This dissertation is a case study of a practical experience in collective creation of popular comedy plays carried out with middle school students (Fundamental II) from Escola Municipal Desembargador Silvino Bezerra Neto, located in the municipality of Parnamirim, Rio Grande do Norte, Brazil. The main objective is to investigate how this process can contribute to the development of theatrical practice, drawing on elements of popular comedy such as improvisation, typification, and critical humor, exploring their pedagogical and artistic potential. This is a qualitative and descriptive research (Thiollent, 2014), whose main references include Boal (2008), Spolin (1979), Freire (2005), Abreu (1997), Carrico (2004), and Araújo (2008). The process valued the exchange of ideas, experimentation, and the participants’ protagonism, enabling them to appropriate comedic elements and contribute their personal perspectives. Thus, the aim was to enhance students’ skills in improvisation, foster greater creative engagement, and promote a deeper understanding of the mechanisms of comicity in theatrical construction. In addition, the project sought to strengthen participants’ sense of interaction, providing an enriching experience both artistically and educationally.

This research aims to identify the factors that negatively impact the teaching and learning process of practical artistic activities proposed in the Art textbooks distributed by the National Textbook Program (PNLD) for the final years of elementary education. The study is based on the assumption that art, as an expressive language and curricular component, requires appropriate pedagogical conditions to effectively contribute to students’ education. The methodology is exploratory, combining bibliographic review and field research conducted in a public school in Natal/RN, approaching, in some aspects, the characteristics of action research. Data collection included student questionnaires, classroom observations recorded in a field diary, and the analysis of Art textbooks used in the 2017, 2024, and 2025 editions. The results reveal significant limitations to the implementation of artistic practices, such as the lack of didactic and artistic materials, inadequate physical spaces, and pedagogical proposals that are inconsistent with the school reality. The theoretical framework is supported by authors such as Barbosa (2003), Libâneo (2006), Lajolo (1996), Eisner (2008), and John Dewey (2010), among others. The findings indicate that, although structural difficulties hinder the full development of artistic activities, they also open opportunities for creative and adaptive pedagogical strategies. It is concluded that the conscious use of textbooks, combined with critical and sensitive mediation, can foster more effective teaching practices and ensure students’ access to artistic experience as a fundamental aspect of their integral education.

The present project investigates the use of improvisational theater games as a means for script creation and audiovisual scene production. The scenes were recorded using smartphone apps with 8th and 9th-grade students from the following schools: Escola Estadual Pedro Alexandrino, Escola Municipal Izabel Moura, and Escola Municipal Luiz Varela, located in the municipality of São Pedro/RN. For the development of this activity, theater game lessons were taught based on the works of Viola Spolin (2008) and Olga Reverbel (1979). The general objective of this research is to promote the interface between theatrical improvisation games and the production of video skits. In accordance with Michel Thiollent (1986), the methodology adopted was action research, which aims to foster understanding and interaction between researchers and community members, developing a dialogue coupled with a planned social and educational action through theater game lessons and the creation of videos.

Trash is a contemporary global challenge. Its improper disposal, as well as the rampant consumerism imposed as a lifestyle in capitalist society are political, environmental and educational issues that need to be discussed at a collective and individual responsibility levels. Brazil occupies a prominent place in the ranking of the most waste-producing nation in the world. Its internal policies are slowly advancing to expand and reinforce resolutions in order to deal with the high amount of urban solid waste dumped in landfills, in the sea and in open-air dumps. With this theme in mind, the present research aimed to investigate how contemporary art, from an interdisciplinary perspective relating sustainability and art, can provoke critical thinking about our relationship with the environment and our place in society as citizens and consumers.This inquiry was explored through a Work Project applied to the 9th grade class at Castro Alves State School in Natal/RN, wich through the creative appropriation of waste, using it as material for constructing urban art interventions. The development of this perception is based on the educational perspective presented by Paulo Freire as a process of building dialogues and social awareness, as well as in Ana Mae Barbosa’s principles for art education. This research is defined as qualitative and followed the educational research approach based on art— a/r/tography, which includes artist, educator and researcher practices all together. In addition to maintaining a research journal, after the completion of the urban interventions, a questionnaire was administered to students to assess how the interventions and urban explorations impacted them.

This work presents the results of an Art-Based Educational Research (PEBA, in Portuguese) developed in standard high school classes at Escola Estadual Prof a Ana Júlia Carvalho Mousinho, located at Parque dos Coqueiros neighborhood in the north side of Natal, RN. Inspired by Stuart Hall’s theory (1987) regarding the postmodern identity, it was observed that many Black and Indigenous students in these school contexts do not recognize themself as such, which demonstrates an understanding gap in their own identity. In order to facilitate the self-recognition of identity of the students in the junior year of high school (equivalent to second year of Brazilian high school), a sequence of planned actions and activities was developed within the framework of an elective course by initially addressing the topic of structural racism, and subsequently, racial identity. This work adopted an auto-narrative experience report and reflective analysis as its writing model. The research objectives are: (a) to propose actions to improve the Visual Arts education in high school; (b) to develop a sequenced didactic proposal grounded in the teaching of Afro-Brazilian history and culture, Law no 11.645 of March, 2008 (Brazil); (c) to foster knowledge of the artistic production of Afro-Brazilian artists; (d) to promote creative processes in art within the school context, drawing on Brazilian contemporary art produced by male and female Black artists; (e) to develop a Black encyclopedia for use as a resource and/or tool for the school community. Thus, this research contributes to the field of racial identity and Visual Arts education, not intending to exhaust the topic, but rather broadening the discussion.

 This study investigates the experience carried out using the methodology of the Theatre of the Oppressed, developed by Augusto Boal (1989), at the 11 de Agosto Full- Time State School, within the Arts subject for the 1st year “A” high school classes during the year 2024, in the city of Umarizal, Rio Grande do Norte, Brazil. The theatrical practices were based on the exercises, games, and techniques of the Theatre of the Oppressed, and the generative themes emerged from the historical oppressions faced by Black people. Initially approached from a broad and general perspective, the project addressed structural issues such as systemic racism, racial discrimination, and marginalization. From this broader understanding, the discussions were gradually directed toward the local context, allowing for an analysis of the racial dynamics present in the students’ daily lives and in the surrounding community, with an emphasis on subtle forms of racism and social exclusion. This process enabled students to reflect on the manifestations of racism that permeate their everyday experiences, both inside and outside the school environment. In this context, the study seeks to answer whether the Theatre of the Oppressed can serve as an effective vehicle for raising students’ awareness about structural racism and its manifestations in school life. To address this question, the objectives of this study are to analyze students’ experiences and perceptions regarding the Theatre of the Oppressed practices, to identify changes in their understanding of ethnic-racial relations, and to investigate the group dynamics that emerged from the theatrical practices, examining how this methodology can promote a more inclusive and respectful school environment. The research adopts a qualitative approach, grounded in Michel Thiollent’s action research methodology, involving the active participation of students and the school community in the investigative process. Thus, through these classes, we explored possibilities and outlined paths that aim to foster an anti-racist, educational-artistic practice within the school context.

This dissertation investigates how experiences with Indigenous arts and knowledges in Early Childhood Education foster positive attitudes toward ethno-racial relations. I conducted an action-research project with ethnographic and narrative inspiration in a class of 22 children aged 4–5 at NEI-CAp/UFRN throughout 2024. We designed open- ended sequences articulating appreciation, contextualization, and making storytelling with an emphasis on Indigenous authorship; body painting and graphic motifs; clay modeling; crafting maracás and rain sticks; Toré dances; visits to Indigenous villages and cultural spaces; and workshops with invited guests. The theoretical framework mobilizes Vygotsky on mediation and the unity of affect and intellect; Ana Mae Barbosa on the didactic triangle; Jorge Larrosa on experience; Vera Maria Candau on interculturality; and Boaventura de Sousa Santos on an ecology of knowledges, in dialogue with Ailton Krenak, Daniel Munduruku, and Sandra Benites, as well as contributions by David Le Breton and Teresinha Petrúcia Nóbrega on embodiment and aesthesis. The data set comprised children’s utterances, field notes, photographs, and artifacts, analyzed through thick description and thematic analysis. Findings indicate a shift from the “generic Indian” stereotype toward recognition of contemporary, also urban, Indigenous peoples; expansion of the symbolic repertoire through the uptake of Tupi- Guarani vocabulary and the meanings of graphic motifs; embodied learning with greater precision and authorship of line, especially on the maracás; and the emergence of empathetic and anti-racist attitudes, such as respect for rituals, an understanding of the centrality of territory, and children’s own proposals to support Indigenous struggles. I conclude that art, lived as aesthetic and intercultural mediation, is a powerful pathway to enact Brazil’s Law 11,645/08 in Early Childhood Education and to cultivate sensibilities that promote more just ethno-racial relations from the earliest years.

This article aims to report an Experience with the Theater of the Oppressed, in Elementary School I, at the Reginaldo Ferreira Neto Municipal School, located in the North Zone of Natal. The objective of the research is to analyze the teaching of theater as an artistic action that liberates the voice of the oppressed in the process of learning and training the subject, through Augusto Boal's Theater of the Oppressed, encouraging them to identify oppressive issues and their possible solutions. To this end, Action Research was chosen as it provides better preparation to students for real actions, in their daily and social existence, and Literature Review in articles studied during the subjects of the Master of ProfArtes at UFRN, official Education documents, among others that dialogue with the topic. It is in this context that the methodological paths intertwine, in the dialogue with FREIRE (1987, 1996), in the pedagogy of the oppressed, and of autonomy, contributing directly to our conversation circles and reflections, as we know that liberation comes through through the confession of the historically oppressed, and the awareness of their inconclusiveness. We go through FOCAULT (1987), in the work 'Discipline and Punish', about the body and mind trapped, rooted in cultural perpetuations passed from generation to generation. We come across SPOLIN (2010), and theatrical games, which were the starting point for theater making, exploring the where, what and who. When telling their stories, students see the real in the imaginary, bringing their concerns. But it is with BOAL (2005), through the Theater of the Oppressed, that the possibility of giving a voice to oppressed students is achieved. In this process, oppressive themes were identified: Family Abandonment, Family Conflicts, Suicide, Sexual Abuse and Racism. From this identification, it was soon realized that Basic Education students needed to understand their history. From this perspective, the students sought to understand their origins, talking to family members, and carrying out research on the history of Africa, and the arrival of black people in Brazil, and how their lives were taken by the oppressor. A dialogue was then established with the Theater of the Oppressed, the pedagogy of the oppressed, reflections on identity and memory, to construct the scenes of the Theatrical Presentation: "The Cry of the Innocents", being divided by oppressive themes, and ending with the choreography of the African dance Jerusalema, to remind students of their ancestry. Therefore, through the Theater of the Oppressed, with an emphasis on the techniques: Forum Theater, Image Theater, the Rainbow of Desire, and other artistic languages, students were able to have a voice, expose their conflicts, and their possible solutions, in addition to to reflect on your identity, that is, recognize yourself, understanding your history, deconstructing prejudices ingrained over the years. Ultimately, only a liberating education forms critical subjects who transform their reality, and authors of their own history.

El presente artículo es el resultado, en el ámbito de la educación teatral, de una investigación dirigida a la implementación e importancia de la Ley 11.645/08. En esta travesía se analiza de que forma la ley en mención está siendo aplicada en la propuesta curricular de los cursos de formación teatral en las instituciones de enseñanza del Estado de Rio Grande do Norte, principalmente en la modalidad de educación superior y de la educación básica. Se analiza la relevancia de la Educación para las Relaciones Étnico-Raciales (ERER), en conjunto con el cumplimiento de la Ley 11.645/08 y su aplicabilidad desde la perspectiva de una educación decolonial en la formación y actuación docente en la enseñanza del teatro. Esta investigación pretende también contribuir para la implementación de la Ley 11.645/08 que torna obligatoria la enseñanza de la história y cultura afro-brasileña  y africana y de los pueblos indígenas en el ámbito de la educación básica brasileña, con el objetivo de la decolonización de la enseñanza y aprendizaje en teatro. En el área del arte-educación, el artículo se encuentra fundamentado en el pensamiento epistemiológico de Ana Mae Barbosa (1998), ya en relación a la educación antiracista se utilizan las contribuciones epistémicas de Bárbara Carine Pinheiro (2023), Nilma Lino Gomes (2019), e Bell Hooks (2013).  En el área del colonialismo se dialoga con las importantes reflexiones de Aníbal Quijano (2009), para reflexionar sobre lo decolonial y su relevancia para la Construcción y desarrollo de una educación donde teorías y prácticas pedagógicas transgredan y rompan con la colonización del poder, del ser y del saber, nuestra interlocución sucede a partir del pensamiento de  Catherine Walsh (2005). Como ejemplos de prática teatral antirracista y decolonial el aporte epistémico de Hudson Neves (2017), nos presenta la importante representatividad del Teatro Experimental del Negro (TEN), así como Andreia Duarte e Naine Terena (2021), con su recopilación de textos dramatúrgicos teatrales haciendo referência a  los pueblos indígenas y a las  artes de la escena desde una perspectiva decolonizadora. De esa forma la investigación muestra que afrodescendientes y pueblos originários de Brasil están demarcando presencia en la escena cultural y artística.

The research focuses on the study and application of the concept of Design Thinking methodology applied to education, which can be used as a strategic and emancipatory teaching methodology that, related to practices developed on the concepts of Visual Arts, can enable the creation and development in a more effective and innovative way, promoting creation and artistic production. Dialoguing thus, with an interdisciplinary approach with a Life Project curricular component, it proposes to encourage the identity and social construction of New High School students in the conceptual framework of BNCC and scholars, artistic movements with: collaborative art and street art and artists Brazilian designers such as: Irmãos Campanas, Beatriz Milhazes, Os Gêmeos and Coletivo Muda, who served as inspiration for the development of artistic practices, which promote emancipation, resignification and artistic and educational production, both technical and humanistic, creative and reflective continuously transcending lives and school spaces.

Comic books can be an effective tool to encourage the habit of reading. However, the consumption of this type of material by its target audience, composed mainly of children and adolescents, has decreased drastically in favor of other audiovisual entertainment media. This phenomenon has contributed to recurrent problems in the classroom, such as difficulties in reading, writing, and integration between verbal and non-verbal discourses. The habit of reading comics - as shown in the course of the research - can help in the development of these skills, promoting a more complete learning. Thus, this project aims to report the experience of using comics as a complementary strategy in the teaching of reading, analysis and content production in the classroom, applied to students of the 7th grade of the Amadeu Araujo Municipal School, in Natal-RN. The proposed pedagogical practice involves the realization of comic book workshops, with emphasis on the study of its textual and visual elements, such as idea, argument, script, drawing, composition, characters, text balloons, comics, publishing and the conception of the final product, whether printed or digital. The main focus is to address the challenges of transdisciplinarity, allowing comics to permeate multiple fields of knowledge. Finally, in addition to the traditional comic, the project also provides for the integration of Information and Communication Technologies (ICTs), such as cell phones, tablets, computers and software for the creation of comics, with the aim of stimulating students' creativity. As a result, it is expected the formation of new readers and content creators, with an interest in using comics as a means of expression and learning.

The present work refers to research with the experiences of composing, auditioning, and
performing in the Musicalization Workshop with the fluteatMunicipal School Professor
Arnaldo Monteiro Bezerra, in Natal, RN, during the period of physical distancing. The
general objective is to expose, reflect, analyze, and discuss experiences related to musical
learningthatreflectonhumanformation.Thisisanevaluativeinvestigationofthe
consequences of music inthe shaping of students in education. The lived experiences and the
developed activities were carried out in Elementary School, permeated by action research in a
qualitative approach, using class records through images, writings, and filming, as well as
interviews with students and testimonials from family members, teachers, and management
staff. As themain theoretical contributions of Music Education, we used Swanwick (2003a,
2003b, 2014), Penna (2010), Loureiro (2003), Brito (2019), and Bastian (2018). In the context
of the Covid-19 pandemic, we have Cruz (2020) and Ricci and Vieira (2020). In the
reflections on the knowledge of experience, we seek foundation in Bondiá (2018) and Santana
(2010). We conclude that it was a successfully developed project, both on the pedagogical and
artistic sides, reflecting actions with noticeable results in the musical, personal, and social
learning and growth of the students, who developed artistically and musically, cognitively and
culturally. This experience can offer discussions that encourage the teaching of music in
schools, pointing out possible paths in the teaching and learning relationships.

This dissertationpresents as its theme the performance in the teaching of Visual Arts, having
as its research object, the dialogical paths of a performance. Imbricated to the contexts of
students' lives, the research aims to analyze, identify and understand the creating process of
the performance in Visual Arts, executed by students of Youth and Adult Education-YAE,
mediated by dialogical paths. It is inserted in the scope of Youth and Adult Education, with
the participation of level IV students from a Municipal School located in Natal/RN.
Methodologically, it is based on qualitative research from the perspective of A/r/tography,
as a living investigation that intertwines life, artistic work, research and teaching/student
practice. Its epistemological approach links with the theoretical conception of art as
Experience, according to Dewey (2010) and Larrosa (2015); the Freirian Pedagogy (1996,
2020, 2021a, 2021b, 2021c) under the dialogic bias; the Triangular Approach systematized
by Barbosa A. (1998, 2003, 2010, 2015, 2019); the specificities and possibilities of
Performance in the Visual Arts, according to Melim (2008) and Barbosa E. (2018); to address
aspects of YAE, Arroyio (2017); The artistic contribution of the performative actions is
anchored in Hélio Oiticica's Parangolé, according to Favaretto (2015) and Waly (2015),
among other authors. We apprehend, with this investigation, that the construction process of
a performative action in Visual Arts, imbricated to the students' life contexts, enhances
knowledge and promotes transformations in the aesthetic and critical perception of the
subjects. The problematization of visualities through this action encourages the body
dialogues as a field of experience, daily aesthetics, proposer contexts, materiality/creation
processesand pedagogical mediation, leading to a singular aesthetic experience. We
recognize that the performative act as a particular form of perception of the body, gives
meaning to the visualities that are configured from it in a performative action, passing from
narrative to imagery poetics by students of Youth and Adult Education.

This article discusses the teaching of Visual Arts in the light of the use of national and foreign audiovisual productions pre-selected for exhibition in the classroom, identifying in these productions the visual elements: color and light, bringing them closer to the audiovisual elements: framing, plans, angles, camera movements and editing. This study was carried out in the 2nd year classes of the integrated technical course in Informatics at the Federal Institute of Education, Science and Technology of Rio Grande do Norte - IFRN -, in the city of Apodi, comprising the period of isolation caused by the COVID-19 pandemic. . It aims to consolidate a pedagogical proposal that uses audiovisual in Visual Arts classes. To achieve this purpose, a theoretical analysis of the possible relationships between the audiovisual and the contents of the Visual Arts that are likely to be worked on from it was carried out, in addition to the identification of successes and errors during the didactic-pedagogical course. It relies on the writings of Barbosa (2014), Pillar (1999) and Ostrower (2013) on studies of images in art teaching, Berle (2021), Ferreira (2010), Kielt (2020), Moraes (2021) and Vilaça (2013) with regard to reflections on the use of audiovisual as a pedagogical resource and, finally, the fabric of dialogues with authors who address cinema in school education, such as Bergala (2008), Bazin (2018) and Fresquet (2017). As a methodology, it uses ex-post-facto research to analyze, evaluate and reflect on art teaching based on the use of audiovisual productions in remote teaching, which occurred during the pandemic period. As technical procedures, this study used an electronic questionnaire and document analysis. As a result, it was noticeable the need for frequent face-to-face meetings, in larger quantities, so that the appreciation, discussion and analysis could be effective, in addition to giving focus to the work with other elements of the visual language. Another conclusion was the importance of a greater quantity and diversity of audiovisual productions for appreciation, serving to improve the aesthetic look and the accurate analysis of moving images, which would also help in the qualification of the students&; productions.

This study deals with a practice in art education centered around visual culture, where the main goal is to promote the perception of critical thinking about mediatic images today and their impact on the assimilation of adolescents, starting from the historical perception of variation standards of beauty, emphasizing the need for image reading teaching not only of a historical and social nature, but also mainly critical. Such analysis is based on the perception of beauty developed by the philosopher Scruton, on the spectacularization of existence in the view of Sibilia, on the critical observation of the imagery of social networks – Instagram –, with a comparison with the photographs of the artist Sebastião Salgado. Based on a methodology of case study action research and a methodology of teaching Ana Mae Barbosa's Triangular Approach, directing an investigative base based on the effective participation of students, where dialogues and critical analyzes were promoted based on imagery perception (photography), We sought to elucidate the question: Is it possible to teach how to think about beauty based on the values that the individual considers fundamental? This study aims to develop, in those involved, the perception of how they feel in front of the images of the social networks, to verify the possibility of promoting a change in this feeling – when of a negative nature –, to provide a critical perception about these images and to analyze the possible existence of change in their perception.

The present work has the general objective of building and re-signifying, from the pedagogical and methodological practices presented to the students of the Eva Lúcia Bezerra de Mendonça Municipal School, teaching tools that stimulate interest in the Dance curricular component, impregnating it with meaning, providing students meaningful learning. And, more specifically, to encourage the use of active methodologies in Dance; encourage the use of technological tools for the learning process; make the student the protagonist of their learning; present the existing cultural affectivity in Dance; working with body practices from the body repertoire of each student, providing them with the opportunity to build and re-signify their own signs of learning. The methodology is predominantly qualitative, from an action research perspective and also based on the analysis of the activities proposed in the classroom with students of the 3rd year of Elementary School, in the year 2022, through an experience report. In this process, we are based on authors who dialogue with Meaningful Learning (AUSUBEL, 1982); Active methodologies (BACICH & MORAN, 2018); Art as experience (DEWEY, 2010); Dance is education (PORPINO, 2010); Language of dance: art and teaching (MARQUES, 2010), among others. In this way, It is a perspective of dance teaching, based on the experience that the student lives with his body, his knowledge and the relationships he establishes in the midst of learning, filling with meaning the stimuli presented by the teacher, constituting and envisioning new meanings for the signs of learning. Therefore, this dissertation is organized into six chapters. The first chapter introduces the research theme “From co-adjuvancies to protagonisms”, in which I bring the objectives, justification, problem, question, locus, research methodology, the authors studied, as well as, a little of the our final considerations, emphasizing the importance of this work as a means of opening up to other academic research.

Pedagogical practices in the area of Visual Arts in search of the creative instant during classes, through drawing, were the motivation for the research questions, namely: how to reach the silence that is not asked for? Would there be the possibility of developing the creative instant on the school floor? Do the formative conceptions base the pedagogical practice for the poetic processes? In this sense, we have as general objective: to analyze pedagogical practices in the area of Visual Arts that promote the instants of creation, the expressive potentialities of the line in the drawing of the students of the Escola Estadual Profa. Ivani Machado Bezerra, with the group belonging to the age group between 15 and 18 years old, this being the locus of our research that should culminate in a pedagogical proposal for High School. And more specifically, carry out a survey through oral, written and imagery testimonials about the students' aesthetic experiences, weaving relationships with the nature of the creative instant in Art classes; discuss the role of line in works of art during image readings; present exercises that make it possible to release the line in the students' visual compositions; show the set of works on the line in the visual compositions produced by the students; to compose a pedagogical proposal for High School in Visual Arts that considers the relevance of drawing for the freedom of creation. It is a qualitative research, as well as an action research. Therefore, the research is justified by the need to promote the making of art at school. The theoretical-methodological bias that underlies the investigation follows the lines of thought of the authors Cecília Almeida Salles (2011), Fayga Ostrower (2013), Mirian Celestes Martins (1998), Ana Mae Barbosa (2010), John Dewey (2010), Jorge Larrosa (2021), Edith Derdyk (2020), as well as the poetics of artists Pablo Picasso and Paul Klee. The text is structured by the initial considerations, followed by four chapters entitled: In search of the silence that one does not ask for; Theoretical Framework: warp that interconnects and sustains the investigation plots; Methodology: intertwining creation processes; by sewing together poetic ideas and final considerations. It is important to point out that the data collection was obtained through the feedback of activities focused on the aesthetic experiences forwarded during the elaboration of the pedagogical proposal in Arts.

This article discusses a teaching experience, in the performance of teaching Art, with students of the 9th year of Elementary School II, at the Municipal School Professor Waldson José Bastos Pinheiro, in the community of Vale Dourado, in the neighborhood of Nossa Senhora da Presentation, a school of the public network of Natal (RN). It analyzes Samba as an object of study from the perspective of decolonial learning, by identifying how African dances influenced Brazilian culture and in particular the theme in question. It problematizes the political and social ills inherited from colonialist exploration in Brazil and points to the legitimization of cultural manifestations of African origin as actions of resistance and construction of knowledge and learning.The theoretical basis is based on Freirean pedagogy (FREIRE, 1998) and the "triangular approach" (BARBOSA, 2010) as an epistemological basis. VIEIRA (2007) and MARQUES (2003) will be used for reflections on dance teaching. The anthropological and sociological perspective of the Brazilian body, the African rhythm and its diversity, the materiality of this rhythm and its relations is based on SODRÉ (1998). The Brazilian institutional mechanisms that establish the compulsory nature of African and Afro-Brazilian History and Culture in schools, through the approach of Law 10.639 (BRASIL, 2003). NETO (2017) was used to deepen, in the history of Samba, the sociopolitical and musical relations that the theme traces with other references in the history of Samba (LOPES; SIMAS, 2020). To discuss the racial sociopolitical context, we based ourselves on HOOKS (2017). This theoretical basis led us to understand the African diaspora and the project of (de)colonization and racialization that the diasporic people undertake in America, according to Fanon's work (2008). This is a qualitative research, based on action research by adopting an intervention in the school space and systematization of the experience, which brings the experiential field closer to a decolonial teaching praxis.

This research focuses on the production and execution of pedagogical proposals, aiming at the search for didactic strategies, in order to work the drawing in the teaching of Visual Arts. For that, it goes through bibliographic sources that discuss the development of children's drawing in different perspectives (LOWENFELD, LUQUET, COUTINHO, GUIMARÃES, PILLAR, IAVELBERG) and finds in game theories (HUIZINGA) and in researchers of the theme (KISHIMOTO, TAVARES, PETRY) support to bring drawing closer to the game's characteristics. In the construction of games, it relies on the aesthetics of formativity (PAREYSON) and fun (CSIKSZENTMIHALYI) to create an affective cartography, expressed in drawings and directed into maps of board games. The research concludes it reaffirming the importance of playfulness for the development of personal hand graphics.

In the history of the human condition, learning and cultural / artistic manifestations have always existed and changed according to the norms, values and characteristics that are so peculiarly different in different cultural and social realities. It is known that through the incentive promoted by the arts it is possible to develop and improve in individuals the motor skills, creative, expressive of verbal and body languages, and see themselves as producing subjects of their concrete material reality. The objective of this research is therefore to analyze the Theater of the Oppressed in pedagogical terms regarding the areas of knowledge of Sociology and Art Teaching in high school, verifying the contributions that this theatrical technique can offer to the teaching practice, as well as to the teaching. students' learning process on subject-related content such as: Citizenship, Culture, Racism, Gender, Sexuality, Work, etc. Considering the importance of critical education of learners in this stage of education, as prescribed by the Law of Guidelines and Bases of National Education (LDB) when spelling out the purposes of high school: “the improvement of the student as a human person, including ethical training and the development of intellectual autonomy and critical thinking. ” In this sense, the method of the oppressed theater, through its different democratic practices, can foster the students' understanding of social phenomena as socio-historical and cultural constructions, thus being capable of denaturalization through reflective thinking about concrete reality. The work focuses on the line of research that studies the processes of teaching, learning and creation through the arts. 

This artistic / educational dissertation is entitled “A Dança na Escola: A Pedagogical
Proposal for the Discipline of Elective Component in High School.” Its general
objective is to describe pedagogical itineraries in Dance, developed in my teaching at
the State Center for Professional Education Dr. Ruy Pereira dos Santos. To apply
this research, it was necessary to: (1) know the current conjuncture of Art / Dance
Teaching in the curriculum; (2) and develop this teaching through the Klauss Vianna
Technique at school. Based on the Klauss Vianna Technique (TKV) carried out in the
Elective Component Discipline “Knowing Yourself through a New Look”, which
enables the subject to be integrally based on Somatic Education. In this context, we
seek to expand the discussion in the face of the new conjuncture of high school
today in Brazil. And for this discussion, we start from the following questions: How
could Dance and Technique Klauss Vianna be inserted in the integral formation of
this student in High School? What possible contributions of dance education to the
integral education of this student at this level of education? In this writing, we also
consider Somatic Education as dance content at school, as an element of
contribution to the integral formation of this subject. To answer the aforementioned
questions, we used the descriptive qualitative methodology, under the bias of
bibliographic and observation methods, in which we addressed some points about
the teaching of Art in the light of the Common National Curricular Base (BNCC, 2018)
and Law 13.415 / 2017. We had the author Isabel Marques (2001) as a theoretical
reference in the field of dance education at school and as a methodological basis the
understanding of the body proposed by Klauss Vianna (2005), and for the
systematization and application of the Klauss Vianna Technique to teacher Jussara
Miller (2007 ). The research proposes a dialogue about my experience as a teacher
at the State Center for Professional Education Dr. Ruy Pereira dos Santos, located in
the municipality of São Gonçalo do Amarante in the State of Rio Grande do Norte
(RN), with interfaces in the Klauss Vianna Technique (TKV ). To carry out this
research, the dance classes were distributed in the Discipline of Elective Component,
which is inserted in the Axis of Technical and Professional Training of the Curriculum
in the School in Full Time, which is based on the Model of the School of Choice,
created in the year of 2000, in the city of Recife - PE, at the Gymnasium
Pernambucano by a former student of the same, who felt touched by the
abandonment of that institution.

Cette œuvre a pour thème l'héritage du modernisme brésilien en mettant l'accent sur la Semaine de l'art moderne de 1922: une réflexion dans les classes d'arts visuels du nouveau lycée et présente du matériel didactique développé en classe à travers l'approche d'une proposition pédagogique sur la sujet mentionné, mettant en évidence les événements de la Semaine de 1922, de la lecture et la relecture des œuvres d'artistes exceptionnels au moment de l'événement. Nous avons choisi comme objectif général d'analyser de manière critique l'héritage du modernisme brésilien dans l'histoire de l'art d'aujourd'hui, en considérant l'applicabilité de l'expérience pédagogique concernant la recréation de la Semaine d'art moderne de 1922 avec les élèves de la deuxième année du nouveau lycée de l'école publique Mascarenhas Homem. D'autres objectifs plus spécifiques ont également été envisagés, tels que: présenter les expériences pédagogiques développées à l'école sur l'héritage du modernisme brésilien dans l'histoire de l'art aujourd'hui; montrer les résultats du travail des élèves à l'école; élaborer des lignes directrices pour l'amélioration de nouveaux projets pédagogiques.Pour explorer le thème, nous prenons comme base un problème qui interroge, par-dessus tout, comment travailler avec l'héritage du modernisme en classe aujourd'hui, en lui donnant un nouveau sens et en le rapprochant des élèves du nouveau lycée de l'école publique Mascarenhas Homem? Le lieu de la recherche est l'école publique Mascarenhas Homem, située dans le quartier de Lagoa Seca, Natal / RN, étant des sujets actifs, les élèves du nouveau lycée inscrits dans la discipline des arts visuels. La méthodologie est caractérisée comme une expérience en classe, combinant la recherche bibliographique avec la méthode de recherche choisie identifiée comme la recherche-action avec une approche qualitative, dans la perspective de Thiollent citée par Baldissera (2001); Pape, Mays (2005); Barbier (2004); Bogdan et Biklen (1982), entre autres. Pour les contributions théoriques, nous utilisons des auteurs tels que Paulo Freire (1996); Antoni Zaballa (1998); Hugo B. Bozzano et al (2013); Kátia Helena Pereira (2007); Mírian Celeste Moreira et al (2009); Mirian Celeste Martins et al (1998); Neide Rezende (2006); Dóris Maria Malfatii (2009); Cibele Regina de Carvalho (2007); Israël Pedrosa (2009); Aracy Amaral (1976); Béa Meira et al (2017); Ana Mae Barbosa (2011) et Marilda Oliveira de Oliveira (2007), dans une approche de la lecture du monde à l'enseignement de l'art du point de vue de chaque auteur. Nous soulignons donc que les résultats de cet article et de cette proposition pédagogique peuvent contribuer au développement d'une réflexion sur l'art d'enseigner les Arts Plastiques et / ou le Théâtre au Nouveau Lycée, compte tenu de la pratique pédagogique en fonction de la construction des savoirs qui doivent se matérialiser. dans l'environnement de la classe dans n'importe quelle école, qu'elle soit publique ou privée.

This paper has got as its research goal the short movie production measured by the smartphone usage, in the environment the Arts classes. We point out as an objective analyzing the short film production done by High School students, in order to approximate curriculum contents of their everyday lives. The experience happened with two classes first grade students’ participation, of state school Prefeito Antônio Conserva Feitosa, in Juazeiro do Norte-CE. The methodology which supports such study is the qualitative research guided by Active Research, which has been developed by the teacher as a participating researcher together with his collaborating students. We have adopted Barbosa’s Tirangular Approach (2012) as leading theorical contribuition for our activities under the contextualzing/doing/seeing axis. We have tried dialoguing with Orofino (2005), Duarte (2009) and Julier & Marie (2009) in the perspective of understanding our teaching practice in the classroom, as well as issuing a new vision at the school environment at this moment in which it is located permeated by new digital technologies.

This is an article whose objective is to present the result of a work as an
educational practice carried out at the State School Professor Paulo Pinheiro de
Viveiros, located in the Lagoa Azul Neighborhood, in the North Zone of
Natal/RN, through the creative process developed by the Mythos Theater
Company, with the purpose of facing the Bullying that has been occurring in the
school research field and its surroundings. The work is justified, because it
seeks to break some paradigms about Bullying, bringing to reflection those
involved so that social and educational measures may be taken, so that this
problem is faced more effectively. The show Azul Turquesa is based on a
collaborative scenic construction, having as reference the anthropological
theater of Eugênio Barba (1994); the role of the teacher and the school based
on the discussion of Walter Kohan (2015); the studies of Beaudoin & Taylor
(2006), which deal with Bullying and disrespect, a culture that must be
extinguished from school; the discussions made by Ana Beatriz Silva (2015), in
her book Bullying: dangerous minds in schools, among others. Therefore, we
take as a methodology for the approach to the theme, a qualitative descriptive
research, considering the case study, as a strategy for the expression of the
studied reality, according to (YIN, 2005; STKE, 2013; ANDRÉ, 1984; BOGDAN
& BIKLEN, 1994), as well as a participant observation, in view, as researcher
and coordinator, to be inserted within the daily life of the group (BECKER,
1994). The research questions that guide our study are: Given the experiences
of students, inside and outside the school, what are the possibilities of coping
with Bullying? Within Theater Teaching, how can the creative process
collaborate with the confrontation of school bullying? This said, we consider our
study relevant, since, as a methodology, it can contribute to the improvement of
human relations and respect in school.

This dissertation concerns the research called "Circus Place is in the School: The
Study of the Clown in Artistic Pedagogical Experience" whose object of research
is the study of circus and clowning in the regular system of education, based on
the analysis of the story of experience of the artistic / pedagogical project "Lugar
de Circo é na Escola". Seeking to broaden the discussion of the circus and clown
content in the classroom, as a clown / teacher / researcher, I began to reflect on
how to construct an artistic / pedagogical path systematized for circus and clown
studies in elementary school classes in the final series of the School Maria de
Lourdes Bezerra in the municipality of Macau / RN, culminating in the
development of the project "Lugar de Circo é na Escola", which became the
object of analysis and reflection of this dissertative research. The research
develops from the following questions: Why study circus and clown in school?
What is the potential of such an action in the school context? Is it possible to
teach to be a clown? What methodological possibilities can be used for learning
the tricks in school? To answer the questions cited, the research anchors its
writing in the qualitative analysis, having as a method the Content Analysis
proposed by Bardin (1977). Seeking to understand how the development took
place, the involvement of the participants and the unfolding of the artistic /
pedagogical project already mentioned, as well as to describe and analyze the
pedagogical and methodological course proposed by the teacher for a theoretical
/ practical study of circus and clowning. The reflections around the research are
built and broadened from the relationship established between the development
of the project "Circus Place is in School" in the construction of the identity of the
clowns (pupils) during the intercross project to the studies of the circus history
and of the clownwork in Brazil and in the world, besides pointing out unfolding of
this action in the school environment and outside it. For our studies and
development of this writing, we dialogued with the following authors, in what
concerns the understanding of circus and clownish history in Brazil and in the
world, as well as experiential practices related to the theme of this dissertation,
for example, Bolognesi (2003), Thebas (2005), Burnier (2001), Lecoq (2010).
From Da Arte, the dialogue was with Barbosa (1991) and Desgranges (2003) to
understand the pedagogy I used in the development of the project "Place of
Circus and in School", so the cited authors provide the basis for sewing the flaps
of our pedagogical work.

Drawing as an expressive form, play activity, recreation and didactic resource is widely used in Elementary School. This reality has been perpetuating itself in the history of this elementary phase of the formation of the subjects. For many of them, when we talk about art classes, it is a source of enthusiasm and soon they say: Let's draw! Others put themselves on the defensive, saying: I do not know how to draw! This is what we see in many schools and, with the introduction of other artistic languages in the school curriculum, such as music, theater and dance, the time to learn to draw in the final years of Elementary School has been further reduced and, in a way , lost in an attempt to mix the four languages, in an approach considered as transdisciplinary. For this reason, this research has undertaken to review the design for the young students involved in this moment of human development and formation. In two different experiences in Rio Grande do Norte (RN): in the Vila de Ponta Negra, Natal and Parnamirim, practices were associated - inside and outside the school - and theoretical and artistic references, classical and contemporaneity, so that we could to better understand the teaching and learning process of graphics as a driver of cognitive and integral development at this point in the lives of young students. The researches and practices demonstrated how the design contributes to the organization of the thinking, to the acquisition of organizational, projective, creative and expressive abilities, raising the potential of synthesis and problem solving by the students. The methodological approach developed was qualitative, allowing to explore all the dimensions of the singularity of the design for the integral development of the human being, allowing a better understanding of the object of study. It also allowed the creation of a method of contextualization for each experience, thus confirming, in an open way, the renewal of the approach to each new experience, even though the millennial theme and the concepts and elements of the language are well known to those who dedicate themselves to it . The study showed the importance of studying design in a well-organized block of actions, in the first moments of the final years, so that students can learn, overcome difficulties and assimilated systems of representation, strengthening self-esteem and the use of graphics both in moments of free expression and expressive resource in the most differentiated needs - inside and outside the school - and also in the acquisition of autonomy to continue learning, directing it to future professions and solutions for strategies and schemes, in the most different moments of life. For all this, it is argued here that drawing is indispensable for the overall development of the human being and for deep reasons can not be overlooked or approached as a secondary didactic resource in the final years of Elementary School.

This dissertation presents a study about comics and their possibilities arts teachin in
high school. To achieve this, a survey and bibliographical analysis was carried out on
the planning and execution of two actions with the teaching and leaming of Comics in
the Adauto Bezerra – Barbalha/Ceará High School. A workshop entitled "Reading
and Production of Comic History at School" was held, as well as a set of classes
during a two-month course in a first-year high school class, For the theoretical
foundation and planning of the experiments we take as reference the studies of Ana
Mae Barbosa (2009), Waldomiro Vergueiro (2009) and João Marcos Parreira
Mendonça (2006, 2008) among other authors dedicated to teaching arts, comics in
education and comics in art education respectively. In the experiments, we first
sought to bring the participants closer to the comics, stimulating them to develop their
ability to read images by identifying and understanding the main elements that make
up the visual language and the language of the comics in particular. The comics
history was contextualized and different modes of comic production were discussed
and experimented, culminating in the production of visual narratives by the
participants. The art classes in a regular class had the comics as content and object
of teaching and learning seeking a practice that surpassed the use of comics only as
a didactic tool. It concludes with this study, that it is still necessary to consolidate the
understanding of comics as Art and its legitimate place as one of the contents of the
teaching of Art. This work contributes to the constitution and consolidation of a way of
seeing the HQ beyond mere entertainment, but also as an instrument of teaching and
learning of Art, as well as a legitimate content to be learned in the classes of High
school arts.

This work aims to contribute to the effective implementation of law 10.639 / 03 in the
teaching of visual arts through the study of African heritage in Brazil. It is a research of
a qualitative nature, whose objective is to know and study the aesthetic heritage of the
Afro-Brazilian Museum through the analysis of its permanent physical and digital
collection, the pedagogical actions developed there and its curatorial discourse, in order
to select information and formulate visual arts propositions in school that can
collaborate for ethnic-racial relations through art. Aiming at expanding knowledge
about the aesthetic heritage of the African matrix, a series of visits were made to the
Afro Brasil Museum in March and April 2018, with the intention of knowing the
collection and the educational and training actions carried out there . In the results
analyzed, we found that the museum offers an accessible didactics, with support
material for teachers through the digital collection and also through participation in
pedagogical actions, we also present new approaches for the contextualization of the
themes "Ancestry", "Identity" and "Feminine ". The analysis of the expository aspects of the permanent collection focused on the contribution that the collection can provide
to the improvement of the approach of the theme in the school. The main theoretical
references used in the analysis of the themes were Munanga (1999), Barbosa (2008),
Sousa (2009), Fonseca (2017).

This work consists of a reflective analysis based on a teaching experience using the
proposal of work by project as an intervention in the teaching / learning process of
the discipline of Arts at the State School of High School Dr. Hortênsio de Sousa
Ribeiro, located in the city of Campina Large / PB. Based on the project proposal,
Patrimonial Education, considering the educational process as mediation between
cultural heritage, teaching and school and school as patrimony, based on theoretical
references published by the Institute of National Historical and Artistic Heritage
(IPHAN). The main foundations of the project-by-project proposal are highlighted
from the model indicated by the philosopher and educator William Kilpatrick and the
proposals reflected by the educator Fernando Hernández, both include in their
theoretical perspectives the ideas of the philosopher and educator John Dewey. The
teaching experience analyzed is the result of an intervention in the Arts classes of the
referred school, aiming to solve problems detected in the classroom related to
teaching and learning, in this way, an action research. Th is research intends to
perform an analysis in the teaching experience presented as intervention, to try to
understand the motives of the problems identified in the classroom of the participant
group and if with the didactics were solved or softened the problems, from the
activities and Results of the project. The analysis is reflected beyond the activities,
from the statements of the students involved.

This paper investigates how can happen the direction of the photographic art practice
from their daily practice and also how this interrelationship can contribute to the teaching of
visual arts in schools, especially in high school. Therefore, the concepts of selfie, technical
images and artistic and commercial photography will be used. Thus, it is made a reflection on
the sociocultural context involved in the practice of the selfie, and a practice in the classroom
involving the promotion, direction and encouragement to fruition, production and reflection of
artistically designed photo. As a result , it has produced a blog through which photographic
challenges were promoted ; recorded the contents of classes hypertextual form ; and released
the artwork produced by the students during the course. In addition to the photographs, the
students produced short films on the theme "Problematic of the indiscriminate use of self
image in social networks ", based on discussions in class about art, media and society.

This research shows the relationship between theater games and puppets theater
present in a pedagogical practice, held in the 2013, in a group of school flow
correction during the classes of the curriculum component Art - Theatre Teaching. As
inspiration for the implementation of this project, it was essential the study of the life
and the work of master Chico Daniel and his João Redondo Theater. This study aims
to describe and analyze a teaching-learning process through Theater, having as
research field the Djalma Maranhão Municipal School. The Action -Research was the
social research line chosen to guide this analysis because it is focused on solving
problems. The purpose in analysis allowed most of the 4
th
graders, in classroom H in
the Djalma Maranhão Municipal School, to be involved in a theatrical practice based
on the games system and in the puppet theater, as well as in the knowledge
construction about the puppets theater and the theater in general. This experience
was successful due to the fact it was able, through the work developed with these
students, to cooperate with their development in the teaching-learning process which
had been problematic because of different obstacles in that group.

This article refers to the research proposal on the applicability of the teaching method

proposed by theater playwrights Bertolt Brecht and Augusto Boal , in theater workshops

for adolescents in public schools. It aims primarily to develop an evaluative research of

educational purposes , political and social , as they are intended to raise awareness,

acting as a stimulant to the debate on social problems , generating discussion and the

questioning of everyday issues , providing a greater reflection of relations power, by

exploiting stories between oppressor and oppressed.

This article presents a dense description that aims to make an analysis of the

practice of theater education developed by the Oppressed Theatre Center of Rio de

Janeiro (CTO), in training projects multipliers method of Theatre of the Oppressed

(TO ). It was given a specific focus, analyzing the method used by the CTO to

introduce the concept of scenography and her role in a show of Forum Theatre. For

both a description of the working method and an analysis of the steps of applying the

techniques in search of findings as the efficiency of the working method proposed by

the CTO as a collaboration to theater education was made. The study takes as its

starting point a specific game used by CTO during the performance of their

workshops, "the great power of the game", and it notes the potential of the 

techniques proposed by as a way to develop a teaching job in art dialogically , playful

and efficient.

The present dissertation refers to the research of professional masters in Visual Arts / UFRN, dealing with the knowledge of teachers in teaching Visual Arts in Child Education in a public institution in the city of Natal. Therefore, we define as objective of this research to analyze how the teaching of Visual Arts occurs in a public institution of early childhood education by the narrative of a teacher, as well as reflect from the observation of the classroom teaching as such teaching is agenciada. From this general objective, we define the following specific objectives: To investigate the conception of Visual Arts of the teacher in question; To investigate the knowledge of the teacher's training she emphasizes to justify the practice of teaching with visual arts in early childhood education; To highlight the conceptions that the teacher has about the teaching of visual arts in early childhood education; To analyze the knowledge that the teacher has for her training that justify her practice. Our work is part of the Qualitative Approach of Educational Research, the applied methodology is a case study and has as procedures of data construction semi-structured interview and participatory observation. Our empirical field was constituted in a school of the metropolitan region of Natal / RN, that offers education for children. The subject of the research is a teacher who acts as a holder in the class of level 2, children between 3 and 4 years of age and has 8 years of teaching practice. From the data analysis, based on the case study methodology, three themes emerged: infant education, visual arts and child education; We aim to characterize the teaching of the Visual Arts in early childhood education, based on the concepts explained in the narrative and in the practice of the teacher investigated; To identify the conceptions about Visual Arts in the teacher education of the child; And to analyze the teacher's knowledge about the teaching of the visual arts. The lack of knowledge of the teachers of early childhood education at the public school in the municipality of Natal about the language of the Visual Arts shows that access, study, research and training in Art are important for them to be aware of its relevance as an area of knowledge. The need for continuing and professional teacher training, appropriate for the Visual Arts, such as postgraduate and extension courses, focusing on teaching in Arts, is a great stimulus and advance for teachers and for the improvement of Art classes, The cultural formation, so the teacher can have theory, knowledge and adapt his pedagogical practice. It is necessary to have a close look at this work with Visual Arts in children's education in schools, to rethink the importance of this language, teacher training, a meaningful practice, valuing creativity, child development, children's potential. The research carried out, together with the authors and the teacher, confirms our understanding that the need for teacher education teachers may be related to the lack of initial and continuing education.