A REPRESENTATIVIDADE ÉTNICO RACIAL E DE ARTISTAS MULHERES NO ENSINO DE ARTE: UMA PROPOSTA DE OFICINA PARA FORMAÇÃO CONTINUADA DE PROFESSORES DO ENSINO MÉDIO

• Autor(a) principal: GOMES, CARLOS EDUARDO BITTENCOURT
• Data de Publicação: 2021
• Tipo de documento: Dissertação
• Idioma: por
• Título da fonte: Biblioteca Digital de Teses e Dissertações do UNICENTRO
• Texto Completo: http://tede.unicentro.br:8080/jspui/handle/jspui/1856
• topic: Feminismo; Androcentrismo; Interseccionalidade; Manuais didáticos; Ensino de Arte; Formação continuada de professores; Feminism; Androcentrism; Intersectionality; Art teaching; Continuing teacher education; CIENCIAS HUMANAS::EDUCACAO

The research for this thesis was developed from a feminist and decolonial stance, with the objective of discussing the underrepresentation of women artists in the contents of didactic Art materials. The first chapter presents a bibliographical review about the theoretical support covering Linda Nochlin (1970/2016), Sueli Carneiro (2003), Michelle Perrot (2007), Pierre Bourdieu (2011), Anibal Quijano (2005) and Kimberlé Crenshaw (2004). The relevance of gender and ethnic-racial diversities in the current educational laws and in the curriculum of Brazilian basic education are considered in light of criticism regarding didactic manuals (CHOPPIN, 2004; ESCOLANO, 2006, 2009, 2012; GARCIA, 2013; BARBOSA & RODRIGUES, 2018), as well as of the post-structuralist and intercultural understanding of curriculum (SILVA, 2010; LOPES & MACEDO, 2011; CANDAU, 2005, 2012). The second chapter comprises the results of a document analysis that was carried on with the specific objective of verifying the occurrence of androcentrism in the artistic repertoire of each of the nine chapters of the textbook Percursos da Arte (MEIRA, SOTER & PRESTO, 2016), which was chosen because of its wide distribution for use in Brazilian high schools through the National Textbook Program [Programa Nacional do Livro Didático – PNLD] from 2018 through 2021. After the number of occurrences of male and female names of artists were counted, the results confirmed previous studies that verified the reproduction of androcentrism in the teaching of Art (VAZ, 2009; FEY, 2020; RIBAS, 2020; DOMINGOS FILHO, 2018), while attention to intersectionality allowed for the additional finding that black women artists are also underrepresented in the examples of art works of the analyzed textbook. Such results prompted the applied research of the third chapter, in which a workshop proposal for continuing teacher education is described, both to offer reflections derived from theoretical references about ethnic-racial and gender diversity in the curriculum, and to foster the inclusion of works by black women in Art classes.