RHYTHM AND POETRY IN THE PORTUGUESE LANGUAGE CLASSROOM: Reading of poems from a literary-musical perspective
Poem. Music. Transdisciplinarity.
Literary reading, especially of poems, among young people, has become increasingly scarce. However, we know that such a rich genre, full of connotations, cannot be forgotten in the classroom. It can assist in the development of interpretation and especially reading. In this context, the Portuguese language teacher can take an innovative stance in Portuguese language classes and use strategies to motivate the student to read for pleasure. Music can be a great ally in this mission. To interfere in this school reality, we planned and developed an intervention with 7th grade students, from elementary school, from a municipal school in the city of Natal-RN. Therefore, our research objective is to analyze the contributions of a pedagogical intervention, in an intertextual perspective, which aims to improve reading practices, from the genre poem articulated to the musical genre, using the poems “Cante lá, que eu canto cá” - Patativa do Assaré, “Motivo” – Cecília Meireles, “A rosa de Hiroxima” – Vinícius de Moraes, “Fanatismo” – Florbela Espanca, “Trem de ferro” – Manuel Bandeira, “José” - Carlos Drummond de Andrade, “Tem gente com fome” – Solano Trindade e os Raps “Poema de Rua” – Filosofia rap, “Porque eu rimo” – Emicida, “Junto e misturado” – MV Bill. As specific objectives we intend to: Identify aspects that facilitate the reading of the poem; Investigate students' understanding of reading poem text; Understand how music and poetry articulate in the formation of reading competence and propose, as a final product, the school project REP – Ritmo, Escola e Poesia, aiming for continuity. Our methodological approach was built from action research (THIOLLENT, 2011; TRIPP, 2005), with qualitative data approach (BODGAN; BIKLEN, 1994). We structured our theoretical foundation for reading concepts (SOLÉ, 2008; JOUVE, 2002; KLEIMAN, 2004;), as well as our conceptions of literary reading (JOUVE, 2012; TODOROV, 2010; ALVES, 2013; REZENDE, 2013); and literary literacy (COSSON, 2018); we still apprehend the poem theory (AVERBUCK, 1993; PINHEIRO, 2002; SORRENTI, 2009; MARCUSCHI, 2005; PILATI, 2017; GEBARA, 2007). And finally, we intend to develop concepts about music (PENNA, 2014; COSTA, 2002; TATIT, 2007; 2008; CONTADOR, 1997) and about transdisciplinarity (MORIN, 2007; 2014;)