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,

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.

The production of music videos in musical experiences based on the musical repertoire of PAS (UnB): a case study with students from New High School in Taguatinga - DF

The Specialized Educational Assistance (AEE, in Portuguese) is a guaranteed right for students, recognized as special, who must have at their disposal services and resources that allow them access to their cognitive and social development. In music, high abilities provoke concerns that involve: 1) teachers’ understanding of high skills or giftedness in music; 2) the identification of such skills, and 3) the specific and appropriate care. From this perspective, this research aimed to know and describe how music teachers report their understanding of the concept of high skills or giftedness; how they describe their characteristics and what difficulties they encounter in identifying this capacity in their students. The narrative interview was the data technique used to achieve the proposed objectives. Four teachers from a school of the Regional Administrative Center of Plano Piloto in Brasília, Brazil participated in the study. The interpretative analysis of the data pointed to the following categories: 1) Musical Training; 2) Concepts; 3) Characteristics and Identification; 4) Difficulties and 5) Interventions. Among the results, we highlight the strong presence of myths and beliefs about high abilities. Teachers perceive high skills or giftedness as exceptional and believe that they will rarely have students with these characteristics. On the other hand, they believe that they should consider that everyone in their class is talented or gifted and, therefore, there should be no differences. Consequently, they fail to recognize such skills, and even propose that they receive differentiated care. We hope that the results can contribute to guide teachers about high abilities or giftedness in the music area and foster the attendance of these students in basic education