Revista Brasileira de Educação do Campo
Brazilian Journal of Rural Education
ARTIGO/ARTICLE/ARTÍCULO
DOI: http://dx.doi.org/10.20873/uft.rbec.e11886
Tocantinópolis/Brasil
v. 6
e11886
10.20873/uft.rbec.e11886
2021
ISSN: 2525-4863
1
Este conteúdo utiliza a Licença Creative Commons Attribution 4.0 International License
Open Access. This content is licensed under a Creative Commons attribution-type BY
Social representations of artistic practices in rural schools
Cristiene Adriana da Silva Carvalho
1
1
Universidade Federal de Minas Gerais - UFMG. Faculdade de Educação - Núcleo de Estudos e Pesquisas em Educação do
Campo- NEPCampo e Grupo de Estudos e Pesquisas em Representações Sociais - GERES. Avenida Antônio Carlos, 6627,
Campus, Pampulha. Belo Horizonte - MG. Brasil.
Author for correspondence: cristienecarvalho@gmail.com
ABSTRACT. This work analyzes the movement of re-
elaboration of social representations on artistic practices of rural
teachers. These educators have graduated Rural Education from
Faculdade de Educação at Universidade Federal de Minas
Gerais, Brazil. Artistic practices constitute a way of creation,
fruition, and reflection of art present in education processes.
Those practices carry historicity and resistance embedded in the
struggle of social movements to the right of rural education. The
theoretical background is guided by the Social Representations
in Movement, related to the Theory of Social Representations.
The methodological approach is based on narrative interviews
and observations of pedagogical practices. The data analysis was
built from the reconstruction of trajectories considering the
movement of the Social Representations. We have observed that
the artistic practices can be seen as a pedagogical mechanism of
the struggle for transforming education and by strengthening
rural identities.
Keywords: artistic practices, pedagogical practices, rural
education, social representations.
Carvalho, C. A. S. (2021). Social representations of artistic practices in rural schools…
Tocantinópolis/Brasil
v. 6
e11886
10.20873/uft.rbec.e11886
2021
ISSN: 2525-4863
2
Representações sociais das práticas artísticas em escolas do
campo
RESUMO. Este trabalho analisou as Representações Sociais
das práticas artísticas e pedagógicas de professores que atuam
em escolas do campo. Tais educadores são egressos do curso de
Licenciatura em Educação do Campo da Faculdade de Educação
da Universidade Federal de Minas gerais, Brasil.
Compreendemos as práticas artísticas como formas de criação,
fruição e reflexão da arte presentes nos processos educativos.
Tais práticas carregam historicidade, intencionalidade e
resistência presentes nos processos de luta pela Educação do
Campo. Este estudo teve como referencial a perspectiva das
Representações Sociais em Movimento pertencente à teoria das
Teorias das Representações Sociais. Partimos de uma
abordagem metodológica com entrevistas narrativas e
observação das práticas pedagógicas de dois professores do
campo. A análise dos dados foi realizada a partir da
reconstrução de trajetórias que consideraram o movimento das
representações sociais dos sujeitos. Notamos que a presença das
práticas artísticas nas práticas pedagógicas pode ser vista como
mecanismos de luta e transformação bem como de manutenção
da identidade campesina.
Palavras-chave: práticas artísticas, práticas pedagógicas,
educação do campo, representações sociais.
Carvalho, C. A. S. (2021). Social representations of artistic practices in rural schools…
Tocantinópolis/Brasil
v. 6
e11886
10.20873/uft.rbec.e11886
2021
ISSN: 2525-4863
3
Representaciones sociales de prácticas artísticas en
escuelas de campo
RESUMEN. Este documento analizó las Representaciones
Sociales de las prácticas artísticas y pedagógicas de los
profesores que trabajan en las escuelas rurales. Estos educadores
son graduados del Curso de Educación de Campo de la Facultad
de Educación de la Universidad Federal de Minas Gerais, Brasil.
Entendemos las prácticas artísticas como formas de creación,
disfrute y reflexión del arte presente en los procesos educativos.
Tales prácticas conllevan historicidad, intencionalidad y
resistencia presentes en los procesos de lucha por la Educación
en contexto rural. Este estudio tenía como referencia la
perspectiva de las Representaciones Sociales en Movimiento
pertenecientes a la teoría de La Teoría de las Representaciones
Sociales. Partimos de un enfoque metodológico con entrevistas
narrativas y observación de las prácticas pedagógicas de dos
profesores en el campo. El análisis de datos se realizó sobre la
base de la reconstrucción de trayectorias que consideraban el
movimiento de las representaciones sociales de los sujetos.
Observamos que la presencia de prácticas artísticas en prácticas
pedagógicas puede considerarse como mecanismos de lucha y
transformación, así como de mantenimiento de la identidad
campesina.
Palabras clave: prácticas artísticas, prácticas pedagógicas,
educación en contexto rural, representaciones sociales.
Carvalho, C. A. S. (2021). Social representations of artistic practices in rural schools…
Tocantinópolis/Brasil
v. 6
e11886
10.20873/uft.rbec.e11886
2021
ISSN: 2525-4863
4
Introduction
This article brings out reflections
about the social representation of artistic
practices in rural schools in the search to
understand them as a form of language that
reads and interprets the world. We argue
that artistic practices constitute a set of
artistic languages constructed and fruited
by the individuals, whose understanding
encompasses social relations. By using this
concept, a set of languages which will be
named as Fine Arts, are incorporated, as
well as we seek to highlight the dimension
of human work historically present in the
artistic field.
Due to the massive production in a
society organized by the dispute of
possession and use of material and
symbolic goods, at least two tensions in
artistic practices have emerged throughout
history. It is possible to visualize such
tensions according to two sets of
dichotomies: neutral or engaged artistic
practices and scholarly or popular artistic
practices. In this research, we seek to
investigate these tensions from a dialectical
perspective, in order to overcome the
dichotomy based on the understanding of
the relations of complementarity and
dialogue among those.
When we approach the tensions in
school education, at least two more
dichotomous sets have been observed.
They are related to the tensions between
artistic practices, such as knowledge or
entertainment production, and artistic
practices understood as a technique or
didactic practice. Such dichotomies certify
in the teaching tasks the need to conduct
teaching and learning processes that
promote Art awareness in dialogue with its
historical, social, and aesthetic
contextualization, thus constructing a
sharpening education and of different
meanings.
By bringing out the debate of artistic
practices to the context of rural schools, we
incorporate the discussion present in the
Rural Education Movement, which has
been collectively organized for more than
20 years, in search for education access.
This movement claimed the formulation of
public policies for in-service teacher
training, which resulted initial and
continuous training programs for teachers,
besides bringing schools out to the leading
role in the struggle for land rights. The
artistic practices held in this context are
challenged to incorporate such debate and
add the meanings of the struggle for land
rights, as well as resistance to the
preservation of cultural values, such as the
struggle for the preservation of traditional
folk practices. The translation of these
tensions into rural educators' practice
occurs from the challenge of dealing with
Carvalho, C. A. S. (2021). Social representations of artistic practices in rural schools…
Tocantinópolis/Brasil
v. 6
e11886
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2021
ISSN: 2525-4863
5
those dichotomies in a committed practice
to changing school, rural territory, and
society.
To produce this article, we anchored
in Carvalho’s work (2017), whose aim was
to highlight and analyze the challenges
experienced by rural educators in the
teacher training and practice processes,
focused on artistic practices. The issue
which inspired this research process
focused on the analysis of what happens
when rural teachers start their career and
develop their artistic and pedagogical
practices in rural schools. These teachers
majored in Rural Education at the School
of Education of the Federal University of
Minas Gerais, (Licenciatura em Educação
do Campo da Faculdade de Educação da
Universidade Federal de Minas Gerais,
Brazil (LECampo/FaE/UFMG). From this
point, we start to analyze the construction
process of social representations of the
artistic and pedagogical practices of these
individuals. Do these representations carry
the contents seized at university, or are
they constructed from elements present in
school demands, also incorporating
remarkable cultural characteristics of
peasant identity?
We start with the hypothesis that the
teachers' artistic practices have been
determined by establishing a dialogue
between the academic content provided
and the affirmation of their rural identity
and yet incorporating elements of
reflection, fruition, and artistic
construction. This dialogue includes a
movement of construction and re-
elaboration of its Social Representations,
characterized by different positions ahead
of artistic practices, looked through the
theoretical-methodological perspective of
social representations in movement.
Thus, this article presents the
research outcomes with two graduates of
LECampo/FaE/UFMG, presented here
under the pseudonyms Camila and Lucas.
They had completed the major in
Language, Art, and Literature (LAL),
having entered the course in 2010 and
finished in 2015. The choice of these
subjects for research analysis concerns the
attempt to continue Carvalho's research
(2015), which analyzed artistic practices
during the teacher training offered by
LECampo/FaE/UFMG, also in search of
understanding the relationship between
training and teaching practice.
The narrative interview was chosen
as a procedure for data collection, taking as
theoretical reference the works of
Jovchelovitch and Bauer (2013), who
consider this research method as being
qualitative, that allows the in-depth
understanding of the information offered
by the subjects. Such perception helped us
Carvalho, C. A. S. (2021). Social representations of artistic practices in rural schools…
Tocantinópolis/Brasil
v. 6
e11886
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2021
ISSN: 2525-4863
6
hold interviews around actions, time, and
through spatial and motivational contexts
of the subjects.
Thus, this work accounts for
considering the importance of constructing
reflections on rural teachers' training and
performance, especially concern their
artistic practices. Today in Brazil, there are
more than 43 institutions offering Bachelor
programs in Rural Education. Thus, this
article reinforces its importance by
discussing these courses' performance in
dialogue with the rural schools' tensions.
Theoretical and methodological
references
This research utilizes concepts of the
Theory of Social Representations, Arts and
Rural Education. The articulation of such
concepts would allow us to have a
psychosocial look at the subjects here
discussed by encompassing their context
and pedagogical and artistic practices.
Moscovici (1978) argues that Social
Representations are socially shared forms
of knowledge, elaborated from new
situations experienced by the subject. The
Theory of Social Representations (RRT),
which analyzes the ways of thinking,
feeling, and acting of individuals from a
psychosocial approach, has contributed
with future studying processes that unite
the individual's cognitive dimension,
including their actions, motivations, and
feelings. To analyze the elaboration
process of Social Representations, we refer
to the procedural approach of Social
Representations proposed by Jodelet
(2001), who provided with insights on the
constitutive representation processes in a
historical-dialectical analysis. Ribeiro
(2016) also discussed this dimensional/
procedural approach in order to overcome
the dichotomous analysis of the subjects'
artistic and pedagogical practices.
The Theory of Social
Representations (TSR) constitutes a
capable field for obtaining reflections on
the transformations in the ways of
thinking, feeling, and acting of social
groups through a psychosocial view.
Authors such Antunes-Rocha (2012) have
demonstrated the importance of TSR to
interpret conflicts in education, specifically
in Rural Education. According to Alves-
Mazzotti (1994), social representation in
research dealing with education themes
helps to infer the "psychosocial look" of
the practices and symbolic processes that
occur within educational phenomenon.
We initiate this discussion from the
perspective of Social Representations in
Movement (RSM) proposed by Antunes-
Rocha (2012), to the perception of
movement in the Social Representations of
individuals in contexts that generate
Carvalho, C. A. S. (2021). Social representations of artistic practices in rural schools…
Tocantinópolis/Brasil
v. 6
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2021
ISSN: 2525-4863
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change. The SRM perspective allows the
comprehension of the elements that
destabilize the consolidated representations
and cause them to change their thinking,
feelings, and acting. Antunes-Rocha (et al.,
2015) argues that the representational
movement occurs from the transformation
in the ways of thinking, feeling, and acting
of the subject. Carvalho and Ribeiro (2021)
discuss about a strange/new situation so
they can make it familiar. Hence, the
construction movement of Social
Representations deals with three major
perspectives: the first is that the subject
before the foreign object abandons the
known able and totally lives the new; the
second is characterized by the denial of the
new, whereas the third perspective
approaches the acceptance of the new
without scorning the known.
By digging into artistic practices in
dialogue with social transformations, we
refer to Bosi (1986) and Pareyson (1954)
to discuss the three ways of an artistic
process: making, knowing, and expressing.
The first way of artistic reflection defined
by Bosi (1986) expresses the
transformation of nature's signs and objects
into elements of culture from art-making.
The second represents the work's reading
from its interpretation as an object of
knowledge and historical construction. On
the other hand, the third way is
characterized by the expression of signs
and symbols based on the intentions and
contexts of creation, considering the
dialectic of form and strength in the limit
of the artist's identity. These perspectives
may enable a deep look into the
dimensions of reading and
complementarity of the processes of art
teaching.
Within the specificity of the
education scenario, Barbosa (2008)
presents the triangular approach
methodology that implies the
understanding of artistic practices in the
pedagogical scenario from the following
actions: contextualization, conception,
creation, and reading of the artwork. This
approach was fundamental to think about
the multiple dimensions that enabled
perceptions around the tension of artistic
practices, such as the production of
knowledge or entertainment and artistic
practices understood from the technique or
didactic practice. When dealing with the
diversity of artistic practices in rural
schools, the Spiral Approach proposed by
Machado (2012) serves to interpret artistic
knowledge in a spiral form, by articulating
several languages and methodologies in
artistic poetics rooted by miscegenation.
This approach helped us to analyze the
complementarity of classical and popular
Carvalho, C. A. S. (2021). Social representations of artistic practices in rural schools…
Tocantinópolis/Brasil
v. 6
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2021
ISSN: 2525-4863
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practices, as well as the dynamism of
artistic transformations in society.
Rural Education in this research
served beyond study context, once it
gathered concepts to help us understand
the teacher's training process. Caldart
(2003) presents the construction of
historical elements and public policies in
Rural Education that allowed the
connection with Rural Education's
principles as an analytical category of the
artistic practices of the subjects of the
Rural. We have specifically anchored in
the struggle and right school's principles to
evaluate the subjects here analyzed as part
of a collective unit, from which has been
building a counter-hegemonic paradigm
and maintains itself open for the
compreenhesion of the relations between
urban and rural territory.
With such references, we have
constructed the analytical categories to
observe what happens when rural teachers
begin to act as rural teachers. The
theoretical-methodological perspective of
social representations in the movement was
fundamental to analyze the constitutive
elements of the construction movement of
the subjects' social representations. This
perspective allowed the reconstruction of
the subjects' trajectories in times and
spaces of schooling, teaching initiation and
training at university. This concept, in fact,
helped analyze the movement of the ways
of thinking, feeling, and acting of the
graduates of LECampo/FaE/UFMG on
artistic practices, considering their
initiation in the academic environment as
space/time that adds changes to their
knowledge.
In possession of this, we use the
ways of constructing artistic practices to
understand the characteristics attributed
and developed by the subjects, also
perceiving, in this movement, the
specificities concerning the educational
scenario.
The theoretical references for Rural
Education have shown themselves
fundamental to grasp the specificities of
protagonism and the right to education
present in rural teachers' artistic and
pedagogical practices.
Representations on the movement
The apprehension of the Social
Representations movement began from the
reconstruction of the subjects' life
trajectories. This analytical step allowed us
to grasp the context of schooling,
participation in artistic and cultural
activities, university education, and
professional career, as it enables to
visualize the movement of artistic practices
in significant re-elaboration trends.
Carvalho and Ribeiro (2021) discuss about
Carvalho, C. A. S. (2021). Social representations of artistic practices in rural schools…
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2021
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some indicators presents in the concept of
SRM that we used to analyse the subjects’
life trajetories.
We prepared some indicators that
resulted in the formulation of the
concept of SRM to indicate a process
that shows subjects facing new
situations in their lives, but does not
necessarily involve changes in the
way they think, feel and act. This is
because, in each result, we saw that
the subject, while retaining his or her
existing knowledge about a certain
object, kept moving in terms of
knowledge, feelings and attitudes to
ensure that representations would not
change. With that indicator we
conducted the inquiry through the
comprehension of ‘motion’, that is,
how possibilities and limits occurred
when students were dealing with the
new objects they faced during their
learning and practical processes as
rural educators. (Carvalho & Ribeiro,
2021, p. 361).
Camila is a 35-year-old educator
who was born in Rubim, a small town in
the state of Minas Gerais, Brazil. She is the
third daughter of a couple of rural workers.
She was married and is a mother of two
children and, after graduating from
LECampo/FaE/UFMG, was selected as an
elementary school teacher in Rubim. She
also used to work part-time as a secretariat
assistant and as a tutor for a distance
learning course before her admission as a
school teacher. Along with these tasks at
the time of the data collection, Camila was
also taking her Master's degree in Rural
Education.
Camila did not have artistic
experiences when she was at school. As a
child living with the family on the farm
where her father used to work, access to
cultural practices was limited. In order to
continue her elementary school studies, she
decided to move out to a big city so that
she could balance work and classes.
Despite the dream of attending a
university, the circumstances seemed to
put her studies in a distant perspective. In
2009, however, she learnt form a friend her
entrance exam approval notice for
LECampo/FaE/UFMG. Her course's
interest immediately came about because it
is a work-linked training course, which
would guarantee her continuity in work
and take care of her children.
The training at
LECampo/FaE/UFMG allowed Camila to
get in contact with artistic elements of a
scenic, musical, plastic, and literary nature
and obtain tools for social analysis. This
contact allowed her to recognize the
popular cultural manifestations of her
hometown as artistic practices. Such
recognition inspired her to create the arts
internship project based on the cultural
manifestation Boi de Janeiro, which
intends to promote awareness of the
artistic, cultural and historical of the
town’s practice.
Carvalho, C. A. S. (2021). Social representations of artistic practices in rural schools…
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v. 6
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2021
ISSN: 2525-4863
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The analysis of Camila's artistic and
pedagogical practices as a teacher,
indicates a teaching action based on the
interdisciplinary perspective that dialogues
with the dimension of diversity of artistic
languages learned at University. It reveals
resistance in the construction of artistic
expressiveness that materializes the
meaning of its struggle for the right to
education, including the right to art in
education as a perspective of the subject's
participatory journey.
Lucas is a 26 - year - old educator
who was born in Jordania, also a small
town in the state of Minas Gerais. He is the
third child of a family of rural workers.
Until the age of ten, he lived on the farm
where his father used to work, and where
he had to spend a daily journey of almost 4
hours to get to school. The first artistic
experience Lucas had had was with the
Jordania Folklore Festival. His dancing
and performing shows enable him to focus
on popular culture themes, which represent
an element of his identity. Another
fundamental component for Lucas's
trajectory was when he affiliated and
worked as a mobilizer to Sindicato de
Trabalhadores Rurais de Jordania,
(Jordania Rural Workers Union). His
initiation at the Union was key to the
dissemination of LECampo/FaE/UFMG
vestibular.
Lucas's training at the University
enabled the construction of knowledge
from the perspective of teaching (through
the teaching perspective). Knowing the
classical manifestations and the ways of
teaching them in dialogue with the popular
ones was necessary to think about the non-
hierarchization of knowledge in the
expressions of his town. During his art
internship, Lucas considered to gather both
academic and popular knowledge,
addressing the theme of performing arts
techniques for the Folklore Festival, as to
reflect, together with the students, on the
non-hierarchization of artistic
manifestations.
After his training at
LECampo/FaE/UFMG, Lucas was selected
as Elementary School Teacher for the State
of Minas Gerais, also teaching classes for
the second cycle of Elementary and High
School. His position initially directed him
to teach Portuguese Language and such
experience allowed him to promote
activities about Literature and Art themes,
as well as acquiring an interdisciplinary
character. We notice in Lucas' pedagogical
practices the highlights of the elements in
popular culture. Such teaching practices
provoke students to position themselves on
the artistic manifestations present in their
communities and society.
Carvalho, C. A. S. (2021). Social representations of artistic practices in rural schools…
Tocantinópolis/Brasil
v. 6
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2021
ISSN: 2525-4863
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In this work, when visualizing
Camila and Lucas's movements, we
analyze how the moments in
LECampo/FaE/UFMG and their initiation
in teaching destabilized their
representations. As such, we seek to
apprehend what positioning process is
adopted to deal with the new element, as
well as education and teaching in their
representative universe. We aim to
comprehend the contents present in this
process of thinking, feeling, and acting,
from the dimension of all artistic practices
and seeking to notice the social, historical,
political, and contextual aspects.
The construction movement of the
Social Representations in Camila and
Lucas’s journey can be visualized from the
following spiral image, which synthesizes
the elements present in their Social
Representations. From what Antunes-
Rocha (2012) discusses about Social
representation from the movement's
perspective, four positions have been built:
previous knowledge, artistic practices
during undergraduate years, internship, and
artistic practices in pedagogical practices.
Figure 1 - Camila and Lucas’s construction movements of the social representation.
Source: (Carvalho, 2018, p. 322).
The first position analysis, “saberes
prévios das práticas artísticas” or “previous
knowledge of artistic practices”, illustrates
their initial studies at
Carvalho, C. A. S. (2021). Social representations of artistic practices in rural schools…
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LECampo/FaE/UFMG and demonstrates
how Camila and Lucas operationalized
their cultural background of artistic
practices obtained in their childhood and
adolescence. Upon starting her major,
Camila's previous knowledge is
characterized by the absence of creative
experiences in her daily life during her
childhood and adolescence. Lucas' prior
knowledge, on the other hand, brought
representations anchored in popular
references around his experience with
folklore festivals.
The opportunity to information
during the undergraduate years in Rural
Education was responsible for the first
moment of destabilization of the subjects'
social representations, which can be
visualized in the second position on the
image, as “Práticas artísticas na Graduação
– Tempos escola” or "undergraduate
artistic practices." For Camila, the
undergraduate experience changed her way
of thinking about art and acting concerning
social issues. Additionally, the course
represented the opportunity to access
information and modify the lack of
references with artistic practices.
Abandoning the known able and the
chance to experience something new could
allow Camila to understand art in her
hometown and her role as an agent of the
struggle for education. As for Lucas,
learning theories in the course was a way
to organize his future teaching practices. In
this sense, the movement of construction of
its social representation incorporates the
popular culture and the importance of
identity to create rural references.
“The art internship practice” or
“Estágio Tempo Comunidade”, which is
indicated by the third positioning, was their
first contact with teaching and represented
the possibility of organizing their
pedagogical approaches learned at
LeCampo. Camila's internship project
prioritized themes related to “Boi de
Janeiro" of popular content. This
movement of cherishing rural identity, as
an artistic manifestation, carried out during
the years at LECampo/FaE/UFMG, shows
that the internship allowed Lucas
reaffirming a social representation of the
artistic practices learned in Rural
Education. Lucas' internship project took
into account the perspective of the learned
knowledge of the performing arts in
dialogue with the "Popular Folklore
Festival." It is possible to notice that his
trajectory of construction of social
representations on artistic practices reveals
the presence of the third perspective, as
pointed out by Antunes-Rocha (et al.,
2015), according to which he accepted the
new, without neglecting the knowledge
previously built in his lifetime.
Carvalho, C. A. S. (2021). Social representations of artistic practices in rural schools…
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2021
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Camila and Lucas' fourth position on
the picture characterizes the initiation of
the teaching tasks and in-depth contact
with artistic practices in pedagogical
practice named "Práticas artísticas na
prática pedagógica." Form this point,
Antunes-Rocha (et al. 2015) teaches about
the movement that the subjects perform in
the face of a new situation. Camila and
Lucas were the first graduated teachers by
LECampo/FaE/UFMG who majored in
Language, Art, and Literature and have
been selected as state teachers in their
hometown. This experience requires them,
at all times, to reaffirm their capacity to act
and still seek to insert discussions about
Rural Education.
To apprehend the movement carried
out by Camila after her professional start in
teaching, changings in the dialogue with
her previous knowledge have been
considered, the critical element of her
construction of Social Representations.
The resistance movement present in her
Social Representations is, for Camila,
crucial for understanding Art and the
transformations this field can bring to
students’ education. It is such resistance
that allows her to see in art the perspective
of struggle expression.
Eu venho me formando cada dia,
buscando me inteirar e resistindo. Eu
hoje vejo a arte como forma de
expressão de resistir à escola. Porque
nada na escola é feito para valorizar e
ter a arte como direito, a literatura
como direito e a forma de expressão.
Então hoje trabalhar é uma forma de
resistir. Minha relação da arte como
forma de expressão foi a forma que
eu passei a ver a arte. O que é
produzir a arte e ter a arte para a
pessoa se expressar. Arte é se livrar
dessas amarras que ficam. É isso que
eu venho tentando fazer. (Camila)
i
This excerpt of Camila's interview
shows that she is in the constant process of
development and resistance. The teacher
explains that the artistic practices are a way
to express this resistance in school territory
because working them in class is a way to
resist and fight against the inequalities. Her
relationship with art reveals a unique form
to express themselves.
When analyzing the movement of
Social Representations on Artistic
Practices in Lucas’ pedagogical practices,
we realize that it is marked by the constant
attempt to articulate between scholarly and
popular elements. The dialogue between
the erudite and popular manifestations is
his identity mark in the artistic practice in
the classroom. By concerning the
transformation of traditional languages,
Lucas encourages students to seek
identification with cultural references and
express themselves in various artistic
languages.
É um desafio muito grande. Não
quero destruir ou demonizar os
conceitos e os tipos de arte
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consagrados e canônicos, mas alargar
e passear entre as artes. Eu posso
muito bem admirar uma obra, um
quadro, mas eu posso também
admirar um cordel de Patativa do
Assaré, uma xilogravura ou eu posso
ir lá na roça e ver o cara fazendo um
balaio diferente e colocando isso de
forma artística. Existe uma vantagem
de se alargar o conceito de arte
porque a vida se torna mais
prazerosa. Mas é um desafio muito
grande despertar isso nos alunos
também despertar. E também pela
dimensão mais política, não apenas
pelo conceito de arte do prazer, mas
uma arte que ela é política, ela não é
neutra, ela é feita do povo para o
povo. Não é algo feito por poucos e
admirado por muitos. Talvez seja
uma coisa que é feita por muitos e
compartilhado por outros tantos. Essa
troca de saberes essa troca artística é
muito importante. (Lucas).
This excerpt of Lucas's interview
reveals that the pedagogical and artistic
practices are challenging because of his
wish to increase the perception of art and
its political dimension. From this point,
there is an advantage of broadening the
concept of art because that is exactly how
art has been revealed to Lucas: art makes
life becomes more pleasurable but raising
such awareness as a teacher is always a big
challenge. Lucas concludes that art is
political, and it needs to be the basis of his
practice.
One fact that draws our attention is
that Camila and Lucas present a few
particularities in elaborating their Social
Representations. We have noticed that
these elements are related to collective
dynamics of the historical, political, and
social context of these rural subjects. Such
elements provide these particularities with
the feeling of sharing, which can be
understood from Jodelet's (2001)
discussion of Social Representations' social
dynamics.
We could see that Camila and Lucas
needed to accept the new condition of
teachers at school, by adapting content
from the area of Language, Art and
Literature, methods, and theoretical
elaborations seized during their
undergraduate years. The task of inserting
Rural Education into the school
environment is the main challenge of this
familiarity. Both educators are seen as
pioneers by constructing practices and
bringing out, to the teaching and
pedagogical staff, reflections on the rural
school's role and the possibility of
transforming the rural subjects' reality.
We noticed that these subjects'
pioneering causes them to build a type of
rural school from the actions developed in
their classrooms. Hence, we have found
that Camila clings to the training at
LeCampo, in dialogue with her life
experiences and overcoming oppression,
besides her master's degree and means of
discussion, such as the intersectoral group.
On the other hand, Lucas clings to the
content of training at LECampo, in
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dialogue with his experience in the trade
union movement. In both teachers, the
initiation of training, a common interest,
with challenging elements of its concrete
teaching tasks have been revealed.
Moscovici (2010), when arguing about the
ways of life and the meanings constructed
in representations, helps us understand the
sharing and operationalization of
knowledge and belief as common interests.
Objectification and anchoring in the
process of construction of social
representations
From Moscovici’s aprroach (2010),
we’ve been able to perceive that Camila
and Lucas share in common the knowledge
and technique seized at LeCampo. Thus,
they need to change this representation into
the artistic and pedagogical practices
developed by them as teachers. They are
also connected with the historical and
social elements and concrete challenges
faced in their teaching activities. This
dialogue is conducted by a movement of
construction and re-elaboration of its
Social Representations, characterized by
different positions before artistic practices,
which can be analyzed from the concepts
of objectification and anchorage of the
Theory of Social Representations.
We seek to apprehend
objectification, such as the subject's
attempt to capture the unfamiliar object, by
creating an image, which intellectually and
materially concretizes its meaning. For
Moscovici (2012), objectification allows
the passage of concepts and ideas to
images and schemes close to reality.
The search for image construction is
also pointed out by Jodelet (2001, p. 38) to
identify the elements of communication,
the pressures of belonging of the subjects,
and the organization of the representation's
contents. These elements appear in
constructing Camila's Social
Representations and are exemplified from
the objectification that learning at
LECampo allowed her to unveil a critical
look at the world, reaffirmed in her
practice as a teacher. The excerpts below
show the symbolization of the image of
"unveiling," present in the training course
and Camila's teaching actions.
Agora eu vejo. (Camila)
Eu consegui enxergar, eu consigo
ver ali fatiado em cada cadeirinha,
em cada aluno, eu consigo ver uma
representatividade dessa sociedade
capitalista. (Camila)
Quando eu fui descortinando meu
olhar que eu passei a ver o mundo
de um outro ângulo. Fui fazer outras
leituras de mundo. (Camila)
Ao falar sobre o pensar, sentir, agir a
arte a partir da formação, eu
acrescento: pensar, sentir, agir a arte
a partir na formação me permitiu ir
além porque eu passei a ver a arte.
Porque eu não tenho como pensar,
sentir e agir a arte se eu não
conseguia ver. (Camila)
Carvalho, C. A. S. (2021). Social representations of artistic practices in rural schools…
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Enxergar a arte que está presente.
Isso a licenciatura em educação do
campo ajudou muito certamente.
(Camila)
É por isso que eu falo, que eu vivia,
mas, não sabia explicar, hoje eu
consigo explicar tudo isso que eu
vivia. Aí eu fui fiz todo esse
percurso, aí eu fiz ensino
fundamental, ensino médio, mas, eu
não enxergava. (Camila)
Se você olhar pelo viés de classe, nós
estamos todos no mesmo pacote,
todos explorados e sem consciência
... Então eu consegui ver e minhas
falas são muito claras nesse
sentido. Porque não aprendi
somente, eu enxerguei, eu já era e
não sabia, eu não entendia muita
coisa... (Camila)
Você não fez o percurso perfeito, ou
você não aprendeu da vivência,
porque você aprende o do livro, mas
o que te motiva não é o que o outro te
fala, é de você, é algum lugar em
você que te toca e que me faz querer
estar na educação do campo e eu não
quero estar em lugar nenhum...é
porque eu me vejo na educação no
campo...educação no campo explica
tudo isso que eu vivi. Explica porque
os meus pais vivem ali daquele jeito,
explica toda a minha vida. Pode me
falar o que quiser, eu posso ganhar o
dinheiro que for, eu posso ir para
onde for que eu vou continuar
ficando aqui, porque eu me vejo
assim, mas eu me descobri assim.
(Camila)
In these excerpts of Camila's
interview, we can understand
objectification is a tangible experience of
seeing reality. By seeing it, she was able to
recognize the inequalities in rural
education and adapt her role as a teacher, is
committed to changing the society and her
actions as an activist. That objectification
appears from the symbolic image that
allowed her to see her condition as a rural
subject. Such objectification also appears
as an image of an “unveiling” that relates
to critical formation, reality perspective,
and comprehension of society's forms of
organization.
In his process of objectification,
Lucas builds the image of pedagogical
practice from the teacher's experience to
escape the constant pitfalls present in the
learning processes.
É sempre incompleto né, é sempre
uma dúvida que o professor tem, se
ele está realmente desenvolvendo um
bom trabalho. É um risco... mas
como eu me constituo enquanto
professor.... Talvez o maior
diferencial que eu vejo para mim
enquanto professor é pensar e
repensar e pensar novamente e
reconstruir e construir de novo a
minha prática pedagógica quase
diariamente e tentar identificar o
que move a sala de aula. (Lucas)
Eu vou me constituindo enquanto
professor educador principalmente
com isso, com esse repensar da
prática a todo momento e tentando
melhorar…é um desafio muito
grande que não cair nas
armadilhas que são os instrumentos
de repressão (Lucas).
Eu trouxe alguns elementos que eles
trazem na minha opinião uma arte
mais experimental, algo mais
inovador que atraia e consiga
atrair os alunos a refletirem sobre
essa prática da arte (Lucas)
Preocupado com, se estou gerando de
fato um resultado nas turmas, né. É o
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meu primeiro ano de fato como
professor e eu fico assim, ih gente
será que esse negócio está dando
certo, será que eu estou dando um
resultado bom ... vou tentando
também inovar, né... (Lucas)
We have also noticed that the
characteristic of reinvention persists, which
constantly drives it to learn and change
posture through overcoming challenges. In
this process, Lucas shapes classes, aiming
at his pedagogical practices by artistic and
interdisciplinary actions that, built from the
constant questioning about the types of
learning, the courses, the contents to be
developed, and his wish to make teaching
references transform learning processes
into innovative experiences.
In the study of Social
Representations, we can also construct
analyses, considering the anchoring
process as a determinant factor for
understanding the symbolic object in social
relations. For Moscovici (2010), "by the
process of anchoring, society makes the
social object an instrument from which it
can dispose, and this object is placed on a
scale of preference in existing social
relations" (Moscovici, 2010, p. 156). In
this aspect, the assumption is that
anchoring demarcation places the insertion
of science in a table of reference subjects.
In the analysis of Camila and Lucas's
representational process, the anchoring of
artistic and pedagogical practices in the
network of meanings takes place from the
"Struggle." The excerpts below from
Camila's speeches, this element can be
verified where the struggles translate
meanings, being the driving force of her
actions as a teacher. For her, the purposes
of the struggles acquired throughout her
education process as a rural educator are
inseparable from her teaching practice.
Não importa qual é a bandeira que
ele vai levantar, mas a luta é
qualquer luta, porque nós estamos
no mesmo pacote. (Camila)
Desde a época ai da invasão aqui no
Brasil, lembra que eu disse para
vocês, conversamos um dia que os
portugueses invadiram o Brasil. Ao
contrário do que você acha, não foi
presente. (Camila)
As histórias da grande concentração
de terras do Brasil, você sabe o que é
o termo “Grilagem”? Documentação
de terra forjado. Há muitos anos
atrás, não é da nossa época, é coisa
de História, gerou isso aqui, ó. E
vocês sabem o que o índice de
analfabetismo, o IDEB, a pobreza, o
IDH é tão baixo por causa desse tipo
de coisa aqui. (Camila)
Nós temos muito latifúndio aqui e
nós temos essa mesma terra do
latifúndio, a disposição desse
agronegócio, o serviço dele...
(Camila)
Quando se fala de queda da
qualidade ambiental, você está
falando de queda do ambiente e do
homem, também, porque nós
estamos dentro do ambiente, então
assim, só aqui começaram a se
preocupar um pouco com essa
produção desenfreada, atendendo ao
consumismo e o capitalismo.
(Camila)
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We noticed that Camila's anchorage
finds ideological content from the political
positioning of Rural Education, the result
of its association with the forms of
knowledge and practices built during the
Degree in Rural Education.
Lucas' anchoring process, on the
other hand, translates the struggle through
the strengthening of the peasant identity of
the subjects, reflections on union activism
in their teaching activities, by overcoming
stereotypes of the rural ma, insertion of
Rural Education and agrarian reform in the
classroom and awareness of the political
role of students.
Muitas vezes a gente pensa: mas se a
gente não fizer o estado também não
faz, aí que está o grande gargalo hoje,
e aí só porque a gente vai ficar
brigando por direito o tempo inteiro
que o estado deve fazer, enquanto
isso vai ter gente morrendo na roça,
vai ter gente passando fome, vai ter
gente deixando de acessar direitos...
(Lucas)
Se você não parar para pensar
nisso...isso acontece de forma
automática ... gente já tem o costume
de fazer o senso crítico, mas muitas
vezes tem muita gente que não tem
isso ... e acaba mudando de opinião, e
tal, e aí você percebe isso na vida das
pessoas muitas vezes, né...muitos
jovens também. (Lucas)
Há outros percursos que não só esse
da militância...ainda estava no
sindicato, ainda tinha muito trabalho
a cumprir ... e aí isso influenciou
muito, por exemplo eu pegar um
cargo a noite aqui no ginásio...e eu
não sabia qual era o público. Hoje
isso me deixa mais feliz porque
aumentou o número, por exemplo, de
alunos vindo do Estrela, isso me
deixa mais alegre...não são muitos
mas tem...principalmente do
Estrela...só tem uma que vem de
outro lugar da zona rural, que é do
EJA... (Lucas)
Se a gente não ocupar esse espaço
que é nosso por direito e que muita
gente lutou para isso acontecer, foi
para Brasília fez marcha, fez
protesto, fez tudo, se a gente não
ocupar esses espaços que já são
nossos por direito outras pessoas vão
querer forjar um jeito de entrar lá e
ocupar esse espaço que por direito
não deles, então temos que ocupar
esses espaços. (Lucas)
Mas a mística realmente ela é uma
integração e concretização de uma
luta. Quando a gente usa a palavra de
ordem é para relembrar uma luta
“Educação do campo – direito nosso
dever do estado” é para realmente
relembrar que é dever do estado
promover a política pública de
educação do campo e é dever nosso
cobrar isso do estado o tempo inteiro
(Lucas)
From here, Lucas anchors in the
political meaning of his previous
experiences, inserted in the frame of
reference of the struggle, since this
reference provides him with subsidies to
insert the artistic and pedagogical
practices, which constituted a foreign
object to his representative universe.
The analysis of the processes of
objectification and anchorage on Camila
and Lucas’s journeys allows us to perceive
how the image and the meaning attributed
to the representative object constitute the
essence of the content and shape social
Carvalho, C. A. S. (2021). Social representations of artistic practices in rural schools…
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representations. The image of "unveiling"
to see the critical perspective of rural
Education constructed by Camila and the
idea of "unfinished" of Lucas’ teaching
practice connects with the meaning of the
struggle built in the anchorage of these
individuals. This complementarity, pointed
out by Moscovici (2012), allows us to
apprehend how the knowledge of artistic
and pedagogical practices is part of the
subjects' social and practical context.
Conclusive(Final) considerations
This article has traced the challenges
these rural teachers face under the tensions
present in schools. The process of
verifying Social Representations on artistic
practices reveals the presence of identity
elements and the struggle for
transformation of the rural territory with
the contents seized during training at
LECampo/FaE/UFMG.
The reconstruction of the trajectories
of schooling, training, internship, and
Camila and Lucas’ teaching practice)
allowed us to approach the elements that
instigated the subjects to change their
positions in re-elaborating their Social
Representation on artistic practices.
Moreover, by analyzing the synthesis
of the construction movements of the
Social Representations journey, the
positions performed in each movement
contain a sum of sociocultural issues that
have touched on the Social Representations
of educators about their artistic and
pedagogical practices. In addition, we
understand they come together with the
historical, social elements, and real
challenges faced in their teaching actions
regarding artistic practices.
From the Social Representations in
Movement, we could perceive that the
knowledge and technique are commonly-
shared by Camila and Lucas, which were
seized at LECampo/FaE/UFMG,
operationalizing this representation in their
artistic and pedagogical practices as
teachers.
Additionally, we have noticed that
the process of constructing Camila and
Lucas’s Social Representations on artistic
practices as teachers, is highlighted by the
third perspective of social representations
in movement, in which, according to
Antunes-Rocha (et al., 2015), is
characterized by the change in the face of a
new situation, where individuals accept the
unknown, without neglecting what is
known. One fact that draws our attention is
that, although both were allocated into this
movement, e each one’s journey is defined
by some specificities. However, these
elements are related to collective dynamics
of the subjects' historical, political, and
social context.
Carvalho, C. A. S. (2021). Social representations of artistic practices in rural schools…
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The analysis of Camila and Lucas's
social representations helps us understand
the their necessity of accepting the new
condition of teachers in school, by
adapting their tasks to the content of
Language, Art, and Literature, the methods
and theoretical elaborations seized during
college. The task of inserting Rural
Education into the school environment is
the main challenge of this familiarity. Both
educators are pioneers by constructing
practices and bringing out o the academy
pedagogical reflections on the role of the
rural school and its possibility of
transforming the reality of these
individuals.
Regarding the analysis of the
objectification and anchorage, there has
been some complementary process
accounted. The image of objectification
raised the meaning of "unveiling" for
Camila and the meaning of "unfinished"
for Lucas. Still, the anchoring process of
both allowed the construction of a sense of
"struggle" for artistic and pedagogical
practices, which aligns with the conceptual
matrix of the struggle to Rural Education.
We highlight the importance of performing
the analysis of Social Representations to
perceive how the social object of artistic
and pedagogical practices have been
inserted into the framework of meanings
and social relations of the Rural Education
graduates.
It is also possible to perceive the use
of Art as a practice, seen from the
construction of pedagogical practices that
refer to the territories' history. We have
concluded that, in this movement, the
subjects promote strategies that articulate
elements of the literary conventions of
narratives, elements of local culture, plus
the memory and history of the territory.
This process means the rescue of
knowledge that refers to strengthening
identity from students' personal and family
trajectories.
Reflecting on these movements of
practices of rural teachers, based on the
epistemological and theoretical framework
from psychology and Social
Representations, they have enabled us to
grasp the relationship between the ways of
thinking, feeling, and acting of Lucas and
Camila. We therefore synthesized
Moscovici (1978, 2010, 2012) so that
social representations may be understood
as a way of practical knowledge
constructed by the subjects. This manner of
expressing expertise in pedagogical and
artistic practices allowed us to see
information as a fundamental element for
conducting the subjects' changes.
Carvalho, C. A. S. (2021). Social representations of artistic practices in rural schools…
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i
I decided to keep the excerpts of the interviews in
Portuguese so that the expressions of the subjects
could be observed within the narrated context,
understanding that the exercise of language
translation would not account for some elaborate
cultural references. Throughout the article,
however, we have tried to go into details and make
the references with the detailed discussion.
Article Information
Received on March 31th, 2021
Accepted on May 04th, 2021
Published on July, 12th, 2021
Author Contributions: The author was responsible for the
designing, delineating, analyzing and interpreting the data,
production of the manuscript, critical revision of the content
and approval of the final version published.
Conflict of Interest: None reported.
Article Peer Review
Double review.
Funding
CNPq and Universidade Federal de Minas Gerais (UFMG).
How to cite this article
APA
Carvalho, C. A. S. (2021). Social representations of artistic
practices in rural schools. Rev. Bras. Educ. Camp., 6,
e11886. http://dx.doi.org/10.20873/uft.rbec.e11886
ABNT
CARVALHO, C. A. S. Social representations of artistic
practices in rural schools. Rev. Bras. Educ. Camp.,
Tocantinópolis, v. 6, e11886, 2021.
http://dx.doi.org/10.20873/uft.rbec.e11886