Contours of hope:

autoethnographic processes in Art Education, dance, and the construction of an artistic-pedagogical uprising

Abstract

This scientific article traverses the nuances of the author's artistic-pedagogical practices, developed through an autoethnographic approach and articulated with other academic readings. By occupying school spaces through the problematization of praxis and the establishment of an "uprising," this work draws from the history of Art-Education in Brazil, especially through the contextualization and idealization of Ana Mae Barbosa’s (2002) artistic-pedagogical tripod (appreciation, contextualization, and artistic making). The discussion oscillates between Isabel Marques’ (1996) ideas, which promote dance within the context of contemporary education, and the performative teaching described by Renata Roel (2019), upholding Art-Education as a guiding thread for emancipatory practices. The study is framed by the book Education Against Barbarism: For Democratic Schools and the Freedom to Teach (2019), by a collective of authors who problematize Brazilian education, and by André Lepecki’s (2012) article Choreopolitics and Choreopolicing. The intersections of these diverse perspectives demonstrate and weave together the systematization of this study, based on Gisele Onuki’s (2022) passages on "flourishing" and Nelson Carvalho Marcellino’s (2010) Pedagogy of Animation" The synthesis of these perspectives demonstrates the potential arising from the frictions and the poetic and political occupations manifested in artistic-pedagogical praxis. The intertwining of these ideas and authors converges in Paulo Freire (2019) and the dialogical practices of thinking and doing education, showcasing the power of creating friction between Art and Education and occupying schools with artistic manifestations.