O que pode um currículo-dançante: experimentações de um currículo com dança

• Ano de defesa: 2020
• Autor(a) principal: Carla Char Melo Sampaio
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de Minas Gerais
• Palavras-chave em Português: Educação; Dança na educação; Dança - Estudo e ensino; Dança - Currículos; Corpo e mente; Linguagem corporal; Aprendizagem
• Link de acesso: https://hdl.handle.net/1843/35587

Similar to letting yourself be guided by sound in a dance, this master's research was conducted by echoing a question: What can dance in a curriculum that opens up to experimentation, so that body and thought move and provoke o learn from difference? Living encounters that move body and thought led to the possibility of creating a dance-curriculum, through experimentation with dance in the territory of a curriculum. This bet was confirmed as soon as the Sagração da Primavera School opened for experimentation, owing body and space to dance. It is a state school, located in Greater Belo Horizonte, Minas Gerais, which covers Elementary School (ES) and High School (HS). The research was carried out with classes in the 8th and 9th year of ES, on days provided by four teachers in the disciplines of Portuguese, Geography and Mathematics. Experiments with dance implied four possibilities for creation and expression in contemporary dance: Improvisation, Contact Improvisation, Videodance and Choreographic Composition. This dissertation thus explores an experimentation with body, dance and curriculum. Working with concepts and understandings of post-critical curriculum studies and the philosophy of difference, dançarilhar is created and used as a methodology, that is: a composition made of cartography + dance and which is inspired both by the studies of Gilles Deleuze and Félix Guattari as in Nietzsche's “Andarilho” to assemble the character Dançarilha and bet on a dance-curriculum. The general argument defended here is that dance in the curriculum can create a dance-curriculum that, in order to be triggered, demands movements, openings, the formation of bands and the creation of a dance experimentation class, while opening bodies to become and make compositions with minor dance and other arts, making the major curriculum dance and open space for movement and different forms of expression with dance. Thus, it moves dance-bodies and triggers, through becoming, learning with the difference of each one. The study shows, then, that a dance-curriculum can provoke other ways of teaching and learning, through an imbricated and sensitive relationship between body and thought, which makes bodies and curricula dance in unusual ways, following the line of a learn that it is resistance and insists on making the difference dance in the territory of a curriculum.