Vozes artísticas das periferias na escola: vetores para a formação humana do aluno e para o desconfinamento das memórias silenciadas

Abstract

Jessé Souza (2017), in his work "A Elite do Atraso," argues that hegemonic discourses originate within the middle classes and stifle the social imagination. This led to inquiries into understanding the link between this phenomenon and artistic-literary education: what is the determining factor in choosing artistic expressions guided by the teaching process? What fruits can be reaped by working rap and graffiti in an intertextual and dialogic manner with classical arts? Starting from these concerns, we sought to articulate them with what Boaventura de Souza Santos (2018) attests regarding the cultural erasure process in which artistic productions originating from the peripheries are embedded. Our aim, ultimately, was to implement didactic practices related to peripheral arts with two high school classes, under the humanistic process as discussed by Antonio Candido (2004) in articulating art, culture, and society. The work involved promoting didactic stages in which peripheral arts—specifically rap and graffiti—were simultaneously and dialectically appreciated with canonical arts. To achieve this, theoretical suggestions regarding reception aesthetics, as proposed by Aguiar and Bordini (1993), served as our didactic foundation, whose strength lay in the recovery of personal experiences as a determining factor for the healthy relationship between author, text, and reader. With this project, it was possible to verify that the fluidity and challenges stemming from the traditional educational system are determining factors for implementing this type of practice but did not impede the fruitful practices and production of peripheral arts.