O ensino das artes visuais e a importância do processo criativo no conhecimento do património cultural local
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2021
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Conhecer e reconhecer o património cultural local, é um dos fundamentais objetivos sociais e educacionais das políticas governamentais atuais. A História das populações e a
consciência da nossa relação com a mesma, através do contato com o património material e
imaterial, permite-nos desenvolver afinidades com a memória coletiva, tão determinante para
a identidade dum povo. É na relação do “eu” com o meio e nas nossas origens, que se forma
a nossa identidade, e é da relação com o meio envolvente e comunitário, que se determinam
as nossas mais primordiais relações de pertença e identidade. Neste sentido, a busca deste encadeamento entre os indivíduos e o património mostra-se determinante e necessária, daí
decorrendo uma melhor perceção do contexto social e cultural atual.
A educação e os métodos didáticos do ensino das artes, adquirem aqui, um papel fundamental na concretização deste objetivo. Transversalmente no ensino das artes visuais,
é permitido duma forma prática e espontânea, que as afinidades entre os alunos e as
manifestações culturais e históricas envolventes, se concretizem. Adquirindo esta conexão necessária, os alunos estarão aptos para uma maior compreensão das tradições, da comunidade e do contexto histórico. Resultante destas ligações e do reconhecimento das
mesmas, será ainda mais inteligível a compreensão das práticas artístico-culturais
quotidianas, resultantes da influência e ação dos costumes historicamente adquiridos.
O estudo apresentado, resulta da experiência em Prática Supervisionada, e pretende
explorar as afinidades que se estabelecem entre o indivíduo/aluno e o património cultural local, no decorrer do processo criativo. Esta investigação, usando a metodologia de investigação-ação, indica-nos de forma expressiva, que durante os processos de criação é possível estabelecer essas afinidades, permitindo aos alunos conhecer e reconhecer o
património cultural local, criando ligações, através das técnicas utilizadas durante o processo
criativo em artes, resultantes da sua própria exploração e desconstrução da problemática
projetual proposta. Da didática das artes e da sua flexibilidade, emerge no aluno uma melhor e maior consciência do seu meio envolvente, da sua própria noção de identidade, de
identificação com as tradições, e assim, espontaneamente, acabam por se estabelecer preocupações relacionadas com a conservação e preservação do próprio património, valorizando-o.
Knowing and recognizing our local cultural heritage is one of social and educational main objectives of government policies. The populations history and the awareness of our relationship with it, through contact with material and immaterial heritage, allows us to develop affinities with our collective memory, that is substantial determinant for people identity. It is in the “I” relationship with the environment and our roots, that our identity is formed, and it is from that relationship with the surroundings and the community environment that our most fundamental relationships of belonging and identity are determined. Though, the search for this link between individuals and heritage is decisive and necessary, according to the established, a better perception of the current context, is needed for a better perception of both historical and cultural context to which we belong. Education and teaching methods of visual arts, acquire a fundamental role accomplishing this objective. Crosswise the teaching of visual arts, allows a practical and spontaneous way, to develop tangible affinities between students, cultural surroundings and historical manifestations. By acquiring this necessary connection, students will be able to better understand the traditions, the community and the historical context. As a result of these connections, and their recognition, it will be even more intelligible to recognize the actual artistic-cultural practices, which resulted from the influence and action of acquired historically customs. The study presented in this document, results from the obtained experience in Supervised Practice, and intends to explore the affinities that are established between the individual/student and the local cultural heritage, during the creative process, through the composition of an artistic object. This investigation, using the action research methodology, show us in an expressive and qualifying way, that during the creative processes it is possible to establish these affinities, allowing students to know and recognize the local cultural heritage, making connections, through the techniques used during the creative process in arts, which develop from their own exploration and deconstruction of the proposed projetual problem. From the didactics used in art classes and their flexibility, emerges from the student a better and greater awareness of his environment, of his own notion of identity, of empathy with traditions, and thus, naturally, the acquirement of concerns regarding the conservation and preservation of its own heritage, valuing it.
Knowing and recognizing our local cultural heritage is one of social and educational main objectives of government policies. The populations history and the awareness of our relationship with it, through contact with material and immaterial heritage, allows us to develop affinities with our collective memory, that is substantial determinant for people identity. It is in the “I” relationship with the environment and our roots, that our identity is formed, and it is from that relationship with the surroundings and the community environment that our most fundamental relationships of belonging and identity are determined. Though, the search for this link between individuals and heritage is decisive and necessary, according to the established, a better perception of the current context, is needed for a better perception of both historical and cultural context to which we belong. Education and teaching methods of visual arts, acquire a fundamental role accomplishing this objective. Crosswise the teaching of visual arts, allows a practical and spontaneous way, to develop tangible affinities between students, cultural surroundings and historical manifestations. By acquiring this necessary connection, students will be able to better understand the traditions, the community and the historical context. As a result of these connections, and their recognition, it will be even more intelligible to recognize the actual artistic-cultural practices, which resulted from the influence and action of acquired historically customs. The study presented in this document, results from the obtained experience in Supervised Practice, and intends to explore the affinities that are established between the individual/student and the local cultural heritage, during the creative process, through the composition of an artistic object. This investigation, using the action research methodology, show us in an expressive and qualifying way, that during the creative processes it is possible to establish these affinities, allowing students to know and recognize the local cultural heritage, making connections, through the techniques used during the creative process in arts, which develop from their own exploration and deconstruction of the proposed projetual problem. From the didactics used in art classes and their flexibility, emerges from the student a better and greater awareness of his environment, of his own notion of identity, of empathy with traditions, and thus, naturally, the acquirement of concerns regarding the conservation and preservation of its own heritage, valuing it.
Descrição
Orientação: Maria Constança Pignateli de Sousa e Vasconcelos
Palavras-chave
MESTRADO EM ENSINO DAS ARTES VISUAIS NO 3.º CICLO DO ENS. BÁSICO E SECUNDÁRIO, ENSINO DE ARTES VISUAIS, CRIATIVIDADE, PATRIMÓNIO CULTURAL, ARTE, EDUCAÇÃO, PROFESSORES, ARTES VISUAIS, VISUAL ARTS TEACHING, CREATIVITY, CULTURAL HERITAGE, ART, EDUCATION, TEACHERS, VISUAL ARTS