Art in Pedagogy: challenges and perspectives for teacher educationAbstract
Introdução. The article seeks to provide subsidies for teachers and managers of undergraduate courses in Pedagogy in Brazil to qualify the implementation of the Arts curricular component.
Methodology: It conducts a literature review on the results of three researches of the Art in Pedagogy Research Group: documentary analysis on the e-MEC platform, application of a questionnaire to Arts teachers and bibliographic survey in annals of events in the area.
Results. It systematizes the data and conclusions produced by the Art in Pedagogy Research Group.
Discussion. He argues that the main obstacle does not lie in the inclusion of Art teaching theories and methodologies in the curricula, but in promoting the understanding, among these undergraduates, of the role of Art in school. To contribute to this, it proposes strategies to expand the artistic experiences of future pedagogues through digital culture resources, including digital games.
Keywords
teacher training; Art teaching; art education; digital games.
Resumo
Introdução. O artigo busca fornecer subsídios para que docentes e gestores de cursos de licenciatura em Pedagogia no Brasil qualifiquem a implementação do componente curricular de Artes.
Metodologia. Realiza uma revisão de literatura sobre os resultados de três pesquisas do Grupo de Pesquisa Arte na Pedagogia: análise documental na plataforma e-MEC, aplicação de questionário a docentes de Artes e levantamento bibliográfico em anais de eventos da área.
Resultados. Sistematiza os dados e as conclusões produzidos pelo Grupo de Pesquisa Arte na Pedagogia.
Discussão. Argumenta que o principal obstáculo não reside na inclusão de teorias e metodologias de ensino da Arte nos currículos, mas na promoção da compreensão, entre esses licenciandos, do papel da Arte na escola. Para contribuir nesse sentido, propõe estratégias para ampliar as experiências artísticas de futuros pedagogos por meio de recursos da cultura digital, inclusive jogos digitais.
Palavras-chave
formação de professores; ensino de Arte; arte-educação; jogos digitais.
Resumen
Introducción. El artículo busca aportar elementos para que docentes y gestores de los programas de licenciatura en Pedagogía de Brasil fortalezcan la implementación del componente curricular de Artes.
Metodología. Presenta una revisión de la literatura basada en los resultados de tres investigaciones del Grupo de Investigación Arte en la Pedagogía: análisis documental en la plataforma e-MEC, aplicación de un cuestionario a docentes de Artes y revisión bibliográfica de ponencias publicadas en actas de congresos del área.
Resultados. Sistematiza los datos y las conclusiones producidos por el Grupo de Investigación Arte en la Pedagogía.
Discusión. Sostiene que el principal obstáculo no radica en la incorporación de teorías y metodologías de enseñanza artística en los planes de estudio, sino en promover, entre estos futuros pedagogos, la comprensión del papel del Arte en la escuela. Finalmente, propone estrategias que aprovechan los recursos de la cultura digital para ampliar sus experiencias artísticas, incluidos los juegos digitales.
Palabras clave
formación de profesores; educación artística; enseñanza del Arte; juegos digitales.
1 Introduction
Since the 2006 National Curriculum Guidelines of the degree in Pedagogy, the Arts curricular component has been part of the training of pedagogues. Two decades after the publication of the document, the teaching of Art in Pedagogy is still in the process of implementation, facing the challenges of this teacher training. This was evidenced by the Art in Pedagogy Research Group (GPAP). Recognizing the importance of the group's production, this article systematizes the results of three surveys carried out by GPAP and, based on them, highlights precautions and ways to qualify the artistic training of pedagogues, as well as highlights the importance of artistic experience and suggests ways to promote the enjoyment of art in digital media, especially those related to digital games.
The article is structured in five parts: (I) below, it details the problem, presenting the rationale of the research; then, (II) it exposes the research methodology used; (III) it presents as a result a systematization of the contributions of the GPAP; (iv) it discusses solutions/alternatives for the diagnosed obstacles; and, finally, (v) it makes final considerations, reinforcing the findings.
2 Rationale
Art is important in school, mainly because it is important outside of school (Martins; Picosque; Guerra, 1998, p. 13).
Dewey (2010), in his school-laboratory, argued that the artistic experience itself is key to the integral development of children. Aesthetic experience is a form of active and meaningful relationship with the world, essential for the integral development of children. Dewey (2010) referred not only to moments of production or appreciation of objects socially recognized as Art, but to experiences of investigation, imagination, interpretation and attribution of meanings.
Art is with us when we read “[...] gestures, actions, images, needs, desires, expectations, in short, reading ourselves and the world in which we live” (Barbosa, 1995, p. 63). Therefore, art must be in school since Early Childhood Education, not just as an escape valve for feelings and emotions (Tourinho, 2002). It should permeate the school life of children, so that they can better elaborate and express their interests, perceptions, thoughts and discoveries.
Art teaching experiences, such as “From solidity to fluidity” - winner of the Grade 10 Educator Award (Fundação Victor Civita) in 2012, in the Early Childhood Education category - show this. The project was born while professor Cristina da Silva Corrêa watched her class in the courtyard of the daycare center of the University of São Paulo (USP), playing with pebbles. In dialogue with the children, the teacher articulated those games with dance content (such as the spatial trajectory in the hopscotch game (Amarelinha) and the rhythm in Slaves of Job), promoting the reading of movements and the development of consciousness and body expression. Then, he added other playful experiences with elements of nature and guided the creation of a choreography: the children pretended to be stones, first rolling slowly, then rolling downhill or as if they were going through a river, and so on. The choreographic construction made the game more challenging and allowed each child's own expression, as each one had a way of moving, that is, artistic learning allowed the children to deepen the way they perceived and attributed meaning to the games, the world and themselves.
The case shows the power of art at the beginning of schooling. Art is language and culture (Barbosa, 1995; Barbosa; Coutinho, 2013). It is not something that serves only to entertain the students or relieve the grief of other curricular subjects. Art is also a way of knowing, whose mark is the fine “[...] harmony between thinking and doing, between practice and theory, between content and form” (Martins, 2011, p. 312, our translation).
Art should not only be in Art classes (Bojunga, 2015), because “[...] pedagogues are the first mediators of what children watch, listen to and create” (Martins; Lombardi, 2020, p. 130). The National Education Guidelines and Bases Law (LDBEN) of 1971, however, provided only for Artistic Education “activities” in schools, without a clear pedagogical purpose. Generally, they were activities restricted to the "application" and "experimentation" of techniques (Symposium..., 2015), which were reflected in the Pedagogy curricula, in disciplines such as "Arts and Recreation" (Trama..., 2015). This disturbed art educators2 (Martins, 2012) who pressured and conquered the inclusion of the Arts component in the Curricular Guidelines of Pedagogy (Brasil, 2006).
Inclusion was late, compared to areas such as Science, Mathematics, Portuguese Language, Geography and History. It occurred a decade after LDBEN included Art as an area of knowledge and mandatory curricular component at all levels of Basic Education, from Early Childhood Education. This LDBEN also consolidated the role of the School to “[...] promote the cultural development of students” (Brasil, 1996), to address “regional expressions” and “various aspects of history and culture that characterize the formation of the Brazilian population” (Brasil, 1996), with the area of Art being as basic in Brazilian education as the others, for every citizen, regardless of their aptitudes and professional pretensions.
The Pedagogy Guidelines (Brasil, 2006) have weaknesses, such as the choice of the term "Arts", while the current LDBEN (Brasil, 1996) calls the curricular component "Art". The plural form can dilute the specificities of the four languages provided for in the legislation (Music, Theatre, Dance and Visual Arts) and revive the ghost of the “multipurpose teacher”, associated with the “Artistic Education” of the previous LDBEN (Brasil, 1971).
In any case, the Guidelines bring important advances: placing Art in the basic core of Pedagogy courses (article 5) with the purpose of encompassing “[...] decoding and use of codes of different languages used by children” (article 6) and providing for didactic aspects appropriate to the content and the beginning of schooling (Brasil, 2006).
Implementing the Guidelines is no simple task. Almost a decade after publication, the updating of the political-pedagogical project of the courses had not yet been completed in many institutions (Trama..., 2015). When completed, a complex process began: the institutional team needed to welcome the Art teacher, build spaces for dialogue with him/her, deconstruct stereotypes about Art, understanding it as culture and language, a way of knowing to be explored in pedagogical praxis and key to the development of children. It was necessary to overcome the academic culture that tolerated the absence of Art in Pedagogy.
To unravel the challenge, the GPAP was formed. The first meeting took place at the São Paulo State University "Júlio de Mesquita Filho" (Unesp), in 2012, in response to a demand from the Federation of Art/Educators of Brazil (FAEB). There, the group's first goal was defined: “[...] to raise an overview of the presence of Art in Pedagogy courses throughout the country” (Martins, 2012). The GPAP was consolidated in the same year, based at Universidade Presbiteriana Mackenzie and led by Professor Mirian Celeste Martins3. Therefore, professors of Arts from other Pedagogy courses in Brazil (Federal University of Pernambuco - UFPE, University of Sorocaba - Uniso, State University of Santa Catarina - Udesc, Federal Rural University of Pernambuco - UFRPE, Federal University of São Carlos - UFSCar, Unesp, UFJF and Unicamp) joined the group (Martins; Lombardi, 2020).
At its origin, the GPAP was driven by a “[...] desire for memory, [...] to know what was done between the ConFAEB of Diamantina [from 1985] until the 2000s” (Faria et al., 2019, p. 164). The group wanted to know if and how Art was inserted in the project of Pedagogy courses, what titles the subject had received, what conceptions of Art teaching and children supported the menus and bibliographies, among other issues (Martins, 2012). The GPAP publications that disseminate the results of this research are rich in data and insights, as well as extensive. Therefore, it is proposed here to systematize its findings so that managers and teachers base decisions and actions related to the inclusion of Art in Pedagogy courses.
3 Methodology
For this article, qualitative bibliographic research was carried out, from secondary sources (GPAP publications), in three stages: (I) survey of publications on the group's website and, through Google Scholar, of other articles by its researchers (Brasil, 2024); (II) from the findings of the first stage, selection of publications focusing on Art in Pedagogy; and, finally, (III) analytical study of the articles, compiling a synthesis of the GPAP panorama. It is worth noting that, in the second stage, the main sources for analysis were identified (Symposium..., 2015, 2016, [2017] 2018; Plot..., 2015), but other sources were not excluded, considered occasionally for the discussion of the results. In the third stage, passages that focused on the implementation of Art teaching in Pedagogy were prioritized, with less attention to general questions about Art teaching.
4 Results
In its early years, GPAP dedicated itself to elaborating an overview of the implementation of the Arts curricular unit in Brazilian Pedagogy courses. To this end, it implemented three research paths: (a) from 2012 to 2014, documentary research on the e-MEC Platform and analysis of political-pedagogical projects of Pedagogy courses; (b) until 2015, application of a questionnaire to survey the professional profile of teachers of Art subjects in Pedagogy courses; and (c) from 2015 to 2017, review of annals of congresses in Art/Education and Education/Teaching in search of articles on the subject. The main findings of these studies are systematized below.
Documentary research (analysis of political-pedagogical projects of Pedagogy courses) was not only the first GPAP action to assemble the panorama of Art in Pedagogy, but the one that structured subsequent research. The group used the database provided by the Ministry of Education itself on the e-MEC platform (https://emec.mec.gov.br). When starting the mapping in 2012, the group located 1,557 undergraduate courses in Pedagogy authorized for offer in Brazil and selected 87 pedagogical projects (from the courses with face-to-face offer and that made the political-pedagogical project available on the web), 85 public and two private institutions. There, he identified 180 Art subjects (161 mandatory and 19 optional) and selected 51 for analysis (mandatory and with complete information), 49 from public universities and two from private ones (Martins, 2012). In 2013, the group expanded the analysis, covering 82 subjects in courses at 56 universities (Trama..., 2015). In both moments, the group collected: the titles of the Art disciplines, the offer phase, the workload, the syllabus and the bibliography. Here, we synthesize their findings (Chart 1).
Summary of the results of documentary research: art subjects in Pedagogical Projects of Pedagogy Course
The results were not encouraging. They showed deficiencies, excesses and inconsistencies that impact the training of pedagogues and, therefore, the quality of Basic Education. Such results are not surprising. It is known that the curricular reformulation is usually done by the course body itself (not an Art specialist) or by specialist teachers who work in Art degrees, considering contexts, needs and interests very different from those of Pedagogy undergraduates - hence the primacy of theoretical content and the lack of themes aimed at the teaching of Art in Early Childhood Education and in the early years of Elementary School.
The GPAP landscape is not limited to the results of documentary research. In 2015, she raised the profile of teachers who were teaching Art in Pedagogy subjects. Through the application of a questionnaire, the group collected data (location, institution, academic background, gender and time working in the area) and descriptions of how they teach Art (Faria et al., 2019). There were 72 respondents, predominantly female and trained in Visual Arts (Trama..., 2015); a profile common to Brazilian pioneers of Art in Pedagogy: Maria F. de Rezende and Fusari (known as Mariazinha), Ana Angélica Albano, Analice Dutra Pillar, Ana Luiza Ruschel Nunes and Susana Rangel Vieira da Cunha (Martins; Lombardi, 2020). This research contributed, above all, to the expansion of the GPAP network.
From 2015 to 2017, the group carried out a literature review. It focused on the annals of Brazilian congresses in the areas of Art/Education and Education/Teaching4, published from 2001 to 2017. It located 125 articles on Art in Pedagogy, mainly in the annals of the National Congress of the Brazilian Federation of Art and Education (ConFAEB) (68 articles) and of the National Congress of the Brazilian Association of Music Education (ABEM) (43 articles). It identified a preponderance of articles focused on the teaching of Music (almost 69% of the total, 60% of them published in ABEM) and Visual Arts (almost a third of the total, 69% of them in ConFAEB). Notable was the scarcity of articles on Dance (1) and Theater (2) over the 16 years covered in the sample; they were in annals of the Brazilian Association of Research and Graduate Studies in Performing Arts (Abrace) and the National Association of Graduate Studies and Research in Education (Anped), that is, none of the three were in congresses focused on different artistic languages, such as ConFAEB.
The GPAP members analyzed the articles, each in their respective training language, and identified the main topics addressed (Faria et al., 2019) (Table 2).
In the long period covered in the sample, GPAP observed a significant increase in publications on Art in Pedagogy after 2012 (year of foundation of the group) - at ConFAEB, 26% of publications are before 2012 and 74% after (Faria et al., 2019). Many of the recent articles cite GPAP research, such as documentary research (Kleber; Momoli, 2013).
In addition to leading research, since 2014 GPAP has promoted the debate between teachers and researchers of Art in Pedagogy in its “International Symposium: Training of Educators in Art and Pedagogy”, each year focusing on a theme: “Art: Education: Childhoods: Cultural Mediation” (2015), “Research: Art: Pedagogy: Cultural Mediation” (2016) and “Con[see]s[actions]: Art: Pedagogy: Cultural Mediation” (2017). The annals of the events, as well as the video recordings of the panels, can be accessed on the group's website . All this highlights the GPAP as a support for the teaching of Art in the initial training of pedagogues.
5 Discussion
The GPAP panorama showed obstacles to the implementation of the teaching of Art in Pedagogy that today, 20 years after the publication of the Guidelines, continue to be challenging. One point is the space of the Art disciplines in the curricula: inflated menus (disproportionate to the workload) and insufficient bibliographies (poorly aligned with the menus, not covering the practical-theoretical dimensions that the teaching of Art demands).
This limitation is not exclusive to Arts. As the Guidelines (Brasil, 2006) do not specify the workload of the specific areas, and there are many contemplated in the training in four years, it is not possible to expect an in-depth study of the knowledge of each of them. It is important that the pedagogue knows the introductory contents of the different areas of the curriculum of the early years and the fundamentals of the teaching methodologies of the areas and according to the students; that he/she has a repertoire to dialogue with the school's expert teachers; that he/she is skilled in sewing knowledge using the epistemological and methodological line of education in which he/she chose to delve. In the words of Anna Rita F. de Araújo, “[...] the real work [of the pedagogue] is to understand the complex relationships between education and society, to think and carry out human, personal and collective existence and pedagogical work with a view to transforming social reality [...]” (Trama..., 2015, p. 56).
Idealized perspectives on the role of the teacher end up taking us away from the concrete challenges of implementing the teaching of Art in Pedagogy. In fact, this was observed in the study of GPAP publications: in the first two editions of the Symposium (2015, 2016), the articles deal with general aspects of Art teaching relevant in Art teacher training contexts; from the third edition (Symposium..., [2017] 2018), the panelists adjusted the focus to the singularities and challenges of Art in Pedagogy. This adjustment highlights the importance of GPAP to deepen the dialogue, since many articles brought arguments based on the results of documentary research. For example, Cláudia Bellochio questioned the fact that the Art in Pedagogy menus do not contemplate the perspective of childhood and argued that pedagogues need to enter the world of children through the arts, understand Art as something that:
[...] in addition to informing, provoking, displacing, problematizing and promoting encounters with the teacher's ways of seeing and listening to students, especially the cultures that are being produced by children. [...] Pedagogy students know how to see/ see and hear this relationship of the little ones with the world? What about the school teachers? These little ones, so little, what are they telling us/singing/ music/playing/acting out? What we have not seen and heard, why do we not have minimal languages that enhance perceptions to hear and see, how does it look? (Symposium..., 2018, p. 40, emphasis added).
Another recurring point is that, in order to better perceive and mediate children's imagery, sound and scenic expressions, pedagogues need to experience Art. Martins points out that “[...] living a process of creation, living aesthetic experiences as recommended by Dewey (2010), certainly leaves other marks [on future pedagogues] that are carried for the rest of their lives” (Symposium..., 2015, p. 110). Daniel Momoli and Olga Egas add: “It is in the aesthetic dimension of art that lies a power [creative will] that can affect the ways of being a teacher of [Pedagogy] students” (Trama..., 2015, p. 72). The GPAP bibliographic research, however, showed that, although some menus include the topic “artistic creation”, there is no evidence that this content is worked on the experiential level (Martins, 2012).
Mediation of artistic experiences is a topic dear to GPAP. The title of all editions of the Symposium contains the expression “cultural mediation” and, in the articles, the members of the group advocate that artistic experiences be provided to Pedagogy undergraduates. It is necessary to work “[...] on cultural formation, the expansion of repertoires, the understanding and use of artistic languages not only to express themselves, but to build new knowledge” (Symposium..., 2015, p. 111). Pedagogues also need to recognize how present Art is in their lives, how Art constitutes them as subjects and how it reverberates in their ways of perceiving, understanding and being in the world.
The task is challenging, as Monique Nogueira reported: “I realize that the students touched [by art] are those already previously sensitized; the others, if they do not have an organized and constant stimulus, pass through the university without experiencing the art and culture present in it” (Symposium..., 2018, p. 18). Such distancing echoes the idea that art is “for the few”, that works of art can only be created by people “inspired” and understood by experts. Hence the importance of promoting students' approach to museums and other cultural spaces, as well as promoting the discovery that, in addition to socially accepted objects such as “works of art”, there is much to be aesthetically perceived and poetically interpreted in the world.
In a Symposium (2018), Daniel Momoli and Estela Bonci mentioned Leda Guimarães' strategy to deepen the experiences of fruition with her students. The strategy has two stages: first, the students' repertoire is mapped, identifying which artists they know, which cultural spaces they attend, which exhibitions they have already visited, etc.; then, an exchange of experiences is carried out, deconstructing the idea that only some productions are valid. Guimarães stresses that this work should not be done in order to “[...] fill gaps, expand or transform what is called semiculture or mass culture, as [the students' repertoire] would not be in a pole opposite to an authentic and more elaborate cultural formation” (Symposium..., 2018, p. 22). In fact, the idea is that both the student of Pedagogy and the Art teacher expand their aesthetic repertoires, each being introduced to cultural landscapes that they did not know or that they knew superficially.
It is known that Pedagogy courses do not usually have an adequate physical infrastructure to carry out artistic practices, however alternatives can be sought, using resources and languages that are part of the daily lives of undergraduates - such as the experience at UEE reported by Moraes and Moura (2014).
Exploring means and productions of digital culture can also be a strategy to mobilize students and mediate experiences with Art. As discussed in previous articles, digital games (or video games) can be the basis for experiences that articulate artistic production and enjoyment (Bahia, 2014). Digital games have been explored by art museums including: the Museum of Modern Art of New York (MoMA) has included games in its collection; the educational sector of the Tate Gallery (London) has produced games from works in the collection to make available to children's audiences on its website; the Thyssen-Bornemisza Museum (Madrid) has been involving its young visitors in a game design process from the exhibition room (Bahia, 2023); the Museum of Modern Art (São Paulo) developed MAM Minecraft as a museum visitation version adapted to the platform of said videogame (MAM,2026).
Digital games are one of the media that have been transforming the ways of perceiving, knowing and living together (Martin-Barbero; Rey, 2004), important to be included in teacher training, even for the development of the digital literacy of these future teachers. The National Common Curricular Base (BNCC) itself indicates that teachers work on digital culture with their students. In Art, this orientationis made in a forceful way: the Base included the thematic unit “Integrated Arts” to address the relationships between artistic languages made possible by digital technologies (Brasil, 2018); and the object of knowledge “Art and Technology” to explore animations, electronic games, photography, software, etc., both as means of creation (Brasil, 2018) and “[...] to access, appreciate, produce, record and share artistic practices and repertoires, in a reflective, ethical and responsible way” (Brasil, 2018, p. 211). Even so, GPAP's documentary research showed that these topics are rare in the menus and bibliographies of the disciplines of Art of Pedagogy.
The Base also asks teaching professionals to consider that digital culture has “[...] strong emotional appeal and induces the immediacy of responses and the ephemerality of information, favoring superficial analysis”, so it challenges teachers to seek strategies to “[...] stimulate reflection and in-depth analysis [...] a critical attitude towards the content and multiplicity of media and digital offers” (Brasil, 2018, p. 61). All this reaffirms the importance of working on the reading of digital media and productions, from different perspectives (aesthetic, poetic and critical). It is possible to explore artistic games that problematize values and habits commonly associated with video games. Examples are the works of Kent Sheely and Anne-Marie Schleiner, who ironically explain the naturalization of violence by creating modified versions of the shooter Counter-Strike (Valve, 2000-2023) that subvert the representation of violence in the game. These gameworks highlight the fact that every image both shows and hides something (Bahia, 2020), a path of problematization explored in Visual Culture - an approach to art teaching that, in the GPAP research, appeared in only one of the 82 bibliographies of course projects analyzed.
Exploring digital media does not mean relegating pre-digital works and media to the background. The handling of tangible materials and the visit to cultural spaces provide unique experiences with art, not least because promoting artistic experiences in digital media does not imply breaking with previous creative and communicational traditions. All digital production is covered with a “cultural skin” that transcodes (Manovich, 2001) means and systems of representation that have been familiar to us since before the advent of digital culture.
6 Finalconsiderations
Implementing the curricular component Arts in Pedagogy is not only to include another subject of content and teaching methodologies in the course, a whole context must be considered, which requires specific care (Gondim; Fernandes, 2011). Unlike undergraduates in Arts, those in Pedagogy did not choose to study Art and sometimes bring negative memories from school and perceive themselves as distant from the area, so it may even be necessary to promote the understanding that Art is part of the lives of all of us.
GPAP research is of great help to plan and carry out the inclusion of Art in Pedagogy courses. They show recurrent excesses and deficiencies in the menus and bibliographies of Art in political-pedagogical projects of Brazilian Pedagogy courses. They explain the forgetfulness of content related to interdisciplinarity, interculturality, children's art, cultural mediation, evaluation in arts, digital arts, among others. They highlight the timid presence of the languages of Dance and Theater in front of those of Music and Visual Arts among teachers and researchers interested in discussing Art in Pedagogy. In particular, they highlight the little attention given to artistic experience in teacher education, as a moment of discovery for the future pedagogue, to find their own way of relating to the world, to education and to children, to experience an “artistic, aesthetic and critical way” of being a teacher (Martins; Lombardi, 2020).
1
2
3
Ad hoc reviewers:
How to cite this article (ABNT):
Data availability:
Search data is available in the body of the document.
References
-
BAHIA, A. B. Do quadro ao jogo de fruição: Bosch Adventure Game. Palíndromo, Florianópolis, v. 6, n. 12, p. 144-172, 2014. DOI: https://doi.org/10.5965/2175234606122014144 Acesso em: 4 jun. 2026.
» https://doi.org/10.5965/2175234606122014144 -
BAHIA, A. B. Game design at the art museum: the Nubla case of EducaThyssen. Herança - Revista de História, Património e Cultura, Porto, v. 6, n. 1, p. 53-68, 2023. DOI: https://doi.org/10.29073/HERANCA.V6I1.681 Acesso em: 4 jun. 2026.
» https://doi.org/10.29073/HERANCA.V6I1.681 -
BAHIA, A. B. Headshot: jogos digitais, violência e ensino da Arte. Debates em Educação, Maceió, v. 12, n. 27, p. 521-545, 2020. DOI: https://doi.org/10.28998/2175-6600.2020v12n27p521-545 Acesso em: 4 jun. 2026.
» https://doi.org/10.28998/2175-6600.2020v12n27p521-545 -
BARBOSA, A. M. Arte-Educação pós-colonialista no Brasil: aprendizagem triangular. Comunicação e Educação, São Paulo, v. 1, n. 2, p. 59-64, 1995. DOI: https://doi.org/10.11606/issn.2316-9125.v0i2p59-64 Acesso em: 4 jun. 2026.
» https://doi.org/10.11606/issn.2316-9125.v0i2p59-64 -
BARBOSA, A. M.; COUTINHO, R. Ensino da Arte no Brasil. In: COUTINHO, R.; SCHLÜNZEN JUNIOR, K.; SCHLÜNZEN, E. T. M. (org.). Artes São Paulo: Unesp, 2013. p. 56-112. Disponível em: http://acervodigital.unesp.br/handle/123456789/40427 Acesso em: 4 jun. 2026.
» http://acervodigital.unesp.br/handle/123456789/40427 -
BOJUNGA, S. Ensino da Arte: pedagogo ou especialista?. Boletim Arte na Escola, São Paulo, v. 75, 2015. Disponível em: http://artenaescola.org.br/boletim/materia.php?id=74785 Acesso em: 4 jun. 2026.
» http://artenaescola.org.br/boletim/materia.php?id=74785 - BRASIL. Base Nacional Comum Curricular Brasília, DF: MEC, 2018.
-
BRASIL. Grupo de Pesquisa Arte na Pedagogia: Diretório Lattes. Brasília, DF: CNPq, 2024. Disponível em: http://dgp.cnpq.br/dgp/espelhogrupo/7171489607866053 Acesso em: 4 jun. 2026.
» http://dgp.cnpq.br/dgp/espelhogrupo/7171489607866053 - BRASIL. Lei nº 5.692, de 11 de agosto de 1971. Fixa Diretrizes e Bases para o Ensino de 1º e 2º Graus, e dá outras providências. Diário Oficial [da] República Federativa do Brasil, Poder Executivo, Brasília, DF, 12 ago. 1971.
- BRASIL. Lei nº 9.394, de 20 de dezembro de 1996. Estabelece as Diretrizes e Bases da Educação Nacional. Diário Oficial [da] República Federativa do Brasil, Poder Executivo, Brasília, DF, 21 dez. 1996.
- BRASIL. Resolução CNE/CP nº 1, de 15 de maio de 2006. Institui Diretrizes Curriculares Nacionais para o Curso de Graduação em Pedagogia, licenciatura. Diário Oficial [da] República Federativa do Brasil, Poder Executivo, Brasília, DF, 16 maio 2006.
- DEWEY, J. Arte como experiência São Paulo: Martins Fontes, 2010.
-
EDUCADOR Nota 10. Da solidez à fluidez [Profa. Cristina Mara da Silva Corrêa, Educação Infantil]. 2012. Disponível em: https://youtu.be/ek-EVwJSmB0?si=Uz4UDdcZjRtuCxu_. Acesso em: 4 jun. 2026.
» https://youtu.be/ek-EVwJSmB0?si=Uz4UDdcZjRtuCxu - FARIA, A. A. et al. Arte na Pedagogia: um coletivo em pesquisa - Grupo de Pesquisa Arte na Pedagogia (GPAP). In: MARTINS, M. C.; FARIA, A. A.; LOMBARDI, L. M. S. S. (org.). Formação de educadores: modos de pensar e provocar encontros com a arte e mediação cultural. São Paulo: Terracota, 2019. p. 148-167.
-
GONDIM, J. P.; FERNANDES, M. D. E. Interrogações sobre políticas de formação e ensino de arte nos currículos dos cursos de pedagogia. Educação e Pesquisa, São Paulo, v. 37, n. 3, p. 497-512, 2011. DOI: https://doi.org/10.1590/S1517-97022011000300004 Acesso em: 22 jul. 2025.
» https://doi.org/10.1590/S1517-97022011000300004 -
GPAP. Site do grupo Disponível em: www.arte-pedagogia-mediacao.com.br Acesso em: 4 ago. 2025.
» www.arte-pedagogia-mediacao.com.br - KLEBER, M.; MOMOLI, D. B. Arte na Pedagogia: cartografia de inquietações e esperanças: componente curricular da arte e a formação do pedagogo no estado do Paraná. In: AMARAL, M. V. N. (org.). Anais do XXIII ConFAEB. Recife: FAEB, 2013.
-
MAM. MAM no Minecraft Disponível em: https://mam.org.br/educativo/mam-no-minecraft Acesso em: 4 jun. 2026.
» https://mam.org.br/educativo/mam-no-minecraft - MANOVICH, L. The language of new media Cambridge: The MIT, 2001.
- MARTIN-BARBERO, J.; REY, G. Os exercícios do ver: hegemonia audiovisual e ficção televisiva. 2. ed. São Paulo: Senac, 2004.
-
MARTINS, M. C. Arte na Pedagogia. In: COUTINHO, R. (org.). Anais do XXII ConFAEB São Paulo: Unesp/FAEB, 2012. p. 101-119. Disponível em: https://faeb.com.br/wp-content/uploads/2023/09/Anais-XXII-ConFAEB-UNESP-2012.pdf Acesso em: 2 jul. 2026.
» https://faeb.com.br/wp-content/uploads/2023/09/Anais-XXII-ConFAEB-UNESP-2012.pdf -
MARTINS, M. C. Arte, só na aula de Arte?. Educação, Porto Alegre, v. 34, n. 3, p. 311-316, 2011. Disponível em: https://revistaseletronicas.pucrs.br/ojs/index.php/faced/article/view/9516 Acesso em: 22 jul. 2026.
» https://revistaseletronicas.pucrs.br/ojs/index.php/faced/article/view/9516 - MARTINS, M. C.; FARIA, A. A.; LOMBARDI, L. M. S. S. (org.). Formação de educadores: contaminações interdisciplinares com Arte na Pedagogia e na mediação cultural. São Paulo: Terracota, 2019.
-
MARTINS, M. C.; LOMBARDI, L. M. S. S. Um fio narrativo de histórias: professoras pioneiras das artes visuais no curso de Pedagogia. Revista Gearte, Porto Alegre, v. 7, n. 1, 2020. DOI: http://dx.doi.org/10.22456/2357-9854.9695 Acesso em: 23 jul. 2026.
» http://dx.doi.org/10.22456/2357-9854.9695 - MARTINS, M. C.; PICOSQUE, G.; GUERRA, M. T. T. Didática do ensino da Arte: a língua do mundo. Poetizar, fruir e conhecer arte. São Paulo: FTD, 1998.
-
MORAES, A. C.; MOURA, R. A. Arte-Educação como disciplina: experimentos formativos com estudantes do curso de Pedagogia da UECE/Facedi. EccoS: Revista Científica, São Paulo, n. 33, p. 43-60, 2014. DOI: http://dx.doi.org/10.5585/eccos.n33.3437 Acesso em: 4 jun. 2026.
» http://dx.doi.org/10.5585/eccos.n33.3437 -
SIMPÓSIO INTERNACIONAL FORMAÇÃO DE EDUCADORES EM ARTE E PEDAGOGIA. Arte: Pedagogia: Infâncias: Mediação Cultural. São Paulo: Terracota, 2015. Disponível em: https://www.arte-pedagogia-mediacao.com.br/files/ugd/7ee6db_6dff04f4302e457abdcd1747c10bf157.pdf Acesso em: 20 jul. 2024.
» https://www.arte-pedagogia-mediacao.com.br/files/ugd/7ee6db_6dff04f4302e457abdcd1747c10bf157.pdf -
SIMPÓSIO INTERNACIONAL FORMAÇÃO DE EDUCADORES EM ARTE E PEDAGOGIA [2017]. Formação de educadores: modos de pensar e provocar encontros com a arte e mediação cultural. São Paulo: Terracota, 2018. Disponível em: https://www.arte-pedagogia-mediacao.com.br/_files/ugd/7ee6db_eae317e45a284d11b33bc5237a7315d9.pdf Acesso em: 20 jul. 2024.
» https://www.arte-pedagogia-mediacao.com.br/_files/ugd/7ee6db_eae317e45a284d11b33bc5237a7315d9.pdf -
SIMPÓSIO INTERNACIONAL FORMAÇÃO DE EDUCADORES EM ARTE E PEDAGOGIA. Pesquisar: Arte: Pedagogia: Formação: Mediação Cultural. São Paulo: Terracota, 2016. Disponível em: https://www.arte-pedagogia-mediacao.com.br/files/ugd/7ee6db_0fa1165b30664da4a3f4ef5937d997e3.pdf Acesso em: 20 jul. 2024.
» https://www.arte-pedagogia-mediacao.com.br/files/ugd/7ee6db_0fa1165b30664da4a3f4ef5937d997e3.pdf -
TOURINHO, I. Emoções e sentimentos: polêmicas sobre o ensino de arte. Comunicação & Educação, São Paulo, n. 25, p. 36-44, 2002. DOI: https://doi.org/10.11606/issn.2316-9125.v0i25p36-44 Acesso em: 20 jul. 2025.
» https://doi.org/10.11606/issn.2316-9125.v0i25p36-44 -
TRAMA INTERDISCIPLINAR. Arte na Educação São Paulo: Universidade Mackenzie, v. 6, n. 2, maio 2015. Disponível em: https://editorarevistas.mackenzie.br/index.php/tint/issue/view/467 Acesso em: 20 jul. 2026.
» https://editorarevistas.mackenzie.br/index.php/tint/issue/view/467
