This work aims to systematize a pedagogical proposal with a focus on regional
and local musical and poetic expressions of the Velho Chico Identity Territory. The
locus of the experience will be the discipline of Art, for classes of high school
students at Colégio Estadual Tiradentes, located in Oliveira dos Brejinhos - BA.
Based on the Theoretical Model Cante e Dança com a Gente (Nunes, 2020), the
proposal has three pillars: Contextualization, Representation and Socialization. As
an artistic product, it is intended to build along the proposal a show called “As
pelejas de Zezim Siriema” based on a repertoire with regional characteristics. As a
pedagogical result, it is hoped to awaken in the student a sense of belonging and
appreciation of their own culture from their experiences, beliefs, values and
memories, to enhance their role in the construction of their own knowledge, and in
the relationship with others, colleagues, teachers , artists, public and society
contribute to the constitution of their subjectivity and identity.

The work is focused on the mediation of Visual Arts teaching, on valuing the subject,
on the teacher, on acquiring knowledge and on the artistic experience in the
classroom. expository classes, based on three pillars: 1- The mediation of art
teaching. 2- Appreciation/creativity. 3- The identity/belonging. The return to the
approaches was immediate, they came with the completion of the work in the
classroom and in terms of art, its importance was evident.

This work aims to identify possible contributions of the Bahian pagode rhythm as a methodological tool for the teaching-learning of theatre to discuss some articulations  between culture and theater-education regarding the contemporary elements of that cultural manifestation in a theatre classroom. It also aims to understand how the pagode, in its rhythmic structure and melodic and corporal reference, can contribute to the teaching of theater, considering the sociocultural context of the participants. The research was carried out from May to August 2022, at the Maria de Lourdes Seixas municipal school, in the rural area of São João da Mata (BA), with the participation of 19 students aged 13 to 15 years, from the 9th grade of Elementary School.  By bringing theater classes closer to a cultural phenomenon familiar to the participants, experimenting with the Bahian pagode rhythm as a methodological tool for teaching theater contributed to understanding how theater can be a transforming agent of the participants' socio-cultural reality, opening up new scenic possibilities and establishing new dialogues based on the cultural context.

The general objective of this article is to reflect on Afro-Brazilian music and its parameters for strengthening music teaching. As a result of this, the Brazilian musical culture will be researched, investigating the Africanness present in its genesis; I will seek to reflect on music resulting from the black diaspora in Brazil, awakening approaches and resources for music education; I will consider the importance of the body in the musical learning process; and I will explore the interrelationships between knowledge and practices in music and other areas. Faced with this challenge, I will present the path taken, in which I include the study of Rhythmic Claves and their applicability in music education, and aspects of the African worldview for the enjoyment of Afro-diasporic music, among which I highlight Complementarity, Circularity, Orality and Corporeity.

Through this work, I present the development plan of a pedagogical proposal, which is based on musical games, to be developed in the Keyboard 1 component, belonging to the curricular matrix of the Vocational Instrument Course of the State Center for Professional Education in Music (CEEP in Música), located in the city of Salvador, in the state of Bahia. The proposal, in addition to considering arguments in the literature about teaching musical instruments for beginner adults (MASSON, 1999; COSTA, 2004; REBOUÇAS, 2012; DIAS, 2016; BRAGA, 2016), collective teaching of musical instruments (OLIVEIRA, 2018; SANTOS and SANTOS, 2019; SANTOS, 2007; MONTANDON, 2006; SILVA, SANTOS and AMUI, 2020; CRUVINEL, 2009; TOURINHO, 2018; DANTAS, 2010; STERVINOU, 2014); and the game as a pedagogical tool (KISHIMOTO, 1999; GUIA and FRANÇA, 2005; HUIZINGA, 2007), comes as an answer to a question: How to help students who are starting to study the keyboard instrument, in adulthood, considering that they , because they perform work activities, they do not have much time to study and do not have a history of systematic musical practice? This question arose as a search for pedagogical possibilities for the public who teach keyboard classes. I emphasize that the profile of students who sought CEEP in Music (field of investigation of this research), a few years ago was of musicians who already played, including already professionals, and had the objective of developing some skills that they did not have, for example of reading and writing music. Over time, this profile has changed and currently the students who seek the CEEP in Music are, for the most part, people who are not musicians, who have not had systematic musical practice, are returning to the classroom, are inserted in the music market. work and consequently have a reduced time to devote to studies. In addition to the profile described, these students went through the covid-19 pandemic and were forcibly deprived of social life and, back in this relationship, they are facing urban violence, fear of contamination, unemployment, discouragement and mourning. Thus, the general objective of the research is to elaborate musical pedagogical games, as a pedagogical possibility for the initial learning of adults in the keyboard instrument and the specific objectives are: to verify the contributions of the use of musical pedagogical games in the initial learning of keyboard for adults and to use the musical pedagogical games in the initial teaching of the keyboard, as a playful tool to promote pleasant learning.

Discussing LGBTPhobia in acting classes

This paper aims to propose a mobilize experiences of scenic creation accessible in the teaching and learning of deaf students, from the perspective of anti-racist education, reflecting through such propositions on the effectiveness of public policies aimed at ethnic-racial issues and the deafness. I use as territory, the ground of the school from a bilingual perspective for deaf people, space and educational context claimed by the Brazilian deaf community in its many movements of struggle in defense of Libras and the ways of apprehending the world that derive from it. Such considerations mobilized in me the following problematization: how to articulate accessible scenic experiences in the teaching-learning of Theater with deaf students of basic education in Salvador-Ba, mobilized by an anti-racist education perspective? The methodology used consists of a qualitative approach, based on participatory research, based on Brandão and Borges (2007) from which knowledge cannot be accumulated and must be situated in a perspective of social reality, mobilizing theoretical, practical and methodological knowledge in the possibility of transforming this knowledge. As a theoretical framework, the arguments are articulated with the studies proposed by the researchers Conrado (2017) and the artistic knowledge in afroperspective, Mendonça (2009; 2017; 2019; 2020) and the theatrical approach of materialities as a pre-text in the process of creation in the classroom, Boal (1996; 2009; 2012) that mobilizes us to think through the Theater-Image a theatrical doing that is not guided by the spoken word, Ferreira (2018), Lima (2015) and Gomes (2012) and racial issues at school, Strobel (2018), Campelo (2008) and Rebouças (2019) and visual pedagogy in the teaching and learning of deaf people among others , which analyze the social implications presented here, allowing us to think about their intersections. During classes and creative experiences mobilized in the classroom, it has been possible to perceive that deaf students were subjectively forged by negative values about ethnic-racial issues and their identity reference, sometimes denying them, but as they are stimulated. to interact with the materials through exercises and games, the pleasurable dynamic breaks the posture of withdrawal.

The work deals with the Triangular Approach through RPG: narrative role-playing system in Basic Education Art classes

The article discusses the internship in the Technical Course in Theater and presentes a pedagogia proposal for making it viable through the special internship Project. The internship, here understood as na educational act, 5included in the training course, as a mandatory curricular componente, in the State netwok of Professional Education, at CEEP do Chocolate Nelson Schaun. This article aims to investigate the internship and propose the inclusion of theatrical montagem, carried out at the concluion of the course, as na internship activity, incorporated in one of the stages of the internship Project.For this purpose, in 2019, the stages of the project werw developed, formatted,tested and applied, which I present as as pedagogical proposal for the feasibility of the curricular internship Project Artistic Practices. I defend the inclusion of artística practices as a curricular internship activity and the opportunity to experience concepts learned durig the course, also allawig access to the theater of the scool community and its surroundings.

This article was developed in the Professional Master's program in Arts (PROFARTES). The research is a pedagogical proposal in theater using Brazilian funk and cultural identities as an element for the theatrical creative process. Held at a public school in the municipality of Anguera - BA. An analysis of the social context and understanding of the cultural identities of a group of teenagers was carried out through dramatic games, using as a pretext the lyrics of songs of the Brazilian funk musical style to create theatrical scenes focused on the method of researchers in theater, Viola Spolin, Augusto Boal and Ingrid Koudela. The present article has as a general objective from the generating question: “How the teaching and learning process through theatrical staging based on the lyrics of funk music can contribute to reflect on the social context of the student and to understand their“ cultural identities ”?

This article aims to explain my master's research that addresses the methods of teaching music in school bands in the city of Dias D'Ávila, showing some problems and their possible solutions to meet the demand for completion of the Professional Master's in Arts, ending with the writing and dissemination of a support guide aimed at students, monitors and teachers who are involved in the music learning process in the Bandas Escolares project.

This proposal aimed to continue the implementation of the Baile de Deus Menino in the Public Schools of Salvador, based on the record, systematized and adapted in a book by the Nativity Scene or Baile de Deus Menino: a Brazilian Christmas by the ethnomusicologist Lydia Hortélio. Through this creative experience I describe the path of the actual project linked to my experiences as an art educator. It is a narrative that has an investigative character for reflective action, articulation between theory and practice, in order to provide new meanings and meanings to the formative path itself. To this end, listening to children and their communities at the intersection with the scenic elements of the Crib or Baile de Deus Menino and the culture of childhood articulated powerful curricular processes of theater-education, immersed in playing in the early grades of elementary school. The child we approach in this work is celebrated, celebrated, revealed as a symbolic configuration of the playing body.

This work proposes a study of the use of walking as an educational tool for the formation of the citizen of the city through photographs. And, for this, it presents some theoretical and practical principles that enabled the creation of a pedagogical proposal elaborated with high school students at the Military Police College - CPM Diva Portela, in Feira de Santana, Bahia - Ba, in 2019, result of the research developed for the Professional Master's Program in Arts - ProfArtes of the Federal University of Bahia - UFBA. In it, techniques of active teaching methodology were used, which enabled the “walk” and its registration through photographs and maps depicting the discovery of the city through the eyes of the students, during the classes of Arts. The project was developed in a class of first year of high school and had as a theoretical basis, for the creation of its learning trails, the Triangular Approach of Ana Mae Barbosa and the Integrated Panel Technique, as a way of teaching, rescue and valorization the history, culture and art of the municipality.

The systematization of this proposal has as main objective the realization of a scenic experience based on the studies of three abolitionist poems by Castro Alves: Vozes d'África, Navio Negreiro and the Song of the African, having Law 10.639 / 03 as its central axis and its applicability in theater classes at Escola Municipal Jardim das Margaridas. The foundations that guide this proposal are based on the Triangular Methodology of Ana Mae Barbosa (1991), which comprises the knowledge of art as a consequence of the identification and experimentation of the artistic object from the triad: reading, contextualizing and making. It discusses anti-racist, decolonial education and considers the thinking of the author Renato Santos Junior (2010), about Afrocentricity and education as the main elements of an Afrocentric curriculum.

This experience report proposes to present a theoretical-practical proposal identifying the contributions of music teaching, developed in the curricular component Arts, from the collective teaching of recorder,  in the regular high school modality.

This article aims to create possibilities for the use of new digital technologies as educational tools in guitar teaching. From the elaboration of lesson plans focused on the study of the repertoire, elaboration of arrangements for the adequate knowledge of musical languages and the practice of musical improvisation. The plans are appropriate for the profile of the student of the National Program for the Integration of Professional Education with Basic Education in the Youth and Adult Education Modality (PROEJA) of the College Deputy Manoel Novaes (CEDMN).