A arte do corpo brincante de Antônio Nóbrega como potência educativa

Abstract

The thesis is based on the argument that Antônio Nóbrega the body art "brincante" reveals itself as an educational power through the aesthesiological meanings that exist in his productions of dance, poetry, and cinema. In this exercise, we aim to interpret how these productions express the esthesis of an educational power capable of inviting us to a bodily exercise of seeing, moving, feeling, and experiencing the connections and resignifications of the Brazilian tradition. We adopted the phenomenology of the French philosopher Maurice Merleau-Ponty (1971; 1999; 2003) for the description, interpretation, and expansion of the horizons of the meaning of the studied phenomenon. The task of this study is delimited to the following productions: Brincante – the film, Lunário Perpétuo and Rima, woven from the experiences of the course Na rima: Brazilian popular poetry, in a remote way, and from Sambada Junina, in person, both offered by Instituto Brincante, and also to other face-to-face events by the artist in the State of São Paulo: the cycle of meetings Brasisbrasil, at Unicamp/Campinas and the Cycle of Lectures with Antônio Nóbrega at the Centro de Pesquisa and Formation of SESC Bela Vista, the latter in São Paulo. These threads of meaning are intertwined with others through dialogues and explanations of classes, lectures, and interviews with him, seeking to understand more, in the methodological fabric of a network of meanings, regarding the educational relevance of the expressiveness of the playing bodies, the aesthetic and the knowledge of Brazilian culture. The dialogue was expanded with some main interlocutors: Edgar Morin (2003), Patrice Pavis (2011), Paul Zumthor (1997; 2007) and Susanne Langer (1980); with this, we support the thesis that Antônio Nóbrega the body art "brincante" reveals itself as an educational power, inspiring many educators, cultural scholars, other artists, and the public, in general, who identify with the exercises of aesthetic resignification of knowledge of tradition, configuring a sensitive education through looking, feeling and moving, recreating our world. The artist, in his artistic work, of an armorial nature, gives greater visibility to the world of tradition, re-signifying and dialoguing with the elements of erudite art with popular art. The writing is divided into three acts. In the first one, we show biographical traits of the artist and the language of cinema, emphasizing the reflective appreciation of some scenes from the film Brincante - the film, considering the artist, his character Tonheta and expressions of dance in the cinema, weaving some relationships with education. In the second, we approach ideas of performance and poetic language, highlighting the perceptive experience of the shows Lunário Perpétuo and Rima, weaving sensitive learning with the remote course Na rima, with the artist, in the movement of directing our gaze to think education. In the third, we highlight the notions of aesthetics and the language of dance, highlighting the researcher's main learning experiences with Brazilian dances, in dialogue with poetry, in the courses and lectures given by him in person, as well as the festive experience of Sambada Junina, seeking to strengthen the thesis argument related to the multiple ways in which Antônio Nóbrega the body art "brincante" shows itself as an educational power due to its sensitive, poetic, laughable and dancing aesthetics. Finally, we conclude that the thesis admits the exercise of thinking about education as an educational power that is given by the invitation to learn more about the art of the playing body, inviting us to commune more with playfulness, creativity, solidarity, community, expressiveness, feeling, historicity, creativity, autonomy, dance, poetry, festivity, approaching the ancestral knowledge of traditional Brazilian culture that values being more than having, the joy that life sadness, the social than the individual.