Corpo, afeto e cognição na rítmica corporal de Ione de Medeiros: entrelaçamento entre ensino de arte e ciências cognitivas

• Ano de defesa: 2012
• Autor(a) principal: Monica Medeiros Ribeiro
• Tipo de documento: Tese
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de Minas Gerais; UFMG
• Palavras-chave em Português: Corpo; Rítmica; Interdisciplinaridade; Experiência; Cognição; Afetividade; Movimento (Encenação); Performance (Arte); Medeiros, Ione de; Corpo e mente; Arte Estudo e ensino
• Link de acesso: http://hdl.handle.net/1843/JSSS-8ZBHP9

The subject of this thesis is the bodily experience of rhythm in space-time through expressive movement present in the Ione de Medeiros Body Rhythmics practice. Medeiros began to develop her Body Rhythmics in the field of music education at Fundação de Educação Artística, in the 1970s. Later, the artist-teacher included this practice in the actors body training of Grupo Oficcina Multimedia. Documentary, experimental and bibliographical researches were made to investigate the cognitive and affective characteristics experienced in Medeiros Body Rhythmics. The documentary research was done in 75 artist-teachers notebooks containing three decades of registration (1970-1999). The experimental research consisted of the application of the neuropsychological tests Raven and Continuous Performance Test-CPTs Conners. The bibliographical research was made on authors from the Cognitive Sciences and Art Education field. The methods used for data collection were literature review, participant observation, questionnaires and interviews. For data analysis it was used content analysis and statistics. The qualitative and quantitative data analysis has demonstrated a strong presence of Dalcroze principles in Ione de Medeiros Body Rhythmics and a positive change in the attentional paradigm of reaction time after the Body Rhythmics practice. From these findings it is possible to say that the body experience in Medeiros practice has the somaesthetic, enactive and inventive dimensions which promote the embodied knowledge built through this artistic practice. This Knowledge comes from the shared learning presence state training.