A pessoa idosa dançarina-criadora: relações entre processos de criação/composição em dança e processos autoeducativos

• Autor(a) principal: Silva, Patrícia Chavarelli Vilela da
• Data de Publicação: 2024
• Tipo de documento: Tese
• Idioma: por
• Título da fonte: Repositório Institucional da UFU
• Texto Completo: https://repositorio.ufu.br/handle/123456789/41414; http://doi.org/10.14393/ufu.te.2024.165
• topic: dança; criação; composição; improvisação; pessoa idosa; dance; creation; composition; improvisation; elderly people; danza; creación; composición; improvisación; personas mayores; CNPQ::CIENCIAS HUMANAS::EDUCACAO; CNPQ::LINGUISTICA, LETRAS E ARTES; Educação; Dança na educação; Dança para idosos; Improvisação na dança; ODS::ODS 4. Educação de qualidade - Assegurar a educação inclusiva, e equitativa e de qualidade, e promover oportunidades de aprendizagem ao longo da vida para todos.

This research works with the theme of improvisation in dance and has as its delimiting axis the reflection on the inter-relations between the experiences lived in the processes of creation/composition, based on improvisation, and the self-educational processes of the participants. It is characterized by an artistic-pedagogical investigation, with a qualitative and exploratory approach, and has as its epistemological basis the constructs of knowledge derived from research in the arts. The methodological approach was built during the research process itself and is based on the understanding that human beings learn by integrating their experiences with the ability to reflect on them and the creative inter-relationships established with the environment in the process of making art. The methodology was called the "Inter-relational Study-Creation Approach" and was guided by the research problems and the objectives set. The general objective of the research was to analyze the possible interlocutions between the constructions of knowledge arising from the processes of creation and composition in dance, through improvisation, and the processes of self-education of the participating subjects. With this in mind, I proposed experiments that associated the study of improvisation with processes of movement research, guided by somatic practices - especially considering the Feldenkrais Method and Bones for life - with the aim of working on refining perception, attention and sensitive listening (to oneself, the environment and the other). Due to the creative and compositional nature of the organization of the study proposals and the reflection and analysis of the data, I understood that there was a construction of data and not just a collection of data. The means adopted to construct the data were: participant observation, interviews, thematic conversations during the meetings and image records (photos and videos). The data that emerged during participant observation and thematic conversations was recorded through audio recordings, videoconferences and notes in the Artistic-Pedagogical Research Notebook; the interviews took place initially through the presentation of questionnaires to be answered in writing or by audio, according to the participants' choice; and later, through the presentation of questions, orally, during the study practices, answered by those who wished to express themselves about the situations experienced. The images were recorded either by me, by the participants or by the videomaker who created the video dance entitled O (re)nascer do meu existir (2022). The analysis process took place during the entire period of the meetings and the preparation of the thesis text. I sought support in the thinking of John Dewey and Jorge Larrosa to think about the power of experience in the construction of knowledge; I also turned to researchers in the fields of dance/improvisation (Carmen Numer, Cleide Martins, Lisa Nelson, Mara Guerrero, Marina Elias, Raquel Gouvêa, among others), somatic education (Ciane Fernandes, Martha Eddy, Moshe Feldenkrais, Ruthy Alon, Sylvie Fortin, Thomas Hanna, to name a few), neuroscience (António Damásio, Leonor Guerra, Ramon Cosenza), philosophy (Maurice Merleau-Ponty, Tim Ingold), psychology (Christian Sade, Virgínia Kastrup) to reflect on perception, attention and listening, relating their connections to creative, compositional and self-educational processes.