The Importance of Dance in the Teaching-Learning Process –

SUMMARY

Dance, as an educational process, is not simply limited to the acquisition of skills, but rather, it can contribute to the improvement of basic skills, the fundamental patterns of movement, the development of human potential and its relationship with the world. The use of dance as a pedagogical practice favors creativity, in addition to favoring the knowledge construction process.

This work aims to reflect the importance of dance at school, as an instrument of socialization, for the formation of critical, participatory and responsible citizens. Dance, being a bodily experience, will enable students to find new forms of expression and communication, leading them to discover their body language, which will contribute to the teaching-learning process.

Keywords: Dance, skill, socialization and teaching-learning process.

Abstract:

The dance as an educational process, not just simply in acquiring skills, but may be contributing to the improvement of basic skills, fundamental movement patterns in the development of human potential and its relationship with the world. The use of dance as a pedagogical practice, fosters creativity, and encourages the process of knowledge construction. This work aims to reflect the importance of dance in the school as an instrument of socialization, for the formation of critical citizens, participatory and accountable. The dance is a bodily experience; enable students to new forms of expression and communication, leading them to the discovery of their body language, which will contribute to the learning process. Keywords: Dance, ability, socialization and learning process.

SUMMARY

INTRODUCTION

This monograph is part of reflections on dance in school spaces as a playful component capable of offering students an important pedagogical tool for body development, in addition to contributing to the development of learning.

It can then be said that dance, as an educational process, is not simply limited to the acquisition of skills, but rather, it may be contributing to the improvement of basic skills, the fundamental patterns of movement, the development of human potential and its relationship with the world. In addition to favoring the process of knowledge construction.

The monograph started from the following issues: Has dance been seen as an important pedagogical practice or leisure? Why is it that dance is rarely part of our school system? To what extent can dance contribute to the development of learning?

This monograph is justified by the need to raise awareness that dance as a curricular component does not intend to train dancers, before that, it intends to offer the student a more effective and intimate relationship with the possibility of learning and expressing themselves creatively through movement.

Furthermore, Dance at school is not the art of spectacle, it is education through art. Dance is extremely important to achieve the objectives of Education, one of them being the development of the affective and social aspects, therefore this practice provides the student with great internal and external changes, with regard to their behavior, in the way of expressing and thinking. .

The following hypotheses were used to support this research: that dance as a pedagogical practice will result in quality work and will facilitate the teaching-learning process, but without planning, it will result in work without commitment, which prioritizes the execution of correct and perfect movements. thus generating competitiveness among students.

The objectives of this monograph were to investigate, in bibliographical form, how dance as an educational practice can contribute to the teaching-learning process. In order to lead educators to reflect on their pedagogical practices, contributing significantly to the definitive entry of dance into the curriculum of Brazilian schools. Raise awareness about the importance of dance in the school space. Encourage the reflection of new ideas and discussions about education through dance.

This is a descriptive, qualitative research, inserted in the methodology of bibliographical research, where data were analyzed, selecting only the results that express meanings on the theme of care, obtained by thematic content analysis. Based on the assumptions of Érica Verderi and Paulina Ossona and other scholars of the theme in action, who propose dance at school as a methodological resource for the teacher’s work.

Such scholars believe that dancing is as important for children as talking, singing and playing. It includes a wealth of movements that involve body, spirit, mind and emotions, which enrich learning. The expressive gestures and movements existing in it favor a free and pleasurable action. Through actions involving dance, the learning process takes place in a direct and intimate way, as the child assimilates information with the body, mind and emotions.

This monograph was set up in three chapters: The first chapter reports on the advancement of dance as a learning process, in view of the history of education. The second chapter discusses dance in the school space: its history and its pedagogical participation. The third chapter deals with the contribution of dance and its difficulties in the education process.

I – THE ADVANCE OF DANCE AS A LEARNING PROCESS, IN VIEW OF THE HISTORIC HISTORY OF EDUCATION

II – History of Dance

Dance, in a general sense, is characterized by the art of moving the body and assumes a fundamental role nowadays, as a form of expression it becomes practically indispensable for us to live present, critical and participants in society.

Making a historical analogy, it is observed that all peoples, since Antiquity, cultivated expressive forms such as dances, games and fights. According to VERDERI (2009): “Primitive man danced for countless meanings: hunting, harvesting, joy, sadness,… Man danced for everything that had meaning, always in the form of a ritual.”

This makes us realize that dance is indeed one of the oldest arts that man has experienced. And that over the years has evolved in concepts, in social and cultural facts, highlighting man’s relationship with the world and its different ways of life.

We also noticed that the danced movement was the first form of emotional expression, manifestation of fears and feelings. Soon it became a ceremony, shows, celebration, and finally a form of fun and learning.

We can observe that dance was a form of expression of several events that marked an era in humanity, from which man can demonstrate social roles and play relationships within a society.

Throughout history, dance has also been associated with the pedagogical universe, since, in addition to being a form of entertainment and spectacle, it is, according to FERRARI (2003),» education». In education, it is focused on the global development of children and adolescents, favoring all types of learning they need.

Given this, we can understand that dance has great pedagogical value.

It has an important connection with education, since in the pedagogical universe it helps the student’s development, facilitating their learning and resulting in the construction of knowledge. In fact, dance is also a means of education, as the author states below.

In this perspective, PEAR TREE (2001) put that:

(…) “dance is a fundamental content to be worked on at school: with it, students can get to know themselves and/with others; to explore the world of emotion and imagination; to create; to explore new meanings, free movements (…). Thus, the infinite possibilities of work by/for the student with their corporeity through this activity are verified”.

This statement makes us understand that working with dance within a pedagogical vision goes far beyond teaching gestures and techniques to students. In fact, working with dance allows teaching, in the most fun way, the full potential of expression of the human body. It is a great pedagogical resource to develop a language other than speaking and writing, and even increase the socialization of the class.

Over time, dance has gained more and more space in the educational area until it reaches the present day, but it is not the purpose of this research to report this entire trajectory, but only a brief positioning of its evolution, with the purpose of information.

Second OSSONA (1988), in ancient cultures, dance had the character of a show, popular manifestations, and in the Middle Ages it became a form of entertainment for the upper and lower classes. According to the author, dance since prehistory has been a form of manifestation, a “body expression”, which over time has undergone different influences and has been gaining space in education.

With this, we realize that dance has come a long way to obtain this space, this vision of dance as a resource for pedagogical practice. It was influenced by technology and was also greatly influenced by new social conditions, giving rise to new proposals for art as a form of education.

We can perceive such influences in the fact that new musical and instrumental resources have emerged, and the fact that society, today, has more access to culture, which in the past was restricted to the upper social classes.

Such proposals are still reflected and discussed, since many people still see dance as just a form of entertainment, as the author points out above, “a spectacle”, thus forgetting its pedagogical role, its various contributions as education.

During one occasion, dance was related to Physical Education, reaching…