Trans-forma - Centro de Dança Contemporânea: uma poética para a formação (Belo Horizonte, 1971-1986)

• Ano de defesa: 2018
• Autor(a) principal: Tarcisio dos Santos Ramos
• Tipo de documento: Tese
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de Minas Gerais; UFMG
• Palavras-chave em Português: aprendizagem significativa; dança; Trans-Forma Centro de Dança Contemporânea; Processos formativos; amor educativo; Dança moderna Belo Horizonte, MG Séc XX; Dança; Professores de dança Formação; Dança Estudo e ensino
• Link de acesso: http://hdl.handle.net/1843/LOMC-BC5NVY

This Thesis research has as its main goal to investigate the education of dance artists in the pedagogical space. As we problematize educational processes, the starting point is the hypothesis that Marilene Martins Modern Dance School, later called Trans-Forma - Center of Contemporary Dance, may have been, in Belo Horizonte, a locus for the development of what I call a poetics of formation, in which I recognize the basis of a meaningful learning process coupled with the notion of educational love in the fostering of the apprentices formation. In order to analyze the didactic and pedagogical resources and procedures verified at Trans-Forma Center of Contemporary Dance, I have used the theoretical and methodological references of Carlos Skliars notion of educational love, articulated with David Paul Ausubels concept of meaningful learning, among others. The research, that resulted in this Thesis, was carried out through a qualitative approach, using methods of data collection such as the interview and the documentary research done into collections. The analyzed period considers the diachronic cut between 1971 (the opening of the school) and 1986 (its end). Thus, I have investigated and reflected about, but also problematized and valued the formation of dance artists. The formation is here thought of as a possibility of making the apprentice come closer to himself or herself. It is upon such understanding that I seek to comprehend how Marilene Lopes Martins, founder of the school, materialized her ways of teaching dance so as to enable such an approach through a set of practices I here intend to call a poetics of formation.