Pelejas e arrudeios da dança/arte no curriculum e atos de currículo em escolas municipais de São Francisco do Conde/Bahia: por encruzilhadas, macumbização e performances afro-ameríndias

Abstract

The investigative construct of this work deals with the event and configuration of Dance/Art in the curriculum and curriculum acts, in municipal elementary schools in São Francisco do Conde-Bahia. Seeking to adjust, therefore, to the prerogatives of the research line Cultural and Educational Mediations in Dance, of the PPG-Dança da UFBA, whose dedication turns trans and interdisciplinary to the study of the conceptions, compositions and political, cultural and educational implications that present and dialogue with processes and forms of configuration in Dance, in different circumstances. Thus, its main speculative problems are the following questions: how does Dance/Art take place and is configured in the curriculum and curriculum acts in school environments of the municipal Basic Education of São Francisco do Conde, in an anti-racist dimension? What propositions can be constituted for the teaching-learning of Dance/Art in the San Francisco curriculum based on the teaching experience and/or based on the heuristic constructed by the research in question? In this sense, the objective is to purposefully understand how the teaching-learning of Dance/Art takes place in the curriculum and acts of curricula in elementary schools of the Municipal Basic Education Network of São Francisco do Conde, through the anti-racist perspective, climbed in the teaching experience and in the meetings with school communities. Therefore, through the qualitative approach, with field research as an investigative procedure, it approaches Anthropology studies, based on participant observation (INGOLD, 2016); from the Philosophy of Ancestrality (OLIVEIRA, 2005), from Performance Studies (LIGIÉRO, 2011), from the Pedagogy of Crossroads (RUFINO, 2019), as well as from the Curriculum field (FORQUIN, 1996), (SILVA, 2005), (MACEDO , 2017) and (LOPES & MACEDO, 2011). From this, we explain the concept of curriculum acts by Macedo (2017), as a training device, the notions of performance, by Ligiéro (2011), as well as the conceptual ideas of body, crossroads and terreiro (RUFINO, 2019) , similarly to macumba (SIMAS & RUFINO, 2018) and macumba (MALOMALO, 2016), in the light of the wisdom of the AfroAmerindian and Afro-Brazilian cultural tradition, in contrast to cultural racism (FANON, 1980, apud ALMEIDA, 2018). ) and epistemic racism (MIGNOLO, 2008, apud RUFINO, 2019), which ordinarily affects the institutions and most black bodies that make up, mostly, San Francisco municipal schools and public schools in Brazil, in general. The main justification of this work comprises, above all, the observance of laws 10,639/2003 and 11,645/2008, as well as law 13,278/2016. It is considered here, the fights and the arrudeios as ways of strategically incessant confrontations in favor of the incorporation of the Afro-Amerindian know-how in the curricular and pedagogical proposal of the teaching of Art, as a form of school knowledge (MOREIRA & CANDAU, 2008), without losing sight, moreover, that their teaching at school as a curricular component must provide and guarantee the effective presence of the respective artistic languages in the curriculum, namely: Dance, Music, Theater and Plastic/Visual Arts. This academic investigation is concluded, considering, therefore, its discussions and reflections on the agenda in an anti-racist dimension, whose relevance and its positioning consists, considerably, in tensioning some of the conceptions about the curriculum and the teaching/learning of Art in the school, whose contents are still, restrictively, Euroreferenced.