conteudos_programaticos_artes_ef_01_a_09_ano

1

Artes

2009

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2

Governador do Estado de Pernambuco Eduardo Henrique Accioly Campos Secretário de Educação do Estado Danilo Jorge de Barros Cabral Chefe de Gabinete Nilton da Mota Silveira Filho Secretária Executiva de Gestão de Rede Margareth Costa Zaponi Secretária Executiva de Desenvolvimento da Educação Aída Maria Monteiro da Silva Gerente de Políticas Educacionais de Educação Infantil e Ensino Fundamental Zélia Granja Porto Gerente de Políticas Educacionais do Ensino Médio Cantaluce Mércia Ferreira Paiva de Barros Lima Gerente Geral do Programa de Correção de Fluxo Escolar Ana Coelho Viera Selva Gerente de Políticas Educacionais em Direitos Humanos, Diversidade e Cidadania Genilson Cordeiro Marinho Gerente de Políticas de Educação Especial Albanize Cardoso da Silva Gerente de Avaliação e Monitoramento das Políticas Educacionais Maria Epifânia de França Galvão Gerente de Normatização do Ensino Vicência Barbosa de Andrade Torres

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3

Equipe Técnica de Ensino – Ensino – GEIF/SEDE Fernando Antonio Gonçalves de Azevedo Fred do Nascimento Guiomar Ribas Lau Veríssimo Márcia Virginia de Araújo Patrícia Barreto Rinaldo José da Silva

Colaboradores Angélica Correia Áurea Maria Bezerra de Alencar Maria Auxiliadora Almeida Mariângela Bernadielle

COMISSÃO DE REVISÃO Ednaldo Ramos dos Santos Erika de Albuquerque Maciel Maria José Holanda Barbosa

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4

APRESENTAÇÃO DAS ORIENTAÇÕES TEÓRICO METODOLÓGICAS PARA AS LINGUAGENS DA ARTE: ARTES VISUAIS, TEATRO, DANÇA e MÚSICA. ‐

A Secretaria de Educação apresenta esta proposta de orientações aos arte/educadores pernambucanos com o intuito de contribuir para uma práxis pedagógica que democratize o universo da Arte, possibilitando, assim, aos nossos estudantes a elaborarem e re elaboração de leituras de mundo mais amplas e complexas. Nesse contexto, parte se do pressuposto que ler  o mundo exige mais do que a simples decodificação das letras e números; é um processo que inclui a dimensão estética e artística como fundamentais a apreensão significativa das realidades históricas e sociais à medida que estas são povoadas por imagens, cenas e sonoridades, ou seja, vivemos em um mundo no qual somos constantemente solicitados a interagir com Arte, suas linguagens e sua história. ‐

‐

Assim, não é por acaso que o grande acervo artístico criado pela humanidade intrigue  – e provoque questões  – desde há muito tempo, em filósofos, cientistas e místicos. Neste sentido, surge o questionamento: Como pode estar o universo da Arte fora do sistema escolar? Considerando que a Arte é um conhecimento, a Lei de Diretrizes e Bases da Educação Nacional (LDBEN) nº 9.394/96 veio consolidar no Brasil uma tendência da Arte como conhecimento e não como mera atividade/fazer, como era a proposta de Educação Artística fundada na LDBEN nº 5.692/71. Nos anos em que predominava na escola a concepção de educação artística, o educador artístico era tido como um fazedor de trabalhos elaborados a partir de técnicas. Estas, por sua vez, se sustentavam em uma vaga ideia de criatividade. Seu principal papel, além de fomentar a expressão pessoal dos estudantes, era o de organizar e decorar festas escolares que obedeciam ao calendário folclórico, cívico e religioso, não necessitando, por isso, buscar ser um conhecedor de Arte. Passadas algumas décadas, ainda existe na escola uma certa ênfase no fazer, na expressão pessoal, ou seja, no talento interpretado como dom, na criatividade dos estudantes e na técnica pela técnica. Todas essas posturas imbricadas com a concepção que se busca consolidar de Arte como conhecimento e como cultura. Arte/Educação compreendida como epistemologia  – teoria do conhecimento  – que estuda os modos como se ensina e se aprende Arte.

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5

Cada uma dessas linguagens possui uma gramática própria. .As artes visuais têm como alguns dos seus atributos formais a linha, a cor, textura, a forma; o teatro: teatro: a palavra, a mímica facial, o gestual, o cenário, a maquiagem; a música: música: a melodia, a harmonia, o ritmo (que inclui os elementos do som como altura, intensidade, duração e timbre); a dança: dança: o ritmo, o espaço, o movimento. As composições criadas a partir dos atributos formais de cada uma das linguagens compõem, como no caso da língua materna, o texto. Ressalta se que na Arte contemporânea não há fronteiras definidas entre essas linguagens. Os ambientes, ou as instalações 1 , são composições criadas com elementos visuais, ou seja, são “criações” muito próximas da construção de um cenário; a performance se firma como uma arte híbrida, sem limites claros entre as fronteiras; o cinema, o vídeo arte, o vídeo clip se compõem de elementos visuais, teatrais e sonoros. ‐

‐

Embora seja importante o domínio desses atributos formais, a leitura das obras de arte e dos objetos de arte não deve limitar se apenas à compreensão dos mesmos, mas de um bom conhecimento do seu contexto político, histórico e cultural, ou melhor, sua autoria, o tempo e o espaço da produção. A leitura da arte exige mais do que simples decodificação de seus atributos formais; ela deve ser centrada na significação em que tais atributos, em diferentes contextos, conferem ao discurso artístico nas diversas práticas sociais. ‐

Convém destacar que a concepção contemporânea de Arte/Educação parte do seguinte princípio: a Arte é uma forma de produção cultural que deve ser estudada em seu contexto histórico, social e cultural, sendo importante construir uma noção mais ampla, no âmbito da educação escolar, de leitura, incluindo no repertório das aulas de Arte, as obras e os objetos do passado e a produção artística contemporânea, ou melhor: incluir a produção artística com suas tradições e experimentos vindos de diversas culturas permeadas de seus contextos. Do ponto de vista metodológico, surge no contexto da Arte/Educação contemporânea, a  proposta ou abordagem triangular 2 . Criada para o ensino das artes visuais, essa abordagem serviu de base nos Parâmetros Curriculares Nacionais (PCNs) para as demais linguagens da Arte. A abordagem triangular deve ser compreendida como um 1

Segundo Cacilda Teixeira da Costa: (2004, p.63) “Os ambientes e as instalações são espaços em que o artista usa a arquitetura sem se confundir com ela. São formas híbridas e, portanto, abrangem diferentes gêneros artísticos entrecruzados. Pode incluir a o objeto, o vídeo e inúmeros outros elementos, estabelecendo uma relação ou interação entre eles”.

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6

sistema que interrelaciona três ações: a contextualização, a leitura interpretativa e o fazer artístico. Por ser um sistema aberto, esta proposta possibilita a articulação das ações, pelo professor, de acordo com seus conhecimentos em arte, considerando os saberes culturais dos estudantes. Ao propiciar uma mudança significativa na leitura da arte, esta abordagem, propõe a superação do processo adivinhatório. Segundo Ana Mae Barbosa: (2002 p.18/19). “Não se trata mais de  perguntar  o que o artista quis dizer  em sua obra, mas o que a obra nos diz, aqui  e agora, em nosso contexto, e o que disse, em outros contextos históricos, a outros leitores”.

Com o intuito de complementar o aspecto anteriormente destacado, cabe aqui um parêntese para lembrar que a Europa universalizou a ideia de que o artista pertencia sempre à etnia branca e ao gênero masculino. Além disso, a Missão Artística Francesa (MAF) que chegou ao Brasil em 1816, ao olhar com desconfiança para a arte barroca brasileira, privilegiando o paradigma estético neoclássico, do qual seus membros eram adeptos e defensores, instituiu no Brasil um preconceito artístico que reverbera até hoje, traduzindo se nas expressões Arte erudita e Arte popular. A primeira, elaborada pelas elites econômicas e intelectuais e por isso digna de ser exposta nos grandes museus e galerias em oposição a ideia de Arte popular que é aquela elaborada pelas classes populares, e presente em espaços menos nobres. ‐

O teatro sofreu o mesmo processo histórico, pois Dom João VI, o patrocinador da MAF ordenou que se construíssem teatros destinados à nobreza e à elite, colocando toda produção que não se enquadrasse nos padrões europeus, como teatro de segunda ou de terceira categoria. Tais preconceitos vigoram até hoje. Para superar tais preconceitos, a Arte/Educação contemporânea toma como fundamento o respeito, a valorização e os entrecruzamentos culturais no palco da escola, a partir da solidariedade e do vínculo social, juntamente social, juntamente com a compreensão da Arte como direito de todos. Isto permeado do princípio da interculturalidade que aponta para a interação/inter relação entre diversas culturas. Isso significa não se restringir aos códigos instituídos (europeus e norte americano brancos), mas se abrir para a Arte que está em nosso cotidiano: nas feiras, na TV, na propaganda, nos muros das cidades, na arquitetura e monumentos, na moda, no teatro, no cinema, nas igrejas e templos de todos as religiosidades. ‐

‐

Nessa perspectiva, o artista é entendido como um sujeito sensível/inteligente, propositor de situações que nos desafiam a pensar criticamente sobre a Arte e suas interações. Nesse contexto, o papel do arte/educador configura se como o problematizador do universo da Arte por meio de um processo de ensino que privilegia: ler, contextualizar fazer. ‐

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7

TEXTOS COMPLEMENTARES

DANÇA

 A Dança como fonte como  fonte de conhecimento do corpo

Observando como as pessoas se movem diferentemente em diferentes culturas, podemos compreender o que movem as pessoas, ou seja, seus processos internos e fatores culturais. A matéria prima da dança não é apenas o corpo e o movimento, mas também as imagens que se formam em torno destes, numa espécie de jogo de  jogo entre as leis imutáveis e a liberdade, entre a natureza e a cultura. Através dos tempos a dança tem sido não apenas aquisição de habilidades físicas e motoras, mas também fonte de subjetividade, de sensibilização estética, de conhecimento ético. ‐

A linguagem da dança pode ser um aspecto importante da pedagogia do movimento, capaz de integrar corpo e educação, à medida que a percepção de nossos corpos na sociedade é que nos possibilita um tipo diferenciado de expressão, uma determinada concepção de tempo e espaço e de transformação do mundo em que vivemos. Como todo ser humano, o artista, profissional ou amador da dança, carrega no seu corpo aspectos universais e pessoais. Como disse Peter Brook (2000:15), considerando o fato de que “há algumas diferenças de estatura e de cor, o instrumento do corpo é o mesmo no mundo inteiro; o que muda são os estilos e as influências culturais”. É nesse sentido que muitos professores, alunos, coreógrafos e dançarinos têm buscado conhecer um pouco da sua própria história, como também da história da dança, uma vez que nosso corpo é expressão daquilo que somos, que vivemos e que acreditamos, ele expressa nosso gênero, nossa etnia, classe social, crenças e afetividades. O corpo é, segundo o

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8

movimento, como sugeriu Rudolf  Laban (in: Fernandes, 2002), inclusive para o processo criativo da dança profissional. A Dança no Currículo Escolar

Toda criação cultural desperta um grande desejo de educação. A dança é uma das linguagens artísticas que por muito tempo esteve na base da educação dos povos, atuando como conteúdo da cultura tradicional transmitido entre gerações. Considerando que a história da Educação é parte da história da cultura, é de fundamental importância que os (as) professores (as) atuem com melhor formação também nestas áreas da cultura humana, entre elas, a dança, com suas dimensões cultural, cênica e educativa. Aqui não se pretende indicar um modelo de ensino, mas de dar sugestões de como colocar a dança nas escolas. Os modelos de ensino devem ser sempre dinâmicos e constantemente transformados, logo, definir e promover qualquer modelo de ensino que seja está fora de questão. No entanto, existe um modelo dominante para a dança educativa hoje, que tem sido classificado como modelo da dança como arte, proposto por Jacqueline Smith Autard (1994) no seu livro The Art of Dance of  Dance Education. Education. No Reino Unido, a dança acontece como uma prática a qual todos os escolares são submetidos pelo menos no primeiro grau onde a dança é uma parte do programa formal de ensino. A dança é ainda incipiente no currículo das escolas brasileiras, sendo uma das últimas a entrar no currículo escolar. No entanto, incentivar a inclusão da dança em programas educacionais significa perceber sua inserção na escola como área de conhecimento cultural, artístico/cênico e educacional, inclusive observando as inter relações existentes nessa tríade. ‐

Há semelhanças e diferenças entre a dança educativa e a dança cênica profissional, especialmente ligadas a finalidades sociais ou estéticas, cuja predominância de uma ou outra, leva a diferentes concepções de corpo. Na abordagem da dança artística profissional

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9

movimentos dançantes, através da descoberta de possibilidades, improvisações e composições coreográficas. A metodologia deve abordar as possibilidades de consciência corporal, com atividades de improvisação e descobertas pessoais de movimentação, associada à apreciação e criação estética, com incursões por algumas teorias sobre História da dança. A proposta elaborada por Ana Mae Barbosa (1991) para o ensino de arte se baseia em história da arte “acadêmica” ou multicultural, no fazer artístico e na leitura da obra de arte. Já a professora Isabel Marques (1993), especialmente na área do ensino de dança nos PCNs, propõe uma ampliação desta tríade, considerando a história da arte como dimensão que inclui também o contexto sócio cultural dos alunos. Em relação à dança, Marques destaca os termos Texto, Sub texto e Contexto, para designar respectivamente o Fazer, o Apreciar e a História, e a estes acrescenta o contexto dos alunos. O Texto/Fazer inclui todos os processos de dança, criação, releituras e produção com os alunos. O Sub texto/Apreciar inclui a análise ou leitura formal do movimento, no sentido de Rudolf  Laban  – análise de movimento e coreologia , e o Contexto/História, inclui a história, a estética, a apreciação e a crítica, inclusive as do mundo cotidiano dos alunos, que podem ser também temas para coreografias 3 . ‐

‐

‐

‐

‐

 A dança como arte na educação (ou a arte da dança na educação)

Quando se trata de dança, é fundamental que se perceba as diferenças regionais culturais de movimento humano e relacionar aos aspectos mundiais e universais. Rudolf  Laban (1978), em seu trabalho de análise do movimento, relaciona aspectos universais do movimento humano e os aspectos culturais. Para ele, toda dança tem uma lógica interna, uma ordem não revelada de maneira óbvia que estrutura o sentido da própria dança: suas emoções, sentimentos, valores sociais e culturais.

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10

em nossas ações 5 . Para esse autor, o papel educativo da dança vai além da performance artística visível, na medida em que nos faz tomar profundamente consciência da vida, nos dando a possibilidade de integração da alma e do corpo em um todo único.

O movimento, raiz comum do trabalho e da dança, foi analisado por Laban ao mesmo tempo do ponto de vista do corpo humano e das relações deste corpo com o espaço. Em sua teoria é possível definir e descrever qualquer movimento a partir de quatro parâmetros: qual é a parte do corpo que se move? Em que direção do espaço vai o movimento? Qual é a velocidade de sua execução? Qual é o grau de intensidade da energia muscular desprendida? Ele distingue dois tipos de movimentos: (i) os que partem do centro do corpo, do tronco, e vão para a periferia, para as extremidades dos braços e das pernas, movimentos centrífugos, (ii) e os movimentos centrípetos, que partem das mãos, e vão refluindo para o centro do corpo, num movimento de recolhimento em si mesmo ou de possessão, ao passo que o primeiro citado é expansão ou repulsão, seja na forma de ondulação contínua, seja na de relaxamento brusco. A reação do corpo é orgânica, cada parte coordenada às outras. Laban descobriu a relação entre as diversas orientações do

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11

harmonia podem ser aplicadas as proporções arquitetônicas, à plástica do escultor, à perspectiva do pintor, às estruturas musicais, porque incluem as regras da proporção, da plástica, da perspectiva e do ritmo.

Laban foi sem dúvida o primeiro a perceber a importância de compreender o corpo, situado num contexto para que se pudesse a partir daí educá daí educá lo na prática de uma ‐

atividade de expressão artística, ou simplesmente para recuperá lo de vícios gerados pela ‐

mecanização do movimento no trabalho.

Por uma Por  uma dança vida educação ‐

‐

Uma arte tão comprometida com o corpo como é a dança, pode oferecer uma nova perspectiva sobre a vida humana, e deve, sobretudo, exigir uma nova visão sobre si mesma e seu papel na escola. A dança tem o compromisso de descobrir caminhos que incluam o corpo não somente como objeto plástico, mas também como sujeito de um pensamento que dança e de uma necessidade expressiva que produza desejo de mudança, de transformação. Por buscar sempre novos caminhos para resolver os problemas de comunicação do homem com seu corpo, a dança cada vez mais tem sido vista como uma arte que pode ajudar o ser humano a encontrar seu corpo e viver em uníssono com ele.

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12

SECRETARIA EXECUTIVA DE DESENVOLVIMENTO DA EDUCAÇÃO GERÊNCIA DE POLÍTICAS EDUCACIONAIS DA EDUCAÇÃO INFANTIL E ENSINO FUNDAMENTAL Componente Curricular: ARTE ENSINO FUNDAMENTAL : Arte 1° ANO ENSINO FUNDAMENTAL: 1ª ETAPA DO 1º CICLO UNIDADE: 1 EIXOS TEMÁTICOS

Artes Visuais Consciência do gesto nas artes visuais Objetivos a serem construídos pelos alunos Reconhecer a dinâmica da linha na composição •

•

Representar graficamente texturas com pontos, linhas e formas

•

Visualizar a linha imaginária e o movimento

•

Reconhecer o espaço real (as três dimensões) e o espaço representado

•

Realizar transferências espaciais: do real ao representacional

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13

• •

Perceber a voz e o silêncio do corpo (o meu corpo e o corpo do outro) Realizar deslocamentos (caminhar, correr, engatinhar, rastejar, rolar, girar, mudar de apoio, saltos, giros, paradas etc.)

Música Exploração e consciência sonora Objetivos a serem construídos pelos alunos Explorar sons e ruídos, corporais, vocais e ambientais (natureza e mecânicos). •

•

Trabalhar o ritmo da palavra.

•

Diferenciar sonoridades considerando origem, altura, duração, agógica, intensidade e timbre.

•

Produzir sonoridades utilizando a voz e o corpo, contemplando a relação som – som – silêncio – silêncio – ruído.

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14

SECRETARIA EXECUTIVA DE DESENVOLVIMENTO DA EDUCAÇÃO GERÊNCIA DE POLÍTICAS EDUCACIONAIS DA EDUCAÇÃO INFANTIL E ENSINO FUNDAMENTAL Componente Curricular: ARTE 1º ANO ENSINO FUNDAMENTAL : Arte ENSINO FUNDAMENTAL: 1ª ETAPA DO 1º CICLO UNIDADE: 2 EIXOS TEMÁTICOS

Artes Visuais Elementos e dinâmicas visuais Objetivos a serem construídos pelos alunos Perceber semelhanças e diferenças entre cores •

•

Diferenciar monocromia e policromia

•

Realizar produções artísticas ultilizando a cor como elemento expressivo.

•

Identificar o ponto em suas várias formas

•

Identificar tipos de linha

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15

Objetivos a serem construídos pelos alunos Observar e vivenciar técnicas corporais cotidianas e extra cotidianas dos povos. •

‐

Música Criação e interpretação Objetivos a serem construídos pelos alunos •

Explorar sonoridades a partir de diferentes estímulos: imagens, poemas, cenas do cotidiano, entre outros.

•

Criar símbolos gráficos para representar alturas (ascendente e descendente) e intensidades (forte e fraco).

•

Criar e interpretar jogos interpretar jogos e gestos sonoros.

•

Cantar músicas dando ênfase ao repertório do cancioneiro infantil brasileiro.

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16

SECRETARIA EXECUTIVA DE DESENVOLVIMENTO DA EDUCAÇÃO GERÊNCIA DE POLÍTICAS EDUCACIONAIS DA EDUCAÇÃO INFANTIL E ENSINO FUNDAMENTAL Componente Curricular: ARTE 1º ANO ENSINO FUNDAMENTAL : Arte ENSINO FUNDAMENTAL: 1ª ETAPA DO 1º CICLO UNIDADE: 3 EIXOS TEMÁTICOS

Artes Visuais Elementos e dinâmicas visuais Objetivos a serem construídos pelos alunos •

Reconhecer as características da superfície

•

Identificar os vários tipos de textura

•

Perceber formas na ocupação do espaço

•

Estruturas bi e tridimensional

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17

• • •

A construção corporal por meio de gestos sonoros. Descobrir movimentos a partir de sons ou imagens visuais Construir frases gestuais

Música Expressão vocal, instrumental e corporal Objetivos a serem construídos pelos alunos •

Vivenciar jogos Vivenciar jogos e brincadeiras musicais que envolvam canções coreografadas e brinquedos sonoros.

•

Vivenciar diferentes músicas dando ênfase ao repertório do cancioneiro infantil

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18

SECRETARIA EXECUTIVA DE DESENVOLVIMENTO DA EDUCAÇÃO GERÊNCIA DE POLÍTICAS EDUCACIONAIS DA EDUCAÇÃO INFANTIL E ENSINO FUNDAMENTAL Componente Curricular: ARTE 1° ANO ENSINO FUNDAMENTAL : Arte ENSINO FUNDAMENTAL: 1ª ETAPA DO 1º CICLO UNIDADE: 4 EIXOS TEMÁTICOS

Artes Visuais Os Diálogos corporal, sonoro e visual

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19

•

Pesquisar sobre a produção musical da comunidade onde a escola está inserida.

SECRETARIA EXECUTIVA DE DESENVOLVIMENTO DA EDUCAÇÃO GERÊNCIA DE POLÍTICAS EDUCACIONAIS DA EDUCAÇÃO INFANTIL E ENSINO FUNDAMENTAL Componente Curricular: ARTE 2º ANO ENSINO FUNDAMENTAL : Arte ENSINO FUNDAMENTAL: 2ª ETAPA DO 1º CICLO UNIDADE: 1 EIXOS TEMÁTICOS

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20

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Descobrir e explorar movimentos, a partir das 3 ações corporais básicas (flexionar/estender, levantar/abaixar, circular ou girar)

•

Explorar as 8 ações básicas de esforço (deslizar, flutuar ou voar, retorcer, pressionar, sacudir, tocar, cortar, golpear)

•

Perceber partes do corpo, isoladas ou em conexão com o todo.

•

Experimentar diversas maneiras de respirar e relaxar.

•

Vivenciar a coordenação das partes do corpo e identificar as diversas posturas.

•

Perceber a voz e o silêncio do corpo (o meu corpo e o corpo do outro)

•

Realizar deslocamentos (caminhar, correr, engatinhar, rastejar, rolar, girar, mudar

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21

SECRETARIA EXECUTIVA DE DESENVOLVIMENTO DA EDUCAÇÃO GERÊNCIA DE POLÍTICAS EDUCACIONAIS DA EDUCAÇÃO INFANTIL E ENSINO FUNDAMENTAL Componente Curricular: ARTE 2º ANO ENSINO FUNDAMENTAL : Arte ENSINO FUNDAMENTAL: 2ª ETAPA DO 1º CICLO UNIDADE: 2 EIXOS TEMÁTICOS

Artes Visuais Elementos e dinâmicas visuais

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22

variações, das máscaras, da sombra e das formas animadas.

Dança A Expressividade e diversidade na dança

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23

SECRETARIA EXECUTIVA DE DESENVOLVIMENTO DA EDUCAÇÃO GERÊNCIA DE POLÍTICAS EDUCACIONAIS DA EDUCAÇÃO INFANTIL E ENSINO FUNDAMENTAL Componente Curricular: ARTE

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24

Dança Os Diálogos corporal/sonoro Objetivos a serem construídos pelos alunos

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25

SECRETARIA EXECUTIVA DE DESENVOLVIMENTO DA EDUCAÇÃO GERÊNCIA DE POLÍTICAS EDUCACIONAIS DA EDUCAÇÃO INFANTIL E ENSINO FUNDAMENTAL Componente Curricular: ARTE

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26

•

Pesquisar sobre práticas musicais de tradição oral na cidade em que a escola está inserida.

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62

SECRETARIA EXECUTIVA DE DESENVOLVIMENTO DA EDUCAÇÃO GERÊNCIA DE POLÍTICAS EDUCACIONAIS DA EDUCAÇÃO INFANTIL E ENSINO FUNDAMENTAL Componente Curricular: ARTE 7º ANO ENSINO FUNDAMENTAL : Arte ENSINO FUNDAMENTAL: 2ª ETAPA DO 3º CICLO UNIDADE: 1 EIXOS TEMÁTICOS

Artes Visuais História das Artes visuais e Gêneros visuais Objetivos a serem construídos pelos alunos •

A produção artística como fato histórico contextualizado no tempo e nas diversas culturas

•

Diferenciar os gêneros visuais

Poética pessoal Objetivos a serem construídos pelos alunos •

Pesquisar e experimentar a arte numa perspectiva de construção/desconstrução, para a problematização da construção de uma poética pessoal.

Teatro Consciência e construção corporal Objetivos a serem construídos pelos alunos •

A experimentação para os jogos os jogos de sentidos

•

A diversidade gestual no espaço

•

O movimento corporal e seus desdobramentos: postura lateralidade, flexibilidade, locomoção, respiração, relaxamento, improvisação.

•

Os gestos cotidianos e não cotidianos com intenções dramáticas.

Os princípios cênicos

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63

•

A organização do espaço cênico e do espaço dramático.

•

Articulações éticas, estéticas e multiculturais entre as culturas

Dança Consciência e construção corporal: corporal: •

Descobrir e explorar movimentos, a partir das 3 ações corporais básicas (flexionar/estender, levantar/abaixar, circular ou girar)

•

Explorar as 8 ações básicas de esforço

(deslizar, flutuar ou voar, retorcer,

pressionar, sacudir, tocar, cortar, golpear) •

Experimentar diversas maneiras de respirar e relaxar.

•

Vivenciar a coordenação das partes do corpo e identificar as diversas posturas.

•

Perceber a voz e o silêncio do corpo (o meu corpo e o corpo do outro)

•

Realizar deslocamentos (caminhar, correr, engatinhar, rastejar, rolar, girar, mudar de apoio, saltos, giros, paradas, etc.)

•

Perceber, especialmente em termos de imagem mental, forma, tamanho, textura, temperatura da matéria corporal.

•

Compreender a relação entre respiração e movimento

•

Despertar para a sensação de grupo ( adaptação e integração a companheiros)

•

Reconhecer a mobilidade e a neutralidade da coluna vertebral, articulações, ossos e músculos.

Música Exploração e consciência sonora Objetivos a serem construídos pelos alunos •

Identificar intervalos e escalas maiores e menores.

•

Conhecer as características básicas da música modal.

•

Conhecer instrumentos musicais de diferentes culturas e períodos históricos.

•

Distinguir as diferentes formas de tocar os instrumentos musicais (dedilhar,

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64

 jazz, rock, hip hop, etc. •

Pesquisar sobre o desenvolvimento dos meios de gravação e transmissão sonora digital. (mini disc, mini  disc, cd, dvd, mp3, ipod, Internet, etc.). Trabalhar com músicas da mídia televisiva e radiofônica.

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65

SECRETARIA EXECUTIVA DE DESENVOLVIMENTO DA EDUCAÇÃO GERÊNCIA DE POLÍTICAS EDUCACIONAIS DA EDUCAÇÃO INFANTIL E ENSINO FUNDAMENTAL Componente Curricular: ARTE 7º ANO ENSINO FUNDAMENTAL : Arte ENSINO FUNDAMENTAL: 2ª ETAPA DO 3º CICLO UNIDADE: 2 EIXOS TEMÁTICOS

Artes Visuais Elementos e dinâmicas visuais Objetivos a serem construídos pelos alunos •

Reconhecer a cor como elemento expressivo na produção artística

•

Estabelecer relações entre os elementos expressivos e simbólicos na produção artística

•

Reconhecer o ponto como elemento expressivo na produção dos artistas

•

Relacionar linhas encontradas no ambiente e na representação gráfica

•

Identificar a linha como elemento compositivo nas produções artísticas

A diversidade nas técnicas e processos visuais Objetivos a serem construídos pelos alunos •

Realizar desenhos, os gestos, os rabiscos, a força física e as possibilidades expressivas

•

Realizar desenhos de observação, de contorno e técnicas de grafias.

•

Experimentar a composição utilizando o ponto dinamicamente

•

Realizar produções artísticas utilizando a cor como elemento expressivo e simbólico

•

Explorar as possibilidades expressivas da linha

•

Releitura, citação e apropriação na arte

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66

Objetivos a serem construídos pelos alunos A exercitação cênica partindo da mímica, da pantomima, dos bonecos em suas

•

variações, das máscaras, da sombra e das formas animadas. A História do Teatro Objetivos a serem construídos pelos alunos •

Aspectos da contemporaneidade aos princípios históricos

Dança A Expressividade e diversidade na dança Objetivos a serem construídos pelos alunos •

Observar e vivenciar técnicas corporais cotidianas e extra cotidianas dos povos.

•

Improvisar e executar danças a partir de elementos cotidianos e extra cotidianos

•

Distinguir gestos elaborados na arte e gestos cotidianos.

•

Experimentar, explorar e pesquisar situações opostas de movimento (ex.:equilíbrio

‐

‐

desequilíbrio, tensão, relaxamento e repouso, suspensão e queda, simetria assimetria, tempo rápido e lento). Os Diálogos corporal/sonoro e visual Objetivos a serem construídos pelos alunos •

A construção corporal por meio de gestos sonoros.

•

Descobrir movimentos a partir de sons ou imagens visuais

•

Construir frases gestuais

•

Compreender a relação da dança com a música, com a arte visual e com o teatro.

Música Criação e interpretação Objetivos a serem construídos pelos alunos •

Criar peças musicais.

•

Interpretar música vocal e/ou instrumental de diferentes épocas e estilos.

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67

•

Vivenciar a prática instrumental melódica e percussiva coletivamente.

•

Tocar o instrumento melódico.

•

Cantar fazendo uso da técnica vocal.

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68

SECRETARIA EXECUTIVA DE DESENVOLVIMENTO DA EDUCAÇÃO GERÊNCIA DE POLÍTICAS EDUCACIONAIS DA EDUCAÇÃO INFANTIL E ENSINO FUNDAMENTAL Componente Curricular: ARTE 7º ANO ENSINO FUNDAMENTAL : Arte ENSINO FUNDAMENTAL: 2ª ETAPA DO 3º CICLO UNIDADE: 3 EIXOS TEMÁTICOS

Artes Visuais Elementos e dinâmicas visuais Objetivos a serem construídos pelos alunos •

Identificar texturas na produção artística

•

Reconhecer a relação figura/forma nas obras dos artistas

•

Identificar formas volumétricas no mundo real (concreto) e na imagem gráfica (representada)

•

Identificar características na estruturação das formas no espaço tridimensional

A diversidade nas técnicas e processos visuais Objetivos a serem construídos pelos alunos •

Experimentar a relação entre planos, texturas e transparências

•

Estruturar formas bi e tridimensionais a partir da pesquisa e experimentação de materiais

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69

Teatro A Construção do texto dramático Objetivos a serem construídos pelos alunos •

A composição de texto dramático: prólogo, cenas, atos e epílogo.

Dança Elementos e dinâmicas da dança Objetivos a serem construídos pelos alunos •

Vivenciar e construir frases gestuais considerando as diversas possibilidad temporais de movimento (lento, rápido, moderado, pausas)

•

Explorar diferentes dinâmicas e esforços.

•

Integração/ Relacionamentos improvisar por aproximação e contato

•

Vivenciar e construir frases coreográficas utilizando os elementos da dança.

•

Analisar movimentos vividos e/ou observados em diferentes estilos de dança

‐

Música Apreciação musical Objetivos a serem construídos pelos alunos •

Apreciar repertórios musicais que envolvam diferentes formações de grupos instrumentais e vocais, erudito e popular, enfocando as do período barroco.

•

Conhecer formas musicais do período barroco.

•

Apreciar músicas de povos de diferentes continentes.

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70

SECRETARIA EXECUTIVA DE DESE GERÊNCIA DE POLÍTICAS EDUCACIONAIS DA EDUCAÇÃO INFANTIL E ENSINO FUNDAMENTAL Componente Curricular: ARTE 7º ANO ENSINO FUNDAMENTAL : Arte ENSINO FUNDAMENTAL: 2ª ETAPA DO 3º CICLO UNIDADE: 4 EIXOS TEMÁTICOS

Artes Visuais Os Diálogos corporal, sonoro e visual Objetivos a serem construídos pelos alunos •

Construir trabalhos visuais em diálogo com outras linguagens artísticas

•

Perceber a interação entre modalidades artísticas

Cultura Visual Objetivos a serem construídos pelos alunos •

Perceber produções visuais no cotidiano

•

Identificar a relação dos pressupostos ideológicos entre a arte e a cultura de midia

•

Construir a relação entre a cultura visual e a história da arte

Teatro A Interpretação teatral Objetivos a serem construídos pelos alunos •

Vivenciar as possibilidades dramáticas pela construção da personagem, da ação da do

cênico do

dramático.

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71

•

Sentir pensar o corpo na dança sentidos/emoções/ palavras, ritmos, sons, ‐

‐

contatos, cheiros e imagens ( ex.: imagens de animais, ondas, luzes, folhas, vento) •

Interpretar relações entre espaço e imaginação (espaço real e imaginário, espaço individual e coletivo)

•

Pesquisar danças mundiais, reconhecendo aspectos estilísticos da produção e contexto histórico cultural (ex.: danças rituais, dança e mitologia, dança nas antigas ‐

civilizaçoes ocidentais e não ocidentais, dança acadêmica e teatral na Europa e nos ‐

EUA (danças pré clássicas, danças do período romântico, balé clássico, dança ‐

moderna, dança contemporânea, dança teatro, etc), dança brasileira, dança em ‐

Pernambuco •

Compreender aspectos multiculturais na dança local (etnicidade/universalidade)

•

Apreciar, comparar e descrever processos e produtos coreográficos observados e/ou vividos em sala de aula ou produzidos pela humanidade

•

Avaliar suas performances e a dos outros

•

Criar seqüências de movimentos a partir de um tema: 1. ligado às dinâmicas corporais de movimento (ex.: combinação de movimento suaves, firmes, diretos, flexíveis, livres, controlados, súbitos, contínuos) 2. ligado à emoções, sensações, sentimentos, pensamentos, idéias, texto imagens e sons

Música Diversidade

música

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72

SECRETARIA EXECUTIVA DE DESENVOLVIMENTO DA EDUCAÇÃO GERÊNCIA DE POLÍTICAS EDUCACIONAIS DA EDUCAÇÃO INFANTIL E ENSINO FUNDAMENTAL Componente Curricular: ARTE 8º ANO ENSINO FUNDAMENTAL : Arte ENSINO FUNDAMENTAL: 1ª ETAPA DO 4º CICLO UNIDADE: 1 EIXOS TEMÁTICOS

Artes Visuais História das Artes visuais e Gêneros visuais Objetivos a serem construídos pelos alunos •

A produção artística como fato histórico contextualizado no tempo e nas diversas culturas

•

Diferenciar os gêneros visuais

Poética pessoal Objetivos a serem construídos pelos alunos

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73

•

Como, porque, para quem e onde se faz teatro.

Dança Consciência e construção corporal Objetivos a serem construídos pelos alunos •

Descobrir e explorar movimentos, a partir das 3 ações corporais básicas (flexionar/estender, levantar/abaixar, circular ou girar)

•

Explorar as 8 ações básicas de esforço

(deslizar, flutuar ou voar, retorcer,

pressionar, sacudir, tocar, cortar, golpear) •

Experimentar diversas maneiras de respirar e relaxar.

•

Vivenciar a coordenação das partes do corpo e identificar as diversas posturas.

•

Perceber a voz e o silêncio do corpo (o meu corpo e o corpo do outro)

•

Realizar deslocamentos (caminhar, correr, engatinhar, rastejar, rolar, girar, mudar de apoio, saltos, giros, paradas, etc.)

•

Perceber, especialmente em termos de imagem mental, forma, tamanho, textura, temperatura da matéria corporal.

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74

SECRETARIA EXECUTIVA DE DESENVOLVIMENTO DA EDUCAÇÃO GERÊNCIA DE POLÍTICAS EDUCACIONAIS DA EDUCAÇÃO INFANTIL E ENSINO FUNDAMENTAL Componente Curricular: ARTE 8º ANO ENSINO FUNDAMENTAL : Arte ENSINO FUNDAMENTAL: 1ª ETAPA DO 4º CICLO UNIDADE: 2 EIXOS TEMÁTICOS

Artes Visuais Elementos e dinâmicas visuais Objetivos a serem construídos pelos alunos •

Reconhecer a cor como elemento expressivo na produção artística

•

Estabelecer relações entre os elementos expressivos e simbólicos na produção artística

•

Reconhecer o ponto como elemento expressivo na produção dos artistas

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75

A exercitação cênica partindo da mímica, da pantomima, dos bonecos em suas

•

variações, das máscaras, da sombra e das formas animadas. A História do Teatro Objetivos a serem construídos pelos alunos •

Aspectos da contemporaneidade aos princípios históricos

•

A multi/interculturalidade

Dança A Expressividade e diversidade na dança Objetivos a serem construídos pelos alunos •

Observar e vivenciar técnicas corporais cotidianas e extra cotidianas dos povos.

•

Improvisar e executar danças a partir de elementos cotidianos e extra cotidianos

•

Distinguir gestos elaborados na arte e gestos cotidianos.

•

Experimentar, explorar e pesquisar situações opostas de movimento (ex.:equilíbrio

‐

‐

desequilíbrio, tensão, relaxamento e repouso, suspensão e queda, simetria assimetria, tempo rápido e lento).

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76

Música Criação e interpretação Objetivos a serem construídos pelos alunos •

Criar peças musicais e tocá las.

•

Interpretar música vocal e/ou instrumental de diferentes épocas e estilos.

•

Vivenciar a prática instrumental melódica e percussiva coletivamente.

•

Tocar e improvisar no instrumento.

•

Construir instrumentos musicais, utilizando os na interpretação das obras criadas.

•

Cantar e interpretar fazendo uso da técnica vocal.

‐

‐

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77

SECRETARIA EXECUTIVA DE DESENVOLVIMENTO DA EDUCAÇÃO GERÊNCIA DE POLÍTICAS EDUCACIONAIS DA EDUCAÇÃO INFANTIL E ENSINO FUNDAMENTAL Componente Curricular: ARTE 8º ANO ENSINO FUNDAMENTAL : Arte ENSINO FUNDAMENTAL: 1ª ETAPA DO 4º CICLO UNIDADE: 3 EIXOS TEMÁTICOS

Artes Visuais Elementos e dinâmicas visuais

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78

Teatro A Construção do texto dramático Objetivos a serem construídos pelos alunos •

A composição do texto dramático: prólogo, cenas, atos e epílogo.

•

A composição do texto dramático em seus diversos elementos estruturais: gênero, enredo, planos de ação, diálogos/monólogos.

Dança Elementos e dinâmicas da dança Objetivos a serem construídos pelos alunos

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79

SECRETARIA EXECUTIVA DE DESENVOLVIMENTO DA EDUCAÇÃO GERÊNCIA DE POLÍTICAS EDUCACIONAIS DA EDUCAÇÃO INFANTIL E ENSINO FUNDAMENTAL Componente Curricular: ARTE 8º ANO ENSINO FUNDAMENTAL : Arte ENSINO FUNDAMENTAL: 1ª ETAPA DO 4º CICLO UNIDADE: 4 EIXOS TEMÁTICOS

Artes Visuais Arte e Sociedades Objetivos

construídos pelos alunos

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80

Objetivos a serem construídos pelos alunos •

Sentir pensar o corpo na dança sentidos/emoções/ palavras, ritmos, sons, ‐

‐

contatos, cheiros e imagens ( ex.: imagens de animais, ondas, luzes, folhas, vento) •

Interpretar relações entre espaço e imaginação (espaço real e imaginário, espaço individual e coletivo)

•

Pesquisar danças mundiais, reconhecendo aspectos estilísticos da produção e contexto histórico cultural (ex.: danças rituais, dança e mitologia, dança nas antigas ‐

civilizaçoes ocidentais e não ocidentais, dança acadêmica e teatral na Europa e nos ‐

EUA (danças pré clássicas, danças do período romântico, balé clássico, dança ‐

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81

SECRETARIA EXECUTIVA DE DESENVOLVIMENTO DA EDUCAÇÃO GERÊNCIA DE POLÍTICAS EDUCACIONAIS DA EDUCAÇÃO INFANTIL E ENSINO FUNDAMENTAL Componente Curricular: ARTE 9º ANO ENSINO FUNDAMENTAL : Arte ENSINO FUNDAMENTAL: 2ª ETAPA DO 4º CICLO UNIDADE: 1 EIXOS TEMÁTICOS

Artes Visuais História das Artes visuais Gêneros visuais

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82

•

O movimento corporal e seus desdobramentos: postura, lateralidade, flexibilidade, locomoção, respiração, relaxamento, improvisação.

•

Os gestos cotidianos e não cotidianos com intenções dramáticas.

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83

•

Conhecer estéticas musicais do século XX e XXI (música concreta, minimalismo, música aleatória, etc.).

•

Trabalhar com músicas da mídia televisiva e radiofônica.

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84

SECRETARIA EXECUTIVA DE DESENVOLVIMENTO DA EDUCAÇÃO GERÊNCIA DE POLÍTICAS EDUCACIONAIS DA EDUCAÇÃO INFANTIL E ENSINO FUNDAMENTAL Componente Curricular: ARTE

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85

Objetivos a serem construídos pelos alunos •

A exercitação cênica partindo da mímica, da pantomima, dos bonecos em suas variações, das máscaras, da sombra e das formas animadas.

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86

Música Criação e interpretação Objetivos a serem construídos pelos alunos

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