Oficinas de arte para crianças: semeando processos criativos
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Data
2021-10-19
Autores
Quilici, Patrícia Marchesoni
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Editor
Universidade Estadual Paulista (Unesp)
Resumo
O intuito desta pesquisa é investigar o desenvolvimento de oficinas de arte para crianças, abordando os seguintes aspectos: seus processos de criação, suas características, algumas estratégias artístico-pedagógicas nelas empregadas, suas potencialidades, alguns desafios enfrentados na sua realização e um pouco sobre a construção dessa prática. O recorte é delimitado por oficinas desenvolvidas por arte/educadores e arte/educadoras que atuam de forma autônoma, prestando serviços para instituições culturais diversas, e parte de um diálogo entre a produção de dados de um grupo focal com a minha experiência como arte/educadora autônoma, juntamente com a fundamentação teórica e uma série de imagens criadas para a pesquisa. A usual ausência de direcionamento prévio por parte das instituições culturais acerca de temas, linguagens, técnicas, objetivos e metodologias das oficinas faz com que a definição desses componentes fique a cargo dos arte/educadores e arte/educadoras que as propõem, circunstância que instigou a inquirição acerca de seu desenvolvimento. A fundamentação teórica parte, predominantemente, do encontro entre o campo da investigação dos processos de criação da arte, a partir dos autores Cecília Almeida Salles (2007) e José Antonio Marina (1995), com o campo da educação, a partir da obra de John Dewey (1976). Há ainda autores que fundamentam os assuntos específicos de cada capítulo: Paulo Freire (2011); Jaume Trilla (2008), para contextualizar o campo da educação não formal; Anna Marie Holm (2005), em relação às especificidades das oficinas; Susan Linn (2006, 2009), sobre o impacto da cultura do consumo nas crianças; Richard Sennett (2009), com os conceitos sobre o fazer manual; e Donald Schön (2008), sobre a prática reflexiva como forma de aprendizado.
The intent of this research is to investigate the development of art workshops for children, approaching the following aspects: creation processes, characteristics, some artistic-pedagogical strategies employed, their strengths, some of the challenges faced during their realization and the construction of this practice. The research focus is delimited by workshops that are developed by self-employed art educators who work for several cultural institutions, and it derives from a dialogue between the data production of a focus group and my own experience as a self-employed art educator, along with the theoretical foundation and a series of images created for this research. The usual absence of previous guidance by the cultural institutions on various aspects of the workshops, such as: themes, artistic languages, techniques, objectives, methodologies compel the art educators define them, circumstance that instigated the inquiry about the development of such workshops. The theoretical foundation is, mainly, based on the encounter between the field of art creation processes with the authors Cecília Almeida Salles (2007) and José Antonio Marina (1995) with the field of education with the work of John Dewey (1976). Ohter authors supported specific subjects of each chapter: Paulo Freire (2011); Jaume Trilla (2008) to put into context the field of non-formal education; Anna Marie Holm (2005), regarding the workshops’ specificity; Susan Linn (2006, 2009), about the impact of media and commercial marketing on children; Richard Sennett (2009), with the concepts of hand making; and Donald Schön (2008), on the reflexive practice as a way of learning.
The intent of this research is to investigate the development of art workshops for children, approaching the following aspects: creation processes, characteristics, some artistic-pedagogical strategies employed, their strengths, some of the challenges faced during their realization and the construction of this practice. The research focus is delimited by workshops that are developed by self-employed art educators who work for several cultural institutions, and it derives from a dialogue between the data production of a focus group and my own experience as a self-employed art educator, along with the theoretical foundation and a series of images created for this research. The usual absence of previous guidance by the cultural institutions on various aspects of the workshops, such as: themes, artistic languages, techniques, objectives, methodologies compel the art educators define them, circumstance that instigated the inquiry about the development of such workshops. The theoretical foundation is, mainly, based on the encounter between the field of art creation processes with the authors Cecília Almeida Salles (2007) and José Antonio Marina (1995) with the field of education with the work of John Dewey (1976). Ohter authors supported specific subjects of each chapter: Paulo Freire (2011); Jaume Trilla (2008) to put into context the field of non-formal education; Anna Marie Holm (2005), regarding the workshops’ specificity; Susan Linn (2006, 2009), about the impact of media and commercial marketing on children; Richard Sennett (2009), with the concepts of hand making; and Donald Schön (2008), on the reflexive practice as a way of learning.
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Palavras-chave
Oficinas de arte para crianças, Processos criativos, Criação, Arte/educação, Educação não formal