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"As pequenas partes de mim que recolhi do mundo e que agora são uma história" : a identidade através da narrativa visual
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Orientador(es)
Resumo(s)
O presente relatório, realizado no âmbito do Mestrado em Ensino de Artes Visuais da
Universidade de Lisboa, apresenta uma unidade didática implementada no contexto
de uma prática de ensino supervisionada, realizada na disciplina de Desenho A, com
uma turma do 11.º ano do Curso Científico-Humanístico de Artes Visuais, na Escola
Secundária de Caneças, no ano letivo de 2021/2022.
A unidade didática foi dividida em várias fases, que resultaram na elaboração de
narrativas visuais sob o formato de livros, ilustrativas de registos literários oriundos
de diversos objetos (livros, letras de músicas e outros) da cultura dos alunos, aos
quais foi proposto, com recurso ao método projetual, o uso da arte para os
comunicar, assegurando o desenvolvimento de competências essenciais ao percurso
académico dos mesmos e, mais tarde, profissional.
A unidade didática permeou a exploração e a interseção de múltiplas tecnologias
artísticas (desenho, colagem, fotografia e realidade aumentada), contextualizada por
uma perspetiva contemporânea da arte. Esta é caracterizada, precisamente, pela
ausência de limites entre as mesmas, o que possibilita não só uma maior liberdade
de criação, mas incentiva também a experimentação como estratégia que,
fundamentada pelo método projetual, ocupou um lugar de protagonismo na busca de
soluções criativas, equiparando-se à destreza técnica, condição necessária à produção
artística, mas nunca suficiente. Por este motivo, a unidade didática possibilitou a
exploração de outras competências como a criatividade, a imaginação, a emoção e a
expressividade.
A autorrepresentação ocupou um lugar central na unidade didática, base do
desenvolvimento dos projetos de cada um. A exploração desta temática surgiu do
reconhecimento do impacto que as questões da identidade têm na adolescência,
partindo-se do pressuposto de que estas, quando transportadas para o panorama da
educação artística, poderiam confluir numa experiência mais significativa e incidir
diretamente na própria motivação, interesse e empenho dos alunos, facto que se
verificou.
O presente relatório abordou ainda as estratégias que fundamentaram a unidade
didática, como a diferenciação pedagógica e o feedback como processo de regulação,
V
assim como os paradigmas da educação artística no qual o seu desenvolvimento
assentou, como a corrente expressivo-psicanalítica e a formalista-cognitiva. Tendo
por base uma metodologia de investigação-ação, foram recolhidas informações
recorrendo a diversos instrumentos, que permitiram assegurar o sucesso desta prática
de ensino supervisionada.
This report, carried out within the scope of the Master in Visual Arts Teaching of the University of Lisbon, presents a didactic unit implemented in the context of supervised teaching practice, carried out in the discipline of Drawing A, with a class of the 11th year of the Scientific-Humanistic Course of Visual Arts, at the Secondary School of Caneças, in the 2021/2022 academic year. The didactic unit was divided into several phases, which resulted in the elaboration of visual narratives in the form of books, illustrative of literary records from different objects (books, lyrics, and others) of the students' culture, to which it was proposed, with recourse to the Munari's design method, the use of art to communicate them, ensuring the development of essential skills for their academic and, later, professional path. The didactic unit permeated the exploration and intersection of multiple artistic technologies (drawing, collage, photography, and augmented reality), contextualized by a contemporary perspective of art. This is characterized, precisely, by the absence of limits between them, which allows not only greater freedom of creation, but also encourages experimentation as a strategy that, based on the design method, occupied a leading role in the search for creative solutions, equating to technical dexterity, a necessary condition for artistic production, but never sufficient. For this reason, the didactic unit made it possible to explore other skills such as creativity, imagination, emotion, and expressiveness. Self-representation occupied a central place in the didactic unit, the basis for the development of each one's projects. The exploration of this theme arose from the recognition of the impact that issues of identity have on adolescence, based on the assumption that these, when transported to the panorama of artistic education, could converge into a more significant experience and directly affect one's motivation, interest, and commitment of the students, a fact that has been verified. This report also addressed the strategies that were the base of the didactic unit such as pedagogical differentiation and feedback as a regulation process, as well as the artistic education paradigms on which its development was based, such as the expressive-psychoanalytic and the formalist-cognitive. Based on an action-research methodology, information was collected using various instruments, which ensured the success of this supervised teaching practice.
This report, carried out within the scope of the Master in Visual Arts Teaching of the University of Lisbon, presents a didactic unit implemented in the context of supervised teaching practice, carried out in the discipline of Drawing A, with a class of the 11th year of the Scientific-Humanistic Course of Visual Arts, at the Secondary School of Caneças, in the 2021/2022 academic year. The didactic unit was divided into several phases, which resulted in the elaboration of visual narratives in the form of books, illustrative of literary records from different objects (books, lyrics, and others) of the students' culture, to which it was proposed, with recourse to the Munari's design method, the use of art to communicate them, ensuring the development of essential skills for their academic and, later, professional path. The didactic unit permeated the exploration and intersection of multiple artistic technologies (drawing, collage, photography, and augmented reality), contextualized by a contemporary perspective of art. This is characterized, precisely, by the absence of limits between them, which allows not only greater freedom of creation, but also encourages experimentation as a strategy that, based on the design method, occupied a leading role in the search for creative solutions, equating to technical dexterity, a necessary condition for artistic production, but never sufficient. For this reason, the didactic unit made it possible to explore other skills such as creativity, imagination, emotion, and expressiveness. Self-representation occupied a central place in the didactic unit, the basis for the development of each one's projects. The exploration of this theme arose from the recognition of the impact that issues of identity have on adolescence, based on the assumption that these, when transported to the panorama of artistic education, could converge into a more significant experience and directly affect one's motivation, interest, and commitment of the students, a fact that has been verified. This report also addressed the strategies that were the base of the didactic unit such as pedagogical differentiation and feedback as a regulation process, as well as the artistic education paradigms on which its development was based, such as the expressive-psychoanalytic and the formalist-cognitive. Based on an action-research methodology, information was collected using various instruments, which ensured the success of this supervised teaching practice.
Descrição
Relatório da Prática de Ensino Supervisionada, Mestrado em Ensino de Artes Visuais, 2022, Universidade de Lisboa, Instituto de Educação
Palavras-chave
Artes visuais Desenho Narrativa visual Realidade aumentada Identidade Relatórios da prática de ensino supervisionada - 2022