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Doctoral Thesis
DOI
10.11606/T.48.2007.tde-27112007-150820
Document
Author
Full name
Sumaya Mattar Moraes
E-mail
Institute/School/College
Knowledge Area
Date of Defense
Published
São Paulo, 2007
Supervisor
Committee
Miranda, Hercilia Tavares de (President)
Dias, Marina Celia Moraes
Iavelberg, Rosa
Machado, Regina Stela Barcelos
Rizzi, Maria Christina de Souza Lima
Title in Portuguese
Descobrir as texturas da essência da terra: formação inicial e práxis criadora do professor de arte.
Keywords in Portuguese
Arte-educação
Artes (educação)
Artes (estudo e ensino)
Artesanato
Cerâmica (arte)
Formação de professores
Abstract in Portuguese
Esta pesquisa discute as relações entre o processo ensino-aprendizagem artesanal da cerâmica e a formação inicial de professores de arte, com base em contribuições advindas da perspectiva reflexiva na formação docente, entre as quais, a epistemologia da prática baseada na reflexão-na-ação, de Schön, a proposta de reflexão coletiva em comunidades de aprendizagem, de Zeichner, e a idéia de prática educativa como processo hipotético e experimental, de Stenhouse. Foram investigados os modos de produção e transmissão de conhecimentos de Isabel Mendes da Cunha e Shoko Suzuki, artistas ceramistas vinculadas, cada qual, a um universo tradicional, com enfoque nos valores e elementos metodológicos do processo ensino-aprendizagem por elas conduzido; no papel exercido pelos meios físico, social e cultural em suas produções; na relação que estabelecem com a educação formal e na preservação e renovação de técnicas, materiais, procedimentos e padrões estéticos ao longo de gerações. A aprendizagem artesanal envolve princípios e valores éticos e humanos que ultrapassam não somente a produção em larga escala da sociedade industrial, mas também a reiteração de técnicas e procedimentos didáticos e artísticos ainda muito observados nas propostas de ensino-aprendizagem da arte desenvolvidas no espaço escolar, revelando elementos fundamentais para o reencontro da dimensão humana da arte-educação. Permeada pelo fazer conjunto e o diálogo, a condução da aprendizagem de um ofício tradicional por um mestre-artesão é capaz de desencadear a práxis criadora nos aprendizes, que, além de sentirem satisfação com o trabalho, também passam a desenvolver um processo produtivo próprio, em que a experimentação dirigida à busca de novas possibilidades construtivas e ao encontro de um caminho poético particular convive harmoniosamente com a preservação de saberes fundamentais transmitidos de geração a geração. Com o desenvolvimento de um processo formativo teórico-prático com alunos do curso de licenciatura em artes visuais de uma instituição particular de ensino superior do município de São Paulo, foram investigadas as possibilidades da parte da formação destinada à prática, especialmente, a prática de ensino e o estágio supervisionado, contribuir para a instauração da práxis criadora de futuros professores de arte. O processo voltou-se para a ampliação da consciência do papel social, capacidade criadora e grau de comprometimento do futuro professor com as obras da arte e da educação, incluindo elementos observados no universo da aprendizagem artesanal, em especial o diálogo, a experimentação e o fazer conjunto, aos quais se acrescentou um outro elemento, qual seja a pesquisa-ação, impulsionada pelas características e necessidades apresentadas por alunos de ensino fundamental e médio de uma escola pública estadual.
Title in English
Showing the textures of earth's essence: initial development and creative praxis of the art teacher.
Keywords in English
Art-education
Arts (education)
Arts (study and teaching)
Ceramics (art)
Teacher's formation
Workmanship
Abstract in English
The present research analyses the relations between the teachinglearning process of hand-made ceramics and the initial development of art teachers, based on the contributions derived from the reflective perpspective in teacher's development, such as the epistemology of practice based on reflectionin-action, by Schön, collective reflection in learning communities, by Zeichner, and the idea of educative practice as an experimental and hypothetical process, by Stenhouse. Two ceramic artists, namely Isabel Mendes da Cunha and Shoko Suzuki, had their production mode as well as knowledge transmission investigated, bearing in mind that both artists, each one connected to a specific traditional universe, focus on methodological values and components of the teaching-learning process they are in charge of. Such artists are also concerned not only with the role of the physical, social and cultural environment in their productions but also with the relations established between the latter and formal education as well as the preservation and renovation of techniques, materials, procedures and aesthetic patterns along generations. Knowledge derived from the building of hand-made artifacts encompasses ethical and humanistic principles and values that transcend not only large scale production, typical of the industrial society, but also the reiteration of techniques as well as didatic and artistic procedures, still present in the art teaching-learning proposals developed within the school environment, thus revealing essential elements in the finding of the humanistic dimension underlying art-education. Permeated by team production and dialogue, the direction of traditional workmanship learning processes by a master artisan is capable of unleashing creative praxis in the aprentices who, added to a job satisfaction feeling, will also develop productive procedures of their own. In such processes, experimentation, directed both at seeking new constructive possibilities and encountering an individual poetical path, cohabit harmoniously with the preservation of essential knowledges passed on from one generation to another. Bearing in mind the development of a theoretical and practical formative process involving students of the visual art teachers' course from a private university institution in the city of São Paulo, the possibillities of the formative components of the course directed at practice - namely the teaching practice as well as the supervisioned probation period - were investigated to confirm whether they might contribute to the establishment of a creative praxis among prospective art teachers. The process aimed at conscience raising as regards the social role, creative competence and the involvement of future teachers in relation to works of art and education, including components observed in the hand-made learning environment, such as dialogue, experimentation, team work and artistic practice. Impelled by the features and needs presented by elementary as well as high school students from a government run school, an additional ingredient was added to the process, namely action research.
 
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Publishing Date
2007-11-30
 
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