29 SES 07, Arts Education and Cultural Representations
The experience of intercultural work in the quilombola community, in Sertão of Pernambuco (Brazil), has allowed the group of artists who develop a collaborative work of art education to question the exercise of subliminal power that the status of artist confers to these protagonists.
More than sixteen years of collaborative work in the quilombola community of Conceição das Crioulas allow us to look at the way of political and artistic relationship of the group of artists who regularly go there.
Inherent to the artistic act is the self-legitimation of the performance conferred by the artist's status as an author. This possibility of internal legitimation is assumed, in the intercultural terrain of educational relationship as an exercise of power, nourished by the know-how and know-think of art, 'specialized' fields that isolate themselves from common knowledge.
Understanding the educational work in general and in particular inside intercultural contexts as a non-authoritarian terrain, but as a space to promote the construction of the subjects, it is considered that the actors are required to suspend their power to establish a horizontal relationship of hearing, listening, of freedom for the exercise of the artistic.
It is intended, therefore, not to establish a one-way teaching relationship but a space where everyone, including the artists who are present, carry out their learning, valuing all the knowledge and flavors present.
The paper presents an autobiographical view of its authors, based on discussions shared with the community itself, which here gains a voice in the presence of a short video that will be shown in the presentation, held in the community itself by its video collective 'crioulas video'. Artistic education actions carried out constitute an object of experience from which the meaning presented in this paper is extracted. The actions take place in schools located in Quilombo de Conceição das Crioulas, where a Political Pedagogical Project is developed, in a practice of Differentiated Crioulas Learning, in a movement that involves the whole community and interconnects with its struggles for land ownership, health, dignity of identity and improvement of living conditions. The systematization of the reflection carried out over the years that the project took place, bases its dynamics on a methodology of listening and giving voice, corresponding to a model that stems from knowledge, confidence, complicity and critical realization. The presentation will be accompanied by images, which allow a visual access to the precise context in which the actions that sustain the paper took place, and the presentation of a short video.
The paper intends to discuss an agonistic view on the role of artistic education in the educational process, moving it from a missionary mission, where teaching art to others is a colonial exercise of authority, for an intercultural relational field that strengthens in subjects the practice of artistic practices stemming from endogenous challenges.
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