Source: https://es.scribd.com/document/34555323/Brazilian-Case-Study-Visual-Art
Timestamp: 2019-04-23 21:54:12+00:00

Document:
Ana Mae Barbosa e Celia M. C. Almeida Paper presented at the UNESCO Regional Meeting of Experts on Arts Education at school level in Latin America and the Caribbean in Brazil in 2001.
high school (from 15 to 18 years old).
nor recognition that it is necessary, is sufficient to guarantee art in basic education.
Experience has taught us that the situation of art education is even more problematic.
because today’s world demands an informed reader and a conscious producer.
Federal Law n. 9,294, passed on December 20 , 1996.
participation in the public scene should be complementary” (Brazil, 1998, v. 8, p. 21).
curricular parameters for the basic education in Brazil rotate.
of school knowledge.” (Brazil, 1998, v.8, p.24).
Constitution of the Federal Republic of Brazil, promulgated in 1988.
pedagogical practice, not as proposals of an imposing character, to be followed categorically.
adapted to the necessities resulting from differences in race, culture, gender, age, religion etc.
and the social-economic inequalities present in the multiplicity of Brazilian realities.
deals specifically with the Professional Area: Design.
guidelines for the proposals presented in the previous documents.
and cognition, favor the development of their creative abilities (1998b, p.91).
National Curricular References for Primary School.
National Curricular Parameters – Art.
National Curricular Parameters – High School.
Professional education: national curricular references for professional education of technical level.
Continued Professional Development Program – Parameters in effect.
National Curricular Reference for Primary School.
developing taste, and care and respect for the process of production and creation.
and objects or to role play themes or stories from everyday life.
their world. The children should also get used to reading their own productions.
they stimulate appreciation, welcome and socialize the children’s interpretations.
primary school and for the next grades (5th to 8th grade) of secondary school.
functions of art in society.
“three guiding lines: to produce, appreciate and use contexts”.
acquired through art making and appreciation.
of several cultures carried out at different times.
dance, drama and audiovisual arts form the curricular component Art in high school.
National Curricular Parameters: high school.
languages (music, visual arts, dance, drama, audiovisual arts).
only fruition but also esthetic analysis.
the subjects that contribute to the development of these projects.
documents called PCNs, came in for tough criticism from educators, for different reasons.
Ensino Médio14 (ENEM) are anchored to the proposals presented in those documents.
jacket for schools that try to take into account local necessities and specifications.
and care of those who come into contact with the school directly or indirectly.
subject Art and as a mean in the other curricular components.
school; in high school it is added visual arts. Literature is linked to teaching of Portuguese Language.
are produced by minorities, such as women’s art.
of a transformation process which has been built slowly since the 70s.
studies, trying to establish the relation between these three areas and students’ experiences.
produce or read an image one must acquire interrelated skills (Dutra and Vieira, 1992).
conceptions and requires new practice about and for visual art education.
industry, with which they are always in touch.
order to introduce these productions in school programs.
small number of museums devoted to this kind of art17.
workshops and exhibitions and publishing catalogues, books and magazines on the subject.
This picture reflects the visual art education scenario in all levels of schooling.
The movement led to programs such as the DBAE, in the United States of America, and the Critical Studies, in the United Kingdom.
da Universidade de São Paulo (University of São Paulo’s Ethnographic Museum), both in São Paulo.
SESC, Fundação Brasil 500 anos, Instituto Itaú, Unibanco, Banco do Brasil among other institutions.
deeper study of the traditional arts.
need to be open and receptive to international productions that express a genuine creative force.
audiovisual recordings the process of production and its products.
Castro Almeida (2000), developed in Campinas (SP)19.
in society. How can art contribute to reaching those goals?
towards the various forms that it adopt, depending on the school.
Education should settle on three lines.
producers, distributors and critical consumers.
moment, and what it tells us or told other readers in other historical and geographical contexts.
and development of skills are given the same attention.
To know more about the two first projects please go to http://cspace.unb.ca/idea.
of sharing the sensitive aspect and of giving meaning to art productions.
professionals that work in this area, not to mention the conflicts between parents and educators.
responsibility20 to attend this pressing necessity of educating for citizenship.
the construction of ethic values and citizenship?
that make the understanding and transformation of these realities possible.
constructing values, like respect for diversity and solidarity (Mason, 1999; Saccá, 1999).
popular art and the productions of mass culture21, not giving them distinctions in value.
of the students belong to these social classes.
The Delors Report for UNESCO (1996).
There is no intention, through this sequence, to establish a hierarchy of importance.
our daily lives images broadcast by the media sell products, form ideas and model behavior.
programs the critical reading of still and moving images present in the media.
constructive processes, can enlighten the work demanded for the exercise of those professions.
creating and critically appreciating artistic productions.
understand unless it is put in confrontation with other areas of knowledge.
participation of visual arts and other curricular subjects.
knowledge, it favors a critical and constructive appropriation of knowledge.
this is not the time or place to present them22.
they change from the condition of mere spectators to protagonists.
hour a week during the three grades of high school.
the teaching of visual arts in schools? Under what conditions could this happen?
– a two-year course that qualified teachers to teach only in secondary school.
Structure and Functioning of Teaching, etc.
a degree in the Visual Arts.
consist of just a small percentage of the entire course curriculum.
also all other areas of knowledge of the school curriculum.
in basic education. Mistaken conceptions and practices perpetuate in the school system.
valuation of the teaching career through better wages.
aid, which are necessary for the generalist teacher to teach art.
they will not only understand, but also intervene in their work realities.
Law of Directives and Foundations for the National Education n.5, 692.
art productions, through visits to galleries, museums and cultural centers is fundamental.
promote the transformations proposed by the PCNs.
We understand that the guiding of the educational process is always up to the teacher.
But the collaboration of the artists could be a way of bringing the school nearer to life in society.
education set aside funds for the remuneration of artists willing to collaborate with schools.
encaminhado à FAPESP. Campinas, 2000.
BRASIL. Secretaria de Educação Fundamental. Parâmetros curriculares nacionais: arte.
Secretaria de Educação Fundamental. Brasília: MEC/SEF, 1997 v. 6. Arte.
BRASIL. Ministério da Educação e do Desporto. Secretaria de Educação Fundamental.
Secretaria de Educação Fundamental. Brasília: MEC/SEF, 1998. v. 3: Conhecimento de mundo.
quarto ciclos: apresentação dos temas transversais. Secretaria de Educação Fundamental.
Tecnológica. Brasília: Ministério da Educação, 1999.
FORD, Raywen. Apreciação do artesanato e educação infantil. Pro-Posições, v. 10, n.3  nov.
MASON, Rachel. Arte educação multicultural e reforma global. Pro-Posições, v. 10, n.3  nov.
PILLAR, Analice Dutra; VIEIRA, Denyse. O vídeo e a metodologia triangular no ensino da arte.
Porto Alegre: Fundação Iochpe, 1992.
no Canadá. Pro-Posições, v. 10, n.3  nov. 1999, p.47-56.

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