Atravessamentos no e com o corpo: narrativas estéticas na docência

Abstract

We present in this text the reflection on aspects to the continuous formation of general education teachers of the Child Education for the teaching of Art in the Public Network of Belo Horizonte. To do so, we will make some considerations about the offer of the improvement course in Early Childhood, Childhood and Art, in 2013 and 2014, for teachers of 11 municipal secretariats of the capital and Metropolitan Region. The possibility of the offer came from the partnership of the Ministry of Education and Culture (MEC), the National Fund for Education Development (FNDE) and the Federal University of Minas Gerais. The first aspect concerns the objective of the course to challenge, provoke, instigate aesthetic thinking, sensitivity, the search for new meanings and the construction of new relationships, structured from the concept of “knowledge of experience” (Larrosa, 2002). We sought an emphasis on the aesthetic experience, making it clear to teachers who would take part in a course that the founding principle of learning / teaching Art passed through the field of experience of creating the four languages: Visual Plastic, Dance, Music, Theater. It was necessary to contribute to the aesthetic teacher training thinking the experience as a place of openings. Experiences that allow teachers to look at the Art making it possible to see existing things in different ways, allowing the construction of interpretive differences to give the world meaning. A body understood as territory of the sensitive, that which allows us to be, occupy spaces, be part of the world, construct senses, learn, communicate, dialogue and interact in an integrated totality, synthesized in what we call corporeality. We have chosen to bring experiences experienced by teachers in the context of the Visual Plastic Discipline of the Teacher Training Course. Within the general proposal of the course, the topic Visual Visual Language had the objective of enabling the teachers to invest their creative processes from Contemporary Art. To give shape and meaning to this experience, we adopt as a methodological path the “biographical design studio,” inspired by Christine Delory-Momberger (2006). The experimentation with several expressive materials opened space for the narratives of life histories and aesthetic formation that were configured as crossings in an aesthetic and formative dimension.