{"id":9973,"date":"2009-03-19T12:44:27","date_gmt":"2009-03-19T15:44:27","guid":{"rendered":"http:\/\/beta.idanca.net\/?p=9973&lang=pt-br"},"modified":"2009-03-20T10:32:09","modified_gmt":"2009-03-20T13:32:09","slug":"a-escola-como-mediadora-social","status":"publish","type":"post","link":"https:\/\/idanca.net\/a-escola-como-mediadora-social\/","title":{"rendered":"A escola como mediadora social | The school as social mediator"},"content":{"rendered":"

Alagoas, ano 2007, \u00e9 implantado na Universidade Federal o segundo Curso Superior de Dan\u00e7a do nordeste desde a cria\u00e7\u00e3o do curso da UFBA na d\u00e9cada de 50 do s\u00e9culo passado. Essa conquista implica uma s\u00e9rie de responsabilidades e preocupa\u00e7\u00f5es para n\u00f3s. Uma delas, as perspectivas do campo de atua\u00e7\u00e3o dos alunos egressos desse curso. Neste sentido, as discuss\u00f5es sobre o ensino da dan\u00e7a na escola t\u00eam tido grande urg\u00eancia entre n\u00f3s.<\/span><\/p>\n

Dentro do amplo e complexo universo que envolve as discuss\u00f5es sobre o ensino da dan\u00e7a na escola, pretendo, neste texto, tocar em algumas quest\u00f5es relativas ao contexto alagoano em particular. Localizo a discuss\u00e3o em torno da pesquisa que desenvolvo sobre os processos de ensino\/aprendizagem das dan\u00e7as brasileiras e as possibilidades da escola atuar enquanto mediadora social atrav\u00e9s desses processos.<\/span><\/p>\n

Parto da observa\u00e7\u00e3o \u00e0 resposta alagoana a uma pergunta elementar que toma parte das in\u00fameras indaga\u00e7\u00f5es que permeiam as reflex\u00f5es sobre o ensino da dan\u00e7a na escola: qual<\/strong> dan\u00e7a ensinar?<\/span><\/p>\n

Em Alagoas, as chamadas dan\u00e7as folcl\u00f3ricas (\u00e0s quais prefiro me referir como dan\u00e7as brasileiras) costumam ser defendidas como imprescind\u00edveis na escola. Os discursos de defesa da presen\u00e7a das dan\u00e7as brasileiras na escola geralmente justificam-se pelo fato dessas dan\u00e7as serem consideradas representativas das nossas “ra\u00edzes culturais”. Praticando-as, a escola estaria cumprindo seu papel de “resgatar as tradi\u00e7\u00f5es” e assim “fortalecer a identidade cultural” local, regional e nacional.<\/span><\/p>\n

A partir desse panorama e localizando o modo como se d\u00e1 a presen\u00e7a das dan\u00e7as brasileiras nas escolas alagoanas, pergunto-me se esse modo cumpre os objetivos dos discursos que justificam sua imprescind\u00edvel presen\u00e7a na escola e que no\u00e7\u00e3o de tradi\u00e7\u00e3o e de identidade esses discursos veiculam?<\/span><\/p>\n

Em Alagoas \u00e9 comum a presen\u00e7a das dan\u00e7as brasileiras na escola de forma eventual, isto \u00e9, aparecem em eventos comemorativos como as festas juninas ou o m\u00eas do folclore, por exemplo. Esse modo eventual atende ao aspecto da pr\u00e1tica da dan\u00e7a, do fazer constitu\u00eddo pela apreens\u00e3o de um repert\u00f3rio de movimentos pr\u00e9-existentes. Por vezes, al\u00e9m da participa\u00e7\u00e3o nos ensaios \u00e9 solicitado aos alunos que realizem pesquisa bibliogr\u00e1fica sobre os aspectos hist\u00f3ricos dessas dan\u00e7as, ou, o pr\u00f3prio professor efetua leitura de texto de refer\u00eancia para o p\u00fablico presente durante as apresenta\u00e7\u00f5es dos alunos.<\/span><\/p>\n

A leitura das refer\u00eancias te\u00f3ricas parece denotar a tentativa de se <\/strong>dar um car\u00e1ter mais aprofundado na rela\u00e7\u00e3o estabelecida com a dan\u00e7a apresentada. Por\u00e9m, <\/strong>o que se observa \u00e9 que a perspectiva hist\u00f3rica utilizada traz uma no\u00e7\u00e3o de tradi\u00e7\u00e3o atrelada \u00e0 id\u00e9ia de imutabilidade, de estagna\u00e7\u00e3o. <\/span><\/p>\n

Como poderia ent\u00e3o a crian\u00e7a e o jovem se identificar com algo que faz parte de um passado que n\u00e3o se comunica com a din\u00e2mica de seu mundo contempor\u00e2neo?<\/span><\/p>\n

Parece-me urgente refletirmos sobre o conceito de tradi\u00e7\u00e3o para, assim, encontrarmos um lugar para as dan\u00e7as brasileiras que lhes retire o “cheiro de mofo”. Um lugar que esteja distante daquela imagem de que elas s\u00e3o realiza\u00e7\u00f5es de pessoas idosas, guardi\u00f5es da nossa mem\u00f3ria e do nosso passado e que, por um motivo que n\u00e3o sabemos com clareza qual \u00e9, precisamos ajudar a manter preservadas e inalteradas atrav\u00e9s dos tempos.<\/span><\/p>\n

A mesma preocupa\u00e7\u00e3o est\u00e1 presente quando se trata de pensar a mem\u00f3ria. Inserida no fluxo da contemporaneidade e na din\u00e2mica pr\u00f3pria dos novos universos com os quais se relaciona, a exemplo do universo tur\u00edstico, a mem\u00f3ria tornou-se um “valor” e, assim, os objetos com os quais comumente se conecta (a cultura popular, os eventos hist\u00f3ricos particulares, personagens etc) est\u00e3o igualmente sujeitos \u00e0s mesmas l\u00f3gicas das circunst\u00e2ncias.<\/span><\/p>\n

Pode parecer elementar chamar aten\u00e7\u00e3o para estes aspectos, mas, de um modo geral, no contexto das escolas alagoanas esta ainda \u00e9 uma tecla a se bater. Ainda \u00e9 preciso despertar para a necessidade de transforma\u00e7\u00e3o para a perman\u00eancia de uma tradi\u00e7\u00e3o, aproximando-nos da no\u00e7\u00e3o de que n\u00e3o h\u00e1 vida sem movimento, cuja natureza engendra em si a supera\u00e7\u00e3o da ideia que opostos s\u00e3o ant\u00f4nimos. Avan\u00e7ar na no\u00e7\u00e3o de tempo\/espa\u00e7o e admitir a interrela\u00e7\u00e3o entre perman\u00eancia e \u00a0mudan\u00e7a. Esta perspectiva parece configurar um desenho circular em oposi\u00e7\u00e3o \u00e0 linearidade que a no\u00e7\u00e3o de um passado e um futuro infinito nos traz (seria a preponder\u00e2ncia do c\u00edrculo nas dan\u00e7as tradicionais um sinal sint\u00e1tico desta perspectiva?). Neste sentido, \u00e9 evidente a necessidade de considerar os aspectos contradit\u00f3rios e complementares entre tradi\u00e7\u00e3o e ruptura para adentrarmos na complexidade das rela\u00e7\u00f5es entre perman\u00eancia e mudan\u00e7a no mundo contempor\u00e2neo, sobretudo quando se quer discutir a ideia de identidades.<\/span><\/p>\n

Hall (2004) explora a ideia de que “as identidades modernas est\u00e3o sendo \u2018descentradas’, isto \u00e9, <\/em>deslocadas ou fragmentadas”. Sua discuss\u00e3o traz \u00e0 tona aspectos dial\u00e9ticos sobre a no\u00e7\u00e3o de descentramento que subsidiam a reflex\u00e3o acerca do fen\u00f4meno da globaliza\u00e7\u00e3o de modo a analis\u00e1-lo em seus aspectos contradit\u00f3rios, pois, se a princ\u00edpio nos \u00e9 sugerido a perspectiva de homogeneiza\u00e7\u00e3o das identidades, por outro lado, o global trouxe a tend\u00eancia da valoriza\u00e7\u00e3o do local.<\/span><\/p>\n

Quando as discuss\u00f5es sobre os efeitos da famigerada globaliza\u00e7\u00e3o parecem enfadonhas e redundantes, as escolas alagoanas, ao abordarem as dan\u00e7as tradicionais, ainda est\u00e3o seguindo os rastros da perspectiva “rom\u00e2ntica folcl\u00f3rica”. \u00a0Para trazer uma aproxima\u00e7\u00e3o mais concreta dessa no\u00e7\u00e3o dial\u00e9tica do fen\u00f4meno da globaliza\u00e7\u00e3o proposta por Hall, uso o exemplo do movimento mangue beat[1]<\/a>, <\/em>que claramente apresenta a tend\u00eancia de valoriza\u00e7\u00e3o da cultura local sem negar o acesso \u00e0 cultura universal.<\/span><\/p>\n

O movimento mangue, na medida em que fomenta a influ\u00eancia rec\u00edproca entre conhecimentos produzidos em diferentes contextos, hist\u00f3ricos e socioculturais, numa retro-alimenta\u00e7\u00e3o cont\u00ednua, funciona ao mesmo tempo, como uma esp\u00e9cie de mediador social, catalisando a “atualiza\u00e7\u00e3o da tradi\u00e7\u00e3o” aproximando diferentes gera\u00e7\u00f5es, classes sociais e modos de operar em arte.<\/span><\/p>\n

A natureza multicultural do exemplo acima citado poderia levar <\/strong>\u00e0 discuss\u00e3o sobre a quest\u00e3o dos mercados culturais globais. N\u00e3o \u00e9 essa a minha inten\u00e7\u00e3o aqui, muito embora, seja importante chamar a aten\u00e7\u00e3o de que o professor n\u00e3o deve se alienar na ideia de que estes mercados, fundados em torno da no\u00e7\u00e3o de multiculturalidade, est\u00e3o “… baseados numa etnodiversidade valorizada como simultaneamente pac\u00edfica, humanista e unanimemente \u2018global'”. (LEPECKI, 2003).\u00a0 Ao contr\u00e1rio, cabe ao professor mover sua aten\u00e7\u00e3o sobre os novos revestimentos dos processos “colonizadores” existentes no mundo globalizado, o que seria um importante aspecto a considerar no que tange a import\u00e2ncia da pr\u00e1tica das dan\u00e7as brasileiras na escola. Meu intuito \u00e9, tamb\u00e9m, utilizar o exemplo do movimento mangue nesse momento do texto, para refletir sobre a rela\u00e7\u00e3o da escola com os saberes art\u00edsticos que s\u00e3o produzidos na sociedade.<\/span><\/p>\n

Como se d\u00e1 a rela\u00e7\u00e3o da escola com a arte que \u00e9 produzida fora dela? Por que n\u00e3o enxergar na rela\u00e7\u00e3o com os movimentos art\u00edsticos, com os artistas, com suas obras e suas po\u00e9ticas, a possibilidade de extrair subs\u00eddios para a cria\u00e7\u00e3o de alternativas de uma aproxima\u00e7\u00e3o real da crian\u00e7a e do jovem com as tradi\u00e7\u00f5es culturais de seu pa\u00eds e regi\u00e3o? Por que n\u00e3o pensar em experi\u00eancias significativas que n\u00e3o atinjam apenas a ordem do discurso, desatrelado da experi\u00eancia de modo a garantir que a pr\u00e1tica, a reflex\u00e3o, a contextualiza\u00e7\u00e3o estejam interligadas nos processos de ensino-aprendizagem da dan\u00e7a, permitindo a constru\u00e7\u00e3o de sentidos, e assim re-significando essas dan\u00e7as no mundo contempor\u00e2neo?<\/span><\/p>\n

Quando acima me referi a uma aproxima\u00e7\u00e3o real, apontei para um interesse pela dan\u00e7a no sentido do prazer e da curiosidade que a rela\u00e7\u00e3o com esta manifesta\u00e7\u00e3o possa suscitar, da produ\u00e7\u00e3o de conhecimentos que uma abordagem que interrelacione o fazer e o refletir possa trazer e a possibilidade de interfer\u00eancia desta experi\u00eancia na percep\u00e7\u00e3o do mundo.<\/span><\/p>\n

Para que o ensino da dan\u00e7a seja eficiente \u00e9 importante partir da experi\u00eancia art\u00edstica ou do universo de aprecia\u00e7\u00e3o est\u00e9tica do grupo de alunos: “s\u00f3 assim essa aprendizagem se tornaria algo mais que uma colagem cultural sem suporte contextual” (BARBOSA 2000:171).<\/span><\/p>\n

Seria limitado e simplificador pensar, por exemplo, que pelo fato de uma crian\u00e7a ser alagoana, o Coco (uma das dan\u00e7as tradicionais de Alagoas) seja uma manifesta\u00e7\u00e3o de dan\u00e7a com a qual ela tenha identifica\u00e7\u00e3o. \u00c9 preciso considerar a import\u00e2ncia de conhecer a pr\u00e1tica social imediata do aluno em rela\u00e7\u00e3o ao conte\u00fado proposto (no caso, o Coco), <\/strong>e tamb\u00e9m escut\u00e1-lo sobre as pr\u00e1ticas que dependem de suas rela\u00e7\u00f5es sociais como um todo, isto \u00e9, sua pr\u00e1tica social mediata (GASPARIN,2002).<\/span><\/p>\n

Aqui \u00e9 importante chamar a aten\u00e7\u00e3o para dois casos espec\u00edficos no contexto observado: o daquelas crian\u00e7as e jovens que n\u00e3o t\u00eam aproxima\u00e7\u00e3o com as dan\u00e7as tradicionais alagoanas, e daqueles que habitam as mesmas comunidades dos grupos de dan\u00e7a e, por vezes, a mesma fam\u00edlia dos mestres que lideram esses grupos.\u00a0 Neste \u00faltimo caso, apesar das crian\u00e7as e jovens fazerem parte dessa comunidade, isto nem sempre implica na sua ades\u00e3o a esses grupos. Nem sempre significa que existe uma identifica\u00e7\u00e3o dada, principalmente no caso dos adolescentes. N\u00e3o caberia \u00e0 escola interferir nesse processo de comunica\u00e7\u00e3o entre diferentes grupos et\u00e1rios, mediando essa comunica\u00e7\u00e3o e valorizando a hist\u00f3ria pessoal do aluno?<\/span><\/p>\n

Pensar na quest\u00e3o da identifica\u00e7\u00e3o parece ser importante para se refletir sobre os processos de valoriza\u00e7\u00e3o de identidades culturais. A pr\u00f3pria realidade acima mencionada mostra que n\u00e3o basta ter acesso para se identificar. Por outro lado, o acesso, o contato, s\u00e3o as bases para a identifica\u00e7\u00e3o, portanto, \u00e9 preciso proporcion\u00e1-los aos alunos. A quest\u00e3o aqui colocada recai sobre o modo como<\/strong> se d\u00e1 esse acesso \u00e0s dan\u00e7as tradicionais nas escolas alagoanas.<\/span><\/p>\n

Como dissemos anteriormente, \u00e9 comum na nossa realidade local, que os professores validem a qualidade do seu trabalho em fun\u00e7\u00e3o da preocupa\u00e7\u00e3o com a informa\u00e7\u00e3o hist\u00f3rica sobre a dan\u00e7a. Longe de negarmos essa import\u00e2ncia, queremos mais uma vez chamar a aten\u00e7\u00e3o para a quest\u00e3o do como<\/strong>.<\/span><\/p>\n

Vejamos um exemplo bem caracter\u00edstico: aqui em Macei\u00f3 \u00e9 comum que as crian\u00e7as e os jovens tenham a informa\u00e7\u00e3o de que o Coco \u00e9 dan\u00e7ado (ou era) por ocasi\u00e3o da tapagem de casas de pau-a-pique na zona rural. Essa informa\u00e7\u00e3o \u00e9 dada pelo professor que acredita ser fundamental trazer as refer\u00eancias hist\u00f3ricas sobre as origens<\/em> dessa dan\u00e7a tradicional. Que identifica\u00e7\u00e3o pode ter a crian\u00e7a e o jovem com esta peculiaridade da hist\u00f3ria do Coco? Como esta informa\u00e7\u00e3o pode ser transformada em conhecimento para que, a partir da\u00ed, os alunos encontrem alguma rela\u00e7\u00e3o de sentido ao contextualizar essa dan\u00e7a? Como esta caracter\u00edstica peculiar ao Coco pode suscitar reflex\u00f5es relacionadas com a realidade vivida pelos alunos?<\/span><\/p>\n

Lan\u00e7o aqui algumas proposi\u00e7\u00f5es pensando em estabelecer rela\u00e7\u00f5es com:<\/span><\/p>\n

– Aspectos estruturais da dan\u00e7a – observando a postura e o princ\u00edpio de economia de esfor\u00e7o presente na t\u00e9cnica corporal empregada, o uso instrumental do corpo tanto na dan\u00e7a (na dan\u00e7a do coco, o dan\u00e7arino \u00e9 tamb\u00e9m percussionista na medida em que o som do sapateado estrutura a base r\u00edtmica da dan\u00e7a), quanto na a\u00e7\u00e3o de trabalho de amassar o ch\u00e3o da casa;<\/span><\/p>\n

– Aspectos s\u00f3cio-afetivos e pol\u00edticos – o modo de organiza\u00e7\u00e3o social onde h\u00e1 uma a\u00e7\u00e3o coletiva para a constru\u00e7\u00e3o de um bem individual, refletindo sobre os modos de rela\u00e7\u00f5es humanas e de produ\u00e7\u00e3o na sociedade atual, quest\u00f5es \u00e9ticas, morais etc.<\/span><\/p>\n

Poder\u00edamos pensar uma s\u00e9rie de outros exemplos onde o professor pudesse fazer valer sua capacidade criadora rumo \u00e0 transforma\u00e7\u00e3o do que \u00e9 eventual em processual, do que \u00e9 informa\u00e7\u00e3o em conhecimento, de modo a ampliar as perspectivas sobre o conhecimento te\u00f3rico onde este deixe de ser apenas “uma compreens\u00e3o do que acontece”, e passe a ser “um guia para a a\u00e7\u00e3o” (CORAZZA:1991, 90). De forma que cada aluno e a escola como um todo, torne-se sujeito e agente do processo de valoriza\u00e7\u00e3o da mem\u00f3ria cultural do nosso pa\u00eds, nesse caso espec\u00edfico, das dan\u00e7as tradicionais. E assim, ao inter-relacionar teoria e pr\u00e1tica, criar um real sentido para justificar a import\u00e2ncia das dan\u00e7as brasileiras na escola.<\/span><\/p>\n

O que tenho como pressuposto b\u00e1sico para a elabora\u00e7\u00e3o de uma proposta metodol\u00f3gica de ensino de dan\u00e7as brasileiras na escola \u00e9 que estas se constituam tanto em um meio quanto em um fim: meio para adquirir conhecimentos, habilidades e capacidades relativas aos elementos constitutivos da linguagem da dan\u00e7a de um modo geral (corpo, espa\u00e7o, din\u00e2micas, relacionamentos), al\u00e9m de possibilitar o conhecimento hist\u00f3rico e s\u00f3cio-cultural via corpo, e fim porque objetiva o aprendizado do repert\u00f3rio espec\u00edfico dessas dan\u00e7as.<\/span><\/p>\n

Acredito ser poss\u00edvel levar nossas crian\u00e7as e jovens a perceber que “… o que pertence a nossa tradi\u00e7\u00e3o e aparece como uma realidade \u00f3bvia pode, em vez disso, revelar-se como um n\u00f3 de problemas inexplorados.” (Barba:1994), \u00a0Ao manipularmos esses n\u00f3s poderemos realizar descobertas sobre n\u00f3s mesmos e sobre o mundo, existindo ainda a possibilidade de achar no \u00f3bvio a unidade do que nele h\u00e1 de universal.<\/span><\/p>\n

Quando os jovens artistas pernambucanos institu\u00edram o movimento mangue beat, provocaram a comunica\u00e7\u00e3o e a retro-alimenta\u00e7\u00e3o cont\u00ednua entre classes sociais e saberes art\u00edsticos diversos. Ao mesmo tempo em que novos objetos art\u00edsticos surgiam, imbu\u00eddos de uma natureza universal com base em caracter\u00edsticas culturais locais, que deram visibilidade nacional e internacional aos artistas pernambucanos, as manifesta\u00e7\u00f5es tradicionais tamb\u00e9m se transformaram, tanto esteticamente, quanto em termos quantitativos no que se refere \u00e0 cria\u00e7\u00e3o de novos grupos e a amplia\u00e7\u00e3o do n\u00famero de integrantes nos grupos j\u00e1 existentes.<\/span><\/p>\n

Esse tipo de comunica\u00e7\u00e3o extrapola o car\u00e1ter meramente difusionista, configurando seu car\u00e1ter inclusivo, na medida em que o artista da tradi\u00e7\u00e3o passa a tomar parte do circuito art\u00edstico-cultural tanto local quanto nacional e internacional, redimensionando o seu fazer e o seu lugar na sociedade; redirecionando o interesse e o reconhecimento da import\u00e2ncia das manifesta\u00e7\u00f5es da tradi\u00e7\u00e3o popular para as gera\u00e7\u00f5es futuras, para os filhos dos mestres e integrantes de suas comunidades a quem cabe, de modo mais direto, a continuidade da tradi\u00e7\u00e3o.<\/span><\/p>\n

H\u00e1 de ser pensado o papel da escola enquanto mediadora social no sentido de fomentar a comunica\u00e7\u00e3o entre os alunos e as tradi\u00e7\u00f5es populares locais por meio de “uma comunica\u00e7\u00e3o profunda”, na acep\u00e7\u00e3o de Martin-Barbero (2003), assumindo os conflitos que toda comunica\u00e7\u00e3o dessa natureza implica em termos de possibilidades de transforma\u00e7\u00e3o cultural.<\/span><\/p>\n

Nesta perspectiva, parece-me urgente retirarmos as escolas alagoanas do lugar de agente colaboradora nos processos de “preserva\u00e7\u00e3o do nosso folclore” <\/em>e situ\u00e1-la no terreno <\/em>da media\u00e7\u00e3o social enquanto promotora da comunica\u00e7\u00e3o <\/em>entre diferentes saberes produzidos pela sociedade.<\/span><\/p>\n

Assim, penso que a pergunta inicial e priorit\u00e1ria n\u00e3o seria qual<\/strong> dan\u00e7a ensinar na escola, mas sim para quem,<\/strong> por qu\u00ea e como <\/strong>ensinar. E que, ao efetuarmos escolhas, devemos buscar coer\u00eancia na constru\u00e7\u00e3o de processos de ensino\/aprendizagem cujas premissas fundamentais sejam: a constru\u00e7\u00e3o de sentidos, a rela\u00e7\u00e3o de prazer e a produ\u00e7\u00e3o de conhecimento.<\/span><\/p>\n

[1] O movimento mangue beat surgiu na cidade do Recife no in\u00edcio da d\u00e9cada de 90 do s\u00e9culo XX liderado por artistas como Chico Science e Fred “Zero Quatro”. Ganhou repercuss\u00e3o nacional e internacional sobretudo atrav\u00e9s da banda Chico Science e Na\u00e7\u00e3o Zumbi em cujo CD\u00a0 Da lama ao caos<\/em> consta um texto de refer\u00eancia sobre o conceito do Movimento.<\/span><\/p>\n

REFER\u00caNCIAS<\/strong><\/span><\/p>\n

BARBA, Eug\u00eanio. A Canoa de Papel – Tratado de Antropologia Teatral<\/em>. S\u00e3o Paulo: HUCITEC, 1994.<\/span><\/p>\n

BARBOSA, Ana Mae. John Dewey e o ensino da arte no Brasil.<\/em> 5. ed. S\u00e3o Paulo: Cortez, 2000.<\/span><\/p>\n

CORAZZA, S.M. (1991) “Manifesto por uma dida – l\u00e9-tica”.<\/em> Contexto e Educa\u00e7\u00e3o, Iju\u00ed,vol. 6,n. 22,pp. 83-99, abr.-jun.<\/span><\/p>\n

GASPARIN, Jo\u00e3o Luiz. Uma Did\u00e1tica para a Pedagogia Hist\u00f3rico-Cr\u00edtica.<\/em> Campinas _ SP: Autores Associados,2002. (Cole\u00e7\u00e3o Educa\u00e7\u00e3o Contempor\u00e2nea).191p.<\/span><\/p>\n

HALL, Stuart. A identidade cultural na p\u00f3s-modernidade<\/em>. Rio de Janeiro: DP & A, 2004.<\/span><\/p>\n

LEPECKI, Andr\u00e9. O Corpo Colonizado.<\/em> Gesto: Revista do Centro Coreogr\u00e1fico – Rio de Janeiro, n\u00b02. julho, 2003.<\/span><\/p>\n

MAGNANI, J.G.Cantor. Festa no peda\u00e7o. Cultura Popular e Lazer na Cidade<\/em>. S\u00e3o Paulo: Brasiliense, 1984.<\/span><\/p>\n

MART\u00cdN-BARBERO. J. Globaliza\u00e7\u00e3o comunicacional e transforma\u00e7\u00e3o cultural. <\/em>In MORAES, Denis (organizado por). Por uma outra comunica\u00e7\u00e3o. M\u00eddia, mundializa\u00e7\u00e3o cultural e poder.<\/em> Rio de Janeiro: Record,\u00a0 2003.<\/span><\/p>\n

Telma C\u00e9sar \u00e9<\/strong> alagoana, mestre <\/strong>em Artes\/Dan\u00e7a<\/strong> pela Unicamp, professora e coordenadora do Curso de Licenciatura <\/strong>em Dan\u00e7a da Universidade Federal<\/strong> de Alagoas.<\/strong><\/span><\/p>\n

Alagoas, 2007, the second graduation dance course in the northeastern region of Brazil was established, after the creation of the UFBA dance university course in the 1950\u2019s. This conquest raises a series of responsibilities and worries for us. One of them is the perspective of a working field for the students the come out of this graduation. Therefore, the debate about the teaching of dance in schools has had great urgency among us. <\/span><\/p>\n

Within the wide and complex universe that involves the debates about dance teaching in schools, I intend to deal with some issues related to the context of the state of Alagoas in particular. I place the discussion around the research I develop about the teaching\/learning process of Brazilian dances and the possibilities for the school to act as social mediator through such process.
\nI start from the observation of the Alagoas answer to an elementary question that is part of countless inquiries that permeate the reflections about the teaching of dance: Which dance to teach? <\/strong><\/span><\/p>\n

In Alagoas, the so-called folk dances (the ones I refer to as Brazilian dances) are usually defended as indispensable in schools. The discourses in defense of the presence of Brazilian dances in schools are normally justified by the fact that these dances are considered to represent our \u201ccultural roots\u201d. By practicing them, the school would be fulfilling its role of \u201crescuing tradition\u201d and thus \u201cstrengthening the cultural identity\u201d, locally, regionally and nationally.<\/span><\/p>\n

From such panorama and identifying the way the presence of Brazilian dances in the schools in Alagoas takes place, I ask myself if this way fulfills the goals of the speeches justifying the indispensable presence in school and which notion of tradition and identity such speeches convey.<\/span><\/p>\n

In Alagoas the occasional presence of Brazilian dances in schools is common, that is, they appear in commemorative events like traditional parties or the month of folklore, for example. This occasional way answers the aspect of the dance practice, of action constituted by the apprehension of a repertory of pre-existing movements. Sometimes, besides the participation in rehearsals, students are asked to do bibliogra\u00acphic research about the historical aspects of theses dances or the teacher reads reference texts for the audience during the student\u2019s performance.<\/span><\/p>\n

The reading of theoretical references seems to denote the attempt to give a more profound quality to the relationship established by the dance being performed. However, it can be noted that the historical perspective employed carries a notion of tradition attached to an idea of immutability and stagnation.<\/span><\/p>\n

How could the child and the youth thus identify with something that is part of a past that does not communicate with dynamics of their contemporary world?<\/span><\/p>\n

It seems urgent to reflect upon the concept of tradition to, in this manner, find a place that removes the \u201csmell of mould\u201d of Brazilian dances. A place that is distant from the idea that they are activities of the elderly, guardians of our memory and our past and that, for a reason we don\u00b4t know quite well which is, we must help keep preserved and unaltered throughout time. <\/span><\/p>\n

The same worry is present when it comes to thinking about memory. Inserted in the flow of the contemporary and the dynamic peculiar to the new universes with which one relates to, as it happens in the tourist universe, memory has become a \u201cvalue\u201d and thus the objects one usually connects to (popular culture, particular historical events, characters, etc) are equally subject to the same logics of the circumstances. <\/span><\/p>\n

It may seem elementary to draw attention to those aspects but, overall, in the context of the schools of Alagoas this is still a string to harp. We must still awake to the need of transformation for the permanence of a tradition, getting us closer to the idea that there is no life without movement, the nature of which engenders in itself the overcoming of the idea that opposites are antonyms. To move forward in the notion of time\/space and admit the interrelation between permanence and change. This perspective seems to configure a circular drawing opposed to the linearity brought to us by the notion of a past and an infinite future (would the predominance of circles in traditional dances be a synthetic sign of this perspective?). Therein, the need to consider the contradictory and complementary aspects between tradition and rupture is evident so we can enter into the complexity of the relationships between permanence and change in the contemporary world, above all if we wish to discuss the idea of identities. <\/span><\/p>\n

Hall (2004) explores the idea that \u201cmodern identities are being \u201cdecentered\u201d, that is, dislocates or fragmented\u201d. His debate brings to surface dialectical aspects about the notion of decentering that aid the reflection upon the globalization phenomenon in order to analyze it in its contradictory aspects, because, if at first the perspective of homogenization of identities is suggested, on the other hand, the global phenomenon has also brought the tendency to value the local aspects.<\/span><\/p>\n

When the discussions about the effects of the notorious globalization seem tedious and redundant, as the schools of Alagoas approach traditional dances they are still following the tracks of the \u201cromantic folkloric\u201d perspective. To bring a more concrete approximation of this dialectic notion of the globalization phenomenon proposed by Hall, I use the example of mangue beat[1], which clearly shows the tendency of valuing local culture without denying access to universal culture.<\/span><\/p>\n

The mangue movement, as it foments the reciprocal influence between knowledge produced in different historical, social and cultural contexts, in a continuous feedback, works at the same time as a kind of social mediator, catalyzing the \u201cmodernization of tradition\u201d bringing together different generations, social classes and ways of operating art.<\/span><\/p>\n

The muticultural nature of the above mentioned example could lead to the debate about the issue of global cultural markets. That is not my intention here, although, it is important to draw attention to the fact that teachers should not alienate themselves in the idea that such markets, founded around the notion of multiculturalism are \u201c\u2026 based on an etnodivertsity valued as being simultaneously pacific, humanist and unanimously \u2018global\u2019\u201d. (LEPECKI, 2003). On the contrary, it\u00b4s up to the teacher to pay attention to the new layers of the \u201ccolonizing\u201d processes existing in the globalized world, which would be an important aspect to consider when it comes to the importance of the practice of Brazilian dances in schools. My aim is to also use the example of the mangue movement to reflect upon the relationship of the school with artistic knowledge produced in society.<\/span><\/p>\n

How does the relationship between school and art produced outside take place? Why not see in the relationship with artistic movement, with artists, their work and poetics the possibility to extract subsidies for the creation of alternatives for a real approximation of children and youths with the cultural tradition of their country and region? Why not think about significant experiences that reach not only the discourse level unattached to experience as to make sure that the practice, the reflection, contextualization are intertwined in the dance learning-teaching process, allowing the construction of senses and thus re-signifying these dances in the contemporary world?<\/span><\/p>\n

When I referred to a real approximation I pointed to an interest for dance in the sense of the pleasure and curiosity the relationship with this manifestation can arouse, of the production of knowledge that an approach that interrelates making and reflecting can bring and the possibility of this experience interfering in the perception of the world. <\/span><\/p>\n

For the teaching of dance to be effective it\u00b4s important to start out from artistic experience or the universe of aesthetic appreciation of a group of students: \u201conly then this learning would become something more that a cultural collage without contextual support\u201d (BARBOSA 2000:171).<\/span><\/p>\n

It would be limiting and simplifying to think, for example, that because a child comes from Alagoas, Coco (one of the traditional dances from Alagoas) would be a dance which he or she would identify with. We must consider the importance of knowing the immediate social practice of the student in relation to with the proposed content (Coco, for instance) and also listen to them about the practices that depend on their social relationships as a whole, ie his immediate social practice (GASPARIN, 2002).<\/span><\/p>\n

Now it\u00b4s important to draw attention to two specific cases in the observed context: that of children and youths who do not have an approximation with traditional dances from Alagoas and those who inhabit the same communities of the dance groups and sometimes belong to the same families of the leaders of such groups. In the last case, although the children and youths belong to the community, this does not always mean that they are part of the groups. It does not always mean there is a given identification, specially when it comes to teenagers. Wouldn\u00b4t it be up to schools to interfere in this communication process between different age groups, mediating this communication and valuing the personal history of the student?<\/span><\/p>\n

Thinking about the issue of identification seems to be important to reflect upon the valuing process of cultural identities. The very reality mentioned above shows that to identify with something it\u2019s not enough to have access. On the other hand, access and contact are the basis for identification, therefore, it\u00b4s necessary to provide it to students. The issue proposed here falls upon the way how<\/strong> access to traditional dances is provided in the schools of Alagoas.<\/span><\/p>\n

As we said before, it\u2019s common in our local reality for teachers to validate the quality of their work in relation to their preoccupation with historical information about dance. Far from denying the importance of that, we want to once again draw attention to how<\/strong> it\u00b4s done.<\/span><\/p>\n

Let\u00b4s look at a very characteristic example: here in the state of Macei\u00f3, it\u00b4s common for children and youths to have information that Coco is (or was) danced on the occasion of plastering the walls of houses with mud, in the rural area. This information is given by the teacher who believes that it\u00b4s essential to bring historical references about the origins of this traditional dance. What identification can a child or youth have with this peculiarity of the history of Coco? How can this information be transformed in knowledge so that, from that point, the students can find some relationship as to contextualize this dance? How can this peculiar characteristic of Coco give rise to reflections related to the reality of the students?<\/span><\/p>\n

I launch here some propositions thinking in establishing relationships with:
\n– \tStructural aspects of dance \u2013 observing the attitude and the economy principle of effort present in the corporal technique used, the instrumental use of the body both in dance (in the coco dance the dancer is also a percussionist in the sense that the sound of tapping structures the dance\u2019s rhythmic base) and in the action of handling the mud to build the floor of the house.
\n–\tSocial- affective and political aspects \u2013 the form of social organization where a collective action for the construction of an individual asset, reflecting upon the forms of human relations and production in current society, ethical, moral issues, etc.<\/span><\/p>\n

We could think of a series of other examples where the teacher could make use of the creative ability towards the transformation of something that is occasional into something that is a process, information into knowledge, as to broaden the perspectives about the theoretical knowledge in which it stops being only \u201can understanding of what is happening\u201d and starts being \u201ca guide for action\u201d (CORAZZA: 1991, 90). So that each student and the school as a whole become an agent in the process of valuing our country\u2019s cultural memory, in this specific case, of traditional dances. And thus, by interrelating theory and practice create a real meaning to justify the importance of Brazilian dances in school.<\/span><\/p>\n

What I have as basic presupposition for the elaboration of a methodological proposal for teaching Brazilian dances in school is that they must be both means and end: means to acquire knowledge, abilities and capacities related to the essential elements of dance language in general (body, space, dynamics, relationships), besides allowing historical and social-cultural knowledge through the body; and end because it aims at the learning of specific repertory of these dances. <\/span><\/p>\n

I believe it\u00b4s possible to lead our children and youth into realizing that \u201c…things that belong to our traditions and seem to be an obvious reality can instead reveal themselves to be a knot of unexplored problems.\u201d (Barba:1994). By manipulating these knots we can make discoveries about ourselves and about the world and there is still a possibility of finding in the obvious things something unviversal. <\/span><\/p>\n

When young artists from Pernambuco established the mangue beat movement, they triggered the continuous communication and feedback between social classes and diverse artistic knowledge. At the same time new artistic objects surfaced, filled with a universal nature based on local cultures, which gave national and international visibility to artists from Pernambuco, traditional manifestations also changed, both aesthetically and quantitatively in terms of creation of new groups and increase in the number of members in existing groups. <\/span><\/p>\n

This kind of communication go beyond mere broadcasting, configuring its inclusive quality, as the tradition artist become part of the artistic and cultural circuit both locally and nationally and internationally, putting its practice and place within society in a different dimension; putting also in another dimension the interest and recognition of the importance of manifestations of popular tradition for future generations, for the children of masters and members of communities, up to whom is the continuation of tradition, in a more direct way. <\/span><\/p>\n

The role of school as social mediator must be considered in terms of fomenting communication between students and local popular traditions through \u201ca profound communication\u201d, in the conception of Martin-Barbero (2003), assuming the conflicts implicated in every communication of this kind in terms of possibilities for cultural transformation. <\/span><\/p>\n

From such perspective, it seems urgent to take schools from Alagoas out of the role of collaborator in the process of \u201cpreserving our folklore\u201d and placing it in the realm of social mediation in promoting communication between different knowledge produced by society.<\/span><\/p>\n

Thus, I think the essential question wouldn\u00b4t be which<\/strong> dance to teach in school, but for whom, why<\/strong> and how<\/strong> to teach. And that, as we make choices, we must seek coherence in the construction of teaching\/learning with the following fundamental premises: the construction of meanings, the relationship of pleasure and production of knowledge.<\/span><\/p>\n

[1] The mangue beat movement emerged in the city of Recife in the beginning of the 90\u2019s lead by artists like Chico Science and Fred \u201cZero Quatro\u201d. It gained national and international notoriety specially with the band Chico Science e Na\u00e7\u00e3o Zumbi, in their CD Da lama ao caos<\/em>. <\/span><\/p>\n

REFERENCES<\/strong>
\nBARBA, Eug\u00eanio. A Canoa de Papel – Tratado de Antropologia Teatral<\/em>. S\u00e3o Paulo: HUCITEC, 1994.<\/span><\/p>\n

BARBOSA, Ana Mae. John Dewey e o ensino da arte no Brasil.<\/em> 5. ed. S\u00e3o Paulo: Cortez, 2000.<\/span><\/p>\n

CORAZZA, S.M. (1991) “Manifesto por uma dida – l\u00e9-tica”.<\/em> Contexto e Educa\u00e7\u00e3o, Iju\u00ed,vol. 6,n. 22,pp. 83-99, abr.-jun.<\/span><\/p>\n

GASPARIN, Jo\u00e3o Luiz. Uma Did\u00e1tica para a Pedagogia Hist\u00f3rico-Cr\u00edtica.<\/em> Campinas _ SP: Autores Associados,2002. (Cole\u00e7\u00e3o Educa\u00e7\u00e3o Contempor\u00e2nea).191p.<\/span><\/p>\n

HALL, Stuart. A identidade cultural na p\u00f3s-modernidade<\/em>. Rio de Janeiro: DP & A, 2004.<\/span><\/p>\n

LEPECKI, Andr\u00e9. O Corpo Colonizado.<\/em> Gesto: Revista do Centro Coreogr\u00e1fico – Rio de Janeiro, n\u00b02. julho, 2003.<\/span><\/p>\n

MAGNANI, J.G.Cantor. Festa no peda\u00e7o. Cultura Popular e Lazer na Cidade<\/em>. S\u00e3o Paulo: Brasiliense, 1984.<\/span><\/p>\n

MART\u00cdN-BARBERO. J. Globaliza\u00e7\u00e3o comunicacional e transforma\u00e7\u00e3o cultural. <\/em>In MORAES, Denis (organizado por). Por uma outra comunica\u00e7\u00e3o. M\u00eddia, mundializa\u00e7\u00e3o cultural e poder.<\/em> Rio de Janeiro: Record, 2003.<\/span><\/p>\n

Telma C\u00e9sar is from Alagoana, nas a master degree in Arts\/Dance from Unicamp, professor and coordinator of the Universidade Federal de Alagoas Graduation Course in Dance <\/strong><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

A pesquisadora alagoana Telma C\u00e9sar traz um interessante estudo sobre o ensino das dan\u00e7as populares nas escolas. Como aproximar as dan\u00e7as tradicionais das crian\u00e7as e jovens? Leia e deixe seu coment\u00e1rio.<\/span>
\nResearcher Telma C\u00e9sar, from Alagoas, brings us an interesting study about teaching folk dances in school. How to get children and teenagers closer to traditional dances? Read and leave your comment. <\/span><\/p>\n","protected":false},"author":95,"featured_media":9974,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_mi_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[2,28],"tags":[2522,904,126,787,3194],"yoast_head":"\nA escola como mediadora social | The school as social mediator -<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/idanca.net\/a-escola-como-mediadora-social\/\" \/>\n<meta property=\"og:locale\" content=\"pt_BR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"A escola como mediadora social | The school as social mediator -\" \/>\n<meta property=\"og:description\" content=\"A pesquisadora alagoana Telma C\u00e9sar traz um interessante estudo sobre o ensino das dan\u00e7as populares nas escolas. Como aproximar as dan\u00e7as tradicionais das crian\u00e7as e jovens? Leia e deixe seu coment\u00e1rio. Researcher Telma C\u00e9sar, from Alagoas, brings us an interesting study about teaching folk dances in school. How to get children and teenagers closer to traditional dances? 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