Ludicidade e cognição: um entrelaçamento afetivo, efetivo e divertido para o ensino de ballet para crianças

Abstract

This paper presents intersections between authorship, perceptions, and data collected over 30 years of teaching/learning ballet classes with a focus on playfulness (Luckesi, 2002a), considering the concept of playfulness as a state of fullness that enhances learning. Noticing a gap in understanding ballet for children that, alongside the technical-interpretative dimension and code apprehension, generates meaning and impacts the people involved, sparked the interest in exploring themes through interdisciplinary action to systematize a connective e-book aimed at mediators in dance classes for children. The e-book aims to articulate concepts and stimulate the flexibilization and contextualization of knowledge through questions, answers, and activity suggestions. The intention is to contribute to the continuous formation and expansion of action possibilities (practical activity suggestions) for peers interested in teaching/learning playful classes that foster cognitive development and address the multiple needs of existing, feeling, thinking/acting. These needs are varied and changing in a volatile world (Hall, 2006). Based on these arguments, the question arises: Does ballet teaching keep up with these changes? The research points towards the systematization of a non-hegemonic and emancipatory didactics (Freire, 1996). As a reference, (Damasio, 2000) anchors the proposal for the development of affective potentialities. In a broader sense, (Lakoff; Johnson, 1980, 1999) present cognition not as a synonym for "knowledge" or "intelligence," but as a complex process linked to the experience of the body as a whole. (Rengel, 2007), with the proposition of the "corponective," contributes to the understanding that body and mind do not need to integrate, as they are already a unified body-mind or mind-body. The didactic-methodological procedures are based on a qualitative approach, combined with a literature review (Fachin, 2006). The field research, equipped with information production devices such as observation, reflection, training, and cross-referencing authorships through autoethnographic writing (Ellis, 2004), seeks, through textual form, not only to present collected data but to make the perceptions gathered by the author in teaching ballet at private early childhood education schools, condominiums, dance studios in Rio de Janeiro, and mainly Bahia, experiences with peers, and sociocultural contextualization present. Personal narratives and reflections were used as research data to compose a comprehensive understanding of ballet teaching/learning practices. The perspective is that ballet teaching for children should be motivating for both them and their instructors. As a result, it is hoped to contribute to mediators feeling confident and aware that the classes can make a positive difference in their own lives, those of the students, their families, and their communities.