Corpo criança que dança, corporeidade que vive

Abstract

Dance is an art that comes from life itself, a way of existence, one of the oldest arts and knowledge historically linked to Physical Education that remains until the current days, reinventing and acting in education, therapy, leisure, performance and art. The dancing body is a built, worked, elaborated, meaningful and expressive body which lives and experiences the movement in a unique space and time. When this body dances, it relates to its own world and the environment around it, creating connections that through the use of movements and gestures, suitable to the rhythms felt and linked to their experiences, they build its corporeality. Corporeity has an important role in education through the dance, because it is attributed to it the character of the child’s body integral formation, providing that the child feels the movement bodily in a critical and sensitive way. The objective of this research was to investigate whether the child’s body that dances experiences the corporeality and how it is made explicit in the different formal and non-formal dance teaching institutions in the city of Uberaba-MG. The present study has a descriptive character with a qualitative approach. The data collection was made through the observation and the use of a field journal, and the notes were analyzed via qualitative analysis of the phenomena situated. The results construction was originated from the three moments of the research technique, the description, reduction and understanding, and they were organized in questions on: student/teacher interactions – in which the relation between students and teacher, as well as the students in imitation of the teacher; the relations between space, dance elements and the child’s body – space has interfered in the children’s manifestations, and it also established the characteristics of the classes and the students, as well as clothing and music; expressiveness in gestures and movements danced and played – a primordial factor was presented over the movement, manifested by the children in order to communicate during the dance or not; the corporeality and the child’s body that dances – the children transcends themselves during the dance classes, they are the alive corporeity expressed in their individualities, games, act of dancing, stories of life, differences, among other things. Analyzing the dance classes from the child’s perspective allowed looking at the phenomenon about its point of view, going deeper as the child conceives it, therefore the manifestations were so rich of meanings and they corresponded the premises of the body in the dance. The corporeity was present in the kids’ smiles, participations, questionings, danced movements and gestures and it did not show many differences among the educational institutions, except towards student/teacher relations and physical space. The relations, discussions and possibilities of the child’s body in contact with dance are wide. The manifestations about the phenomenon that transforms, recreates and resignifies in every moment are rich.