Instituto de Artes
Programa de Pós-Graduação em Artes Mestrado
A educação não-formal como campo de estágio:
contribuições na formação inicial do arte/educador
Guilherme Nakashato
Instituto de Artes
Programa de Pós-Graduação em Artes Mestrado
A educação não-formal como campo de estágio:
contribuições na formação inicial do arte/educador
Guilherme Nakashato
Dissertação submetida à UNESP, como requisito parcial exigido pelo Programa de Pós-Graduação em Artes, área de concentra-ção em Artes Visuais, linha de Pesquisa Ensino e Aprendizagem da Arte, sob a orientação da Profª Drª Rejane Galvão Coutinho, para obtenção do título de Mestre em Artes.
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ABSTRACT
This research has as subject the non-formal education as a contributing element to the art/educator’s initial licensure. It inquires the role of non-formal art/education projects in the genesis of the Art teaching in
EDVLFHGXFDWLRQDVZHOODVWKHLULQÁXHQFHVZLWKLQFXUUHQWGHEDWHVFRQFHUQLQJFXOWXUDOPHGLDWLRQ6XFKSURM -ects come up in the scenario of cultural institutions, non-governmental organizations (NGO) and other similar spaces. Also, it brings discussion about sharing the understanding of the teacher’s training in formal and non-formal education as the key moment for building up the teaching identity and professionalisation, accomplish-ing the pedagogical praxis, which is so important to the future art/educator’s thoroughdevelopment. The study is based upon the qualitative research, by following up focal groups of the last semester/yearof the visual arts teaching course in the Institute of Arts of the UNESP and the College of Education and Culture Montessori in
6mR3DXOR7KHKDUYHVWHGUHVXOWVSRLQWWRWKHUHFRJQLWLRQRIWKHQRQIRUPDOHGXFDWLRQDVDQLQWHQVLÀHUWRWHDFK -ing and interpersonal knowledge, br-ing-ing new mean-ings to the classroom practices. The non-formal educa-tion consists, therefore, as referential landmark of the current situaeduca-tion of the art/educaeduca-tion in Brazil, in the struggles for its insertion and effective applicability in basic education, as well as the catalytic and modifying understanding of the art/educator’s development.
Introdução 19
CAPÍTULO I – A EDUCAÇÃO NÃO-FORMAL E O DESENVOLVIMENTO DO ENSINO DA ARTE
NO BRASIl. 25
1.1 As modalidades de educação: formal, não-formal e informal 26
1.1.1 A educação não-formal e a sociedade contemporânea 28
1.2 O ensino da Arte no Brasil e a educação não-formal: débitos epistemológicos 30
1.2.1 A Escolinha de Arte do Brasil e o Movimento Escolinhas de Arte 30
1.2.2 A Proposta Triangular para o ensino da Arte 35
1.2.3 A mediação cultural na arte/educação contemporânea 38
Capítulo II – O ESTÁGIO SUPERVISIONADO NA LICENCIATURA EM ARTES VISUAIS:
NOVAS POSTURAS EPISTEMOLÓGICAS 43
2.1 O estágio pode contribuir para uma mudança na perspectiva da formação docente? 44
2.2 O estágio propositor da práxis docente 48
2.3 O estágio como locus da construção identitária e da profissionalidade docente 51
2.4 O estágio e a práxis no ensino não-formal: o que dizem as normas 55
2.5 O estágio nos cursos de licenciatura em artes visuais:
possibilidades e desafios na educação não-formal 62
Capítulo III – O QUE DIZEM OS LICENCIANDOS 67 3.1 Os contextos dos grupos focais da pesquisa 68
3.2 E, afinal, o que dizem os licenciandos? 69
3.2.1 O falar sobre as experiências no formal e no não-formal 70
3.2.2 O supervisor mediador (ou não-mediador) dos estágios nas instituições 78
3.2.3 O estágio como captura dos modos de ser educador 85
3.2.4 A paixão em ser educador 90
CONSIDERAÇÕES FINAIS 93
BIBLIOGRAFIA 97
APÊNDICES 103
Apêndice A: Transcrição do grupo focal IA-UNESP/SP 103
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A maior riqueza do homem é a sua incompletude. Nesse ponto sou abastado. Palavras que me aceitam como sou - eu não aceito.
Não aguento ser apenas um sujeito que abre portas, que puxa válvulas, que olha o relógio, que compra pão às 6 horas da tarde,
que vai lá fora, que aponta lápis, que vê a uva etc. etc.
Perdoai Mas eu preciso ser Outros. Eu penso renovar o homem usando borboletas.
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CAPÍTULO I
A EDUCAÇÃO NÃO-FORMAL E O DESENVOLVIMENTO
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Desproblematizando o tempo, a chamada morte da História decreta o imobilismo que nega o ser humano.
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Aplicando-se tal critério, a distinção entre o formal e o não-formal é bastante clara: é uma
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cada país e em cada momento, pelas leis e outras disposições administrativas; o não-formal, por outro lado, é aquilo que permanece à margem do organograma do sistema educacional graduado e hierarquizado. Os conceitos de educação formal e não-formal apresentam, portanto, uma clara relatividade histórica e política: o que antes era não-formal pode mais tarde passar a ser formal, do mesmo modo que algo pode ser formal em um país e não-formal em outro (TRILLA, 2008, p.40)
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há na escola (algo que seria não-intencional, não-planejado, não-estruturado), tomando
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diferenciadores que têm sido assinalados pelos pesquisadores são relativos à organização e à estrutura do processo de aprendizado (GOHN, 2008, p.100-101).
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1.1.1 A educação não-formal e a sociedade contemporânea
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Pode-se dizer que a educação dita formal é muito recente na história humana. Não porque ela coincida – o que é um fato – quase completamente com a educação escolar, pois esta já existia séculos antes de Cristo, na Antiguidade clássica. Mas porque o caráter formal
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Assim, quando iniciei esta discussão apresentando minha opção em caracterizar o trabalho educativo em exposições como sendo não-formal, concordando com as palavras de Grinspum,
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da educação não-formal que é intencional (ALENCAR, 2008, p. 21).
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1.2 O ensino da Arte no Brasil e a educação não-formal:
débitos epistemológicos
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1.2.1 A Escolinha de Arte do Brasil e o Movimento Escolinhas de Arte
$SULPHLUDLQLFLDWLYDFLWDGDpR0RYLPHQWR(VFROLQKDVGH$UWH0($VXUJLGRHPPHDGRVGH 3RUpPVXDKLVWyULDFRPHoDDQWHVFRPDIXQGDomRGDSULPHLUDHVFRODLQWLWXODGD(VFROL QKDGH$UWHGR%UDVLO($%HPQR5LRGH-DQHLURSHORVDUWLVWDVHHGXFDGRUHV$XJXVWR 5RGULJXHV0DUJDUHW6SHQFHUH/~FLD$OHQFDVWUR9DOHQWLP$RIXQGDUD($%HVWHVHGXFDGRUHV SURFXUDUDPDSUR[LPDUDVGLVFXVV}HVPDLVDYDQoDGDVGHDUWHHGXFDomRGDpSRFDRIHUHFHQGR XPDQRYDRSomRjVRFLHGDGHEUDVLOHLUD6LWXDGDQDVGHSHQGrQFLDVGD%LEOLRWHFD&DVWUR$OYHVR SUySULRQRPHIRLGDGRSHODVFULDQoDVFRPRH[SOLFD$XJXVWR5RGULJXHVcomeçavam a dizer: ‘amanhã eu venho à Escolinha’, e elas só chamavam de Escolinha. Percebi de imediato que elas faziam um distinção entre a escola institucional e aquele lugar que elas passaram a chamar de Escolinha. Escolinha, no diminutivo, com componente afetivo. Uma era a escola onde ela ia aprender, a outra onde ela ia viver experiência, expandir-se, projetar-se. Então foram elas mesmas que deram o nome (RODRIGUES apud BRASIL, 1980, p.39).
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A escola era sombria, triste, a professora também era sombria e eu sentia uma preocupação dessa professora em imprimir em nós alguma coisa que não tinha nenhum sentido. Teríamos que aprender o que interessava a ela ensinar e teríamos que abdicar daquilo que era mais fundamental para nós, que era brincar.
(...)
A escola era um suplício. Metiam à força na cabeça dos meninos tudo que não queriam nem estavam interessados em aprender. Eu nunca me adaptei. Acabei expulso. Detesto até hoje a escola repressiva (RODRIGUES apud BRASIL, 1980, p.13).
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outra crise político-social, a mudança da oligarquia para a democracia, exigiu reformas educacionais. O movimento da Escola Nova explodiu então no país, tentando transformar o
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(...) esta liberdade de expressão é mal-interpretada por alguns arte- educadores que passam a pensar que a sua função é simplesmente distribuir material e não orientar a criança no seu trabalho. Orientar não é interferir na atividade criadora, e para que a criança tenha um desenvolvimento ideal ou um conhecimento em arte, é preciso que ela seja bem estimulada. Cabe ainda salientar que estimular não é interferir na atividade da criança (PESSI, 1990, p.28).
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Na Escolinha, o professor – no sentido lato que damos à palavra – não existe. Porque sua
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ou seguir técnicas. Não. Seu objetivo é completamente outro: é proporcionar às crianças ambiente favorável ao seu desenvolvimento, estimulando-lhes a auto-expressão, inclusive promovendo os meios materiais e as oportunidades para a aprendizagem das diversas artes, sem, no entanto, anular-lhes a iniciativa com disciplinas e teorias (NORBERTO apud BRASIL, 1980, p.43-44).
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Essa difusão tem sido conseguida principalmente através dos professores dos mais longínquos recantos do país que vêm conhecer a experiência da Escolinha. Muitos estrangeiros acham
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educacional do país (RODRIGUES apud 20 ANOS..., S
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8 20 anos da Escolinha de ArteTL@DWODQH¥MBH@UHU@DLDCTB@¢N. Revista Visão, 7 jun. 1968. Depoimento de Noê-mia Varela.
É um curso (CIAE) provocador do que chamamos prontidão para mudanças, muitas vezes bem sensíveis – seja no próprio professor-aluno, seja em escolas e outras instituições – alargando estrategicamente, dimensões da personalidade e estendendo das fronteiras da experiência nas Escolinhas de Arte. (...) A equipe de professores do Curso Intensivo vem sendo formada de modo singular e, mais uma vez, Augusto Rodrigues, na época, inovou quando, na procura de solução para formá-la, chamou não somente o professor titulado e com experiência de alto nível, mas também, conquistou para essa equipe o artista, o artesão, o crítico de arte, o jornalista, o técnico de futebol, o poeta, o cientista e todo aquele capaz de alargar a percepção do professor-aluno. A diversidade de formação do staff de professores e a heterogeneidade do grupo de professores-alunos tem constituído fonte de renovação desse curso (VARELA, 1986, p. 17-18).
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(...) Noêmia Varela, que dedicou-se intensamente à formação do arte-educador ao longo de seu trabalho, em 1981, fora obrigada a pedir demissão da Escolinha de Arte do Brasil. Sua saída, entre outros fatos, contribuiu muito para o enfraquecimento atual da Escolinha,
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quem o fez após 1981 (COSTA, 1990, p.41).
$($%HR0($IRUDPLQLFLDWLYDVTXHGXUDQWHGpFDGDVOLGHUDUDPDDUWLFXODomRFROHWLYD dos professores de Arte em prol do seu ensino na educação formal como área de conhecimen WROXWDHVWDTXHVHHVWHQGHDWpaRVGLDVGHKRMH10$SHVDUGDGLOXLomRJUDGXDOGR0($&267$
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10 Em depoimento no livro O ensino da arte: memória e história :!@QANR@NQF<!@QANR@OQDK@S@
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1.2.2 A Proposta Triangular para o ensino da Arte
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A Proposta Triangular foi sistematizada a partir das condições estéticas e culturais da pós-modernidade. A pós-modernidade em arte/educação caracterizou-se pela entrada da imagem,
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(BARBOSA, 2008, p.13).
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valoriza o objeto, mas não os cultua, como os deconstrutivistas (sic); exalta a cognição, mas na mesma medida considera a importância do emocional na compreensão da obra de arte
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O critical studies é a manifestação pós-moderna inglesa no ensino da arte, como o DBAE é a manifestação americana e a Proposta Triangular a manifestação pós-moderna brasileira, respondendo às nossas necessidades, especialmente a de ler o mundo criticamente.
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pós-modernos de arte e educação. (BARBOSA, 2008, p.14).
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No Museu de Arte Contemporânea da USP, que foi o grande laboratório da Proposta Triangular,
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em grande parte doutores, mestres e mestrandos, trabalhando principalmente com a estética empírica para a leitura da obra de Arte, experimentou (1987 a 1993) a Proposta Triangular com crianças, adolescentes e adultos iletrados, os próprios guardas do Museu (BARBOSA, 2008, p.14).
De 1989 a 1992 foi experimentada [a Proposta Triangular] nas escolas da rede municipal de ensino de São Paulo, tendo como meio reproduções de obras de arte e visitas aos originais do museu [MAC/USP]. (...) Sua avaliação positiva após quatro anos foi extremamente
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Daí a ênfase na leitura: leitura de palavras, gestos, ações, imagens, necessidades, desejos,
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políticos ganham eleições através da televisão, a alfabetização para a leitura é fundamental, e a leitura da imagem artística, humanizadora. Em arte-educação, a Proposta Triangular, que até pode ser considerada elementar se comparada com os parâmetros educacionais e estéticos
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necessidade de instrumentalizar o aluno para o momento em que vivemos, respondendo ao valor fundamental a ser buscado em nossa educação: a leitura, a alfabetização (BARBOSA,
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1.2.3 A mediação cultural na arte/educação contemporânea
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12 Este ponto será retomado no capítulo II, em que se evidencia o estágio curricular do futuro professor de Arte BNLNOQWHRDRRDMBH@KO@Q@@RT@BNMRSHSTH¢NNMSNK®FHB@DDOHRSDLNK®FHB@
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Ultrapassando a ideia de mediação como ponte, compreendê-lo como um estar entre implica em uma ação fundamentada e que se aperfeiçoa na consciente percepção da atuação do mediador que está entre muitos (…), além de todos os que estão conosco como fruidores, assim como nós mediadores, também repletos de outros dentro de nós, como vozes internas que fazem parte de nosso repertório pessoal e cultural.
(…)
Um “estar entre” atento e observador, no olhar e na escuta, para gerar questões que apenas
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que precisa ser mais apurado (MARTINSS
A atuação dos arte/educadores nos museus e em outros espaços expositivos, assim como em outros projetos de arte/educação fora da escola regular, vem adotando gradualmente a denominação de “mediador cultural”, em detrimento de outros como: “monitor”,
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que o termo “cultural” é muito mais abrangente do que o “artístico”, o que corrobora com a própria vocação de tais espaços. Será que podemos chamar de “arte/educador” o mediador que atua em uma exposição de objetos arqueológicos, por exemplo? Ao denominarmos tais colaboradores como arte/educadores, podemos limitar o próprio entendimento de suas funções nesta circunstância, estreitando o potencial da mostra ao campo artísti(...) ao me referir ao mediador cultural, estou tratando dos educadores de museus e exposições de Artes.
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visitas, entendendo tais ações mediadoras como provocativas, questionadoras, dialógicas e
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também pode ser o educador em sala de aula, quando este recebe seus alunos lhes dando uma aula de forma dialogal, deixando espaço para que os educandos se coloquem (MOURA, 2007,
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O material e o Encontro D&R são vistos pelos professores como inter-relacionados. Tanto
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mais difícil entender e usar o material. (...) Logo o material sozinho auxilia para um ensino de maior qualidade, porém os encontros potencializam os seus usos.
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estabelecem entre o programa D&R e a Ação Educativa [o programa de mediação das exposições do CCBB/SP] desenvolvida na Instituição. Em alguns relatos de visita, tanto dos alunos quanto dos professores, a presença do educador que orienta as visitas (chamado de monitor em outras instituições culturais) surge como sujeito propiciador de
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uma integração entre todos os componentes dos serviços educativos de uma instituição. Por isso o embasamento teórico deve ser comum a todas as atividades que são feitas para
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professores. (...)
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Para alguns, o material se relacionou ao currículo estabelecido, enfatizando, ilustrando e
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planejado, estabelecendo uma relação conceitual com a proposta pedagógica da escola, e houve casos em que o material se tornou o próprio currículo (BARBOSA, COUTINHO e
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CAPÍTULO II
O ESTÁGIO SUPERVISIONADO NA
LICENCIATURA EM ARTES VISUAIS:
NOVAS POSTURAS EPISTEMOLÓGICAS
Numa terra de fugitivos, aquele que anda na direção contrária parece estar fugindo.
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16 ELIOT apud Rubem ALVES, A escola com que sempre sonhei sem imaginar que pudesse existir, p.33.
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2.1 O estágio pode contribuir para uma mudança na perspectiva da
formação docente?
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Art.1º. Estágio é ato educativo escolar supervisionado, desenvolvido no ambiente de trabalho, que visa à preparação para o trabalho produtivo de educandos que estejam frequentando o ensino regular em instituições de educação superior, de educação
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(...)
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à contextualização curricular, objetivando o desenvolvimento do educando para a vida
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(...) estágio curricular supervisionado de ensino entendido como o tempo de aprendizagem que, através de um período de permanência, alguém se demora em algum lugar ou ofício
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estágio curricular supervisionado supõe uma relação pedagógica entre alguém que já é um
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Essa contraposição entre teoria e prática não é meramente semântica, pois se traduz em espaços desiguais de poder na estrutura curricular, atribuindo-se menor importância à carga horária denominada “prática”. Nos cursos especiais de formação de professores realizados com convênios entre secretarias de educação e universidades, observa-se essa desvalorização traduzida em contenção de despesas: aí as decisões têm sido reduzir a carga horária destinada ao estágio ou transformá-lo em “estágio à distância”, atestando burocraticamente, dando margem a burlas. No campo da pesquisa, essa desvalorização da prática se traduz em verbas menores a projetos aplicados, como no caso da educação (PIMENTA e LIMA, 2009, p.34).
