O ANDROCENTRISMO E A REDEFINIÇÃO DO REPERTÓRIO DE ARTE PARA O ENSINO FUNDAMENTAL I: UMA PROPOSTA INCLUSIVA

• Autor(a) principal: RIBAS, LUIZ FERNANDO
• Data de Publicação: 2020
• 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/1485
• topic: currículo; androcentrismo; diversidade cultural; feminismo; equidade de gênero; educação inclusiva; curriculum; androcentrism; cultural diversity; feminism; gender equality; inclusive education; CIENCIAS HUMANAS::EDUCACAO

This master’s degree thesis addresses the problem of androcentrism in the curriculum of art at the level of elementary school, and proposes alternatives for redevising the repertoire that is taught in art classes on the basis of the cultural diversity criterion that is advocated in the Brazilian National Common Curriculum Base (BRASIL, 2018 – BNCC). The first chapter offers a bibliographical review that covers four topics: feminist and gender studies (CRENSHAW, 1991; McCANN, 2019, AKOTIRENE, 2019), including the sociological understanding of masculine domination as a cultural phenomenon that is related to the androcentric habitus and the symbolic violence of patriarchy (BOURDIEU, 2012); the invisibility of women in Art History (NOCHLIN, 1971/ 2016; PERROT, 2007; ARCHER, 2012; VAZ, 2009); the legal implications of the cultural diversity principle, which is emphasized in the BNCC text and is crucial for the construction of a society with more justice, solidarity and equity (UNESCO, 2002). Androcentrism in the repertoire of art classes is discussed in the second chapter, which presents the results of a qualitative and quantitative analysis of the occurrence of artists by gender in the five textbooks of the Ápis – Art Collection (POUGY e VILELA, 2017 a, 2017 b, 2017 c, 2017 d, 2017 e) for grades 1, 2, 3, 4 and 5. These school textbooks were widely distributed for the Brazilian public elementary school system through the National Program of the Didactic Book [Programa Nacional do Livro Didático – PNLD]. The results show a greater occurrence of references by male authors to illustrate and support the collection contents, totaling just 32% of women artists who are mentioned, and confirming previous studies about androcentrism in Brazilian textbooks for the teaching of art. The third chapter emphasizes the need for teachers to carry on their own research in order to devise additional didactic resources that allow for the repertoire of each book to be complemented, so as to avoid androcentrism and expand the diversity of identities in their classes. From this inclusive stance, nine syllabi samples are presented for nine classes that avoid masculine hegemony in the curriculum of art by redefining the repertoire of the Ápis Collection textbooks. These syllabi have similar objectives, but they draw on different books, plays for children and other types of art works that allow for learning about women artists, for reflecting upon gender roles in professions, and for re-signifying stories and/or cultural stereotypes. Among the nine syllabi, three were devised for the 1st grade, while six others are for multigrade teaching, with three for the 2nd and 3rd grades, and three for the 4th and 5th grades. Due to the circumstances imposed by the COVID-19 pandemic in 2020, the syllabi were developed according to the need of adaptation for remote classes and transmission through a television program called “Vem Aprender,” with support of the TV Educativa of Ponta Grossa City, in the state of Paraná, Brazil.