art class, and the second, entitled “Vibration: rhythms perceiving”, aimed to allow rhythms teaching and learning, through students´s effective participation in creative processes focused on experimenting this element by means of a cell phone vibration mode. With these activities, it was sought to understand deaf´s visual experience processes of significance construction in art learning, concerning their cultural perspective. At the same time, the posture of listeners teachers was evaluated, considering their constant movement of constructing and deconstructing expectations about their students about their classes and about themselves while attempting to propose lesson plans tailored to learners’ reality, and not to their own. Recognizing in deaf people the power of knowledge construction and seeking cultural models for students, it was possible to reconstruct partially the course of deaf movements´ social struggle, permeated with an artistic production, which came to be reaffirmed in De'Via movement and its manifesto about art produced by and for this audience. It was concluded that teacher and learners step into classroom with their particular experiences, and the art class takes place in the meeting of their mutual knowledge, in the dialogue between them. Also, the visual experience of the deaf must be explored in art classes, though it is not, by itself, the main resource for meaning construction in the image interpretation. The repertoire of students must be considered and its expansion should be encouraged, once it is where they will look for basis for further learning.
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Palavras-chave
Surdez, Estudos Surdos, Arte, Educação, Deafness, Deaf Studies, Art, Education