Balançaê, eja! É para já – dança em ênfase sistêmica na educação de jovens e adultos

Abstract

As a teacher and researcher in the field of Dance, I have been studying and acting throughout long years in multiple educational contexts. I have recurrently engaged myself in understanding and provoking transformations in the relationship between Dance and School, which keep being based in logics that do not take into account the complexity of the body that produces Dance. This thesis aimed to reflect on this relationship through my practice in programs and projects of Dance teaching in the public Education networks, specially the ones undertaken in the no Colégio Social de Portão and in the municipal schools José Calazans, Lélis Piedade, Anjos de Rua, Sebastião Dias and Campinas de Pirajá in the mode Educação de Jovens e Adultos - EJA (Education of Youth and Adults), in the city of Salvador, Bahia, Brazil. Having in mind the purpose of contributing to new approachs in the teaching and perception of Dance in School, the aim of this thesis was to investigate the effects and effectiveness of implementing actions that connect the Dance system to other systems related to the educational institutions. As a starting point to the formulation of my enquiries, I resorted to my work as an Arts teacher in the project "Arte no currículo" (Art in the curriculum), a covenant between the Universidade Federal da Bahia - UFBA - and the Secretaria Municipal de Educação de Salvador (2015-2016), a project that coordinated teaching, research and extension, in colaboration with the Program "Trânsitos: Experiências artísticas como processo de aprendizagem" (PROEXTMEC/UBFA/DANÇA 2016). The methodological choice for this research was analysing such experiences within a theoretical framework of approaches that allowed me to think the teaching and perception of Dance in School as open co-implicated systems under non-equilibrium conditions that are permanently subject to the possibility of a crysis. This ascertainment was pivotal for proposing Dance actions systemically organized - the Systemic Dance - as a strategy for articulating Dance and School, woven through the logic of complexity. The choice of this approach makes possible the updating of information related to body, space and movement intented to disabituate memes such as: "one who dances does not think"; "dancing is for girls"; "dancing is for easing the students' tensions"; "isn't dance in school useless?" Systemic Dance, then, was a resource employed to think about the reorganization of relational modes between Dance and School, specially by proposing actions woven through the 'logic of between'. This is done by producing experiences of recognition between the implicated systems of DanceSchool and also by connecting new ways, agencings and perceptions capable of unstabilizing absolute truths and creating porosities in such brutalized relationships. My conclusions include the understanding that these actions take place in a field of contradictions and ambiguities which demand the creation of new modes of relationships in continuous reformulation. Systemic actions in School are, then, challenging ways for the perception of the complexity of the knowledges-practices of everyone as parts of the system. For this reason, such actions require an effective interchange among school, teachers, students, refectory workers, gate keeper, employees and all other professionals involved.