Arte e experiência de si como processo de formação continuada nas narrativas [auto]biográficas de professoras/es de artes visuais.

Abstract

This thesis investigates the production of experience of oneself in relation to art as a process of continuing education for visual arts teachers. The study developed in line 4, Teacher Training, Teaching, Educational Processes and Practices, is of a qualitative nature. This work was carried out with the support of the Coordination for the Improvement of Higher Education Personnel – Brazil (CAPES) – Financing Code 001.The theoretical foundations that support the investigation are based on the studies of Larrosa (1994, 2011, 2015), on experience and experience of oneself as a formative process; on the relationship between visual arts and continuing education processes (Gohn, 2015); and on the epistemic-methodological theory of researchformation (Josso, 2004, 2010), in which the investigation was conducted with my participation and that of visual arts teachers, in a mutual teaching/learning relationship. This approach also enabled the construction of the mini-course as a field of researchformation and data production to confirm the thesis in a participatory manner. In a sociopolitical context constantly threatened by conservatism and neoliberal policies that impact education, especially in the arts, this research aimed to understand the possibilities of continuing education that develops from experiences with artistic productions. These experiences, subjective in nature, transform into experiences of the self, configuring a formation process guided by the appreciation of sensitivity and life stories. This thesis was confirmed through an autobiographical analysis, constructed from [auto]biographical narratives (Abrahão, 2003, 2009, 2011), in which I mobilize my own experiences in dialogue with the narratives of self of Visual Arts teachers, produced during the research-training mini-course, based on their experiential reflections on women's artistic productions. The choice of these teachers is justified by the proximity between their life stories and formation and my own academic and professional trajectory. The choice of female artists is justified by the possibility of valuing their productions in the face of patriarchal dominance. The data produced during the short course were analysed based on hermeneutics (Minayo, 1998), which allowed us to understand, dialogically, how teachers establish an experiential relationship with art through a sensitive self-knowledge, which ultimately constitutes a process of continuing education or self-formation. The results indicate that the experience of oneself generated in this context constitute a powerful mode of continuing education, transformation of ways of being and acting, contributing to the appreciation of subjectivity and insurgent epistemes in teacher formation in Visual Arts and even in other areas that value the arts in the teacher formation process.