Práticas criativas nas oficinas de música: um relato de experiência no projeto Criar SESC, Ibiapina-Ce.

Abstract

This paper presents an experience report based on the music education work that was developed by the researcher at the Sesc Ler Educational Center in Ibiapina, in the state of Ceará, from 2021 to 2024, with the purpose of sharing the strategies of creative musical practices for use and/or adaptation of training activities in the classroom with other interested educators. The starting question of the research is the following: What strategies of creative musical practices were developed with the children at the Sesc Ler Educational Center in Ibiapina-Ceará, in the “Criar Sesc” Project, from 2021 to 2024? Therefore, the general objective of the work is to share the strategies of creative musical practices used with the children of the “Criar Sesc” Project. Regarding the specific objectives, the intention was to: a) describe the creative practice activities carried out with the “Criar Sesc” Project; b) to articulate the strategies of creative practices in music used with the children of the “Criar Sesc” Project, in dialogue with pedagogical proposals of reference music educators, with a focus on creative musical practices. The research universe of this investigation takes place at the Sesc Ler Educational Center, located in Ibiapina-Ceará. The research data collection instruments were: field diaries, video records and photos of the workshops held from 2021 to 2024 with the children of Criar Sesc at the Sesc Ler Educational Center. Next, the experience report is presented based on the details of the creative practices carried out in the music workshops with the children of Criar Sesc that addressed the following themes: a) Body Percussion; b) Soundscape; c) Musical Games and; d) Musical Creation. In order to better understand the creative practice activities, it is clear that these proposals were structured as follows: 1. Presentation of the proposed lesson plan, describing the activities in terms of their objectives, infrastructure, number of participants, duration of the activity, necessary materials, methodology and references; 2. Reflection-action of the activity, highlighting the challenges and learning developed; 3. Photographic record of the workshops; 4. Theoretical basis of the activity, dialoguing with the proposals of the music educators who supported these activities. Finally, it is listed as final considerations that this experience report allowed for a greater organization of the music training actions developed by the author of this work, in addition to also serving as pedagogical support material for other educators who are working in similar contexts.