This research, developed within the Professional Master's Program in Arts (ProfArtes), investigates the potential of graffiti as a pedagogical practice to overcome bullying and racial injury and to promote a culture of peace in the school environment. The study originates from a real classroom episode, where the normalization of racially offensive nicknames highlighted the urgency for intentional educational actions aimed at critical awareness. The project “Grafitando o Respeito” was implemented with 9th-grade students at the Centro de Ensino Fundamental Metropolitana, in the Federal District, integrating dialogue circles, artistic workshops, field visits, and the collective creation of a graffiti mural on the school wall. Grounded in project-based learning (PBL) and Freirean pedagogy, the research employed methodological triangulation, combining observations, interviews, and portfolios. The theoretical framework includes authors such as Djamila Ribeiro, Bárbara Carine, Maria da Glória Calado, Nilma Lino Gomes, Eliane Cavalleiro, and Ana Beatriz Barbosa Silva, focusing on racial literacy, anti-racist education, and urban art. Results indicate that graffiti fosters belonging, values diversity, and challenges symbolic violence in schools by promoting aesthetic expression and dialogic reflection. Artistic practice proved effective in engaging students, re-signifying educational space, and cultivating ethical coexistence based on mutual respect and human rights. The study shows that integrating graffiti as a visual language and educational tool expands pedagogical strategies for confronting racism and bullying, contributing to a socially committed education. Moreover, the critical analysis of Brazilian educational legislation and legal frameworks on racial equality supports the development of curricular proposals aligned with Law No. 10.639/2003 and the Racial Equality Statute. Ultimately, this research contributes to the field of art education by proposing the articulation of artistic expression, racial literacy, and a culture of peace as viable pathways to transform school practices and foster democratic education.

This research investigates the teaching of art/theatre through the practice of Mamulengo, understood as an intangible cultural heritage recognized by the Brazilian National Institute of Historic and Artistic Heritage (IPHAN) since 2015. The study was conducted with middle school students at Centro de Ensino Fundamental Drª Zilda Arns, in the Federal District (DF), and aimed to analyze how the notions of enchantment and re-existence in Mamulengo contribute to theatre education and to the strengthening of Brazilian popular and traditional cultures. A qualitative approach was adopted, with ethnographic procedures situated within the context of school practice, beginning with empirical observation of the problem and unfolding into an ethnographically oriented action research, including field notes and reports from participating students. The autoethnographic nature of the investigation arises from the articulation between the researcher’s personal narratives—encompassing twelve years of teaching experience and eighteen years as a Mamulengo practitioner—and the pedagogical processes analyzed. The results indicate that the inclusion of Mamulengo in the school context enhances experiences of scenic creation, strengthens connections with popular cultures, and broadens modes of learning in theatre, contributing to pedagogical practices that are sensitive to students’ sociocultural contexts. The dissertation is organized into three chapters, addressing the recognition of Mamulengo as cultural heritage, the notion of re-existence in education, and the classroom experiences developed through Mamulengo, including scenic scripts created by students.

This research is based on reflections and discussions about teaching time and public-school space. The study was developed from reflections on my professional practice at the Maria Pereira Braga Municipal School, located in the Nova Friburgo neighborhood, in the municipality of Cidade Ocidental-GO. This is a public school whose curriculum serves elementary school students from 6th to 9th grade in the morning and afternoon shifts, in addition to Youth and Adult Education (EJA) in the evening shift. The institution develops curricular activities designed to ensure not only student retention in school, but also their integration and learning in a meaningful, productive, and relevant way. The basic assumptions of the research are based on communicating through the arts, maintaining an attitude of personal and/or collective exploration, articulating perception, imagination, emotion, sensitivity, and reflection in the process of artistic production and enjoyment. Dialogue and interaction between teacher and students constituted essential elements for the development of the stages of the teaching-learning process. In conclusion, this research demonstrates that flexible planning, combined with appropriate choices of content and methodologies, is a fundamental characteristic for achieving efficient results in art education. As a researcher and professional with over twenty years of classroom experience, this research points to the need for educational changes involving pedagogical time and the space allocated to art education.

This dissertation investigates the processes of erasure and resistance strategies within the field of High Ability or Giftedness (HA/G), with a specific focus on artistic talent in Visual Arts. The study is rooted in the investigative practice developed at the High Ability/Giftedness Resource Room – Talent – Visual Arts, located at the Centro de Ensino Fundamental 01 do Guará (DF). Methodologically, the research is characterized as a qualitative case study, supported by action research and affective cartography, seeking to give voice to creative potentials frequently silenced by the educational system. The investigative trajectory is structured into eight axes that connect pedagogical practice to the institutional dimension. The pedagogical axes (1 to 5) cover the use of the Reflective Portfolio, the interface with Brazilian Popular Music (MPB), the dialogue with the work of Antônio Obá, the occupation of power spaces such as the TCU (Federal Court of Accounts), and, finally, the Public Hearing and Artistic Exhibition, understood as the materialization of the process and the pinnacle of student visibility. The institutional axis (6 to 8) complements the analysis through questionnaires applied to Resource Room students and Visual Arts undergraduates, in addition to a documentary survey with the SE/DF (State Secretariat of Education) via the Access to Information Law (LAI). The findings suggest that the exhibition of the produced aesthetic repertoire is not merely a celebratory event, but a necessary political gesture to break institutional silencing, validating the existence and the right to specialized education for students with high creative potential.

The ongoing work, linked to the Professional Graduate Program in Arts at the University of Brasília, in the Research Line "Teaching, Learning, and Creation Processes in the Arts," investigates the relationships between art, the body, and the city as pedagogical experiences. The research is based on the reflections of Margarete Sacht Góes (2023), who proposes walking through the city as an aesthetic and educational exercise, in which urban spaces reveal themselves as an open-air studio. By considering Brasília as a field of study, the city is understood not only as a space of movement, but as a territory of visualities, memories, and sensitive learning. The work seeks to highlight how the body, when interacting with monuments, museums, facades, and gardens, records and produces meanings that go beyond the classroom, expanding the possibilities for teaching art in elementary school. The qualitative research is based on the author's teaching experience and observations made during visits to museums and cultural spaces, analyzing how students respond bodily and linguistically to such experiences. In this context, the role of museum and cultural mediation stands out as a dimension that broadens and enriches the aesthetic experience, fostering processes of belonging. The aim is to demonstrate that art, understood as a way of reading the world and not merely as a technique or isolated content, enables aesthetic experiences that contribute to cultural belonging and the critical development of individuals.

Professional guitarists and electric guitar students engage with a wide range of skills that guide their musical practice, one of which is music reading. Reading and performing sheet music—whether sight-reading, during performances, or in study sessions—is a complex activity that requires the mobilization of multiple skills and forms of knowledge. In this context, this study aims to analyze how the teaching and learning process of music reading and writing for electric guitar students has been developed in the course Prática de Leitura Aplicada ao Instrumento - PLAI (Practical Reading Applied to the Instrument) within the Electric Guitar qualification program at the Centro de Educação Profissional – Escola de Música de Brasília (Professional Education Center of the Brasília School of Music). Employing a qualitative case study, the data collection includes participant observation, semi-structured interviews, and the analysis of teaching materials and documents used in the teaching practice of the course. The unit of analysis is the teaching and learning process of music reading on the electric guitar. Five students enrolled in PLAI Level 1 participated in the study, and data collection took place during classes in the second semester of 2024. The findings indicate that developing music-reading proficiency requires skills associated with the identification of structural units, rhythmic and melodic, and motor automatization. Rhythmic reading and the mutual relation between notes on the staff and positions on the guitar fretboard emerged as the main reading difficulties reported by students. Music reading demands sustained practice, and the instructional strategies like writing, improvisation, composition and reflective activities, implemented in the classroom were associated with positive outcomes, particularly among students who completed all planned activities.

 This study emerges from concerns arising from my work in Specialized Educational Assistance (SEA) within the public school system of the Federal District and is grounded in pedagogical experiences and observations developed through the educational support of students with Autism Spectrum Disorder (ASD). The empirical field of the research is the SEA service at Escola Classe 302 Norte, a public educational institution. The participants are students with ASD, support levels 1 and 2, according to the ICD-11 of the World Health Organization, enrolled in the early years of Elementary Education.In this research, I analyze the relationships between Art, curriculum, and inclusive education, considering the gap between the legal frameworks that recognize Art as a curricular component of Basic Education and its implementation in school pedagogical practices. In this context, I observe practices centered on orality, curricular fragmentation, and homogeneous learning models, which restrict possibilities for expression, communication, and participation for students with ASD. This scenario is related to weaknesses in teacher education, especially in the early years of Elementary Education, concerning inclusive education, corporeality, aesthetic experience, and the teaching of Art as a field of knowledge. Art is understood as a formative experience constituted through the articulation between body, perception, and relationships within pedagogical practices. The general objective is to analyze how Art, understood as a field of knowledge and articulated with aesthetic experience and corporeality, contributes to the learning and subjective development of students with ASD in SEA during the early years of Elementary Education in the public school system of the Federal District. As specific objectives, I seek to analyze theoretical foundations that articulate Art, corporeality, and learning in inclusive education; describe and analyze pedagogical practices that integrate Art into the curriculum; understand Art as an embodied aesthetic experience and its contributions to teaching and learning processes; and reflect on the pedagogical and institutional implications of this articulation for SEA planning, as well as for teacher education and public policies.The study engages with Mantoan (2003), who understands inclusion as a principle that shifts school practices based on homogenization and expands the right to participation for all people within educational spaces. It also draws on Paulo Freire (1996), who conceives education as a dialogical and situated practice; on Vygotsky (1998), who understands learning as a socially mediated process; and on Merleau-Ponty (1999), who recognizes corporeality as a constitutive dimension of experience and perception of the world. The guiding question of my research is to understand how Art, as a field of knowledge and an embodied aesthetic experience, manifests itself in teaching and learning processes and in the subjective development of students with ASD within the context of SEA. The methodological approach is qualitative, supported by the analysis of pedagogical experiences developed in SEA, articulating practice and theoretical foundations while considering lived experience as a central axis for the production of meaning. The results indicate that Art, when experienced as a sensitive and relational practice, reorganizes modes of participation, expression, and learning, expanding students’ engagement and development within the field of education.

This study aims to understand the process of elaboração of arrangements for children's and youth choirs at the Escola de Música de Brasília, from the perspective of basic education teachers. The study focuses on the context of professional education, analyzing the perspective of basic education teachers skilled in creating arrangements for children's and youth choirs at the Centro de Educação Profissional / Escola de Música de Brasília (CEP/EMB). The research is qualitative, and data collection was conducted through semi-structured interviews with teacher-conductors skilled in the practice of arranging who operate within this school context. The results indicate that the process of developing arrangements for children's and youth choirs at EMB functions as a pedagogical and didactic mediation tool, subordinated to the teaching-learning environments and the physiological conditions of the students. Key aspects include the attention paid to children's and youth vocal tessitura and the welcoming of singers undergoing voice change through the writing of three-part arrangements (SAB). Concurrently, the participatory presence of teachers from the children's and youth musicization nucleus was observed as a collaborative and dialogical environment in both formal meetings and informal spaces of school conviviality, consolidating a horizontal organization and peer cooperation without a strict hierarchical coordination. In conclusion, vocal arranging at EMB transcends technical-artistic rigor to serve the human and musical education of children and adolescents in the Distrito Federal. As a contribution to Basic Education and teacher training within the scope of PROFARTES (PROEB/CAPES), this study offers reflective insights by revealing the dialogue and experiences that constitute the teacher-arranger's pedagogical-musical practice in daily school life

Art education is a component of teacher training in pedagogy. However, opportunities for aesthetic experience are often relegated to elective courses, despite being legally mandated. This issue is compounded when considering aesthetic disciplines as a whole: visual arts, performing arts, music, dance, and interdisciplinary art forms. This research aimed to investigate student engagement with the proposed content through an experiential approach to theater. Additionally, the study sought—in an exploratory manner—to foster student awareness and engagement regarding the practices and content of art education. The findings indicate that the 60-hour course load in pedagogy programs is insufficient to explore the full range of artistic disciplines, even though these are fundamental to effective teaching practice in early childhood education.

Recently, the “Escolas Parque” in Brasília began offering extended school hours in order to
improve the quality of public education. Despite being grounded in legal, curricular,
pedagogical, and operational guidelines oriented toward a holistic and democratic formation,
the proposal has faced challenges that run counter to the philosophical epistemology upon
which it is based. During ten-hour school days, children have experienced high levels of stress,
viewing their teachers as supportive figures who, face socio-affective issues that influence
learning and aspects of holistic development. In this context, the present project systematized a
proposal through theatrical pedagogy, tailored to the age group of children in the first year of
the early grades of elementary education, based on classroom experiences that aim at holistic
formation. The research drew upon Holliday (2006), who proposes an “Experience
Systematization” in “five phases” as a research methodology, describing and analyzing a theater
teaching praxis that integrates practice and theory. The proposal employed storytelling and
theatrical games, seeking to strengthen the socioemotional aspects of children aged six and
seven.

Abstract: The research proposes a re-signification inspired by Shakespeare's dramaturgy,
regarding the art education of pre-adolescents. The aim is to understand how art teachers
act and connect their training practices to the artistic language of dramaturgy, with an
emphasis on writing rather than theatrical performance, by re-reading scenes that are
significant for human formation. This contributes to strengthening the identity and sense of
belonging of elementary school students, giving them a voice. At the same time as promoting
creative expression, with angles of view of everyday life and expanding the imagination, we
have an ethnography of the youth universe. The opportunity to express desires, fears and
ethical horizons is part of the research.

This study investigates the four-finger technique on the double bass, focusing on the teaching and learning process of this fingering system. The main objective of the research is to reflect on different pedagogical approaches to the four-finger system (1-2-3-4) on the double bass, considering the study of instrumental technique from the perspective of body consciousness and (psycho)motor learning. Additionally, this dissertation aims to explore the evolution and dissemination of fingerings on the double bass by investigating the influence of the instrument’s history on their emergence, development, and teaching. It also seeks to understand different theoretical and technical perspectives on learning the four-finger system on the double bass, analyze the relationship between (psycho)motor learning and kinesiology concepts and processes with instrumental technique acquisition, and, finally, propose educational exercises for reflective practice of finger spacing and movements necessary for developing the four-finger technique on the double bass. The recognition of a gap between theoretical assimilation and students' motor performance, questions regarding the origin of this issue (whether related to students or teachers), the need to understand existing conceptions, and the importance of identifying the essential elements for mastering this technique motivated this research. The methodological approach involved a literature review and the analysis of historical and contemporary documents, including F. C. Franke’s 1845 double bass method—the oldest didactic work dedicated exclusively to teaching the four-finger fingering technique. The research also included an interview with double bassist and professor Hans Roelofsen, a key advocate of this technique and the leading representative of the so-called New Dutch School of Double Bass. The study revealed that, despite the scarcity of materials on the four-finger technique, valuable sources provide insight into how this technique is interpreted and taught. However, while the analyzed instructional materials emphasize finger strength and agility, they highlight a gap in exercises focusing on finger and joint flexibility, as well as the motor perception of subtle differences between fingering systems. The author suggests that negative transfer of previously assimilated movements—such as the three-finger technique, which most students initially learn—may hinder the acquisition of new movements. He argues that learning should begin with body consciousness, achieved through movement perception, before repetitive training.

Drums and polyrhythms have been the subject of study in several areas of music, such as ethnomusicology, musical education, interpretative practices, musical performance, among others. When learning the drums, the development of motor coordination interlimb is essential for the drummer to be able to perform complex  rhythms, often associated with the concept of polyrhythm. Traditionally, this coordination has been  developed by practicing combinations between hands and feet and by use of the systems and readings, which, although effective, demands time and mastery of reading and are not always directly linked to musical practice. However, this type of approach has not been proven effective in mastering these skills with students of the Drums Course at the Centro de Educação Profissional Escola de Música de Brasilia. Furthermore, a literature review pointed out a diversity of terms and concepts related to polyrhythms, such as rhythmic polyphony, polymetry, cross rhythms, among others. This research aims to develop a pedagogical proposal for the study of polyrhythms on the drums, with different strategies, considering formal, informal and non-formal environments, experience with percussion groups, combined individual and group teaching formats, the adaptation of teaching materials to the context of students, the use of technological tools, and the centrality of music in the entire drum teaching and learning process.

This work seeks, through ethnography of my educational practice in visual arts, to describe and analyze activities that involved the teaching of visual arts and Heritage Education actions during my journey through three Escolas Parque da Asa Sul in Brasília, in the period from 2018 to 2023, whose reference is the work of the artist Athos Bulcão. The research aims to analyze the extent to which contact with the works of Athos Bulcão can contribute to enhancing learning in visual arts and strengthening emotional bonds with the city, creating a feeling of belonging. The Athos Bulcão content is part of the Curriculum of the State Department of Education of the Federal District. The importance of the artist's legacy to the city is also discussed and the importance of mediation by the visual arts teacher to promote students' contact with the city's art is highlighted. To this end, theoretical-methodological references from Heritage Education and Art/Education were used due to the real possibilities that both present to facilitate access, highlighting that this articulation can make the student feel like they belong to the capital's cultural heritage. The research adopted the methodologies: teaching experiment and action research and the results present contributions to bring students closer to the artist's work through field trips and art workshops held in the classroom, highlighting the intentionality of educational practice.

The concern of a elementary teacher with the teaching of the music curriculum component in the early years of elementary school was the starting point of this research. With the musical interest I have accumulated throughout my life and my professional career as an early childhood and elementary school teacher, I bring a special focus on music to my classroom. The research question is how musical experiences become formative experiences for this teacher. I consider that the concerns and needs presented can be addressed through research-formation, and I identify two formative axes that will guide it: experiencing some pedagogical-musical proposals indexed in the Revista Música na Educação Básica – MEB and selecting some musical experiences proposed by the teacher-trainer Sara do Vale. The research employs the (auto)biographical method and opts to adopt the research-development approach with the formative device of the training musicobiographical memorial. The general objective is to reflect on the meaning of the experiences gained through the musical activities chosen and practiced in this research-formation. The specific objectives are to give new meaning to practices with new perceptions from the research-formation and to acquire a repertoire of musical practices for the classroom. As an analytical procedure to reinterpret the narrated experience, I based myself on the following discursive units: 1) Reflexivity occurs through memories, conversations, readings, and writings of the self; 2) Formation is continuous; 3) Forming myself with others: an experience with researchers in music education. Among the conclusions found in the course of this research-training with the memorial, I highlight the teacher's desire to make and work with music, the contributions of continued training that must be active and constant, and the relationships with professionals in the musical field who can offer valuable exchanges for the educational work with music in the early years of elementary school by the pedagogue teacher.

Violin pedagogy for beginners involves multiple stages, including the student’s first contact with the instrument, sound exploration, and bodily awareness in developing appropriate playing posture. Technical and musical skills development, including coordinated body movements, especially of the arms and hands, with tone production and repertoire, is widely discussed in the literature about instrumental teaching and learning. In this subject, this investigation aims to understand the possibilities and limitations of the music teaching and learning processes in early violin instruction through the pedagogical use of a cardboard violin and its subsequent transition to a traditional wooden instrument. The research was conducted within the beginner violin program at a brazilian music school named Centro Profissional Escola de Música de Brasília (CEP-EMB), with eight students aged eight to nine. A qualitative approach rooted in pedagogical research was adopted. Data collection methods included participant observation of classes, field notes, audiovisual recordings of rehearsals and performances, as well as questionnaires and semi-structured interviews supported by memory stimulation. Findings suggest that beginning with the cardboard violin supports bodily and cognitive readiness for performance on the wooden violin. The pre-violin instruction combined with early music education activities is an effective pedagogical strategy for developing technical and musical skills while fostering student and family engagement in the learning process.

This research aims to analyze a Pedagogical Proposal in Visual Arts applied to students with high abilities/giftedness, with the intention of identifying art teaching strategies that contemplate the individual construction of a poetics, as the main objective of this service, according to Renzulli's Triadic Methodology. It also seeks to highlight the potential and practices adopted in this environment, which focuses on supplementing students' artistic development. The methodological approach for this qualitative research is exploratory and participatory. The analysis was conducted through data collected by observation, interviews, and a logbook, proposed practices, and students' perceptions of the artistic processes and results. The theoretical framework analyzed current documents governing high abilities/giftedness, the Three-Ring Theory and Renzulli's Triadic Methodology (activity type 1, activity type 2, and activity type 3), and the creative process according to Cultural Psychology. The research setting was the Gifted/High Abilities Resource Room of the Taguatinga Regional Education Office of the Federal District Department of Education (SEEDF), and the participants were the author of the research and the eight students aged 12 to 17 who attend the service. The main research questions are: “Do the proposed pedagogical strategies support the construction of artistic projects? How were the processes involved in constructing a poetics perceived by gifted students in Art? How do the students understand their artistic and creative development based on the service offered? How do the students perceive the result of the artistic project? In the students' perception, what are the greatest challenges in producing art?” The results indicate that, in addition to encompassing the Type III activity of Renzulli's Triadic Methodology, the proposal of an art project culminating in a series of productions favors the understanding and conscious development of the creative process, showing that art is not only a pleasurable activity, but also requires knowledge and research to face the inherent challenges of an artistic process.

This dissertation research seeks to explore the application of autobiographical implication as an art teaching-learning device, especially in relation to Armorial Art. The "armorial" proposal, as suggested and practiced by Ariano Suassuna, has become an unavoidable reference in art classes. It marks an important period in the history of Brazilian art in the 20th century with a cultural movement that raises as its flag the narrative poetry of its verses in its cordel leaflets, woodcuts on its covers and music, focusing on the valorization of identity and Nordic popular culture. Promoting student learning motivation in art classes, particularly in the context of evening education for young people and adults (EJA), has been a significant challenge for educators. Thus, this research aims to incorporate the cultural perspective of students, as proposed by Paulo Freire, encouraging their expression through visual productions that incorporate armorial elements such as signs of animals, plants, elements of nature, sets of insignia, coats of arms of family, banners and the country alphabet. Furthermore, the secondary pedagogical objective is to strengthen the affirmation of students' identity through a critical, autonomous and reflective approach. This research will include the analysis of visual productions generated by students, as well as the evolution of teaching practice, in line with the approach proposed by Oscar Holliday. The proposal is based on the idea that students can learn about art by exploring their own history and its relationship with elements of nature, family coats of arms and elements of the name, combining the concepts of Paulo Freire, the Armorial Movement, the Triangular Approach to Art Teaching by Ana Mae and other education and art theorists. The research will be divided into chapters that will address the theoretical, methodological aspects and the results of applying this pedagogical proposal.

This study aims to analyze and present reflections on the relationship between audiovisual media and education. The study analyzed the history of the six editions of the Short Film Festival project of CEF 602 Recanto das Emas, considering aspects such as student leadership and the project's impact on the school environment. The project consists of screening, viewing, analysis, and audiovisual production activities, resulting in a competitive showcase of short films, music videos, and animations produced by students in the final years of elementary school at CEF 602 Recanto das Emas. In addition to the project's history, the study also proposes, in its theoretical premises, a debate based on reflections by researchers in the field. Understanding technological advances and the diverse interests of students in the final years of elementary school, the study also presents a reflection on the importance of project-based learning, considering pedagogical and social aspects of students specifically at this stage of education. Finally, through document analysis and a questionnaire administered to students who participated in different editions of the project, as well as to some of their legal guardians, this article analyzes and presents some of the results achieved, suggesting the transformations that have occurred at the school and the perceptions of these students regarding language learning and audiovisual production.

Tirando música de ouvido na prática de conjunto vocal

Youth and Adult Education (Educação de Jovens e Adultos – EJA) is a teaching modality for students identified as working students and/or those who were unable to complete their formal education at the appropriate age. In this context, the presence or absence of music within the Arts curriculum constitutes the object of study of this Professional Master’s dissertation in Arts. Interest in this topic dates back to 2019, following an invitation to coordinate the Musicality Circle (Roda de Musicalidade project at the Youth and Adult Education Center of Asa Sul (Centro de Educação de Jovens e Adultos da Asa Sul – CESAS), in Brasília, Federal District. Based on this experience, the present study aims to investigate the presence or absence of music in the Art curriculum component of Youth and Adult Education (EJA) in schools of the State Department of Education of the Federal District (Secretaria de Estado de Educação do Distrito Federal – SEEDF), specifically, in Regional Education Coordination of Plano Piloto/Cruzeiro (CRE-PP/Cruzeiro). To that end, it seeks to identify which SEEDF schools offer the EJA modality, specifically in CRE-PP/Cruzeiro; the Art teachers' formal and informal education; the artistic activities developed in their schools; and how musical activities are incorporated into their teaching practices. The research adopts a quantitative approach, using data from the 2024 School Census (Censo Escolar 2024), educational documents and guidelines, and a self-administered questionnaire designed by the researcher. The findings indicate that ninety schools offer EJA in the Federal District across the three educational segments, with a total of 248 teachers working in the Arts curriculum component. Due to the geographic extent of the Federal District, an intentional sample was selected, consisting of 20 teachers assigned to the Regional Education Coordination of Plano Piloto/Cruzeiro (CRE-PP/Cruzeiro), of whom ten responded to the questionnaire. Among the respondents, eight hold degrees in Visual Arts, one in Art Education, and one in Mathematics. Regarding the presence of music in Arts classes, five teachers reported conducting occasional activities such as listening to and appreciating different musical genres, identifying musical instruments, developing thematic music projects, engaging in musical improvisation, composing songs, singing, and participating in musical performances. The study reveals a systematic absence of formal music classes, structured music projects, and licensed music teachers in EJA schools within the CRE-PP/Cruzeiro. The results highlight the need for a more balanced distribution of Arts teachers with different specializations (music, visual arts, performing arts, and dance) in EJA schools; continuous pedagogical training in music education for teachers; expansion of this mapping to other regional education coordinations in the Federal District; and further investigation through interviews and longitudinal studies. In addition, the study underscores the importance of reflecting on the integration between Youth and Adult Education and Professional and Technical Education (Educação Profissional e Técnica – EPT), emphasizing that this integration should be understood as a pedagogical proposal to be considered.

As a teacher of the Percussion Ensemble discipline at a music school in Brasília, I found it difficult to select compositions that covered the entire group, which is generally heterogeneous in terms of skills and musical knowledge. The indicated repertoire, traditional and requiring mastery of reading and rhythmic control, usually requires skills that are challenging for some beginners. As an alternative, then, I sought possibilities to work on other skills, such as creation, learning by imitation and works with unconventional spellings, which was a difficulty, as found by Daldegan (2008), Cuervo (2009), Schreiner (2016), Brietzcke (2018), Vertamatti (2006), Magre (2017) and Valadão (2019). This work aims to contribute to the formation of beginners in percussion and their participation in ensemble practice, through six authorial works with compositional techniques and aesthetics of contemporary music. Considering the proximity of percussion music to the artistic avant-garde and the potential that contemporary music can generate for beginners, as pointed out by Schafer (2011), Delalande (2019) and Fernandes (2020), such as: facilitating the layman’s first contact with music making, contributing to the creativity and spontaneity of students, collaborating with the expansion of thinking about music and art, valuing music other than traditional Western music and facilitating the reading of scores with the use of non-conventional writings, I started the composition process seeking to combine the development of skills necessary for beginners, according to the literature on the subject, reconciling them with compositional techniques and aesthetics from the 20th and 21st centuries. I looked for reference and inspiration in works by J. Cage, J. Antunes, M. A. Guimarães, S. Reich, J. de Oliveira, E. Zampronha, M. Ptaszynska, T. Riley, T. De Mey, D. Puig, among others who influenced both my musical formation and the history of percussion music.

This study is part of the work that aims to identify the contributions of digital media in Theater classes in Elementary School I. The new digital technologies have evolved very quickly. Today's students make constant and extensive use of them, but it is possible to see that schools have not followed this evolution. They do not pay attention to the fact that such technologies can be transforming tools in the teaching-learning process. Thinking about how digital media can be used in theater classes, we seek to investigate and analyze what students consume in digital media; build classes together with the class; to develop a final product that involves the theater and the digital medium and, finally, to examine and reflect on the elaborated work and its results. The study is being carried out at Escola Parque 313/314 Sul, with 5th grade students. As an investigation methodology, the Ethnography of School Practice was adopted, to provide a more detailed analysis of the context in which the pedagogical practices will occur, as well as the action research, since the study will involve collaboration between professors and students in identifying the challenges faced in the use of digital technologies in theater classes, and in the development of interventions to overcome them, seeking to make the teaching process more engaging, interactive and meaningful for students. As a theoretical reference, studies by Pierre Lévy and José Moran will be used, which discuss the use of digital technologies in the classroom. Complementing the study, Viola Spolin and John Dewey,

This dissertation proposes a teaching methodology, based on action research, which aims to explore graffiti as a form of collaboration and protagonism among students in a public school in the Federal District. The objective is to investigate the effects of this collaborative practice on creative expression, teamwork and student protagonism in participants, in the post-COVID-19 pandemic context. The research will be carried out through observations of the application of a pedagogical proposal that uses Graphite as a collaborative tool. To this end, focus groups, logbooks and bibliographic analysis will be carried out, seeking to understand how Graffiti can promote cooperation, communication and positive interaction between the students involved. The results of this study can provide valuable reflections for educators and professionals in the field of artistic education, helping to create pedagogical proposals with more inclusive and reflective practices through collaboration.

The mobile phones could be used as a didatics resource with many possibilities of pedagogical interation in a school art education, but it is still little explored and valued. In this context, the present research aims to analyze the potentialities and challenges of a pedagogical proposal that adopts the cell phone and mobile devices in art classes in practical activities carried out in Elementary School final grades. This work is part of the postgraduate program in the research line of teaching, learning and creation processes in the arts of the Professional Master in Arts - Prof-Artes (UnB). The pedagogical proposal Arte com Celular was carried out in a public school in the Federal District with students from the 6th, 7th and 9th grade of Elementary School. The elaboration, implementation and reflection on this proposal adopts the Digital Triangular Approach (CUNHA, 2008) as a theoretical and methodological basis. The action-reflection cycle adopts action-research principles according to MacNiff and Whitehead (2006). The pedagogical proposal was first structured in four stages: Axis 01 (welcome and problematization of the pandemic), Axis 02 (identity construction), Axis 03 (digital narratives) and Axis 04 (evaluation). The process of teaching, learning and artistic production was described and discussed. Its results point to receptivity, creativity and reflection on the artistic productions carried out. The use of cell phones in the aesthetic experience proved to be effective and motivating. It is hoped that this proposal, discussed and restructured, may serve as an inspiration for teaching art at school and in other contexts.

Considering Law nº 10.639/03, which includes in the official curriculum of the National Education Network the mandatory theme "Afro-Brazilian History and Culture", the work intends to outline paths for the construction of a decolonial pedagogy in arts, which ensures positive and aggregators representations of Afro-Brazilians and that focuses on education based on respect for diversity. Through the principles of pretagogia (Sandra Haydéé Petit, 2015 and Geranilde Costa e Silva, 2013), cantar-dançar-batucar (Ligiéro, 2011), and fundamentals of African philosophy in the light of Adilbênia Freire Machado (2014) and Eduardo Oliveira (2007), we propose the investigation of a specific lexicon of Brazilian cultural performances that originates from and influences African traditions, with a view to providing students with an awareness of a corponegritude, Jonas Sales, 2015. The initial idea of this research was to create a group of practical-critical activities at school to experience jongo and funk and outline debates that could awaken students' critical thinking to issues of racism and prejudice. By establishing a rapprochement between these two expressions, we intended to stimulate the interest of students – and, by extension, of the entire school community – so that the student body could demystify artistic-cultural aspects of African matrices (until today seen from a negative perspective) very present in the daily life of the student body itself, in such a way that, by recognizing these aspects, students could re-signify and value – often their own – blackness. However, due to structural and religious racism, this project did not happen and the course of this research underwent some modifications. This work then reports three narratives of experiences that took place in the classroom, in the teaching of Art, which did not happen as expected because of discrimination and prejudice that were very deep-rooted in society against Afro-Brazilian traditions. Reports of experiences that I call non-experiences. We therefore propose decolonial and intercultural thinking as a way out of these social problems and to outline strategies for a pedagogical praxis that is fairer, plural and, above all, anti-racist.

This work has as object of study the musicobiographical memorial, a device that is a source of teaching knowledge, with potential for use in pedagogical mediation, considering musicobiographyzation as a process of formation and understanding of teaching practices. The interest in the theme arises from the need to understand my practices as a music teacher and the desire to improve them. The questions that guide this work arise from the understanding that the knowledge of experience, acquired throughout my experiences with music, influence the ways I act in the classroom. Thus, thinking about how I have worked with students and considering the place that the sung voice has taken in my classes, I try to understand my practices. Based on my experience with music and on what I understand from the memorial, I ask myself how I could refigure my actions. Thus, the main goal of this work is to reflect on the formative potential of the musicobiographical memorial, having as specific unfoldings to unveil the musicobiography as pedagogical mediation in the music class and to elucidate the musical practices as musicobiographical experience in the exercise of music teaching. The methodological paths are defined in the approximation between (auto)biographical research and the field of music education, adopting the research-training-action approach, including as sources the formative memorial, the narrative reflexivity, training and self-training. The theoretical basis is based on Maria da Conceição Passeggi's studies, with the dimensions of the (auto)biographical subject, and Paul Ricoeur's theory of triple mimesis for the theoretical-analytical referential. The contributions of the work consist in the elucidation of pedagogical approaches that arise with the construction of the musicobiographical memorial, which is configured as a material elaborated from a reflective and formative process, which enables the understanding of  teaching knowledge and impacts pedagogical mediation.

Appropriating the findings I’ve found, as an artist and teacher, and my student-actors, this research, which has a qualitative nature, aims to understand, experiment and disseminate a more complete and comprehensive education within the Covid-19 pandemic historical context’s complexity lived throughout 2020 to 2022. The theoretical dialogue is based on Howard Gardner's theory of multiple intelligences, on the pedagogy of the imaginary, by Gilbert Durand, and on the artistic and theatrical experience as a motto for transformation and therapeutic results taking as a start point the theories of Jorge Larrosa and Augusto Boal. Therefore, it starts from three different moments of the theatrical experience lived during the pandemic at Centro de Ensino Médio 01 do Gama, a public school in the Federal District. The theatrical workshops started remotely, during the period of total social isolation and suspension of in-person classes and they also went from the hybrid and restrictive teaching of the pandemic to rehearsals and presentations without a protective mask while the pandemic was decreasing. Seeking to cross the borders that limited us, both due to the Covid-19 pandemic and the new teaching model, culminating in the implementation of the New High School Methodology, the theatrical event at the school sought to transform difficulties into possibilities by practices that would enhance skills and public school competences. The experience proved to us in a substantial way that the theatrical event at school makes learning much more unabridged, affective, therapeutic, welcoming and sensitive, especially when the pandemic was causing distancing and receding.

The research, From the lambe-lambe Theater to the stages: a pedagogical proposal for the 3^rd year of Elementary School, developed at Escola Parque da 210/211 Norte in Brasília-DF, has as its main characteristic the study of the Theater lambe-lambe as a guiding thread for the investigation of the child's creative process, as well as the adaptation of some of them to the scenic school space. Through the evaluation diagnosis carried out at the beginning of every year, it is possible to identify the contents of the “theatrical literacy”, referring to the 1st and 2nd year, which have not yet been apprehended by students entering the 3^rd year. Thus, we emphasize the importance of lambe-lambe theater as a great ally of the teacher when used as another artistic-pedagogical approach that facilitates the process of knowledge of the scenic elements, as a vector of student’s awareness before of the work to be developed on the theatrical stages and as a catalyst for confidence and autonomy so that the student pervades both the role of actor-animator and of actor as well as spectator. After the process of direct familiarization with the theatrical elements within a world in miniatures, it will be proposed to the student the same dynamics for acting on stage. To support the research, authors such as Ana Maria Amaral, Ana Mae Barbosa, Paulo Freire, Gaston Bachelard, Gilbert Durand, Fayga Ostrower, William Corsaro, Peter Slade, Flavio Desgranges and others were used. It is expected that this proposal, using the Lambe-lambe as artistic, educational and inclusive language, can enrich the student learning while encouraging their participation in the theatrical universe.

This study seeks to understand how the theatrical processes developed in the school
environment can help in the development of the aesthetic look of the participating
children, with a view to promoting new experiences, enriching their cultural repertoire
and enabling the construction of meaningful learning. Glaydson Orientando Profartes:
In this investigation, the figure of the artist-teacher emerges as the link that leads
children to a more accurate understanding of their sensibilities and knowledge. As a
mediator of this process, it is up to the theater teacher to promote situations, during the
performance of theatrical games, games, storytelling and dramatizations, in which
aesthetic approaches favor reflections on the experiences achieved by children.
Glaydson Orientando Profartes: It investigates two distinct theatrical processes: The

kidnapping of the Biscuit Princess and Tea with Clarice Lispector, shows performed in
two different schools, Escola Cenecista de Brasília and Escola Parque 308 Sul, with
children from the early years of Elementary School, in order to analyze and reflect
about how these theatrical processes stimulated the development of new experiences for
their participants and the meanings they attribute to them. The research relies on the
testimonies of two students who participated in the theatrical processes and in the
setting up of the shows, thus favoring a deeper understanding of the development of
aesthetic approaches and their reverberations. Glaydson Orientando Profartes: It seeks
to examine, through the description of theatrical processes, how theater classes can help
in the construction of new experiences, knowledge, sensibilities and meanings that
permeate the school environment and are capable of providing children with a new way
of understanding the world.

Remote Education (ERE) and the applicabilities for future use in municipal schools in Governador Valadares/MG. To aid in the understanding of this research, we have the following specific objectives: a) to know the digital technologies used by music teachers in the municipal schools of Governador Valadares; b) to discuss the use of digital technologies in music classes in the municipal schools of GV in the context of the ERE; c) to reflect on the knowledge acquired by these music teachers using digital technologies during the ERE; and d) to discuss the potential of digital technologies in the music classes of GV after the remote period. The literature review consists of studies and research involving digital technologies and their applicabilities in the educational context as well as in the context of music education. The methodology was developed within the qualitative approach, using as technique the case study about the music classes in the municipal schools of Governador Valadares/MG. The data was collected through semi-structured interviews conducted online with two teachers from the Governador Valadares municipal school system and a pedagogue from the Municipal Education Secretary (SMED). The results presented revealed the impressions of the professionals for the use of digital technologies in this context, as well as reflections about the need for training both students and teachers for this teaching modality. Still, teachers have revealed the possibility of performing music teaching mediated by digital technologies in the future with face-to-face classes, and that digital technologies, even though they are often developed for other purposes, can be suitable for the process of music teaching and learning in a cohesive and contextualized perspective for music teaching in the basic

The present work aims to analyze the project 'Body and Rhythm', applied with 8th and 9th grade students at Eunice de Souza Machado Silva Municipal School, located in Valparaíso de Goiás. The work sought to put the student in contact with artistic expressions of Brazilian culture with Afro-indigenous influence, using aesthetic experience as a path to discovering corporeality and identity. Additionally, the student was encouraged to learn about the origin of these expressions, understanding the influence that Afro-indigenous peoples had in shaping Brazilian spectacles. In this way, the student delves deeper, through the body, into the origins and expressions of national culture, contributing to their own identity formation and expanding their aesthetic and expressive repertoire. Qualitative research method was used in this work, based on the action research approach, aiming for adaptability of the project in the face of obstacles encountered. A literature review was also conducted, and questionnaires and travel diaries were used to obtain feedback from students on the applied methodologies

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This research presents a reflection and analysis of theater developed in the school context based on my experiences, training and trajectory as a student and director of the Noigandres Theater Group. Using a qualitative approach and a methodological strategy centered on ethnography, autoethnography and content
analysis, the objective was to verify if theater in school, developed through the formation of theatrical collectives, can contribute to the development of student youth protagonism and in the construction of a scenic teaching praxis of the educator/director. For this, I present the role of art and theater in the educational context, highlighting the need to rescue aesthetic enjoyment, stimulate human development and a more activist artistic practice in the teaching-learning process. The study rescues a little of the history of the Cruzeiro Administrative Region as a multicultural territory, the trajectory of the Noigandres Theater Group, its pedagogical/methodological approaches, contributions to the development of student protagonism and its transformative role in the lives of other participants. I also highlight the importance of the School Theater Festival in my training, that of other young people and in strengthening amateur theater in the Federal District. Finally, this research seeks to strengthen the importance of integral formation in the artistic practice of student theatrical collectives, with youth protagonism as a pedagogical focus and the works of authors such as Augusto Boal, Olga Reverbel, Viola Spolin, Bertolt Brecht and Jerzy Grotowski as a methodological basis for building a scenic teaching praxis.

This research aims to understand the importance of Art in the inclusive education of deaf learners and stimulate the protagonism of the deaf individual, as well as to contribute to the construction of their identity and culture. The theme was chosen after my immersion in the culture of the hearing impaired as an art teacher in a public school focused on the education of the deaf, the Bilingual School of Sign Language and Written Portuguese in Taguatinga. This contact and pedagogical experience took place between 2017 and 2023, moments that have increased my desire to better understand the deaf people and thus contribute to the teaching-learning process through an inclusive education in which the mediating tool is Art. As part of the systematization of my experiences, research, and study, I present important discussions regarding the deaf people and their culture, as well as observations related to my view as a teacher of Theater and Visual Arts. In terms of methodological tools, in addition to the literature review in compliance with the thesis by Araújo, Fernandes and Rodrigues, other authors bring theoretical support to the research, such as the notes by Gesser and Strobel on deaf culture. In terms of teaching the arts, the references were Ostrower, Spolin and Stanislavski, also useful in the dynamics of the drama workshops and construction of the performing character of Grandma Rosalinda. As for the support to the educational principles, I sought in Alves and Freire the most classical references in education that, in my perception, grants the students their due protagonism. The field research is consolidated in the cultural immersion with the hearing impaired in that school and culminates with the digital performance developed as an artistic product resulting from the interactions between hearing and deaf subjects, teacher, and student, in addition to the evolution of the theatrical practice for the digital performance supported by the concepts of Cunha, to be shown through mediatic means in the cyberspace universe. In line with Tardif, the methodology of reference seeks, in pedagogical practice, the knowledge that comes from the educator's place of action and his or her experiences in this environment. Form for data collection in this research also relied on interviews, online questionnaires, qualitative analyses, and the creation of videos about cultural and artistic events. The use of sign language was a differential to enter the universe and culture of the deaf individual, it was a facilitator to systematize and consolidate the research given the fluid communication, experience, and interaction it allows among participants. 

The artistic-pedagogical proposal presented here highlights the importance of alternative methods and autobiographical experience in the study of textile knowledge and manual skills. The methodology, named "amateur cartography," was developed to recognize and affirm my position as a participant in this tradition, with the intention of connecting teaching, research, and extension in the arts. To achieve this goal, it draws upon the theoretical framework of works by Luciana Loponte (2021), regarding issues of gender, class, and education; Ana Paula Simioni (2007), to weave historical relationships between art and gender in Brazil; and Julia Bryan-Wilson (2017), as a reference for investigating the histories of craft and collaborative practices in America. The activities carried out were anchored in the manipulation of threads as a means of inventive provocation and aesthetic sensitization. Between the years 2021 and 2022, this personal and collective process, which took place in three different locations, was observed, systematized, and described. The outcomes guided by the theoretical references and shared practices within the research groups "The Sensible and Textile Manual Arts" at the URDUME Institute were applied to the Theater Ludos Research and Extension Group and adapted to the teaching reality experienced at the School Parque 210/211 Sul in Brasília. The final result of this process gave rise to the scenic setting of the play "Embroidery," a production that encapsulates the testimonial synthesis of the procedures conceived and developed throughout this period.

From the review of research in art education, it was found that there were reports of difficulties encountered by art educators in welcoming and including students with visual impairments in theatrical practice. Therefore, the objective of this research was to investigate the production of pedagogical artistic products for this community. From the initial question: “how to create theater/scene/spectacularity with and for people with visual impairment?”, this research sought to describe the creation processes of a group of young students and adults who are blind/low vision, who called themselves the theatrical group “No Escuro". Virtual and in-person artistic-pedagogical actions were developed over a period of 30 months, with experiments to create shows unrelated to visuality, using the voice as a creative trigger, under the provocative aesthetics of visual impairment on stage. This action research resulted in the creation of audiodramas, shared as performative actions/theatrical spectacle and in audio format (podcast/radio theater). The creative process of these audiodramas was systematized into structured stages and organized into articulated sequences, with learning situations that included the production of scripts, the creation of soundtracks and the composition of scenes in collaborative creative processes, composing artistic interventions for inclusion – artivism . The research results problematize audiodrama as an aesthetic contribution of this segment to the performing arts, since audiodrama incorporates audiodescription from the initial conception of the scene/dramaturgy/spectacularity and dispenses with the use of visuality. Therein lies an artistic and pedagogical place in which we, learners, recognize the power of the blind performing body on stage

Gamification refers to the application of game design elements in non-gaming contexts. In contemporary education, gamification is an active approach that focuses on the student's own learning processes. This study sought to establish an intrinsic connection between Art and gamification, with the overall goal of presenting a pedagogical proposal that utilizes gamification in Art education. The specific objectives of the study were to: a) discuss the importance of gamification for Art/Music learning in the school education context; b) present gamified activities using free apps/platforms; and c) discuss the role of gamification in Art/Music learning within the school education context. This study aimed to achieve more engaging results in the students' learning process. Thus, a gamified pedagogical proposal was presented, developed from free apps and platforms, with the purpose of enriching and complementing the educational content covered in the classroom. The initial analysis was based on the contents taught in the 5th grade of Elementary School I, present in the didactic materials adopted by schools in the municipality of Jaboticabal. The research expanded this focus, promoting a deeper investigation of popular culture through gamification. The discussion highlighted the importance of gamification in engaging students dynamically and motivationally. Practical activities were presented using free platforms, demonstrating the feasibility of implementing gamification at no additional cost. The reflection on the role of gamification emphasized its ability to promote active participation, stimulate creativity, and create an engaging learning environment. The observed results reinforce the effectiveness of gamification in the educational context, especially in artistic disciplines, as a valuable resource to enhance the learning experience. The focus of the gamified proposal was not only to make Art classes more attractive and intriguing but also to arouse students' interest in their cultural roots. To achieve this, accessible digital resources aligned with students' learning interests were utilized.

This work presents itself as an exercise of investigation of possibilities, challenges and proposals to analyze the contributions of the teaching-learning practice of woodcuts, in the search for its effective inclusion in the didactic contents developed in the context of public schools in the Federal District. And in this intentionality I elaborate my proposition, anchored in the Historical-Critical Pedagogy, in the scope of working in a systematic way with the woodcut, ancient, traditional and potent art, emphasizing its history, its importance, its characteristics and its technical and thematic specificities, which must converge not only to the improvement of skills and competences, but also to the formation of a critical conscience, socially constructed in the dialectical interpersonal relationships between the professor and the student. During the course of making the dissertation, I continue to rely on a theoretical framework about art education and a memorial of narratives, records, experiences and experiences erected in the current testimonies of educators and artists, which bring me the necessary, pertinent and relevant reflections. lasting impressions of my dual practice as an art educator and artist today.

Early childhood education constitutes a legitimate space for the education of young children, however, its practices are often centered on cognitive development and the advancement of practices and behaviors related to elementary education, not respecting the child with their peculiarities and ways of thinking. Learning, as well as subduing the role of artistic making and sensitivity in education. The encounter with a pedagogy that values all forms of artistic expression and highlights their potential for the integral formation of children, leads us to this work. The general objective of this research project is to discuss how Waldorf pedagogy can contribute to the education of sensitivity in early childhood education. To this end, it was necessary to carry out a bibliographical survey, which revealed that this is a field of research that has been little explored and has a scarcity of published material. The theoretical framework used sought to present the notion of discovering childhood, as well as the changes that occurred in the conceptions of children and childhood over time. It also sought to address the education of young children, pointing to the emergence of institutions designed for schooling and their evolution. The constitution of the human being according to anthroposophy, the philosophical basis that supports Waldorf pedagogy, child development and the context in which early childhood education emerges from this educational perspective was also explored, as well as some characteristics of Waldorf kindergartens. The education of sensitivity was discussed from several authors, in the attempt to establish an exchange between academic knowledge and that which underpins Waldorf pedagogy. As a methodological procedure, we used the systematization of experiences inspired by Waldorf pedagogy, carried out with an early childhood education class from the public school system in the Federal District. Data collection was carried out through observation, notes, photographic records, and filming. The analysis of the experiences and the discussion of the results based on the theoretical framework presented, demonstrated that Waldorf pedagogy can contribute to a more sensitive early childhood education, which values artistic experience, creation, and creativity, by understanding the child as a gifted being. of different dimensions that need to be equally valued, cared for and educated at school from early childhood

Currently, most students of Elementary School Early Years of the DF Department of Education do not have a specific art teacher. Based on this problem, the research has as its general objective the re-signification of pedagogical practices in Art of the pedagogues of the Early Years of Elementary School at SEEDF and as specific objectives the investigation of pedagogical practices in Art of the pedagogues, the comparison of the teaching format of the discipline in the models of full-time education and regular education of SEEDF and the opportunity of an interdisciplinary and significant experience from Art at Escola Classe 413 Sul. For this, a bibliographic review was carried out from authors such as Bernadete Zagonel, Ana Mae Barbosa, Marina Machado, John Dewey and Ivani Fazenda. In addition, a semi-structured question form was applied to 51 teachers from 29 Escolas Classes in the Federal District. For the practical part of the research, the methodology used was Action Research, with the theory of Michel Thiollent, for which a working group with five teachers was created. The Borboleteando pela Arte project began, which was carried out throughout 2021, at Escola Classe 413 Sul, with the presentation of the various languages of Art to students in the first three years of elementary school based on the concept of interdisciplinarity. At the end of the project, a scenic-musical show was produced with the participation of all the groups participating in the project. As a result of the research, it was noticed that there is a gap in the teaching of Art for SEEDF elementary school students and that it is necessary for the discipline to be offered by professors of the area. In the reality in which the Borboleteando pela Arte project was carried out, it was possible to carry out an interdisciplinary experience, serving as an incentive for the project to continue

The present study, looking for the answer of the question “how can the Performing Arts contribute to the implementation of article 26a of the Law of Guidelines and Bases of the National Education?”, shows a pedagogical intervention performed at Vargem Bonita Educational Center (Park Way countryside, Brasília – Federal District - DC), with the faculty members participation, students, school board members and guest artists. The course of the theoretical writing followed a way that integrated the bibliographic review and an autobiographical perspective, in which I, as a researcher, an arts teacher at the State Department of Education DC and a candomblecist, tried to, first, understand the school scenario in its curricular, pedagogical, didactic and cultural aspects. I observed that, in general, the school institution follows a teaching pattern based on documents, legislation and norms and that, therefore, it bases its pedagogical practice on theories and concepts, generating an overvaluation of abstract understanding to the detriment of practice. And when it comes to education for the ethnic-racial relations, I observed that the implementation of the laws 10.639/2003 and 11.645/2008 needed epistemes that came from experiences, practices and knowledge (including to undo folklore and exoticism), and theater would then be the didactic format for the approaching of the themes with an intervention (scenic, musical and conversation circle) in the school. The result of the research points not only to a reflective conclusion, but the entire course taken presents itself as a learning experience. This learning, even though it can be expanded, awakens as inspiration for new interventions in other school contexts in which the implementation of the aforementioned laws is an urgency in the way of an anti-racist education in fact.