Universidade de Lisboa, Faculdade de Belas-Artes, Centro de Investigação e Estudos em Belas-Artes
Abstract
We bring to light some questions that contemplate the production of a critical curriculum - problematizing its content and its processing modes, electing for this effort the production of contemporary indigenous art in Brazil. We focus on two situations: the presentation of the macuxi artist Jaider Esbell at the State University of Rio de Janeiro at the event “Critical Borders” involving students in Visual Arts and some experiences in arts classes at the elementary school “Colégio Pedro II”- which, also in unfolding of the production of Esbell and fed by other processes of indigenous creation, develops situations crossed by problems of gender, resistance and alterity. We reflect on the subject through concrete situations, establishing the convergence between training and effective teaching driven by the expectation f breaking with opaque conceptual subjects in curriculums and practicesinfo:eu-repo/semantics/publishedVersio
