Navegando por Orientadores "BRITTO, Rosângela Marques de"

Agora exibindo 1 - 7 de 7

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Entre a docência e o fazer artístico em artes visuais: a atuação de professores-artistas na educação básica de Belém e Ananindeua (Pará)
(Universidade Federal do Pará, 2021-01-29) RODRIGUES, Ailzon Gonçalves; BRITTO, Rosângela Marques de; http://lattes.cnpq.br/3188863381591509
From the understanding of the teacher-artist as a hybrid professional who has his actions moving between being a teacher and being an artist. And how the dialogical relationship of these professions brings benefits that, many times, can be suppressed in view of the obligations related to the teaching of Art. Searched in the performance of this professional reasons to avoid his detachment in Art and conciliate the artistic making with the pedagogical practices in basic education schools in the municipalities of Belem and Ananindeua. Therefore, the research aimed to understand the ways in which the relationship between the pedagogical practices of the teacher-artist in basic education and artistic productions develops. In addition to analyzing the contributions provided by the interaction of these activities and the methods used to realization of this conciliation. For this, the qualitative research, used as tools of data collection the semi-structured interview with six teachers from basic education of Art and the participant observation in the classroom. So, it was determined that the professionals to be investigated should have some characteristics, such as degree in Visual Arts or Artistic Education, working in basic education, regardless of the levels of experience with Art teaching and develop works and / or artistic experiments, regardless of the techniques or purpose with the art system. The teachers, under indication, would be previously investigated through the Lattes Curriculum before contacting them, which would allow to know more about the formation of these professionals, their historic of teaching and artistic performance. This way, the results showed how important the aesthetic and artistic experiences are for these professionals, which seek to keep them active, either in parallel activities or in the construction of pedagogical actions so that they can integrate the teaching-learning processes in Art together. Although this relationship has not been so evident in the actions in the classroom and does not have the support of the school, in the observations made it was not continuously present. So, it was understood that artistic making and teaching are activities inherent to the teacher-artist. For this reason, even in the face of the difficulties of several orders present in the basic education, this professional will seek ways for the coexistence of these processes in harmony, and feedback continuously
Acesso aberto (Open Access)
Este sim, veio para alegrar toda a gente : visualidades artísticas do cordão última hora do carnaval das águas, Cametá (PA)
(Universidade Federal do Pará, 2019-09-12) D'OLIVEIRA, Renan Souza; BRITTO, Rosângela Marques de; http://lattes.cnpq.br/3188863381591509
This dissertation is a research that aims to analyze the visuality and creative process of the masks, the banner and the letters on the boat of the carnival group “Última Hora”, and last but not least to describe the creative process of the “Última Hora” typography and the audiovisual documentary created to this dissertation with material recorded on video between the years 2014 and 2019. In the first path, I tell a brief history of Cametá and the TenTém Community, with the help of Raimundo Coelho's studies (2012). I use the research of Georg Simmel (2009) and João de Jesus Paes Loureiro (2015) on the Amazon landscape and visuality respectively to reflect the landscape surrounding the rivers and affluents of the TenTém river. In the second path, I use the studies of Felipe Ferreira (2004) and Miguel Santa Brígida Junior (2006) to deal with the concepts and origins of Carnival, Eric Hobsbawm (2008) on tradition and Michel Maffesoli (1986) on the feeling of collectivity of the TenTém community. Following on the third path, I use the studies by Richard Sennet (2013) on the role of Vital 2 as artificer, Martine Joly (2015) on artistic image analysis, Fayga Ostrower (2016), and again João de Jesus Paes Loureiro (2015) about the boats and their decorative lettering. In the fourth path, the memorial is begun, where I describe the creative process of the “Última Hora” typography and the audiovisual documentary with the recorded field research material during the 2014/2019 carnival period.
Acesso aberto (Open Access)
Uma experiência política na Casa-museu: as trajetórias da política cultural empreendida no espaço cultural Casa das Onze Janelas em Belém-Pará (1998-2018)
(Universidade Federal do Pará, 2018-08-31) SAMPAIO, Lívia Morbach Condurú Gurjão; BRITTO, Rosângela Marques de; http://lattes.cnpq.br/3188863381591509
Created in 1998 by the State Government of Pará, the Espaço Cultural das Casa das Onze Janelas, opened to the public in December 2002, becoming an important public museum of contemporary Brazilian art, based in the northern portion of the country, specifically in Belém, Pará. Through Decree no. 1,568 of June 17, 2016, signed by the then governor Simão Jatene (PSDB), the same political group that created the museum defenestrates it from its original historical building, Casa das Onze Janelas, thus starting a long battle between civil society and the State Government. This qualitative research constitutes a cartography capable of demonstrating a political experience of the Casa-body as Espaço Cultural Casa das Onze Janelas from its conception, first as an idea in 1998, making it possible to detail the struggle between different forces that composed its trajectory of resistance. Power clash between the State Government of Pará and the State's visual arts system for the maintenance of the Casa as a museum of Brazilian contemporary art, regarding not only the destabilization of the State's goal of transforming the Casa into one of the headquarters of the Gastronomic Pole of the Amazon; but also regarding the conditions that allowed for its diversified schedule and expansion of its collection throughout much of the Casa-museum's history, largely neglected by the absence of a state cultural policy that would support its multiple needs. In carrying out this cartography, the Schyzoanalytical methodology was applied, made possible by the agency of several intercessors, supported by semi-structured interviews with nine players of the visual arts system, directly linked to the Espaço Cultural Casa das Onze Janelas; my own trajectory as a cultural producer; the examination of official documents; the collection of interviews, conducted by local media, with Paulo Chaves Fernandes; and bibliographic review. By experiencing this cartography, it has become clear that the cultural policy undertaken for most of the artistic languages that shape the cultural capital of Pará by the PSDB since 1995, instead of contributing to the socioeconomic balance of the communities that make up the State, accentuate its inequalities. State apparatus interested only in keeping its pacts and alliances with the mercantile power fixed; and the unilateral interests of those who govern us.
Acesso aberto (Open Access)
Manoel Pastana (1888-1984): biografia de uma coleção
(Universidade Federal do Pará, 2019-06-17) MAUÉS, Renata de Fátima da Costa; BRITTO, Rosângela Marques de; http://lattes.cnpq.br/3188863381591509
The dissertation approaches the artist Manoel Pastana, his production in the historical and artistic context of the city of Belém, making a trajectory since his birth, through his experience in the first quarters of the twentieth century, including the period when he lived in Rio de Janeiro. Theresearch was made in museum, documents and archival collections of the museums of the “Integrated System of Museums and Memorials of the Secretariat of Culture of the State of Pará” (SIM / SECULT-Pa), as well as in primary sources collected in archives and libraries. Research on qualitative Art which proposes the study of the works of the ManoelPastana Collection and its biographical construction (of People and Things), establishing interlocutions between Applied, Decorative and Design Art; its artistic and aesthetic creation and expression, the ideas and thoughts revealed in interviews and news articles and graphically in the decorative pieces inspired by the study of archeological ceramics, the perception of the Brazilian fauna and flora and the proposition of a National Art based on Neomarajoara Style.
Acesso aberto (Open Access)
Mídias digitais na formação docente em Artes Visuais: Experiências no Plano Nacional de Formação de Professores da Educação Básica (PARFOR), realizadas em Alenquer/PA - 2020
(Universidade Federal do Pará, 2022-06-27) ALMEIDA, Sandro Pereira de; BRITTO, Rosângela Marques de; http://lattes.cnpq.br/3188863381591509
The research is about my critical reflection about teaching-learning experiences in Visual Arts, through new media, in my teacher training as a teacher trainer in the National Plan for Basic Education Teacher Training (PARFOR). Having as methodology, axes that expand in the field of art education between appreciation, contextualization and practice, with the discipline of animation laboratory, through the construction of sceneries, confection of characters and elaboration of small videos in stop motion. Presenting in its themes, social and cultural issues, emphasizing a contemporary vision of the disciplinary contents carried out in the city of Alenquer, located in the region of the lower Amazon in the State of Pará, in the year 2020. In this region, the local reality, was considered as well as an analysis of the problematic between technological democratization, precariousness regarding internet access, generational conflict, and accessible teaching practices. It is considered that the experiences to be presented in this research, provided a mutual understanding between the teaching of Visual Arts and accessible and collective technological dynamics in higher education with results aimed at basic education mainly in the public sphere.
Acesso aberto (Open Access)
No Trajeto das Águas, Memórias do sagrado feminino na gravura Afro-Amazônida
(Universidade Federal do Pará, 2021-02-22) SANTOS, Glauce Patrícia da Silva; BRITTO, Rosângela Marques de; http://lattes.cnpq.br/3188863381591509; https://orcid.org/0000-0001-9458-3515
The researt investigates the art processes that gave rise to the series of engravings “On the path of the waters over the grooves of the rivers”, “The waters”, “The woman whose children are fish”, ande “Sacred feminine”. The investigation of these series is importante for presenting the symbols of the sacred feminine, as well as identifying the use of engraving techniques. The relationship with the theme of the recorded images, the artistic practice in the studio, the grafic processes during the production of the engravings, the memories of plates, objects, people, the boat crossings carried out during childhood and adulthood, the paths traveled between the river and the sea, they are vestiges of a place kept in memory. It also concerns the experiences arising from Afro-Brazilian religiosity, in which the symbologies, representations of the sacred feminine are presente. The essence of my artistic process as a woman, artist, of a terreiro ando f African descente, which highlights personal experiences, Family memories, ancestral memories, the perception of the world in the Brazilian diáspora, manifesting itself naturally in the engravings. Roberto Conduru tell us that, in order to understand Afro-Brazilian art, it is necessary to provide essentialities. With regard to memory, Maurice Halbwachs and Aleida Assmann’s theory is based, as well as jan Assmann and his studies related to belonging. Pierre Verger says that the religion of the orixás is linked to the notion of Family, and that Iemanjá and Oxum open na enchanted world, that of Waters. Lydia Cabrera and Reginaldo Prandi clarify the way in which female water deities presente themselves. The symbologies of shells, pearls, oysters, snails, shells, and the analogy with women, are sacred forces concentrated in the Waters. The universe of water is associated with the sacred-feminine, through engravings.
Acesso aberto (Open Access)
Perspectivas outras para Belém: Análises autocríticas sobre arte educação no contexto não formal e informal
(Universidade Federal do Pará, 2022-06-30) FREIRE, Camila Ferreira Araujo; BRITTO, Rosângela Marques de; http://lattes.cnpq.br/3188863381591509
This work presents reflections on how educational processes in Visual Arts can happen through curatorial processes, informal educational practices, and digital cultural mediations, which occurred in the context of a pandemic. To do so, I analyze three exhibitions that took place in 2019 and 2021, in which I actively participated in the curatorial processes and was able to analyze them from the inside out. For this analysis, I used the case study method with an interpretative bias, having the bibliographic research in different sources and the collection of data via participant observation as methodological procedures, which made it possible to interpret the experiences through the lines of the facts that were experienced. For the dialogue I shared the theoretical teachings of Paulo Freire (2019), Carlos Rodrigues Brandão (2007), Timothy Ingold (2010) e Jorge Larrosa Bondía (2002) to understand the different types of education and their different ways of learning; Éder Chiodetto (2013), Felipe Scovino (2016), Carolina Ruoso (2019), Maria Amélia Bulhões (2014), Rosangela Britto e Marisa Morkazel (2020) were responsible for conversing with me about curatorial processes and the art system in their national and local context; Djamila Ribeiro (2019a, 2019b), bell hooks (2017, 2019), Homi K. Bhabha (2001), John Fletcher (2020a, 2020b) e Rafael Bqueer (2020) to discuss identity revisions in the Brazilian art system; Ana Mae Barbosa (1991), Inês Ferreira (2014), Tereza Scheiner (2003), Teixeira Coelho (2004) to analyze cultural mediation through the artwork itself; Edward Taylor (1871), Franz Boas (2010), Clifford Geertz (2011, 1973), John Fletcher (2019) were the authors who helped to outline a brief conceptual introduction to Culture; Evelyne Patlagean (2005), Gilbert Durand (2001), Michel Maffesoli (2001) e Lucia Santaella (1999) composed the concepts about the formation of the Imaginary; and, finally, Oswaldo Francisco de Almeida Junior (2008) and Pierre Levy (1999) to glimpse the communicational and digital universe during the pandemic 2020/2021. I understand this dissertation as a self-critical analysis of professional experiences that made it possible to discuss other perspectives, places, and knowledge for art education, so I wish to have contributed to expand the educational processes in Visual Arts and to have helped to promote the diversification of local thinking about the role of Visual Arts and its importance in the formation of sociocultural perspectives.