Este texto apresenta uma reflexão sobre a produção do diário de aula (Zabalza, 2004) como instrumento metodológico da prática educativa no estágio curricular supervisionado em artes visuais. A partir da problemática de pesquisa - qual a importância e o lugar do diário de aula para os estagiários?, intenciona-se explicar em que consiste este instrumento (visual e textual) e a forma como foi utilizado no curso de licenciatura em artes visuais. A metodologia de cunho qualitativo amparou-se na abordagem de pesquisa narrativo-biográfica. A partir da delimitação terminológica de Pujadas (1992), os diários de aula como material de pesquisa são qualquer tipo de registro elaborado pelo professor durante o desenvolvimento do seu trabalho (cartas, caderno de notas, diários, fotografias, vídeos, filmes, entre outros). Acompanhamos os diários da prática pedagógica de seis professores em formação inicial durante o primeiro e o segundo semestres de 2011, referentes ao estágio três e quatro do curso de licenciatura. A partir do material analisado foi possível perceber os modos de ver do professor em formação, o percurso da docência e a forma que este profissional escolhe para dar conta do seu processo formativo. A produção do diário da prática pedagógica foi considerada de grande relevância para o processo formativo docente, sendo que o lugar ocupado pelo mesmo ultrapassou o espaço acadêmico em inúmeras ocasiões.

This text presents a reflection about the production of class diary (Zabalza, 2004) as a methodological instrument for teaching practice in the supervised teaching practice in visual arts. Through the research problem -what is the importance and place of the class diary to the student teachers? we aim at explaining what this instrument consists of(visually and textually) and the way it has been used in the Visual Arts Teaching Minor and Major. The concept of teaching practice diary, named in this research as TPD was generated throughout 2010 and 2011, although only in 2011 it began to be presented once a month in the university context, where each student-teacher dealt with the last period (month) of work. The idea of presenting the teaching process in an amplified way improved the narrative reflection. We need to take a step back to examine the work done in order to list elements, which characterize the teaching period that comprehended at least four classes. The diary presentation in the advising meetings became an expected moment by the ones involved in the teaching process and a moment of great satisfaction to those who presented as well as to those who discussed. The qualitative methodology followed the biographical and narrative approach. According to the terminology of Pujadas (1992), class diaries as research material are any type of register elaborated by the teacher during his/ her work development (letters, notebooks, diaries, photographs, videos, movies or any other type of visual or textual production). When we use autobiography as a research approach we narrate ourselves, we talk about our historically built experiences from the place we occupy. Those are the stories that produce particular identities that are different of any experience narrated by another person. We followed teaching practice diaries of six student teachers during the first and second semester of 2011, concerning the student teaching third and fourth levels of the Visual Arts Minor and Major’s supervised training practice. This instrument caused alterations in the way each student teacher began to narrate him/herself and their teaching experience. By means of the selected material in the research it was possible to perceive the student teacher’s ways of seeing, the teaching process of development in visual arts and the way this professional chooses to deal with his/her formative process during the four semesters of supervised teaching practice. The six student teachers considered that the production of the teaching practice diaries was of great importance in the teaching formative process and stressed that the place occupied by the class diary went beyond the academic context in countless occasions.


Ce texte présente une réflexion sur la production du journal de classe (Zabalza,2004) comme outil méthodologique dans la pratique éducative au stage curriculaire surveillé dans les cours d’Arts Visuels. A partir de la problématique de la recherche - quelle est l’importance et la place du journal de classe pour les stagiaires? - on a l’intention d’expliquer en quoi consiste cet instrument (visuel et textuel) et comment il a été utilisé dans une licence en Arts Visuels. La méthodologie de type qualitatif a été supportée par un approche de recherche narrative-biographique. A partir de la délimitation des termes de Pujadas 1992, les journaux de classe en tant qu’éléments de recherche contiennent de différents types de registre, élaborés par le professeur pendant le développement de son travail (des lettres, des cahiers de notes, des carnets, des vidéos, des films, entre autres). Nous avons accompagné des journaux de la pratique pédagogique de six professeurs en formation initiale, pendant le premier et le deuxième semestre de 2011 conduisant aux stages trois et quatre de la licence. A partir des éléments analysés, il a été possible de nous apercevoir du point de vue des professeurs qui sont en train de formation, du parcours de l’enseignement et des chemins que ce professionnel choisit pour réussir dans son processus de formation. La production du journal de classe dans la pratique pédagogique a été considérée très importante pour le processus de formation de l’ enseignant, car la place occupée par ce processus a dépassé l’espace académique en plusieurs occasions.