Experiências estéticas e videoarte: um olhar para o patrimônio cultural imaterial de Varjota - CE através do universo lendário

Abstract

This research in Visual Arts education, entitled “Aesthetic Experiences and Video Art: A Look at the Cultural Heritage of Varjota – CE Through the Legendary Universe,” focuses on the aesthetic experience of students at the Waldir Leopércio High School as they learn about the local legends of the city of Varjota through the productions of local and regional artists, expressing their artistic practice through video art. The research problem is the possibilities of how to think about and develop aesthetic education for high school students in the context of art classes. The general objective is to investigate how the aesthetic experiences lived by the students can contribute to a more critical and sensitive art education, favoring the development of imagination and strengthening a sense of belonging to the territory. To support the theoretical framework, we draw on Medeiros (2020) and Larrosa (2014) in the discussion of aesthetic experience; Martins and Piscoque (2013) on the concept of aesthetic nutrition; and Barbosa (2010) in the field of artistic imagination. This study also draws on Cascudo (2022), Aragão (2024), and Megale (2011), who address the relevance of folklore legends in art education; on Simas (2024) and Tomé (2025), when discussing the dimension of enchanted beings; and on Cohn (2022), when proposing the pedagogy of video art. Methodologically, the contributions of Costa e Silva (2014) and Pimentel (2015) regarding research in art education, and Minayo (2009) concerning the qualitative approach to research, are noteworthy. Data production was carried out using photographic and videographic records, notes from the teacher/researcher and students in their artistic portfolios, during six research stages. The research resulted in the development of a decolonial teaching methodology in Visual Arts, based on the intangible cultural heritage of Varjota – CE and mediated by video art. The aesthetic experiences broadened the students' critical and sensitive perception of the territory, generating artistic productions presented in various exhibitions. The formative process integrated art, memory, technology, and cultural identity, strengthening student protagonism and the appreciation of local knowledge, highlighting the potential of video art as an instrument for pedagogical reinvention and the valorization of decolonial narratives in schools.