This research is a result of an artistic and educational academic process from 2020 to 2021 in the Professional Master Course (PRODAN) at UFBA's School of Dance. The objetive of this investigation was to employ a multireferential afroperspective approach, merging somatic education, improvisation in dance, creation of art works, research in performance as a language and xamanic practices in dialogue with other fields such as social sciences and philosophy. This project was planned to be conducted in person, but due to the world pandemic it took place remotely, making it possible to experiment new artistic and pedagogic possibilities of creation. In this document are reported my previous experiences in body arts as na artist and as a teacher and a notebook with the artistic and educational experiences of the creation residences conducted throuthout the Professional Master Course. In this notebook are described the planning of each meeting, the procedures and considerations from the creational process for audiovisual. It is also presented an experience report and a paper, both published at ANDA Congress. These publications organize the concepts and dialogues with references from authors such as Ailton Krenak, Beth Rangel, Celso Vasconcellos, Ciane Fernandes, Conceição Evaristo, Edgar Morin, Dandara Baldez, Leda Martins, Marilza Oliveira, Paulo Freire, Renato Noguera and Samira Br, which were valuable contributions to the research. Finally my formative process in PRODAN is shown, describing my participation in events, seminars, courses taken and presentation in conferences, followed by some considerations regarding the research in the years of 2020 and 2021 and an update in the author's journey with the actions held in 2022 are presented.

Dancing to alfaletrar didactic - pedagogical proposal for elementary school, is the theme of the research developed in the Professional Master's Program in Dance at the Federal University of Bahia, PRODAN. The research environment, which is entirely linked to elementary education, is the Municipal School Acelino Maximiano da Encarnação, which is placed in Salvador, Bahia. The core question of the research is involved in the development of strategies as contributions of Dance to the learning process of children's literacy and literacy in a playful way, through collaborative games. The educational area needs to recognize the integration of movement, with dance, in children's learning for cognitive, emotional, motor, and intellectual development, in a wide space. A relevant reference for this research is the illustrious professor Magda Soares (2021) with her conceptualization “alphaletrar.” Luckesi (2005) teaches about playfulness. The understanding of Dance as a cognitive action of the body, in the educational field (and in others) are Rengel (2005) highlighting the notion of corporeactivity and Pinto (2019) who explains the cognitive awakening in learning in Dance. Damásio (2021) teaches and deepens the action of feeling and knowing for cognition. The methodological approach stands out in the elaboration and preparation of teaching materials, which were developed with own resources. For the research, a bibliographical review and laboratories for the manufacture and action of the products developed were carried out, with which I was able to register the involvement of the children in the use of the materials and the results achieved. The didactic materials developed are: Words that dance; Ludic Dance Dictionary, which is subdivided into cognitive Hobbies, with word searches, crosswords, drawings and poetry; Dancing Stars Game; Movable Alphabet Game and Dance Diary. As a result, Dance to alphabetize proved to be highly fruitful in children's learning in the broad spectrum of cognitive aspects, in their social, emancipatory and artistic enjoyment dimensions, strengthening the relationship between each student and the environment in which they learn, despite the difficulty and the precariousness of public education.

This technical-technological production focuses on mapping the Dance Schools in the non-formal teaching context of the Território de Identidade Litoral Sul da Bahia, collects quali-quantitative data and generates a diagnosis with analysis of reality that points out specificities necessary for the continued formation of its educators. It is built from exploratory social research that uses a phenomenological method (GIL, 1995) and maintains an implicated character (RANGEL, 2015) with the reality at which it looks, taking into account the knowledge of educators as subjects socially and politically committed to artistic and cultural activities. pedagogical practices they develop. Therefore, the mapping, as a methodological procedure adopted, was divided from the execution of two distinct stages. The first used the application of a questionnaire as an investigation technique (GIL, 1995); the second, made use of simple observation (GIL, 1995) in 06 (six) school units and informal interview (GIL, 1995) with their respective educators/managers. Based on the diagnosis raised, there are indications of a proposal for a course plan for the continuing education of educators in the context that is relevant, consistent with demands and significant for such a reality in order to contribute to changes in the teaching-learning process of Dance around the do, think and feel. Sustained by Isabel Marques (1999), bringing the tripod art-teaching-society as a basis for a methodology that thinks about concepts and guiding principles and also emancipators of subjects and contexts; Rangel (2015), with the idea of subjects, contexts and analysis of reality inherent to the implication of the pedagogical proposal presented and Creswell (2007) contributing to Mapping procedures.

This work is a Political Pedagogical Project for the professional training of dance artists on a digital platform. It aims to disseminate North American modern dance techniques, specifically the techniques of Isadora Duncan, Martha Graham, Lester Horton and José Limón, as well as the Silvestre technique, developed in Brazil. The technical-professional training course is an initiative of the International School of Modern Dance, founded in 2020 in the city of Rio de Janeiro, using a hybrid learning model. The course in question, which is the result of other projects, such as congresses, masterclasses, seminars and free courses with Brazilian and foreign teaching artists, is located on a digital platform whose objective is to expand the dissemination of modern dance techniques in Brazil and South America, forming an international artistic-pedagogical collaboration network. The development of the Technical Course Project, following the national curriculum guidelines for Technical Professional Education at Secondary Level, aims to fill a gap in dance training in the country, especially in modern dance. After ten years of experimentation and study in this field, the demand for continued learning of these techniques in Brazil was observed. Distance learning for dance has been necessary since the advent of the pandemic period, with learning becoming embodied through digital means. As a basis for the development of contemporary educational training, we have anchored our discussions around the theoretical references of Saviani, Morin, Moran, Najmanovich, Freire and Vygotsky, sociology, and philosophy, with Sennett and Kuhn, as well as the pioneers of modern dance. In short, the project aims to train and disseminate knowledge at national and international level via virtual and face-to-face environments in order to make professional training in the artistic field of dance more accessible and democratic. The project is guided by Law No. 12.711, of November 29, 2012, and reserves part of its places for students who have fully attended high school in public schools and come from low-income families.

[ ABSTRACT

This research, developed in the context of the Professional Postgraduate Program in Dance at
UFBA – PRODAN, is initially inspired by the life and work of Angel Vianna and my
encounter with dance through Angel. It deals with the unique experience of a blind woman,
who discovers the possibility of dancing professionally when she meets Angel Vianna.
Another area of interest is to reflect on audio description, in addition to assistive technology,
but as a scenic creation device. An in-depth investigation of audio description in dance. The
title, Between Clouds, is a reference to a famous quote by Angel, which says: “People are
like clouds, they always transform.” The first study reference for the development of this
research is the show “Tomorrow is another day”, by Angel Vianna and directed by Norberto
Presta. From this work, which I accessed through audio description made by collaborators in
this research, we began an investigation into dance creation and perception of movements
using audio description as a tool for accessibility and ethical and aesthetic production. The
production of this master's degree is a medium-length audiovisual work, a dance show and a
podcast series with 11 episodes. On the topic of art, accessibility, aesthetics and disability, I
approach the authors Carlos Eduardo Oliveira and Camila Alves. To organize the thoughts of
a political body that dances, I drew on authors such as José Gil, Lenira Rengel, Lucas
Valentim Rocha, and Valéria Vicente. In the methodology that is the basis of my dance
training, I dialogue with Letícia Teixeira.

The research entitled babassoró, which means fan in the Tukano language, proposed to the Professional Master's Degree in Dance at UFBA, consists of records of my work as a dance professional, in the process of management, cultural production and teaching at a cultural institution in the city of Manaus, a school in the interior of Amazonas and at the Manaus Military College. The records are reflections, sketches and notes taken in various educational spaces inspired by the artist's notebook produced by Bernandes and Silveira (2013), which for this research became a book/booklet. This fan/basserole focuses on studies of emancipation, cognition and corespondence. It also aims to raise awareness of specific issues related to formal and non-formal spaces for dance education and to identify how dance can foster the development of learning skills such as social cognition, perception and the construction of knowledge. Children have their own way of learning, just like all human beings, and establish links with the social environment in which they live. They are also strongly affected by the social environment in which they develop. Once work has been done since childhood, with contact with art, the continuity is carried on from adolescence to youth. In my experiences, I realize that the dance I work with can contribute to the teaching/learning process of children and young people by possibly bringing about another cognitive habit in relation to the way of being in the world. The main references are: Rengel (2021), addresses the body as a corpoconnective, Rocha (2017) contributes to artistic production about dance education spaces. For cognitive aspects in the sense of understanding the environment in which one is inserted and their perceptions and actions in the world, Pinto (2019). Paulo Freire's (2011) studies are a reference for social pedagogy and social education. The nature of the research is qualitative, exploratory and descriptive. As methodological procedures, we used lesson plans aimed at children, improvisation/creation classes and Brazilian popular dance classes and workshops, written records and photos. As a result, I hope there can be a transformation in social cognitive aspects.

Based on the principles of ethnography for its development and assuming myself as an object of research, the look of this writing is, in a certain way, archaeological. It's a synthesis. A brief clipping about the constitution of an artist in constant transformation and the traces left by him in the course of his processes. For the construction of this document, names such as Cecilia Salles with her concept of Genetic Criticism, Helena Katz and Christine Greiner with their perceptions and theoretical elaborations of Corpomídia, Isabel Marques with her provocations about the function of art, as well as many others no less relevant. that will be mentioned throughout, served me as a precious support, for the conduction of this script. The frame of each period made it necessary to highlight, to elucidate how my construction as an artist took place, the circumstances and political/sociocultural contexts that I was inserted and the consequences that led me to significant transformations. Questions such as: The referential importance, construction of artistic identity, longevity of the body in dance and autonomy of the creator, arise from the traces left by this trajectory, having as a background, the project Ateliê de Choreógrafos Brasileiros and its aspect directed to Choreographers Baianos for the end of this academic cycle in the Professional Masters in Dance-PRODAN, from the Federal University of Bahia-UFBA.

This article presents a research proposal that addresses the invisibility of black dancers in the scene of Public Dance Companies in Brazil. They aim to promote discussion on the subject from the perspective of an artist who has worked as a dancer for almost 03 (three) decades in this specific market of Public Companies, to contribute to the appreciation of these professionals through discussions that strengthen discourses of ethnic empowerment -social with implications on gender, class and race in the Brazilian dance scene and suggest actions and paths that allow black dancers to access the market of Brazilian Public Dance Companies. The research is justified by the importance of critical, reflective and political thinking about racial ethnic representation in the contemporary context (MOREIRA, 2007), by the mandatory observance of rights guaranteed by the Federal Constitution of Brazil and by the contribution to the strengthening of black female artists of Brazilian dance.

This work intends to delve into dance creation processes, experienced by the researcher in Brazilian public dance companies, which affected him to seek his autonomy and emancipation. In an anthropophagic view, also observe how these crossings continue to reverberate and can reveal the creative artist, being able to serve as investigative clues to be transformed into compositions of their own authorship. The research also has a brief contextualization of the researcher's trajectory until reaching the academy, with exclusive testimonials from the respective choreographers and some artists involved in the creation process, in addition to an audiovisual poetic TUTTORIAL (prototype), as a result of the investigation to which the research proposes to analyze. The analysis of the material takes place in the technical and subjective field of dance, ranging from interviews, and video material of the studied works collected for analysis, production of videos under the researcher's personal impressions with his anthropophagic poetics.

This research comes from an artistic-pedagogical path committed to actions that sensitize the public school environment about the need to understand what affects the routine of Dance classes at school. This study was carried out at Escola Municipal Teodoro Sampaio, located in the neighborhood of Santa Cruz, Salvador-BA, with and for students in the final years of elementary school, in a way implied as a political positioning. The purpose is an invitation to dive into this Course Conclusion Work that seeks to emancipate bodies and root actions. It is necessary to have a dialogue about political affections (SAFATLE, 2019), bringing their forms of implications in the public school, as well as self-images and images as a way of (re)knowledge of the self, acting with cognitive actions that are emancipatory and liberating. The research presents the gathering of: Descriptive Memorandum, E-book, Publications, Evidence Attachments of academic journeys and References. This whole brings a detailed memorial of curricular components, courses and participation in events held during the course of the Professional Master's degree. In this work, with reference to Rengel (2007), the creation of neologisms intends to emphasize and elaborate through the junction of words a way of thinking through the image read, avoiding dichotomies. The parts and subparts of the research are named after acts and/or scenes. The act proposal involves the idea of scene (RENGEL and THRALL, 2010) as being not only that of the stage, but the scene that acts engaged in the context, whether educational, political, social or artistic. The Diário de Afetos, as the name says, narrates, describes and discusses the dance actions proposed in the school throughout this study. It presents notes, letters, photos of the dances, conversations, drawings, analysis, reflections on everyday school life, with the participation of students. The daily e-book of affections was also produced as digital content to be made available to the school community and to all people who want to know it. As main references: Damásio (2012), with the perspective of how images are constructed. hooks (2008), is a reference with the ethics of love, to affirm the need to love each other. The concept of corponectivity by Rengel (2007), signals that we are body and mind together. Insurgencies by Moretti & Streck (2013), as ways of building knowledge. Freire (2020), with knowledge for an emancipatory education. In this circuit of concepts for the construction of the Diary, I am inspired by the writing of Evaristo (2020), which guides writing experiences as writing of a body, of a condition. The scenes presented here are between acts and intertwining, wanderings and publications, actions and (re)actions. Memories of know-how that involved me and the students in this academic and life trajectory are posted. Dances, affections, images, emancipatory actions, education, non- dichotomy and insurgencies guided this research. The making of this Diary of Affections brought positive impacts on interpersonal relationships throughout the school community, as well as the recognition of the positive self-image of students. The paths traced here reverberate possibilities for the strengthening of a public basic education that acts in an equitable way and respects all the people involved in the school environment. To rebel politically is a modus operandi of freeing public basic education from the institutional abyss in which it has been falling and transforming linked processes into educational actions that emancipate.

This Course Completion Work explains a process at Escola Municipal Eugênia Anna dos Santos, (Eugênia Anna dos Santos Municipal School), with kids from the early years of elementary school – 1st to 5th grade. It deals with the recognition of the public school environment as a conflict environment and proposes ways to carry out strategies and educational interventions that provide the reduction of conflicts in the teaching-learning actions of Dance, considering the care of oneself and others as a presupposition for a transformation of bodies and to strengthen interpersonal relationships within the school environment. It is important to provide paths that make it possible to work with diverse children who live within a social vulnerability context. Thus, promoting Dance action modes to elevate self-care and care for others, can strengthen interpersonal relationships and favor better interaction among students. Working with Dance in public schools involves a constant search for a recognition of bodies. In this sense, promoting dance classes within a perspective of care for oneself, and consequently with another person, can provide self-knowledge. The propositions take place within a methodology that incorporates theoretical-practical structures, stimulating critical and creative reflections/actions that are sensitive to bodies, with concepts referring to socialization and knowledge sharing. The emphasis of the methodological path considers kids opinion and their life contexts. This research takes place within a qualitative approach, which allows perceiving Dance as a form of knowledge, as well as understanding that with it, it is also possible to take care of oneself. The classes held were referenced in Foucault (2004), to address the care of oneself and the practice of freedom; Laban (1978) to address bodily actions and work on the creation and analysis of movements; Rancière (2011) to talk about emancipatory education: Rengel (2007), to discuss corponectivity, to understand/perceive the body as non-dualist; Santos (2017, 1996), as a reference for the issue of access to knowledge; Isabel Marques (1999) and Klaus Vianna (2008), who help to put these arguments into effect in Dance modes. As a student of Professional Master’s Course in Dance/PRODAN and a professional with Salvador Municipal Education Network, it was important to bring situations that helped people within the academy to have knowledge about the teaching of Dance in the municipal public school. The public education context in the city of Salvador is full of constant challenges, which make the teaching-learning process very difficult. Exposing some situations experienced on the school floor can help other people, students and Dance professionals, to better deal with some pertinent concerns in the public school environment. Therefore, as a continuation of a research that favors teachers, in the sense of pointing out ways that can promote actions that incite the recognition of students as included and important people within the school, the society and the world.

The research project entitled “Afro-referenced Dance in Public School: for the recognition of the black body in childhood” seeks to re-signify and strengthen the self-esteem of students in the final grades of fundamental I, 4th and 5th grade, through the appreciation of black culture, the feeling of belonging, rights, cultural and human formation and the fight against racism. It seeks to develop practices that encourage self-love and self-recognition and the black body in these students' childhood, through dance, lectures and reflections on our historical roots with greater acceptance of their color, enabling experiences where the black child sees himself in a different way potent, thus deconstructing the idea of a unique story that was told to us about our black ancestry. The project was developed at the Municipal School Lélis Piedade located in the community of Cosme de Farias in Salvador - Bahia. The activities took place once a week during the period between the months of September and December 2021, ending with the exhibition of an Orí-entado Guide entitled “Women Black References in Dance in Salvador-Bahia”.

This research aims to think about dance possibilities for public schools, specifically emphasizing the early years of elementary school, based on aspects of Isadora Duncan's legacy. Isadora, as she is mostly called, had a very strong impact on Dance because, among her innovations, she was considered a liberator from the constraints of bodies, such as corsets and ballet shoes, for example. This learning phase urgently needs to be conducted towards an education on values, respect, care for oneself, and care for others (FOUCAULT, 1984). It also needs to act and to understand the great relevance of the anti-racist issue (RIBEIRO, 2019), something that must permeate all relationships, as well as to develop awareness of the environmental issue, paying attention to nature as a principle of life, as advocated by environmentalist Ailton Krenak (2019). One purpose is to reflect, analyze, and propose what would be most appropriate in terms of dance technique, in which the very conception of this dance moves factors such as care and respect, for nature and for others, and it is inserted in the conduction of a reflective dance. This research has sought and formulated arguments to discern these issues and what sensations a costume or “dressing for dance” can express in the movement and moment of dancing (ECO, 1982). To address the respect that is impregnated by the culture, environment, and genetics of children, Steven Pinker (2004) is a reference. In order to address the use of metaphors during dance classes, Lenira Rengel (2007) references this notion with the proposal of a metaphorical procedure of the body. As methodological procedures, it used dynamics of experiences, games with varied rhythms, audiovisual material with environments of nature, as well as improvisations in contact with nature, constructions of mandalas for the perception of aesthetics, and the essence of the class of the Technique of Isadora Duncan (KURTH, 2004). In this study, the use of the uniform is approached as a form of empowerment, of belonging to the place that educates and emancipates. Hence the idea of “Isadora wears a uniform”, that is, the children will not wear tunics (a garment associated with the dancer Isadora Duncan), but “Isadora” is the one who wears the uniform.

This work reflects on the articulations that have been made in the municipality of Simões Filho, metropolitan region of Salvador, to deal with a very precarious context, regarding the production and circulation of dance works. It deals with the importance of group work to open paths in arid terrain and seek answers from political representatives at municipal, state and federal levels. In this sense, attention is paid to the work being developed by Coletivo Arte Metropolitana, the group responsible for introducing the need to think about collaborative networks in the city of Simões Filho. This research concludes with the realization of 5 productions: this memorial that reports the development of the research and some steps taken so far by Coletivo Arte Metropolitana, as a way of registering and producing memory of this movement; artistic productions, Simões Filho has dance! I will show you and traces and the constant movement Dança Simões Filho; the realization and expansion of the IV Festival de Dança Arte Metropolitana and the II Congress of Art and Culture of the Municipality and two texts in the form of experience reports.

This research memorandum reflects on issues concerning the longevity of dancing bodies and it has a solo work creation as its research object. The stages of this creation generated content and discussions of contemporary
themes related to the viability of dance production with dancers over forty years old. Therefore, considerations about aging and power of the dancer's body were made in the perspective of the development of physical and motor skills, creative ability and production capacity, among others and their expectations of keeping dancing in the artistic scenario. By revealing, around the world, that older dancers are increasingly showing that it is possible to grow old and keep dancing, this research memorandum presents the discussion about maturity and artistic practice with the perspective of taking a new look at these dancing bodies. The solo work, resulting from the research, will be available in digital media, thus generating other research content for professional dancers, university students and researchers in general. The work is based on references from authors such as Jorge Larrosa, Giorgio Agamben, Renato Cohen, Kátia Canton, Ítalo Calvino, Zygmund Bauman and Cecília Salles.

This Final Course Assignment is about the systematization of the methodological procedures of the CorpoTerritório Dance Workshops, here titled as "escremovences" and divided into five verbs-actions: Clean, Feel, Touch, Move and Write. These verbs compose the framework of Dance practices developed in quilombo territory and are tuned to the ways and propositions of community knowledge. To this end, it was necessary to revisit the CorpoTerritório Dance workshops throughout 2018 and 2019 in light of the thoughts and epistemes of black women with antiracist, territorial and decolonial knowledges (FALCÃO, 2015; CONRADO, CONCEIÇÃO, 2020; CARNEIRO, 2003; MARTINS, 2012; SANTOS, 2015; SILVA, 2017). The research that excavates the experience of the CorpoTerritório project developed in rural and urban quilombola communities (Lages dos Negros, Alagadiço, Pacuí and Patos - Bahia, peripheral region of Salvador and South of the city of Chicago) proposes an organization of practical procedures for continued artistic and formative possibilities in the creation/cultivation of dance processes and corporeities with black women in rural and urban quilombo territories.

The objective of the research was to recognize and make available the contributions of Cia de Dança Antônio Valter Leone from the experience of reception, creativity and pleasure. For this it was necessary to analyze the history and contributions of dance from the field of study; discuss the experiences of reception, creativity and pleasure at Cia de Dança Antônio Valter Leone; and, create a short documentary, which reveals the experiences of welcoming, creativity and pleasure in the field of study. The methodological approach was composed by the paradigm or evidential method of Ginzburg (1986), with which it was possible to present the evidence from my history in dance, and what it leaves for society as a whole, in the final result, a documentary about the Antônio Valter Leone Dance Company. This Documentary entitled “Dança do Acolhimento” presents the historical records of Cia de Dança; the reflection of the authors approached in the Master's and of my own investigation to collaborate with the construction of my object of study and unveil its peculiarities; and semi-structured interviews, in which we analyzed qualitatively, making comparisons of content, discourse and/or practices, highlighting, at various times, the path of the processes built or still under construction. We conclude that the reflection of the entire proposal exposed here was only achieved with the bodies/subjects immersed in the process. We then present our legacy, the product of resistance, of believing that transformation is possible. We try to consolidate our records, leaving for those who need a little, this dream that seemed impossible.

Course completion work composed of: textual publications in expanded summary and article format, academic memoir and a final product configured as an activity notebook. It was constituted as implied research developed during a period of two years, in the professional master's course in Dance, of the Professional Postgraduate Program in Dance at the Federal University of Bahia, having as its theme the teaching of Dance from the perspective of inclusive education in the Municipal Education Network of Salvador. It aimed to systematize a pedagogical proposal for teaching Dance to the Special Education public, specifically people with disabilities, emphasizing its characteristics as a booster of inclusion in schools in the Municipal Education System of Salvador. With qualitative methodology, it was carried out through the systematization of the researcher's experiences as a teacher of Dance in municipal public schools in Salvador, presenting and discussing possibilities of possible activities to be carried out by groups composed of students with and without disabilities, always prioritizing integration and socialization of students to enhance inclusion. Through these experiences, a compilation of activities was elaborated and a didactic material, called the Activity Notebook, was created, aimed at teachers who work with this target audience. The pedagogical processes were developed having as a reference the social reality of students with and without disabilities and their development processes, enabling a participatory methodology respecting differences, creating space for freedom, creation, construction and sharing of knowledge with the group. The activities experienced by groups of students with and without disabilities were carried out always respecting the uniqueness of each person and bringing the previous experiences of students and their community, respecting individual and group experiences. To achieve the proposed objectives, the classes were practical and theoretical, material resources were used that contributed to the development of activities, as well as facilitating the understanding of students.

This research presents a proposal for the teaching of Dance and Movement, exposing a methodological systematization of learning through metaphors. One hypothesis is that the teaching of Dance by means of verbal and gestural metaphors can contribute for knowledge to be self-knowledge (SANTOS, 1988). The proposed systematization seeks, through gestures and speeches in dance classes, the reconstruction between knowledge-as-regulation and knowledge-as-emancipation (SANTOS, 1996). According to Lakoff & Johnson (2002), metaphors are part of our daily life, of our actions, of the ways in which we apprehend and conceptualize the world. Rengel (2007; RENGEL et al., 2019, 2015) advances based on the studies of cognitive linguist George Lakoff and cognitive philosopher Mark Johnson, affirming the importance of understanding that the body knows - be it the world, objects, dance, others - by a cognitive process called the body's metaphorical procedure. In this study the experience through the metaphorical procedure of the body as well as the creation of images (BITTENCOURT, 2012) becomes an object of study. The research carried out a systematized organization (HOLLIDAY, 2006) of ways to say and propose gestures using the metaphors presented here through a “Small Illustrated Metaphor Glossary” and a course plan. It brings as a result the correlation between technical procedures and artistic compositional processes, articulating them between practical/theoretical knowledge and everyday experience.

Final Conclusion Work consisting of: memorial, portfolio and sequence of three articles. It deals with the research developed in the professional master's degree in Dance, of the Professional Post-Graduate Program in Dance at the Federal University of Bahia, and presented as object the relationship between the classes of Ballroom Dances and the issues of sexism and heteronormativity. It started from the understanding that one of the places of strong reaffirmation and reproduction in the Ballroom Dances of conceptions about stereotyped and socially determined roles is the classroom. The issues that gain strong visibility and discussion today, such as sexism, feminism, heteronormativity, gender studies, and related power relations, permeate the Ballroom Dances and their teaching, the result of patriarchal social constructions and Eurocentered. Thus, this research assumes that the use of a traditional and technicist dance teaching format is recurrent in the classes of Ballroom Dances, in which critical aspects related to society are not effectively considered, and the action of the instructors and instructors comes to be decisive for reproducing a status quo. To this end, it sought to identify the aspects present in the classes that function as mechanisms for maintaining its traditional sexist and heteronormative format, in order to enable a critical analysis of the current formats, constitutions and concepts present in the classes, proposing actions to foster and disseminate discussions that proposed reflections on the concepts that make up the Ballroom Dances and are reproduced in classes, events, presentations, among others. Its main theoretical reference is D’Ávila and Ferreira (2018), about pedagogical concepts; Pazetto and Samways (2018), Nunes and Froehlich (2018), and Feitoza (2011) in the relations between Queer theory, gender studies and Ballroom Dances; Carla Akotirene (2018), about intersectionality; and Guacira Lopes Louro (1997), for the relationship between sexuality and education.