Política pública, currículo e corpo: um estudo autoetnográfico da formação básica em Dança da Vila das Artes em Fortaleza

Abstract

This research establishes its object of investigation from a common thread that connects public policy, educational institution, body and dance field. This object consists of the problematization of the conditions that allowed the materialization of a specific public policy for dance education in the city of Fortaleza, electing a specific pedagogical proposal which, in turn, is oriented towards the production of a certain typology of body and capital informed by dance. These conditions relate, above all, to specific dimensions of the interface between the field of culture and the field of politics at the time of the implementation of Vila das Artes and Basic Education in Dance (Formação Básica em Dança) in Fortaleza, namely: the policy of education in art and culture in its process of construction during the first term of mayor Luizianne Lins, from 2005 to 2008; the advent of Vila das Artes and its schools; agents, positions and dispositions that favored the implementation of Basic Dance Education in the way it was conceived. Launching a socio-anthropological look at the object, the research makes extensive use of concepts from the theoretical framework created by Pierre Bourdieu, notably the notions of field, habitus and capital. The field concept is used to analyze and problematize the local dance field, as well as the idealized image of dance field that influenced the construction of the Basic Education in Dance curriculum. From a derivation of the notion of habitus, I used the idea of conservatory habitus (PEREIRA, 2014) to discuss the inflection of this typology of habitus in the design of the education curriculum in question. Finally, the concept of cultural capital was split into bodily capital (BOURDIEU, 2017; WACQUANT, 1996; WEBER, 2011; BARBERO, 2005; MEDEIROS,2011) to analyze and discuss the acquisitions projected for students of Basic Education in Dance. The investigation has an autoethnographic character, building itself close to the critical autoethnography proposed by Deborah Reed-Danahay. The methodological procedures include prospecting and updating information through conversations, semi-structured interviews, observations and field records, as well as documental examination of the topic. They also rely on theoretical/bibliographic research carried out from the intercessors mentioned in this project and others who, during the investigation, presented themselves as relevant to the development of the theme.