Esthetic of Ginga

Corporeity can be shown as an important study element of the relations between individuals, indicating a singular modus for the development of cognitive-affective processes. The aim of this study was to develop a reflection, starting from the analysis of a creative process that involved the realization of a poetic-theatrical experiment, in order to investigate how the dynamics between the word and the subtext were processed, using corporeity as argument for the explanation of the signification process. The thesis that I defend is that corporeity is the element that propitiate the process of signification, and the subtext being the in-between-place of this communication, establishing this dynamic as a pedagogy of the theatrical event. The dramaturgy of corporeity proposes a working way, originating from an intense intimate dynamization between the sensorial, corporeal, affective, aesthetical, esthesical, volitional, synaesthesical and imagery perceptions developed at the moment of the actors’ creative process. The working procedure addressing the dramaturgy of corporeity would also be a methodological alternative for the actors to learn to understand themselves as artists-educators and on how to make their work a potentiator of the link between these two words. In this study, the poetic-theatrical experiment, based on the text Prometheus Chained, by Aeschylus, was carried out as fieldwork, in order to foster the reflexive motes necessary for understanding the moments of aesthetic living, essential to an understanding of how pedagogy of the theatrical event works. With this work, it was possible to elucidate a differentiated way of operating the cognitive-affective processes, which occurs through the relations of corporeity. This fact made it possible to establish a singular means of educational, cognitive-affective processes, detached from traditional meanings in the field of education which usually think of them when focused through cognitive cognitive-encephalic analyzes. Thus, it was possible to observe the experiential relationships that occur during the theatrical event as an important field in the area of education, which has not yet received an explanatory approach as developed in this research.

The Nucleus of Arts, Languages and Subjectivities (NALS), located at
Education Faculty, in the Federal University from Pelotas (UFPEL), Southern Brazil, develops many activities in education, extension, and
research. The Project “Landless Daisies” consists in the production of a
theatre play with students from post-graduation and graduation together
with some artists in the city Pelotas/RS, Southern Brazil. The playwriting
tells about life histories and reports from women who are from the Landless Movement, in Brazil. The main focus of interest of this play shows the importance of women in this Movement and gender discussions in general society. The NALS develops its activities based on principles of Border Pedagogy and Aesthetic of Ginga. By doing works based on these principles, the members of the NALS can put on a practical level what is indicated in the theoretical presuppositions.

This article shows a brief report of some of the theoretical presuppositions that our research group has been developed during these last 10 years. Supported by the concepts of Aesthetics Ginga, Border Pedagogy, Epistemologies of the South, and Multiculturality we highlight some of our actions.

Book chapter entitled: "Casas en la frontera: Rastros de una jornada", published in the book: "Entre-lugares de las culturas". This Book Chapter deals with discussions about concepts of border, otherness, diversity, popular culture, orality and other pedagogical and epistemological proposals to work with educational and the arts field in an inseparable way.

This article aims to reflect about a proposal of dialectical understanding of the relations established between audiovisual narratives, daily narratives and education. We are interested in reflecting about the ways of using video narrative as a cultural instrument of struggle and resistance, as well as of memory and identity, against the impositions of the hegemonic capital. We argue that spying the world through the eyes of childhood can be a key to the subversion of language that names the world, because infancy inhabits the interstitial space that precedes this naming. This work is destined to be developed in the regions of Brazilian Southern borders. We believe that, in this way, one can expand the knowledge field to other possibilities of existence and to resist against all forms of silencing, imposed to the present day by the ideological domination coming from the Latin American colonizers.

Thinking representations of gender in children's universe within the school environment also means reflecting on imposed standards, as well as on the distinctions between children from the preschool, they are already differentiated between girls and boys. The aim of this paper is to present a research proposal, relating it to the principles of Border Pedagogy and Aesthetics of Ginga that have been developed by the Nucleus of the Arts, Languages, and Subjectivities, from the Federal University of Pelotas. From these disclosures, perhaps, have the opportunity to contextualize, propose discussions and reflections on the gender norms are formed during the childhood, then perhaps proposing questioning activities of such observations.