A experiência do professor-artista : narrativa, ensaio e autorreflexividade na educação artística

• Autor(a) principal: Sousa, Dalila Maria Castelhano de, 1967-
• Data de Publicação: 2018
• Tipo de documento: Dissertação
• Idioma: por
• Título da fonte: Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)
• Texto Completo: http://hdl.handle.net/10451/33693
• topic: Hofman, Hans, 1880-1966; Bruguera, Tania, 1968-; Sanches, Rui, 1954-; Smith, Kiki, 1954-; Educação artística; Professor-artista; Experiência; Narrativas; Ensaios; Auto-reflexão; Produção artística; Tempo; Espaço; Educação artística

This assignment has as its central focus a reflection on the experience. Within the daily practice of the teacher of visual arts, what can we consider experience? What specific challenges are put to the art teacher and what skills (educational or pedagogical) are required? Starting from a theoretical analysis of the concept of experience, we narrow the investigation to the specific case of the professor-artist experience which, presupposing the possibility and pertinence of the report of this experience, transports us to the need to clarify and illustrate the idea of narrative, as well as the very process that consists of narrating the experience lived by the teacher in his pedagogical-artistic practice. Thus, throughout the text, micronarratives (visual and textual) are included that are no more than short episodes of my daily life as a teacher in a secondary school of the province in the group of visual arts, reporting, according to a narrative conception of the curriculum, experiences that include the subjects that participate in them, the pedagogical relationships that are established, the spaces where they develop. One of the ways of recording the narrative, among others that can be used, is the essay. This can be understood as a transversal methodology to the processes of artistic creation and to the pedagogical practice itself. Given its undisciplined and experimental nature, that is, adverse to the pure and simple fixation in previously established literary or aesthetic-artistic categories, the essay – as well as the gesture of rehearsing itself – approximates the language and working methodologies that are familiar to the teacher-artist. In this context, the ' essayist ' thus acquires the role of a co-author of the curricular subjects and of the experiences of the sensitive world he shares with his pupils, and in this joint daily experience he is able to examine (and reflect on) his artistic and inventive skills as an educator. The research and analysis of biographies of some teachers-artists: Hans Hofmann, Tania Bruguera and Rui Sanches, embrace both activities, since they complement each other: teaching and the processes of artistic creation. Although the information regarding their activity as teachers is rarer than that related to their artistic practice, their analysis illustrates the pedagogical relationship that they established with their students, the methodologies adopted and the requirement of the conjugation of the two practices. With works so different on an artistic level, they also have different teaching methods, but the taste for teacher activity is evident in their testimonies, leading to the belief that both activities complement each other. Does the teacher-artist, reflective and researcher, who tries to deepen his knowledge in the artistic field, raise awareness for art or ' tame ' visions? The importance of self-reflection and research in the art world lead us to the idea of educational curatorship. Being a curator of images or artistic manifestations that arise as cultural products, implies reflecting on the multiple looks, the multiple practices of seeing, teaching to see and think about what you see