O desenho, o corpo e a deficiência visual: diálogos entre o ensino de Artes Visuais e a inclusão escolar

Abstract

This dissertation aims to build in the context of Visual Arts teaching didactic strategies for understanding drawing as a body act, considering the appropriation of this knowledge by students with and without visual impairment, within the regular classroom, from the perspective of contemporary art. More particularly, we aim to highlight in the production of contemporary art pedagogical possibilities in the interface body and abstract design, considering the participation of students with and without visual impairment; trigger processes of creation of abstract drawings by mobilizing the body of these students, starting from the conduction of pedagogical workshops and analyzing the constructed experience, relating body, visual impairment and contemporary art. The methodological approach is based on the intervention research from the perspective of the philosophy of language of Mikhail Bakhtin (2011) and writings of Jobim and Souza (2016), having as empirical field an Municipal School, located in Natal/RN, in a 6th grade class, in which twenty eight students with and without visual impairment are enrolled, among which one student has low vision. For the production of data, nine Pedagogical Workshops, interviews, audiovisual and visual records with digital camera and portfolio notebook were held. It is a research based on the conception of the esthesiological body, according to Merleau-Ponty (1945/2015) and Nóbrega (2015), the contemporary art ideas of Danto (2006) and Cauquelin (2005; 2010) and the understanding of inclusion. and visual impairment according to Amiralian (2009) and the artistic production of Tony Orrico (1979) and Jackson Pollock (1912 - 1956), among other authors. We learn from this study that in the pedagogical field of Visual teaching, problematizing seeing trough the teaching of abstract drawing enhances poetics in the experimentation of the body and its relationship with other bodies and expressiveness. The creative experience led each student to express himself in the construction of his own repertoire, learning to challenge his limits. The students’ voice made it possible to realize that drawing as a body act was configured as a bodydrawing and the workshop as an inclusive space of esthesiological experience.