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© filipe ferreira Lisbon 2017 Fundação Calouste Gulbenkian Published by 978-972-31-1597-0 ISBN Rodrigo deSouza Filipe Ferreira Photographs Luis Alexandre/Silvadesigners Graphic Design John Elliott and proofreading Translation Pardal Adriana and production Coordination of edition Ana Luisa Oliveira Pires Judith Silva Pereira Elisabete Xavier Gomes Maria deAssis Editors

10 11 73 59 39 29 13 The Testimonies from Transdisciplinarity Judith Silva Pereira Ângela Rebordão Why and how Catarina Lacerda to intervene the the teachers in Guides by the Maria deAssis 10 Maria Gil scientific contents Strategies Strategies Introduction Discovering Between the epic communication of in the teaching/ artists inthe and the and the and the vortex Art andArt learning process by doing and assessment Spaces Spaces Education between between

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119 91 83 77 Xavier Gomes, TeresaXavier Ana LuísaOliveira Appendix Assessing students An emotional Pires, Elisabete N. R. Gonçalves Reinventing Genesis, Isabel Machado Paula Cruz project of the research research of the Micropedagogies main conclusions main conclusions after the 10 project knowledge development and andeducation art journey into spaces between

12 13 Conception and direction Why and how to teaching/learning Introduction Maria de Assis de Maria intervene in the intervene the in process There are many reasons why we now find ourselves inthis impasse. It is Constraints It has long been understood that this excessive focus onthe transmission/ It is disconcerting that there should begeneral agreement about what It has also been realised that itis impossible to teach for the “average on the teacher’s own words. of learning, yet the introduction of “free” dynamics – involvement in above all, onthe transmission of information. This school culture is affairs, concluding that knowing how to teach (how to structure and all students the same thing, inthe same way, and essentially based ally agreed that learning is alifelong process, but yet we continue to able number of projects that have produced positive results, but and inthe mechanisms of control, that the situation has become segmentation, homogeneity, isolation and atendency to focus, sometimes cannot find any solution other than to accept the state of structuring an education that they consider to bemore inkeeping sidered to beageneral rule–namely that studying and taking a so ingrained in the relationships of power, in the roles and the de- spread desire to change and there are various projects being led student”; in practice, you sometimes raise the level orsometimes grees of autonomy assumed by each intervenient inthe educational children out of school and assume responsibility for planning and group projects, autonomous research, games, study visits, etc. –is years of school education, followed by university studies. It is gener- university degree would openthe doors to agoodjob and make requires answers. One thing is certain: what was previously con- needs to bechanged inthe current educational system and yet it process, inthe management of the times and spaces of learning most schools continues to perpetuate the status quo reproduction of knowledge kills curiosity and takes away the pleasure neglected inorder not to waste time with“extra” work. to make these models universally applicable is achallenge that that itis difficult to break out of, because the dominant culture in to learn. Such aradicalisation of positions generates avicious cycle the most extreme cases, itis the parents themselves who take their feel bored and lack motivation, and italso affects teachers, who for, withthe rest of the burden falling onthe students, ifthey want by different agents attempting more orless radical experiments. In being taught. This situation is partly the reason why many students implement a goodlesson plan) is the part that they are responsible is organised according to different subjects, withthe aimof teaching increase the workload and to restrict the curriculum to ascheme that impossible to concentrate the knowledge that we need into twelve it possible to move up inlife –is today being called into question. is so difficult and slow to bring about this change. There is awide- with the challenges of today’s world. There have been aconsider- lower the level, which means leaving part of the class out of what is : hierarchy,

Introduction Maria de Assis

14 15 ■ ● Relevant documents include: Winner, Goldstein We are referring to such projects as “Turma and Vincent-Lancrin, 2013; Schonmann, Mais” or “Fénix”. See: Formosinho, Alves and 2015; Barrett, M., Byram, M., Lázár, I., Verdasca, 2016; Rodrigues, 2014. Mompoint-Gaillard, P. and Philippou, S., 2014 (recommendation of the European Parliament and the Council of Europe on the key competences for lifelong learning, 2016). The current dissatisfaction is not just felt by teachers, students and pa- It is generally agreed that, throughout our lives, and most particularly at Future trends Beyond the curriculum order to construct knowledge, change behaviours, redefine rules of change, which means giving autonomy to schools and trusting in and invent new models that can replace the ones that have shown activity areactivity not being matched by the premises and guidelines a long way to go, because, inorder for change to besustainable, some models that have produced goodresults sought to express them in its education policies. However, it has school (as this is aspace-time that is pivotal for the individual’s debated at the global level. The priorities identified by interna- generating failure, exclusion and inequality, instead of equal access classroom itself, which is, after all, the place where the success of great distance between the administration of education and the new scenarios. These are mental habits that must bedeveloped in must beworked upon inorder to face the challenges of innova- underlying training and education. This subject has been widely rents and guardians. The demands of the labour market and of civic natural, as ifitwere impossible to dothings any other way. However, themselves to beobsolete and ineffective intoday’s world. titudes that are indissociable from our capacity to face the chal- their capacity to solve their own problems. This process of renewal the first educational policies of the new generation, recognising the twenty-first century, that reforms were decreed which gave rise to tion. It was only quite recently, at the end of the first decade of the that continues to benoted inthe various areas of State interven- tional organisations, as is the case withthe European Commission, to the opportunities for integration and social affirmation. the opposite effect from the one that is wanted, or, inother words, the system to be adapted to the new reality, under pain of producing the longed-for democratisation of teaching, and the consequent the system is actually decided. tion, sustainability, social cohesion and democracy. Portugal has formation and growth), we need to develop some habits and at- UNESCO has already borne fruit, with the further development and spread of been difficult to reverse the trend towards bureaucratic centralism been working inaccordance withthese recommendations and has broadening of the base of recruitment beyond the elites, calls for it is important to beable to question and identify problems and to imperative need to involve the school and teachers inthe process it has to take place at various levels, and there continues to bea look for solutions, relating and recombining ideas and imagining lenges of the global society inwhich we now live. Inconcrete terms, orthe OECD

● , clearly outline the competences that ■ , but there is still

The desired changes must necessarily pass through the classroom and This focus onthe qualities of learning, which is to beincorporated across The classroom at the centre of change In parallel to this highly creative mental gymnastics, which is far removed obeying the rules, but more inthe sense of being meticulous in of teacher-tutor, they have intheir hands the power to instigate, of intervention, but which generally agree on the identification of a Such achallenge involves identifying credible sources, critically and ways of working withtheir students. By assuming the role and collaboratively construct a broad repertoire of initiatives and the challenges of growth. I should stress that I am referring and modes of intervention. Only teachers can invent, experiment and rooted inthe phase of growth that is experienced at school. analysing information, distinguishing what is essential from what set of central prerequisites for bringing about significant changes some extent all across Europe (including the above-mentioned subject, is inline withwhat has been debated and identified through so as to beable to use it in concrete situations. complement this range of qualities that can make adifference inthis collaborative work, communication and the capacity to negotiate developing one’s own techniques for research and critical analysis, greatest challenge is preparing them to deal withthis information. not acquired in a particular curricular subject, but instead in the pedagogies, fostering arelationship of empathy between teacher project itself forms apart. These are projects withdistinct models projects, which are taking place inPortugal) and of which the 10 mation is available at the distance of asimple click, and that the provoke and inspire students, being aware that most of the infor- the effective learning that is achieved by students. Teachers are the introduction of of amultiplicity different registers, languages the assessment of the projects currently being implemented to the board into the didactics applied to the teaching of any school twenty-first century, marked by multiculturalism, interdependence tainty. Equally important is discipline, not so much inthe sense of the personality and which, for reason, this very are strengthened titudes and values that are an integral part of the construction of that is transmitted, we also have to take into account aset of at - Persistence is one of these attitudes, implying not giving up when fundamental elements in this process because they are the ones on from the simple act of memorising and reproducing the knowledge faced withdifficulties, daring to bedifferent and tolerating uncer- here to habits and attitudes that cut across all fields, and that are in the processes of teaching and learning: investing in creative is accessory, relating contents and appropriating this knowledge way that itis taught. whom the diversification of pedagogical strategies depends, with with a view to ensuring continuous improvement. Self-confidence,

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Introduction Maria de Assis

16 17 ● The Calouste Gulbenkian Foundation’s investment in cultural and artistic education is not limited to its direct action in a non-formal context. Through its funding programmes, the Foundation has supported many innovative projects in formal education, in which the arts and culture are used as a strategy for educational purposes associated with entrepreneurship, social integration and civic education. This publication is the result of the action-research process that the Over the last few decades, the Calouste Gulbenkian Foundation ( Involving artists inan action-research project inaschool environment does Field of intervention of the 10 Between and art education 10 There are many ways of combining art and education and, inthe (artist-mediators who work regularly withthe (see “Strategies and assessment” by Judith Silva Pereira, pp. 29-36). a and linking curricular contents to the real world. all subjects and literacy skills from an interdisciplinary perspective and student, giving the student an autonomous voice, approaching as genuine discoveries... It was this same that perplexity lay behind schools made itpossible to better understand the educational separate editions. The results obtained corroborate the needs and shared here withthe aim of helping interested teachers to rethink during the educational activities that they undertook at the exploring joint pedagogical strategies that could help to mitigate the collaboration with one another, with the aim of reflecting upon and case of the 10 concrete ideas that anyone can use as asource of inspiration, but gogi project is an openfield for exercising their imagination, for being possibility that itoffered to engage increative activity. Although this not necessarily mean introducing art subjects into the equation. mitment, motivation and capacity for work shown by the students problems felt by teachers and transfer to the classroom the com- made about their working conditions. It was impressive to see how reality manual as a book of recipes that can be applied directly and blindly. under the scope of the 10 the privilege –to beconstantly exercising their creativity. Each new the priorities already identified by other projects. What was new the conception and design of the 10 that was produced, as well as the capacity that they demonstrated tion and commitment of these students and the quality of the work they were involved inthe teachers were surprised by the behaviour of their students when to beakind of manual, or, inother words, auseful working tool, with their teaching practices. Inthis sense, this publication is intended for willing participation, were frequently regarded by the teachers be applied inanon-formal context been promoting an intense educational programme for schools to is aquality that all human beings have, artists have aneed –and which, at the same time, deviates to some extent from the idea of a nd Science Programme, has put into practice inthe course of four

10 project, promoted by the Gulbenkian Education for Culture cal activities, given the name of micropedagogies, which are in situ, as well as the repeated complaints that teachers

10 project, what was at stake was, above all, the

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10 project was abodyof small peda- project educational activities. The motiva- ● . The close collaboration with

10 project: to place artists FCG ) and teachers in FCG ) has has ) FCG

Treating students inan individualised way, using different roles and ap- Although the artists acted inthe context of just one class, basing their Ⅱ) Promoting attitudes that facilitate learning Ⅰ) Promoting interpersonal relationships Working onthe relationships between teachers, between students, and Priorities for intervention oped by the artists together withthe teachers (inthis case from of particular cases made it possible to identify common concerns of strategies, since they do not call upon only the knowledge and of the concrete problems faced by the teachers and students of a of placing the creativity implicit in artistic practices at the service or four, dividing the class into groups, two etc.), alternating the a willingness to observe things regularly, withall their senses alert, artistic languages is also put to one side, separating the artists from also adds to them strange elements, separating the subject from its and introducing new dynamics and possibilities. The work devel students avoice and a sense of responsibility and instilling inthem secondary schools) enhances the contents of the curriculum, but shakes foundations the very of the system, removing constraints specific techniques of the different artistic languages. conventional didactics. Onthe other hand, the use of the different dialogue and freedom. Akind of contamination contributions onconcrete situations, the sharing and assessment common interest, these are just some examples of the dynamics practices that tend to besubject to formal rules and measurable pleasure and empathy into the school, inparticular into the class- proaches, knowing how to gaintheir attention, focus their concen- relationships”, p. 121). ment inthe process (see “Constructing groups and interpersonal used to create acohesive group/class and of the teacher’s involve- members of each group, bringing personal stories into play, with room itself. Forming groups of varying sizes (pairs, groups of three particular class. Inthis way, theresults of the experimentsundertaken pedagogy, nor is pedagogy reduced to art. It is, instead, aquestion to artistic production (inany of its disciplines) and pedagogical that is produced between the creative practices that are peculiar the body and integrating itinto the learning process, of giving tration and encourage team work, always withthe aimof stimulating together may become an integral part of the teacher’s repertoire the production of an artistic project/object. Neither is art reduced to the teacher participating inthe group dynamics on equal terms bold and experimenting withnew paths. It is inthe confrontation between teachers and students, bringing feelings and affections, impacts that the 10 in which everyone considered itto beessential to invest. with the students, holding sessions to openly question topics of

10 project positions itself as aspace of takes place that -

Introduction Maria de Assis

18 19 Ⅴ) Promoting the teachers’ role as agents Ⅳ) Multiplying the spaces of learning Ⅲ) Developing motivational dynamics Going out of the school to give the lesson inamuseum, atheatre, abo- Creating contexts for interaction between teachers, treating them as Stimulating the connection withconcrete matters, introducing surprises, Another Important aspect is to reveal to students what is invisible (see “Facilitating the learning of subject/curricular contents”, p. 155). other agents to take part inthe teaching/learning process. or islands withthe tables and chairs, using the flooras atable or of autonomy inthe classroom, and, for this reason, they must be On the other hand, itis afact that teachers enjoy afair amount aim of creating interactive professional communities. Activating agents of their own professional improvement and enhancing their and to record the results of their observation, resorting to different school context. Infact, even when teachers feel they have good andsupport confidence they need to make experiments inthe sential for the lessons to bemade more dynamic and the curricular stances of the students’ lives and withtheir everyday references. spaces inthe school –the gymnasium, the auditorium, the library, contribution to the production of common knowledge, with the different use of its resources and devices, namely forming circles concentration that facilitate learning”, p. 133). concepts gladly accept the challenge of imagining games orexercises that contents more pertinent inthe eyes of the students. To achieve encouraged to position themselves as the authors of their own presence of friends and relatives, ormembers of the community reasons for introducing innovations into their approach, doing this, itis important to always relate the subject withthe circum- the walls lined paper withscenery to take notes. Requesting the the playground –and transporting this insight about the “stages tanical garden itself, orinthe city but also occupying the different things differently attracts attention, gives more work, and is arisk. the teachers’ willingness, knowledge and power, giving them the those students who have greatest indealing difficulty withabstract to them, either because itis too small ortoo large. Infact, students ties, their experiences, the ideas that arise inrelation to an event tant about the subject-matter, but also their concerns and anxie- for learning” into the classroom itself, transforming or making a but also rituals. Because one only learns what one wants, itis es- ics is especially useful for integrating and capturing the interest of involve using objects ortheir own bodies inorder to materialise is yet another way of opening up the school to the world, inviting laws of Physics or Mathematics (see p. of 174). This dynam type - languages. Or, inother words, recording what is considered impor- (see “Promoting attitudes of motivation, attention and

The creative pedagogies developed under the scope of the

pecial events

Creating stimuli for producing situations that are different very from nor- Some examples: the presentation of works made by the students at the Some examples: cases; poetry graphic diaries; whisperers; mapping the self. Some examples: using mobile phones to create animated stories that Using objects, images, sounds, people, events oractions that are delib- Producing devices that are specific and hand-made orsimply used to Disruptive strategies Modes of intervention These also function as agents that stimulate the production of mean- The artist’s role was frequently to activate this awareness that agreat C S In associations of ideas that help to unblock writing; appointing stu- survey conductedsurvey withthe school population; the public presenta- scattered onpost-its all over the school walls, orwiththe posters school or outside the school, as is the case with the slogans in English, significance. store and/or exhibit material that has great personal or cultural so decide, incollaboration withpeers who think inthe same way. school so well that he orshe already knows what can and cannot expanding the group to include the relationship with the family or dents to act as “signallers” and point out the moments when they deal can bechanged from withinthe system, should the teacher erately unexpected, strange, ortaken out of their normal context. mal, giving greater depth to what is being done and significantly made by the students withthe graphic (statistical) translation of a need to write down in their notebooks what the teacher is saying. multiple formats and contexts: perceptions about the established rules. The teacher knows the project invest indisruptive strategies and introduce alternative pedagogical projects, playing an active role as agents of change the dinner in the school canteen, prepared by the students under tion of planets invented by the students in the subject of Biology, or themselves to bepertinent, but also possible and particularly ef their premises and intentions are duly analysed, not only show teacher would never imagine putting into action, but which, when fective. Some of these proposals became arecurrent feature in be done. Coming from outside, the artist makes proposals that the knowledge and experiences. involve the use of mathematical concepts; using smells to provoke ing, requiring an individual and/or collective exercise of mobilising with the community. reating artefacts troducing creative challenges 10

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Introduction Maria de Assis

20 21 Alternative rules/values

Creating situations that enhance the use of the bodyinlearning processes, Creating shared spaces, both oral and written, based on personal stories Some examples: embodiments of chemical orbiological phenomena; Some examples: shared biographies; the introduction into the classroom of Some examples: creating invented words to stimulate research into the Using strategies orhumorous withplayful elements, which traditionally lie It is important to note that these practices introduce alternative values They also make itpossible for the teachers to participate and to N Seri Usin outside the school’s way of thinking about and doing things, but of things and lead to the switching of roles, insuch away as to or onrecords of testimonies gathered inthe community. Besides a stutter; the “Poetry machine”; “Hangman”. analysis of the body’s postures/behaviours. Sometimes, these as well as exercises that increase the potential of individual and situations create opportunities for exploring the ridiculous side significant learning processes. corresponding burden of stress), making itpossible to engage in etymology of words; exercises involving the reading of poems exercises such as stretching; more elaborate exercises involving concentration exercises such as the “Ball game” (p. 140);icebreaker collective motor coordination, orwhich promote the semantic quired outside the school, coming from the family or the community. denounce conventions and prejudices. reveal their own vulnerability, which causes them to appear more more creative and harmonious experiences, which willcertainly to gather the products used inits making. the subject of Philosophy, the dinner involved going to the market the bodilyenactment of poems. to individualism, competitiveness and blind efficiency (withthe to the students secrets about their own private matters. the development of porous spaces that mobilise knowledge ac- their classmates, together with teachers and family members. Being the guidance and of supervision aguest chef, to beenjoyed among have an impact on the life of students, the owners of the near future. helping to consolidate the group, these shared opportunities foster human and helps to strengthen the teacher-student relationship. included inthe material associated withsustainability, as taught in with the introduction of repeated syllables or articulating them in which prove to behighly effective inincreasing the potential of letters written by the students’ family members; teachers confiding arratives of the self ous games g the body 1. Definition and characteristics The introduction of proposals of this and type, of the rules underlying The expression micropedagogies refers to concrete actions that have been The necessary time Group success Good r Using the time needed inorder to perform acertain task as well as pos- In afirst phase, greater emphasis is given to participation inactivities Routine is established in order to fulfil certain objectives, but it is performed Introduction to the concept of micropedagogies outcomes. of individualisation and competition, and an attempt is made to and improvisation, instead of speed. and creativity of each individual and paying greater attention to after the 10 sible is considerably more important than adjusting the work to the subject. The intention is that these micropedagogies will establish show greater respect. Infact, giving greater value to the identity self-assessment and peer assessment (see “Assessing students dedication to the work that is being produced, enabling students exercises were performed that use the bodyand frequently have a day does not always mean doing the same exercises. Furthermore, egies with the aim of promoting the learning of some theme/school playful component.playful Repetition is part of the game and is welcomed, part of students –by feeling respected, they themselves began to motivation and assessment, bringing into play various situations of replace the success that is hierarchically organised according to rather than to the results obtained from these. Inthis way, the qual- to become more seriously and more profoundly involved. Greater to maximise its efficient use, the aimis to encourage the maximum time available. Instead of using time inasensible fashion inorder their suggestions and contributions results insuccessful learning them, gave rise to results indicating achange of attitude onthe teachers and one class) inthe classroom context. These actions can tried out by artist-teacher pairs or trios (one artist for one or two Emphasis is placed onsharing and collective creation, instead be set in motion in different ways in order to design pedagogical strat- boring. importance is given to the qualities of time, such as fluency rhythm, instead of being regarded as simply predictable, mechanical and in different ways. Doing concentration exercises ormemory every of the actionsity performed increases withcontinuing participation. individual classifications withafeeling of collective success. Inthis way, encouragement is given to agreater orientation towards inner outines

10 project”, p. 82).

Introduction Maria de Assis

22 23 The main differentiating feature of micropedagogies is the fact that these While, onthe one hand, macroscopic approaches to education refer to the In this way, there are no special recipes for using micropedagogies, nor any Micropedagogies are characterised by their small scale and their search Micropedagogies use different mechanisms, materials and tools (as, for of artistic creation of the artists involved inthe project (this is the of materials, experimentation, brainstorming, role play). However, mi- appendix, p. 118). and different curricular contents. Variable actions are looked for and and linked together indifferent ways, adapting to different contexts adapted specifically for the pedagogical context from the universe and enhancing the creative experience of teachers. Many of these and involvement of students inthe construction of knowledge artistic practices (for example, focalisation, improvisation, research are included amongst the techniques inspired by contemporary a microscopic approach to education, refers to the way inwhich a close relationship between feeling, doing and thinking, inorder smells, sounds, etc.), with the aim of encouraging the participation school system, the philosophical positioning about what education case withthe “whisperers” and the “Poetry machine”, among others, explicitly stating, from the outset, the aims and conditions that guided example, objects, photographs, videos, the Internet, notebooks, doing things, but also that its transposition to the field of education draws its inspiration from many areas of knowledge and many ways of cropedagogies do not claim to have an exclusive right to this artistic contents of learning (what?), micropedagogy, as the expression of depending onthe contexts, the groups and the pedagogical aims nature and effectiveness of the pedagogical strategy reproducing a sequence of micropedagogies, without defining and pieces (as inatangram purposes of reproduction. Instead, they must be used as separate rules governing the way inwhich they should be combined with one premise that the actions undertaken can be freshly recombined mechanisms are generic innature, but some were designed or microscopic approaches are linked to the classroom space and the more relevant within the framework of their interests and motivations. to enhance the curiosity of students and make the subject-matter their choice, sequence and application, may completely distort the that one wishes to achieve. Or, inother words, purely and simply tried out, which must not befixed and established simply for the these contents are treated inside the classroom (how?). for flexibility and transferability. This search is materialised inthe inheritance, since they are aware not only that contemporary art itself in this space-time. Whilemacropedagogy is concerned withthe is, the study plans and the pedagogical projects, onthe other hand, implies aframework and areflection that are pedagogical innature. which are presented inthe list of micropedagogies included inthe way inwhich the participants (teachers and students) (inter)act ), which are reorganised oneach occasion, . Throughout the various editions of the 10 2. Expected impacts

Given their experimental nature and their direct links withthe artistic world, Concentration, attention, listening to the other, responsibility, respect, group It also happens, quite frequently, that aclass is composed of different groups. Being geared towards pre-defined objectives, micropedagogies are de- 2.1. Attit and confidence, may beregarded as an effective way of doing this. and respect. Continuously using micropedagogies at key moments and encouraging the development of an atmosphere of mutual trust another. They are intended to bethe raw material, the ingredients that also between these and the teacher. signed to promote the development of attitudes and behaviours stimulate the feeling of belonging to agroup, creating empathies ship between the various agents involved in this process – i.e. it is student and the teacher, at an individual level, and to the relation- sidering the dynamics of relationships. IfIwant to beheard, Ihave gogies into aroutine orusing them mechanically cancels out their greatest contribution to effective learning. Transforming micropeda- disruptive potential is one of the presuppositions that can make the established pedagogical practices, as itis considered that their different fashion each time. can bestudied, tried out, savoured, mixed together and processed geared not just towards the relationship between the students, but micropedagogies are intended to beaforeign bodyinterms of the not aquestion of promoting attitudes and behaviours just among pedagogical strategies from micropedagogies always implies con- micropedagogies, as well as their effective strangeness and innova- potential for stimulating the creativity and participation of teachers in In this case, besides attention and concentration, itis necessary to the students. The focus is aplural one, being directed towards the that are essential for learning. And it is important to stress that it is tion/creativity inrelation to the established practices. that we have just mentioned were tried out and checked –the trans - the reconstruction of their own pedagogical practices, as well as the I have to know how to/choose to respect others; ifIwant change, I to know how to/choose to listen to others; if I want to be respected, feeling (complicity, solidarity, team spirit), curiosity, initiative, singular ferability, flexibility and pedagogical intentionality of the emerging behaviours commonly considered to beessential to the teaching/ have to change myself. in the classroom from the point of view of relationships. Constructing ity, commitment and participation represent aset of attitudes and involvement of the students in the construction of their knowledge. in order to produce apedagogical meal that can ina beserved in the lesson, creating rituals that can instil aroutine offering trust learning processes. These must beworked upon and implemented udes

10 project, the potentialities -

Introduction Maria de Assis

24 25 ● The organisation of micropedagogies around three main axes/categories and their respective definition were carried out with the contribution of the researchers Ana Luísa de Oliveira Pires, Elisabete Xavier Gomes and Teresa N. R. Gonçalves, of the Education and Development Research Unit of the Faculty of Sciences and Technology of the Universidade Nova de Lisboa. The third and final axis includes afairly wide-ranging group of pedagogi- The second axis includes arange of strategies –namely exercises of memory, Taking into account the diversity, wealth and multiple potentialities that are The mechanisms used by micropedagogies are designed to develop The first of these axes related to aset of strategies that mobilise various Although itis recognised that some of the micropedagogies gathered

Ⅰ Ⅱ Ⅲ Organisation of the micropedagogies Micropedagogies also contribute to the development of the core skills . . Constructing groups and interpersonal relationships . Promoting attitudes of motivation, attention and concentration that Facilitating the learning of subject/curricular contents 2.2. Skill as to develop the attitudes of attention and concentration that are attention, concentration, listening, relaxation –which are mainly de- assistance, contributing to the creation of ties of affection and to around three main axes/categories: and competences associated withconcrete curricular contents. In signed to arouse the interest and motivation of the students, as well syllabuses of different secondary school subjects. Also included in cal strategies geared towards the learning of the contents of the egies that function as organisers/facilitators of significant learning. categories that would make it possible to place them in a contextual competences and work oncurricular contents ina dynamic and creativity, imagining, making oral and written presentations, are generic cross-sector or transversal skills that are of prime importance necessary for learning. Also included in this category are some strat non-verbal communication skills, attitudes of cooperation and mutual understanding. project, an attempt was made to find some central lines of analysis/ relating contents, selecting materials, developing acritical spirit and pedagogical games, exercises and/or actions, their main purpose the cohesiveness of the group. to promote self-knowledge and knowledge of others, verbal and together according to their main aim/intention, organising them together here may contribute to more than one aim(they are not facilitate learning framework and organise them insuch away as to facilitate their for any lifelong learning process. fact, the skills required for facing risks, memorising, associating and hermetic and impervious to one another, so that it is possible to being to construct groups and promote interpersonal relationships included among the pedagogical strategies tried out by the 10 intrinsic links between different kinds of knowledge. interactive way, bringing transversal skills into play and establishing identify certain overlapping areas), itwas decided to group them in the context of the class as awhole. These activities are designed s and competences ●

10 -

→ Mixing registers (writing a flavour, drawing the movement, tasting the → Mapping/recording occurrences (conversations onthe bus, daily routines, → Blindfolding (inorder to activate the other senses); Advice for users of the manual Since the micropedagogies must becreated from scratch for the specific While this manual is certainly useful for those teachers who participated In the list of micropedagogies inthe appendix (see p. 118),adescription It is considered that confronting the reader with different approaches to Examples of actions or Mathematics, strategies that promote the construction of signifi- of the 10 as particularly effective and relevant for their pedagogical practices. artists who are interested inrenewing their pedagogical practices. students of agiven class, and for the purposes of a particular subject- sound); sounds); subjects, as is the case withPortuguese orEnglish. specific complex concepts from the subjects of Biology, Chemistry gies designed to promote the creativity of students inthe various cant relationships between the concepts and topics contained in description of the various pedagogical proposals. guides that to serve set these actions inmotion, explaining what recall the micropedagogies that they used orwhich they saw being plete, because itis impossible to express inwords all the details of motivated their emergence, and finally being followed by the actual not intended to bedirectly applied from the manual, but instead matter, we next present alist of actions that were recurrently found may also inspire the wider community of teachers, educators and process of their emergence. problems and contexts, withthe aimof highlighting the respective the appendix is devoted to the presentation of five guides inwhich the concrete actions and their respective contexts. For this reason, to inthe previous section. These descriptions willalways beincom- the syllabuses of various subjects, such as Visual Arts, Biology or through various actions and recommendations, and then through their needs. Inthis way, the micropedagogies are firstly introduced to be reinvented and recontextualised by each user, according to the micropedagogies are referred to according to their specific this category are strategies designed to facilitate the memorising of the micropedagogies will help to reinforce the idea that these are Portuguese, and the everyday life of the students, as well as strate- by alist of recommendations identified by the teachers themselves in the project, and who can find here arecord that willhelp them to in the descriptions of the various micropedagogies, complemented implemented by their colleagues, itis hoped that reading the guide is provided of some of the micropedagogies used under the scope

10 project and contained withinthe three axes referred

Introduction Maria de Assis

26 27 → Sharing tasks between teachers and students; → Writing compulsively (lots of texts, texts), short placing the emphasis on → Cultivating pedagogical strategies that are creative and not merely (re) → Cultivating positive transgressions; → Thinking about the school as aspace where meaning(s) is/are created → Enhancing the use of available resources by regarding them as chal- → Inviting the family to take part in the construction of knowledge and as → Creating inter-class and inter-school communities; → Working ondifferent school subjects from the same set of questions; → Learning to project one’s voice and to position one’s body, inorder to → Sharing experiences, doubts and results with one’s peers, with a view to → Verbalising what one feels and cultivating an analytical reflection on → Giving the student avoice, beyond just simply answering questions relat- → Breaking the teacher’s professional isolation, creating aspace for fruitful → Introducing the real and the personal into the course contents through pho- → Creating role play situations, adapting some of the examples (proposed → Creating mnemonics; → Instilling rituals; → Negotiating decisions; → Doing warm-up exercises/activating and preparing the bodyfor learning; → Occasionally altering the classroom space (rearranging tables and chairs → Stimulating the dialogue withthe various selves that inhabit me (writing → Rethinking the contents of aschool subject through contact withnon- → Creating situations of surprise orsuspense; → Presenting works outside the classroom, inpublic spaces around the → Teachers participate inthe exercises that they propose to students; → Delegating responsibilities to the students; Examples of specific recommendations for the teacher one is working; a common repertoire of pedagogical strategies. and not just as aplace where one goes to gather information; a way of finding out about the world; school and even outside the school; communication and sharing (and not oncorrecting mistakes); control energy and manage class time; dialogue withother colleagues; experiences and interests of the group of students withwhom differently from usual); productive. tographs, events orpersonal objects related withthe subject-matter. formal educational contexts; by the manuals) to real situations that are relevant to the culture, improvement, mutual cooperation and assistance and constructing ing to the subject-matter and assessing whether itis right orwrong; in the third person, imagining an alter ego,heteronyms); what one does; lenges and not as inhibiting factors; Winner, E.,Goldstein, T. and Vincent- UNESCO, Implementation of the Schonmann, S. (ed.). (2015). Rodrigues, M.L.(2014).40anos de Formosinho, J.,Alves, J.M.and Cook, R.and Weaving, H.(2013). Barrett, M.,Byram, M.,Lázár, I.,Mompoint- Bibliography education art’s sake? The impact of arts Lancrin, S. for (2013).Art 211419e.pdf. images/0021/002114/ http://unesdoc.unesco.org/ Education.Arts Recovered from Second World Conference on Outcome document of the development of arts education, Seoul Agenda: Goals for the Verlag. Münster, New York: Waxmann issues inarts education , 3. The wisdom of the many: Key Coimbra: Almedina. sistema democrático de ensino. Portugal, vol. 1,Aconstrução do políticas de educação em Gaia: Fundação Manuel Leão. possibilidades. Vila Nova de da escola: Caminhos de Nova organização pedagógica Verdasca, J.(eds.). (2016). European Schoolnet. literature:. Brussels: Asummary KeyCoNet’s review of the in school education inEurope: Key competence development Series, No. 3. Council of Europe, Pestalozzi competence through education . (2014). Developing intercultural Gaillard, P. and Philippou, S. . OECD Publishing.

Introduction Maria de Assis

28 29 The The Monitoring Monitoring Judith Silva PereiraJudith Silva Strategies Strategies and assessmentand and assessmentand 10 × 10 Project

1st, 2nd, 3rd, 4th and 5th editions The first phase of the project was characterised by an artistic Dlopeve ment residency held in a space of the Calouste Gulbenkian Foundation. phases and At this meeting between teachers, artists and moderators with strategies different perspectives and areas of knowledge, there was a sharing of knowledge and individual and group reflections on pertinent themes and on the different proposals that had been tried out before. The intense work that took place over a period of six days was designed to: (1) generate complicities between all the participants, promoting interpersonal relations and group dynamics; (11) to develop strategies that conquer and motivate the participants; (111) to set in motion reflection on the micropedagogies experienced and on their contribution to the P rESENTATION The first edition of the 10× 10 project took place in the 2012/2013 school changes introduced into teaching and learning practices. of the 10 × 10 year. Essentially geared towards the training of teachers, the project In the course of these few days, teachers experienced various project placed emphasis on the joint work undertaken by these same teachers dynamics that encouraged the transformation of some of their teaching and a group of artists, designed to encourage transversal learning pro- practices. I now list some examples that I consider relevant. cesses that are capable of transforming pedagogical practices. Combining strategies of an artistic and pedagogical nature, the 10× 10 — Creative self-presentation – after each of the artists have presented themselves in project breaks the formal structure of the lesson since, besides giving rise a creative way, the teachers are invited to do the same. Used in the classroom, this to a transformation of the physical space of the classroom and the different strategy provides a good motivational impetus for the students, making it possible areas where the class takes place, it invests in the motivation and learning to create a relationship of empathy with the teacher. process of both teachers and students, leading them to experience other — Short exercises – brief activities proposed by the artists, which encourage a ways of doing things, other ways of thinking and other ways of learning. Be- relaxation of both body and mind, challenging the senses to take part in this ing based on artistic practices, it proposes creative methods for teaching and creative act; these exercises stimulate self-confidence and trust in the others and learning, combining cognitive elements with affective and social aspects. promote interpersonal relationships, contributing to the formation of a cohesive udith Silva Pereira 31 In the course of the project’s implementation, reflections were J group, capable of sharing their experiences, ideas and opinions, and also being

made about the successful realisation of its potential and some changes capable of committing themselves to the achievement of common goals in a har- were introduced, namely in relation to the setting up of the work group 30 monious manner. When applied in the classroom, these exercises not only make it

in the classroom context (initially, there was one teacher for one artist; project possible to achieve the aims already outlined, but help to recover the attention and 10 today, the work is performed by two teachers and one artist), which not concentration of the students, relieve tensions and develop a corporal awareness ×

only benefits the class, but also allows for a more fruitful combination and a sense of well-being. between their different areas of knowledge – thus giving rise to a growing e 10 — Long-term dynamics – the proposals that each artist develops with the partici- Th adaptation of the micropedagogies to the desired aims. pants call for learning through the use of the body and senses; they explore the potentialities of the voice and gestures, rhythm and movement in different contexts I nTENTIONS The approach to this project involves a permanent movement of action- of interaction. Furthermore, these dynamics establish relationships with the various reflection-action, making it possible to construct innovative and signifi- areas of artistic knowledge and combine various strategies and resources. cant learning situations in the classroom context. — Teachers’ proposals – realised individually or in pairs, these interventions reveal The intentions are defined as follows: (1) the development of a some of the strategies and resources used in the classroom, suggesting possibilities for collaborative work between teachers and artists, enabling them to put linking together the contents of different school subjects. In this way, it is possible to into practice a series of methodologies, creative strategies and innovative become familiar with the “pedagogical styles” and the way that each of the teachers pedagogical and didactic materials about key contents in the subjects involved in the project has of communicating and interacting. studied in the 10th year of Secondary School; (11) the inclusion in teach- — Thinking sessions – guided and coordinated by a philosopher, they offer the ing practices of communication and knowledge-building strategies that chance to debate educational themes. At the second session, just before the end of are effective in capturing the interest and motivation of students, with the meeting, the dialogue is structured around the problematic situations presented a significant contribution to the success of the learning process; (111) by each of the participants in the course of their residency. the promotion of a systematic reflection on the methodologies, strategies — Moments of reflection – throughout the course of the artistic residency, various and resources brought into play, in order to permit the necessary read- opportunities arise for the participants to develop a critical and reflective stance, justments; (1v) the “contamination” spreading to other teachers at the enabling them to clarify doubts and share sensations, perceptions and knowledge. schools where the project is being developed and to the rest of the educa- — Lightning projects – the participants are divided into small groups and have tional community, due to the effectiveness of the practices implemented fifteen minutes to work on a theme, and then three minutes to present it in a crea- part the project (teachers in and students); the project’s implementation; interviews implementation; and the project’s from different sources, namely: notes taken notes namely: from different sources, in the assessor’s diary, while she monitored diary, the assessor’s in critical reflections by the teachers. questionnaire surveys applied to those taking The data quoted throughout this text come and the presentation of public classes. tive way, using some of the languages previously tried out. The second phase of the project took place during the first period The third phase refers to the public lessons, where students, teachers of the school year at those schools where the participating teachers worked; and artists share with the public various activities demonstrating the work these were accompanied by the artists and interacted with the students of process developed in the classroom context, some results of the dynamics the 10th year of compulsory education from the classes for which they were that were experienced, and reflections on the difficulties that were felt and responsible. their more successful features. The artist intervenes directly with the teacher, based on the recep- These classes follow a script that is constructed together by the stu- tiveness and interest demonstrated by the latter and on the close observa- dents, teachers and artist, based on the feedback from the work undertaken, tion of his or her classroom practices. In order to formulate their suggestions, and they may have a variety of formats. They are expected to constitute the artists must also consider the attitudes shown by the groups of students moments when the micropedagogies presented will spread from one group in the class as a whole. Their intervention covers the fields of planning and to another. designing the project; more precisely, they have to prepare strategies and activities of an artistic nature that can be linked to those of a pedagogical The Calouste Gulbenkian Foundation undertook a number of partner- partnerships nature, taking into account the syllabus of the subjects and its effective ap- ships with the different schools where the project was implemented. How- prehension in the classroom context. ever, besides these, there were other partnerships that showed themselves to To this end, micropedagogies are conceived that are designed to im- be of great importance, because of the way in which the project could be prove the students’ motivational capacities, their attention, concentration transformed and questioned in relation to the specificities of each context. and ability to memorise certain things. On the one hand, the aim is to fa- I should like to begin by mentioning the partnerships with Oficina, in cilitate understanding of the curricular contents; on the other hand, it is to Guimarães, and Teatro Nacional de São João, in Porto, and the role played promote interpersonal relationships, fostering unity and the cohesiveness of by their coordinators Lara Soares and Luísa Corte-Real, which made it the group/class. It should be noted that the body has been used as a major possible to enhance the work developed at the secondary schools of Caldas frame of reference, not only to enhance the apprehension and understand- das Taipas and Cerco. In fact, according to these coordinators, the partners ing of more complex concepts, but also to stimulate the development of that they chose collaborated on the project in a committed fashion and various other competences on the part of the students. developed interventions at the schools, sharing experiences, problems and In this way, the classes are characterised by differentiated practices, creative solutions. Both coordinators recognise the same priorities for the udith Silva Pereira 33 generally generated by the artist, with the teachers being active elements in J project, stressing that this makes it possible to work on the continuity of the adapting these proposals to the curricular contents and applying them in school space, strengthening the networks of cooperation between the world the classroom context. 32 of the theatre and the world of the school, between the cultural space and

These learning strategies may be inspired by a series of micropeda- project the academic space. Although they have different motivations for investing 10

gogies that have previously been tried out in the residency, or may be cre- × in the educational programming of projects of this nature, the coordina- ated by the artist and adapted to the class context, taking into account the tors believe that the 10× 10 project makes it possible to create strategies that students’ needs and interests. In these micropedagogies, error takes on a e 10 motivate learning in teachers and, consequently, in students, both inside Th special significance for the process of knowledge building, for it motivates and outside the school space, since it provokes a disruptive effect on the a reflection that leads to the recognition of the complexities involved in the everyday established practices in the school and family communities, with teaching and learning process. this being one of its most fundamental lines of intervention. In the course of the project, the development of strategies for un- Setting up partnerships therefore makes it possible to consolidate dertaking individual and group work is encouraged, with there being dif- strategies, offering an optimised management of human and financial re- ferent ways of setting up the groups depending on the objectives of the task sources and a direct sharing of practices. Another of the partners in the 10× 10 that has been announced. Research strategies are also applied, in which, project is the Centro de Formação de Escolas António Sérgio (CFEAS), once the problem has been formulated, the student looks for information the teachers’ training centre in Lisbon, which immediately recognised the by studying current affairs. Data are analysed in such a way as to respond importance of this initiative for the training of teachers and embraced the to the problem in a creative and innovative fashion. All the proposals imple- project right from the very first moment. It consequently became a key mented are then reflected upon and systematically readjusted, in order to partner and supported, accompanied, supervised and assessed the differ- make them more effective. ent moments that helped to shape the epistemological and praxeological Still in the second phase, two thinking sessions are held with the stu- development of the project. dents, the aim being to help their ideas to emerge, illustrating them through Another aspect to be stressed in this partnership has to do with concrete examples and, in some cases, reformulating them in accordance the accreditation of the 10× 10 project through cfeas by the Scientific with the dialogue established between all of those involved in the project. and Pedagogical Board of Continuous Training (CCPFC), the body that During the process of reflection, the students are led to question their pre- is responsible for the accreditation of teacher training in Portugal, for suppositions and/or to request complementary information to clarify the the purposes of promotion and advancement in the teaching career. understanding of the ideas expounded. The scientific and pedagogical requirements demanded by the processes for the accreditation of the continuous training of teachers by that — How to motivate students and ensure that they are interested in the lessons? body reveal the recognition and the importance that this institution And in the subject? And in the school? And in knowledge? gave to the project at a national level, recognising its scientific, educa- — How best to attend to the different needs of each student? tional and pedagogical relevance, with impacts on the professional and — How should teaching and learning be organised? personal development of the teachers who participated in the project ●, — How to understand the difference between formal and informal teaching as well as on the improvement in the students’ learning processes and and learning processes? the functioning of the school community. — Does teaching exist without learning? Or are they part of the same process? It is to be noted that this project was accredited in regard to two — Can one learn through mistakes? training categories: the Artistic Residency in the category of Training Courses (originally having a duration of 40 hours, and subsequently 50 The artists try to create spaces for listening, for the exchange of hours, amounting to 1.6 and 2.0 credits, respectively), and the classroom ideas, reflection and creative, flexible and productive approaches that project in the category of Training Workshops, including the design of the stimulate the desire to take risks and transform pedagogical practices. The curricular projects, the strategic work plan, the participations in the general initial involvement of the teachers increases as they become progressively rehearsals and the holding of the public classes (with 25 hours of attend- more engaged in the activities that structure the artistic residency. In fact, ance and 25 hours of autonomous work, also being worth two credits). their concerns gradually disappear as they commit themselves to the “new” Rperce ussions training model. of the project The final assessment involves making a synthesis that brings together all In fact, the sharing of different ways of looking at the school reality the data collected in the different phases of the diagnosis, in the course of – the inside perspective of the teacher already shaped by previous practice the process itself and at the very end of the project, in order to arrive at a and knowledge, and the outside perspective of the artist, not conditioned formulation that highlights the most prominent aspects. by the natural limitations of the school and willing to engage in artistic ex- The methodology used for the assessment of the project was a var- perimentation – represents both a personal and a professional enrichment ied one, and included observation, participation in the work meetings, infor the participants. terviews, questionnaires and debates. This analysis took into account the In the course of this intervention, the teachers have confirmed the contexts of the different interventions and the evidence obtained. usefulness of appropriating different artistic languages, which justify the udith Silva Pereira 35 I run the risk of emphasising situations that are similar to the ones J use of other forms of expression and communication, besides verbal lan-

that were referred to in the assessment reports of the project’s different guage. This gave rise to the urgent need to experiment with new method- editions ■ and in other texts dedicated to this theme or resulting from the 34 ologies and strategies in the school context. The power of the body and the

research process. project senses to generate empathies and build innovative, interventive and critical 10

The singular nature of this project lies in the fact that the artist plays × knowledge has been recognised.

a role in the classroom, helping the teacher to observe and build another The act of thinking and reflecting takes on special relevance through- form of teaching/learning, which arouses interest and commitment on the e 10 out these training processes, enabling teachers to review their ideas, inten- Th part of students and facilitates understanding of the curricular contents tions and representations and to discover new directions for their activities. that are necessary for building and restructuring knowledge. At the end, the teachers’ expectations were greatly exceeded and the In fact, it must never be forgotten that motivation, in its broadest enthusiasm and desire to take risks was clearly visible, leading to a rethink- sense, lies at the very root of learning. Surprise and curiosity generate in- ing and change of some of their practices.

These documents can be consulted on the Calouste Gulbenkian of website the Descobrir Programme. Foundation’s terest, bringing the affective component into the learning process.M otiva- Reflecting and creating conditions that respect the principle of ef- ■ tion is, therefore, the cornerstone of the 10× 10 project and it was this that fectiveness require joint work, a careful planning of strategies and the de- made it possible to construct and successfully complete this project, in the sign of varied and motivating resources, linked to the management of the knowledge that each person learns according to their own characteristics teaching/learning process. and that these derive from their experience, knowledge, thinking habits Changes of this type require time to become defined and consoli- and ways of acting that are peculiar to them alone. It was fundamental to dated, since they involve a process of appropriation. It is difficult to state stimulate the interest of the teachers and students involved in the process that this procedure has effectively been introduced into the practices of the through the contribution of artists from various areas, who enhanced the teachers involved in the project without being able to subsequently observe development of innovative methods and pedagogical tools. their way of behaving and acting in the classroom context. It would be The partnership between teachers and artists has made it possible important to resort to a process of data triangulation, using indicators of to broaden horizons and create innovative intervention strategies. At the change, for us to reach more objective conclusions. outset, the teachers make themselves available to participate in the project It is, however, possible to stress those aspects that stood out in the with the expectation of finding processes and mechanisms for establishing classroom context, and which, in the course of the period under observa-

Of the 40 teachers taking part in the pro - schools at work who teachers 10 are ject, associated with CFEAS. pedagogical differences. Among the many concerns repeatedly expressed tion, showed significant signs of transformation in learning – signs that ● by the teachers were the following questions: were, in fact, noted in each of the four editions already undertaken. — The creation of complicity between the different members of the work team (in dents to participate and become involved in the class. The games proposed this case, teacher and artist) was fundamental for building up mutual trust. The both included and set in motion the learning of knowledge, making students incentive given by the artists was important, since it meant that the teachers were more familiar with the vocabulary and scientific language. In this way, it was not afraid of taking risks and renewing their practices. possible later to work on graphic and visual representations and written and — The enhancement of an “affective” pedagogical relationship meant that all those oral skills. intervening in the process related very well with one another and strengthened the — The innovative proposals inspired by artistic practices interrupted routine bond between the teacher and the students, fostering the creation of a united and strategies, favouring the creation of student interest and motivating them for cooperative group/class. Also contributing to this situation was the opportunity that the lessons and for more significant learning procedures. the students had to share their interests, affections and emotions. — Group learning resulted from products that were built together, in accord- — The combination of the efforts of teachers and artists played a crucial role, not ance with the proposed task. This methodology, assessed by the students as only in the management of the curricula and working methods, but also in improv- having been stimulating and productive, contributed to the evolution of their ing the atmosphere in the classroom, which could be seen in the way that this pair in- capacities for acting autonomously, showing initiative and imagination, as tervened and interacted with the students, treating them as unique individuals, with was observed in the presentations of their works. their own personal and social reality. Naturally, this atmosphere was influenced by the use of strategies and activities of an artistic nature, which invested in the students’ It should be noted how, in part, it was the component of reflec- social, affective and creative process, stimulating self-confidence, respect for the other tion, i.e. the work of analysis and discussion carried out among the and the interactions of the group/class as a way of building knowledge. teachers and the artists, which made it possible for the students to develop transversal competences and to create a guiding thread between In the learning process, attention is fundamental, but it is known the syllabuses of the various subjects and the strategies/activities that that this constantly changes its focus in the performance of a task or in were tried out. In this sense, the performance of the artist, as a co- the gathering of information. Seen from this perspective, micropedago- supervisor and encourager of the process, had strong implications for gies were created and implemented that, by activating the body, broke the the project’s impact on the students and for changing the attitude of continuity and helped the students to regain their focus, refreshing their the teachers towards the teaching methods that they pursued in the attention and concentration for the performance of the tasks in progress. classroom. udith Silva Pereira 37 In this way, various positive effects were obtained, through a se- J At the same time, I should also like to list the advantages that

ries of strategies that are identified and assessed below. the project brought to the artists. First of all, the artists that were in- 36 volved became more aware of the context of the school, both at the

— The classroom as a meeting space was turned into a place for challenges. Such project level of the pedagogical logic that was employed and the constraints 10

challenges were increased when the activities that were undertaken spread × that characterised the teachers’ activity, and at the level of the students’

beyond the physical limits of the room and were moved into various spaces interests, doubts and concerns and the learning methods that they pre- around the school as well as outside it. At the same time, the different organi- e 10 ferred. This sudden immersion in the school environment also enabled Th sation of the tables and chairs inside the room influenced the interpersonal the artists to better understand the curricular contents of the various relationships and the patterns of communication. school subjects and the way in which the study of scientific knowledge — The implementation of rituals and moments for pause/relaxation in the is structured. course of classes was an added impetus for refreshing the students’ concentra- The interlinking of didactics, contents and pedagogical resourc- tion. The rituals that were used consolidated the group/class’s affirmation of es involved a creative dialogue with the various artistic languages, and its identity and helped to create alternative community identities. When they stimulated approaches that could help to build situations of consensus. were used to begin and end the lesson, these rituals situated the student in Hence, it can be deduced that there will be a potential repercussion of relation to the objectives that were being aimed for and made it possible for these learning processes and the acquisition of knowledge on the crea- both the student and the teacher to engage in self-reflection about the learning tive process of each of the artists involved. processes that had taken place. In fact, by implementing the improvement of the teaching prac- — The use of the body and the recourse to movement to explain and clarify tices, with the introduction of languages and tools from their creative scientific concepts, as well as the enhancement of the physical dimension and areas, the artists were involved in the whole process of the project’s the senses as a pedagogical tool, favoured understanding, memorising, and development, enhancing the dynamics of the group/class, the methods the apprehension of some of the curricular contents and concepts of the school and creative strategies used, and helping to impart sense to the students’ subjects that were involved in the project. learning and the teaching/learning processes employed by the teachers. — When used as a pedagogical tool, games facilitated the acquisition of knowledge We can therefore state that the artistic component is essential in pro- (making it possible to resort to alternative and varying solutions) and called jects with the characteristics of the 10× 10 project, raising the quality of for creative strategies for solving the problems detected. Without neglecting the the teaching/learning process and increasing the students’ motivation results and the effectiveness of the learning processes, games “incited” the stu- to actively participate in the class. Judith Silva Pereira

2838 39 Actress stage and Catarina Lacerda Guides by the by the Guides 10 and the vortex the and the artists in Between the epic epic the Between director, Teatro do Frio

10 project

4th edition Prologue we plunge into an epic. Gently and violently, A smell of geland shampoo. 08:20 am, last row. Consult

On this subject, consult the description of Anivia on the official website http://gameinfo. na.leagueoflegends.com/en/game-info/ champions/anivia. With this inmind, wefollow theepic tothesurface. There willalsobea notebookandagroupofwords Sometimes, surrounded bypapersandwithjustafew She diesandisreborn eachweek. Hope haswingedhandsthatsheusestoweave the Moses, propheticbutnothumble,livesas hetalks, Nelson, determinedandsilent,castshis determined Newton hasanairshipforhishead,atailor’s Salome isbeautifulandfierce. Let usmoveontoOctober2015.Class10A:Salome, You willbetheheroofthisstory,Anivia,awinged Imagine that,inthisroom,theyhavetosharetheir Imagine Salome,Newton,NelsonÉvoraandMoses harbour: the notebook of micropedagogies. harbour: the notebookofmicropedagogies. inserted in atextboxthatrefer toasafe hours ofsleep,shewill forgettolove. world’s horizon. at thespeedoflight. gaze towardsthehorizon. dummy forhisbody. all 14yearsold. Newton, NelsonandMosesaresittingatatable, refer toasHope. from thelandofice,whonowonwewill being fromtheLeagueofLegends,aphoenix class athletefromthe21stcentury? myths, inadialoguewithNelsonÉvora,top- how canweputSalome,theage-oldlegendof notice thedifferencesintheirexperiences: code, but,ifwelistencarefully,will statistics. Theysharethesamelinguistic thoughts, theirgoals,objectivesand will achieveinthefuture. what theirdestinywillbeorfeatsthey meeting inthesameroom.Wedon’tyetknow getting together,whilestillteenagers,and

Guide Catarina Lacerda

40 41 th speakers onthe day of afestival. bodies, strident like loud Active mouths indemobilised and confused. Words, rootless, echo –hollow incapacity to listen. presented, what is surprising is the pace withthe materials being More than of thekeeping difficulty N 09:00 and symmetrically arranged. Tables and chairs geometrically The light: abrupt and synthetic. It hurts. hermetically sealed. The room: small, white, Let’s get onwiththe summary. The class is full. 08:25. October 2015 1 Day A e Avogadro constant

6.022

10²³ mol −¹, −¹, mol 10²³ I note down I note down I challenge → e minutes, the same question was repeated by → e’re of short oxygen for 50lungs! The airreally is →

H In fiv W for everyone same teacher answered. three different students, and, onall three occasions, the conditioned. ow to transform each person’s doubt into achallenge

noise, the wish to assert oneself. listening to the other, there is apermanent There is no silence inthe interest of Hope hassleptbadlyandalongcurricular Nelson hashadbreakfast,hehisnotebookand Newton isinert,leaningagainstthewall.Helooks Salome, stillfeelingsleepy,dedicatesherselfto Consult

class. It’s9:10am.Thereisnounity. chaos. Shewishesforsilence550times per plan. Sheislookingforaccomplicesamid the irritation oftheothersamuseshim. consistently appealstoSalome.The ripostes andneverplaysinateam.He Moses, likeaspearhead,firesoutquick pen ready,watchingHopewithdetermination. ahead, intothelandscape. “Don’t botherme,son!” decorating thesummarywithfloralornaments. Chapter I. “Constructing groups and interpersonal relationships” (p. 121) I observe It is urgent I state I I check I I ask → e spatial relationship that enhances the value of → e bodies are present, but indifferent and parallel realities, → → →

Salome’s sleepiness, Newton’s desistence and absence. attention of the others: Moses’ anxious convulsion, is unsuitable for the lack of interest and the deficient expository classes, ideal for Nelson’s disciplined focus, individuals must beunified inthe same group be tuned to acommon time, withasingle objective. The The bodies must besummoned to the classroom, they must and so they are therefore absent from the collective reality. and and arrangements and dynamics for the space; to give pleasure to remap the classroom’s floorplan, exploring different the touch, to the curricular contents; to develop the focus; awaken the bodies and make them sensitive to listening, to T Th Th with the references and habits of the twenty-first century! contents withthe bodies inastate of metamorphosis and H heartbeat for the group. channels individual energy and creates acommon with one another, submerged inaphysical that activity Th o redraw the map of the emotions; to excite particles: to ow to make the classroom an exciting challenge? e curiosity back to the class; relate to bodies must bebrought into action and into contact the syllabus .

Guide Catarina Lacerda

42 43 2. contents orto vocabulary associated withpersonal experiences. that was associatedvocabulary to withsyllabus enumeration ey had to make themselves heard withtheir backs turned 1.

implementation is madeimplementation easier by the fact that the ball is an On this subject, consult the micropedagogy “Ball game” (p. 140). empty.” We would return to this concept onseveral occasions. the class began to master the rules of the game, we innovated: of them sitting opposite acolleague, staring at each other. When cartography of the room. Two side rows with12students, each Initially we used this listening exercise without transforming the Counting and enunciating as agroup (p. 144) this: “ After agroup discussion, itwas concluded that the sense was dictionary, he should explain the meaning of the concept. this to be a valid proposal, requesting that, just as inthe class laughed at the provocation. Instead, Hope considered and Chemistry, suggested Newton the word “ponies”. The (p. 159).For the theme of “Avogadro”, the contents of Physics we built abridge withthe micropedagogy “Glossaries” (p. 137).Inlesson 15, already withvarious themes explored, was transformed into a“Ritual for beginning asession” Other discoveries arose during the course of this game, which of war... day she willunderstand that the great warriors have their mask “paint myself”. She was embarrassed about this. Perhaps one to…”, and after agreat deal of resistance, she came up with I know how to dothis so well that Ican even teach someone between stridence and “Idon’t know”. For the theme “ which necessarily has to bepositive. Salome oscillates the answer “Idon’t know” always implies asecond answer, context. It was inthis game that we established as arulethat the interpersonal relationship withthe others inthe classroom analogous vocabulary such as “spread the play!”, developing the micropedagogy “Series of writing exercises” (p. 162),and about the theme “Yesterday, my basketball: arap”, inspired by love for basketball, which gave us clues for astudent’s work profound passion for LOL (League of Legends) and Moses’ It was through this exercise that we discovered Newton’s In F Th unctioning inasimilar way to the previous exercise, its stead of using numbers, they had to subject the Micropedagogy (vocal presence). PONIES : the place where thoughts gowhen the eyes are

Consult

In the class glossary, it says: “League of Legends: a game that occupies one’s free time; virtual reality of the new super heroes”. For more information, consult www.leagueoflegends.com. It is acollection of small groups. The class is afalse unit. First evidence: Evidence that guides us 2 Day and that he doesn’t have to make an effort to impose his presence. and the gaze. He feels that there is more silence during the game trajectory and withithe understands the trajectory of the voice particularlyNewton likes this exercise. He is fascinated by the ball’s → → →

and disturbing the minds with: created new rules, upsetting the mechanisation of the bodies Once the basic mechanisms had been fully apprehended, we Stop inmovement (p. 125) object that much is very present inthe students’ everyday life: a Th Th c Th nd expectantly, for someone to pass itto them. apacity toapacity act. Micropedagogy ose who donot have to ball have to wait, attentively e one who has the ball chooses who they willpass itto. e one who has the ball has the attention of the group and the I note down tunities have to becreated that place the →

school subject. challenging, combining and itwithvocabulary from the new rules and relationships, keeping the game alive and repetition and appropriation, we must innovate, creating rules, withthe hint of apleasurable challenge. Through the joint action of the group, through clear and shared students incontact withone another. th A f Th Oppor e initial part of the exercises. ese exercises are, above all, intended to stimulate airly large space willbeneeded to undertake

Guide Catarina Lacerda

44 45 personal goals and the curricular goals. a correspondence between their own small number of students, who can find processed, except inthe case of a metal.” The communication is not “Between us and words, there’s molten essential mechanisms of speaking. Teacher and student don’t know the Second evidence: I note down → → 4. 3. 2. Reverse! 1. →

Af F when they hear the order “Sitdown”, they stand up. “Move forwards” withthe reverse order “Move backwards”; and, “spin” concept; or, inother words, they react to the instruction When these instructions were operational, we introduced the forwards; Move backwards; Jump; Lie down; Sitdown; Stand up.” W (contents of Physics and Chemistry) Putting the “spin” concept into operation R Rule Number 2! functions withRule Number 1whileGroup Bfunctions with Th stops, they dance. they stop. Wh Use of music Group A. Group A,whileGroup Bhad to dothe “spin” (orreverse) of orming two groupsorming two (Aand B),we gave direct instructions to everse! e gave the group direct instructions for action: “Move ter some time, the dynamic was reversed. e class is divided into groups, two Aand B. Group A en the music starts, they dance; when the music stops, When the music starts, they stop; when the music Groups and action/rule. e need to explain and practise speaking: itis an →

W systematised. What matters is how the body needs to beclear inits expression, aware, what one wishes to communicate. Just like thoughts, the other is profound and essential in understanding in other words, the relationship withthe space and with This implies an awareness of bodies being present: or, essential interdisciplinary tool inthe classroom context. itis said.

First line of “You Are Welcome to Elsinore”, by Mário Cesariny de Vasconcelos. mobility andmobility oxygenation. is highly limited interms of physical The classroom is aspace that Fourth evidence: to bodyinthe challenge. there is habit. There is no body is obligation. There is no curiosity, There is no motivation, there or mystery inlearning. Third evidence: There is no challenge for the teacher. There willalways behomework Sixth evidence: I don’t know the universe of the students. evidence:Fifth I note down I underline I note down I highlight ow can we put Salome, the age-old legend of myths, → → y are these people here? Is itbecause of the right to → er spaces inthe school must befound where the group → ow to breathe willand interest into scattered → →

a shared challenge? “compulsory education”? Is itan obligation oraright? using the bodies inthe learning process. and making itpossible to introduce other dynamics for the characteristics of the space and the available materials, also be explored inside the classroom, taking into account can explore other approaches. Different cartographies must H from the twenty-first century? in adialogue withNelson Évora, atop-class athlete H Newton? What moves orupsets Nelson? Wh Wh Oth a H a nd absent bodies? How to motivate nd teachers for the learning processes? ow can we transform and poetry covalent bonds into at music does Salome listen to? What motivates students

From the Latin movere: to displace, to cause to change place.

Guide Catarina Lacerda

46 47 the habitat/classroom Hope, at home, redesigns 5 Day under the form of an epic. of fiction and willbepresented Reality must have elements I note down I check I → → e need to the simplify →

Thi H P Openin choreography, itmight also fulfil the functions of: With th W autonomous interpersonal work. vocabulary sense of belonging to agroup, the creation of acommon exercises, which work onactive listening, focus, the wasting time. It makes itpossible to combine group and the students, without losing concentration or minutes, to form different compositions of the classroom the individual effort into an exciting group task. to make itmore effective hysical activation; armonising the group. s floorplan makes itpossible, inthe course of 80 e repetition and greater flexibility of the g ritual; , by Accompanying herinthistaskisthealbumPlay,by Surrounded byblanksheetsofpaper,apencil, , withexercises insmall groups that encourage It enthralsher,getsinsideher. use toher.Shestudiesitkeenlyandnimbly. “Run on”.Hopefindsthemapthatwillbeof did therest.Sheparticularlylikestrack she associatedwith“Iliketohear”.YouTube Moby. Salomereferredtoitinthevocabulary ago, intheplanningsectionofIKEA. acquired whenremodellingherkitchen,twoyears What hasprovedusefulisthetrainingthatshe was neveraverygoodstudentatvisualarts. different arrangementsoftheclassroom.She puzzle, sheseekspossiblecombinationsfor 24 chairs.Asifshewereworkingwitha“Tetris” geometrical forms.Sheinventories24tablesand rubber andapen,Hopenotesdowndimensions organisation of the space and , to transform incorporate and

Consult

“Choreography for a U-shaped room” (p. 136) necessary for the performance of tasks. as dothe students, should be mobility and spacious area inwhich to move around, tables and chairs. The teacher has alarge autonomously, face to face, making use of andof between two sixmembers, Micro areas that make itpossible to: voice and thought. takes responsibility for their body, is involved, everyone matters, everyone presences into operation –everyone space and other bodies, bringing active are exercised inthe relationship withthe the bodies of the students and the teacher 2. Presentations that practise oral skills: “ and 1. The realisation of group exercises Organise themselves into groups A spacious area that allows for: corporisations”. Cabinet

Board

Professor

Consult

“Corporisations” (p. 173)

Guide Catarina Lacerda

48 49 the performance of a choreography, To activate Objective: 1b) Rhythmicexercises 1a) Stretching withayawn Activate body, mind and amusical sense Step 1: educational dynamics Cartographies and 6 Day I note down ere is apalpable inthe geometry relationship of the →

Th bodies withthe space. the skills necessary for The following description corresponds to three The followingdescriptioncorrespondsto three Hope announcesthattherewillbenosummary. 08:30. Salome iswild,irritatedwithothergeographies. 08:25. She beginsatthebeginning:insilence,she 08:20. Hope knowsthatthechallengesheproposes main steps. two-hour blocksgatheredtogetherinthree and isnervousaboutherownexpectations. athlete. Hopesmiles,shehasachallenge attacked inhisroutineasatop-class Nelson feelsthathehasbeenpersonally particularly energeticandreadyforaction. awaits thesummary.Mosesarrives,feeling gravity. Nelson,hismusclesimpatient, Newton holdshishead,whichgiveswayto looks likeanIKEAdrawing. of herworkthenightbefore,classroom observes thebodiesinspace.Asaresult to changeislearnedfromaveryearlyage. to introducewillcauseastir.Theresistance

of looking at the classroom furniture. of the class and stimulating another way movements of the different members imitation of gestures, harmonising the proposed inaformat that is an focus). Rhythmic coordination, active listening and with the actions of the other (motor planning their phases inaccordance namely → → → → → sound conductor” and “Word volcano” (p. 146) On this subject, consult the micropedagogies “Game of the (“prestidigitator”, “maresperantototemic”). So volume). So In (table, chair, pencil, sheet of paper). In An exploration more complex and channelling itinto other contents: progresses, several variations are possible, making the rhythmic and appropriation of the necessary mechanisms gradually students are supposed to repeat. As their understanding the “phrase”. Hope proposes the rhythmic phrase that the sequence withthe clapping of hands, which we refer to as In avariation of this micropedagogy, we establish arhythmic Game of imitating gestures/movements (p. 126) clusion of vocal sounds (breathing, consonants and vowels). clusion of sounds produced incontact withschool objects Micropedagogy yone can make aproposal. und treatment of “unpronounceable” words und exploration of the vocal dynamics (speed, and fluidity synchronising activities and I state I exercises are earing the order or“Without “Silently” dragging →

substantially reduces the noise. Silence seems possible! proposals”: paying attention to contact withthe objects choreography should take place “without any sound with the musical perspective, itis requested that the tables and chairs”, the students barely react. However, On h

Guide Catarina Lacerda

50 51 I state I oday Ifelt the presence of inthe Newton class! We must →

T own individual member of the class, intheir own time, expounds their develop this sound sensitivity inacircle, where each vocal projection. to the sound of the words, improving articulation and no commentaries. Invisibly, working onthe sensitivity in unison, by everyone, without stopping and with The class is standing, Hope is at the front. The classisstanding,Hopeatthefront. proposal, listening to itrepeated, PRACTISING thechoreography. been createdfortheintroductionofSTEP 2: She willbethenextone.Theatmosphere has sound dynamicsbasedontheword“pony”. and down,sayingthatshewantstopropose and chairasobjects.Salomeisjumpingup clapping andusingthesoundsoftable will betheleaderwithanewrule:no the personproposingphrase.Newton the class.Hopechangesfocus, greater precision,whileMosesactivates involved atall.Hopeencourageshimwith madness. Theyfollowhim.Newtonishardly gesture. Theclassbecomeexcitedwithhis developing hismusicalawarenessofthe he clapstwice,putshisfeetonthechair, chair asanobject.Mosestakescommand: clapping andincludingthesoundof in theproposalandaddingarule:nowwith the group,requestingprecisionandclarity Hope challengeshimtoproposeaphrasefor and commentsonhoweasytheproposalsare. four rhythmicsequences.Mosesisexcited Nelson, toparticipate.Therethenfollow example, andinviteseveryone,especially congratulates Mosesforhisexcellent Nelson disapproves.Mosesanswers.Hope is determinedandrepeatsthephrase. Salome: “Oh,Miss,really?!”laughter.Hope Hope proposesthefirstrhythmicphrase.

of the U-shaped space BENEFITING from the dynamics Step 3: Practising the choreography Step 2: Hope has studied the choreography in great depth. Hope hasstudiedthechoreographyingreatdepth. I remember I observe that willsupportherinoralcommunication. Expectant anddetermined,shehasamentalscheme 4. → 5. → st as oracooking inasport recipe, swiftness and → → 3. ple and synthetic phasing:2. phrases short withthe 1. →

ENUNCIATION performance, and not into the justification. the bodies of the students. Energy is put into the the enunciation, clarifying what she is saying with steps and tasks! the fingers of her hand indicating the number of the centre, infull view of everyone. She raises her arm, with sequence. to three passages from the complete choreographic Wh back, repeat, and further explanations are given. uncoordinated orhesitant, itis suspended. They go Don Th learning. We must listen to itto beable to have itas an ally! J An e needs to bearoused so that learning can take place. contains inthemselves areferential universe that action and reaction, bearing inmind that each student expository and experiential; listening and chaos; and should beacombination of various moments: comeagility from repeated practice. Alesson can Ju Sh In th C stress onverbs of action. Sim istence a negation of these three existences, so it is ades(ex) where Salome Newton, and Moses see “ponies”, itis sees the curricular goals inhis personal targets. But u oncise and pertinent rules: teams, tasks and duration. st like the manual, the experiential space is essential for e e relates en all the steps are clear and known, perform one ’t beafraid of repetition: when the action becomes actions are performed/exemplified together with e oral explanation: ffective lesson for Nelson, atop-class athlete, who and adespair. VERBAL ENUNCIATIONVERBAL : strategically, she is positioned inthe

with CORPORAL

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52 53 Troubadour and poetry Intertextuality 3a) Contents of Portuguese: Speaking, Consult

“Phonetic notation” (p. 166) With the aim of deepening sensitivity to the With theaimofdeepeningsensitivityto III II circleythmic of consonants and words I micropedagogies. spatial organisationofthegroup(s)to implements thefollowingplan,linking contents oftheprogramme,Hopedrawsupand

C C D “M C C D P C C D Rh Phonological processes Speaking; Phonological processes honetic notation honetic uration: 10mins uration: 30mins uration: 30mins ontents: Intertextuality; Speaking and the bodyinspace; onstitution: 6groups of 4people +1tutor ontents: Songs of mockery and vilification; Intertextuality; onstitution: 6groups of 4people +1tutor ontents: Speaking gymnasium onstitution: 1group of 25people edievalisation” of twentieth-century poetry First line of At the end, we concluded: “Triumphal Ode”, by Risk and surprise arouse curiosity, and curiosity mobilises the body adapting their presentation to the space. time and energy onachieving “medievalisations” and not on They sought to beeffective: they chose to concentrate their The audience were intended to stand around this stage. mini-stage where the group members positioned themselves. tables together inthe centre of the spacious area, creating a conduct for the use of the furniture. Nelson’s group joined two seemed to endanger Moses’ physical integrity and the rules of They were also excited and surprised withthe proposal that effectively to “the masses”. They lacked abetter articulation! able to see and hear easily, everything communicating presentation. They wanted the audience to circulate freely, Moses’ group used the top of the cupboard to begintheir as alistening exercise. They wanted to surprise the listeners. their presentation withtheir backs turned to the audience, transformed into the audience, facing the board. They began Salome and Newton’s group chose to place the class, now Medievalisations (p. 166) Álvaro de Campos. “Ridikulus articulatis” (p. 152) On the subject of surprise as apath to effectiveness, read: Micropedagogy and Moses’ risk-taking. a combination of Nelson’s effectiveness, Salome’s surprise the effectiveness is relative. The ideal presentation would be and stimulates the mind. When the bodies are not mobilised, I note down I question I state I e class was asuccession of challenges! →

→ →

A gymnasium for my Th woodworm and ahandful of cherries... P in afever”. light of the factory’s huge electric lamps /Iwrite cupboard, onthe windowsill, toasting “By the harsh of light, withlamps scattered around the tables, onthe An a desire to communicate! determination to surprise, an awareness of the other, Th leasure is contagious and curiosity burns ere was chaos d what ifwe were to hold aclass withanother kind and collaborative and work, a speaking. like a

Guide Catarina Lacerda

54 55 Electronic configuration of lithium 3b) Contents of Physics and Chemistry: Hope plunges into her note book. Inspired by the Hope plungesintohernotebook.Inspiredbythe It’s 11:45pm. Hope, defeated,gotuptohaveacupofcoffee.She Thursday, thereweredifficultiesinthePhysics → tep 1: → → → →

S D S Activating Stretching D with the contents and pictures inthe manual. They relate their own experiences and observations Se S D S D S D Synthesising Spatialising Choreography Newton andNelsonwillbeelectrons. she hasexperienced.OnMonday,Barbara,Moses, her abstractthoughtandthephysicalreality She drawslines,creatingparallelsbetween over thelinofloorofroom001,inblockC. with herpencilandpaperready,sheflies flight ofthebirdsshesawinevening, Hope laughsandvisualisesaboldstrategy. are flyingexpertlyinageometricaltriangle. looks atthesky.It’s5pmandaflockofbirds gaze focusedonsomethingoutsidethewindow. get somefreshair.Newtonremainedwithhis Newton toaninvertebrateanimalandwent ability tospeakChinese.Mosescompared and Chemistryclass.SalomenotedHope’s tep 2: tep 5: tep 4: tep 3: uration: 2mins uration: 5 mins uration: 10mins uration: 20mins uration: 33secs ated inaU-shape, the students opentheir manuals.

and practising the “spin” concept the electronic configuration of lithium

→ → → 1.

Th Nuc E T the electrons and directs the electronic distribution. the scheme: molecule of lithium, with three electrons, inaccordance with Objective, rules and spatialisation out the an adaptation to the contents that are to betaught and tries In applying the premises of this micropedagogy, Hope creates Making the invisible visible (p. 174) challenging action and pose, and therefore activates vocabulary which, inanormal formation, places them ina place themselves under the table. It is interesting to develop while the students onthe (B),reacting left to the spin the table”, the students onthe right (A)climb onto the table, students pertable, when Hope gives the order to “Climb on Taking advantage of the room’s normal configuration, withtwo Stop inmovement (p. 125),spin o represent inthe space the electronic configuration of the ach student willbean electron. Micropedagogy Micropedagogy ere willbea“coach”: an active voice that names and guides leus and orbitals willberepresented inthe space. EXPLAN/ ACTION of the proposal. variation. them. variation, 2s 1s

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56 57 Without knowing it, they will be waiting for her when a Without knowing it,theywillbe waitingforherwhen a Newton, Salome,Nelson andMosesareperhapsasleep. On Monday,shewillbe backagain,withatrumpupher She closeshernotebook andthenclosesthebedroomdoor. Hope laughs,inavortexoftiredness,joy and Life isnotafairytale,butitwillbean epic. Pleasure animates andiscontagious . Enthusiasm Listening andgivingroomtoeachparticipantin Hope considersthatshehasjustheardabizarreinsert It is02:00amonaSaturday. new week dawns,with their eyesfixed onthehorizon. Perhaps not. sleeve, reborn. hallucination. in the abilitytowithstandfrustration,pleasure requires perseverance,complicityandtime; responsible fortheirparticipatoryvoice, the educationalprocess,makingeachperson measured voice: on aradioprogrammedeliveredinseriousand overcoming thepermanentchallenge. people. moves people. → 4. 3. → → ope is the “coach”. The area next to the cupboard is the 2.

rules of the game” and the rules of the electronic configuration. one another, acorrespondence is established between “the standing, relating to one another inthe reverse “spin” manner. 1s orbital, withless energy. Nelson sits down and remains Newton “coach”; Hope monitors them. complex chemical elements. The students willalso bethe they move onto the spatial organisation of other more On Ob who occupied the 2sorbital. Th N S representing the 1sand 2sorbitals. nucleus; side chairs two are placed inthe central area, H alome is the nucleus. She places herself inposition. ewton andewton Nelson, now the electrons, beginby occupying the ere is one electron over, left Moses, the valence electron, ce the operational mechanisms have been apprehended, serving theserving bodies inthe space and their relationships with

Guide Catarina Lacerda

58 59 Actress stage and Guides by the by the Guides 10 artists in the the artists in Maria Gil Maria Discovering do Silênciodo Teatro director, by doing

10 project

1st edition And then Iremember watching Maria Bárcia giving her lesson, inamixture On top of my table, Ihave apile of notebooks invarious shapes and sizes, I remember having enjoyed the openand direct way that the students Now, looking back at the notebooks, seems everything to make sense and I don’t understand why Ihave to have Portuguese lessons; Ialready If school weren’t compulsory, I’d still come anyway; Ienjoy the More practical lessons. Less material to learn. Learning serves for us to get ajob and have afuture. ones to decide what they wanted to study and the way they would on which can beread, inblue ink: “10 of strangeness (despite Iwas everything, an outside element inthat and to operate inthe classroom context, itstill presented itself as an educational project that sought to act onasmall (micro) scale a project from scratch, there were no public lessons orartist- at the time, neither to me, nor to the teacher Maria Bárcia, nor even social contact, Idon’t like the lessons. assess the results of this crossover through (among other things) something ambitious, since itwas designed to combine artistic and class) and familiarity, because she was inaplace that she already remember asking them what things would belike ifthey were the remember them telling me that they would “still have to think about more clearly what exactly this “10 pedagogical practices inan innovative fashion and was looking to person, inaclassical connection between text and action, students notebook and immediately find, on thefirst very pages, marked with teacher pairs to beused as a reference, there was no systematised to the students. Onthe one hand, we were starting to implement texts for her own shows. The truth is that none of this was obvious the students writing in collaboration with an actress who writes the talked to me. Iremember them having asked me to explain to them that Ihad withthe students, who, among many other things, told me: the date 27September 2012,arecord of the initial conversation the largest of which is ablack notebook withalabel onthe cover, the holding of public classes inside and outside the school. There Bárcia/Maria Gil,2012”.Ibeginby flicking through the large black fit together perfectly: aPortuguese teacher paired withatheatre black notebook, Iwrote: “There’s ahomely feeling inthe classroom.” knew, afeeling that willalways remain etched inour memory. Inthe big knowledge, was everything uncharted territory. Although this was how the Saturday outings that we were planning would operate; I ing me questions about what itwas like to be an actress. And Ialso it”. Iremember their curiosity about my profession, and them ask- who don’t like reading orwriting, and ateacher who wants to set like to doit;and the answer was: know how to read and write.

10 Project” was all about and

10 Project, 1 st edition, Maria

Guide Maria Gil

60 61 ● This content no longer exists. After we had identified our problem, orthe question that we wanted to If we close our eyes to and remember try amoment inour childhood or How to get students writing inaway that isn’t painful for them, How to get students writing? or fun-filled experiences was one of the aims of our working ses- only because the project involved real people (teachers, students, a series of dynamics and exercises based onmy artistic practice, adolescence when we learned something, it’s highly likely that this as if it were my guiding compass: “If you know exactly what you’re such examples, and probably our own too memory –one of the subject of Portuguese as taught to students inthe tenth year of short spaceshort of time for the huge amount of work that one sensed sions in the 10 given by the teacher Maria Bárcia, proposing, together withher, go back and repeat that experience, orelse not wanting itto end, effects of associating positive moments withlearning is wishing to good to listen to that story, to play that game, orjust simply to be doing, what’s the point of doing it?” casso’s famous quote, which I jotted down inthe black notebook great challenge was to transform the idea that “writing is boring” and doesn’t feel like asacrifice? uted over the twelve working sessions. The way inwhich we made planned, inwhich Iwould accompany the Portuguese lessons playing by oneself. Inthis way, creating motivating, inspirational real context (school, academic year, classes) and inan apparently parents and guardians, school staff, artists, apublic audience), ina riences associated withthe practice of reading and writing. Our partnership withthe teacher Maria Bárcia, creating positive expe- the course of Socioeconomic Sciences: autobiographical texts that we could stay awake just alittlebit longer, because itwas so this choice was fairly intuitive and involved asensitivity that was Based onthis content, we planned asequence of exercises distrib- By way of an exercise, we may even explore that to and memory try feeling that we associate with it. Although we know that things can fragment which floats somewhere inour hippocampus is associated focus oninthe course of the twelve working sessions that were just as, when we were children, we used to fight against sleep so be learned negatively –after all, the history of education is full of identify the emotions that are linked to the event; we to can say try idea what we were doing. Atthis point, Iheld tightly to Pablo Pi- into the idea that it“may even befun”. we decided to choose the theme for our work, a content for the what we learned from that experience and why there is a positive with apositive feeling, involving other people, adults orchildren. was also asense of danger, afeeling that we were taking risks, not was involved, but, above all, because we didn’t have the slightest

10 Project, and, inthe more specific case of my ● . It should benoted that this coherent whole was not constructed through We can define dramaturgy as a process of creating or causing to “practical” lessons; inother words, ifwe were working onatext about of exercises related withmy autobiographical practice and, as Iwas Or, in other words, although there was planning, a methodological and the problem to be solved (getting the students to read and write). and practical lessons, as well as acoherence inthe preparation and a classical lesson), and the other would beapractical lesson, given among other factors, the possibility of doing them inside aclassroom about alesson, oraseries of lessons. shared between teacher and artist. Basically,between Ipresentedshared abooklet sons would be planned to operate in conjunction withthe so-called collaboration withstudents from the class and withJudithPereira, explaining how these exercises operated, the teacher Maria Bárcia gradually emerged throughout the course of aprocess developed of eachdelivery practical lesson which had to take into account the coherence, ameaning, adramaturgical link between classical lessons cal lesson, we would bewriting about our particular memories and chose to adapt exercises proposed by other artists that had been chose those that seemed to be the most appropriate for the class and dramaturgy to the way inwhich we designed, structured and thought We can state that one of the first artistic/pedagogical crossovers, or memory inthe lessonmemory given inthe classical format, then, inthe practi- produced during the residency withartists and teachers and which meaning is not something that is stable, fixed orpredetermined. producing and conferring meaning onwhat was being done, since pre-established combination of different aspects: chosen content (au- reading those memories out loud. We always sought to achieve a emerge aline of meaning that gives coherence to awhole. In the simple alignment of the exercises, nor through the simple tobiographical texts), proposed exercises (based on artistic practices) the practical approach was concerned, the class had lessons two per the firstthe micropedagogy that we used, was to apply the concept of for the context inwhich we were going to work, taking into account, the theatre context, itrelates to aperformance; inthis case, it by the artist-teacher pair, who worked side by side, as well as in by the pair of artist and teacher together. One important factor that had set the tone for the implementation of the project, and we also relates to alesson oraseries of lessons. interlinking of the classical lesson and the practical lesson, but it included inthe programme for the subject of Portuguese. As far as invented our own exercises, based on predefined question papers who monitored the project. Together they constructed this whole, was immediately agreed upon was that the so-called “classical” les- week lasting minutes ninety each. We established that one of these with the material and time that were available. Onother occasions, we lessons would begiven by the teacher (or, in other words, it would be

Guide Maria Gil

62 63 ■ ● The phrase “post-dramatic theatre” was Fischer-Lichte, E. (2008). The transformative formulated by the German theatre critic and power of performance: A new aesthetics. teacher Hans-Thies Lehmann, in his work New York: Routledge. Postdramatisches theater, published in 1999. Thus, our working methodology was initially divided into four phases: The concept of dramaturgy that Iuse here belongs to apost-dramatic This concept of dramaturgy, which Ishall refer to as discovering how to do or predicted, but is instead subject to the laws of creation, since of listening and to bepermanently available at all times. all those involved in the process of the lesson (artist, teacher and are doing, which involves a great deal of commitment on the part of and was particularly important for my partnership withthe teacher as we moved forwards, which obliged us to develop an active form approach and predefined contents, there was always the idea are living at that time. By framing the exercises withinan emerging another one, which may bedue to countless factors, among oth- structural plan to beimplemented over the course of the twelve series of exercises inspired upon artistic practices; establishing a student), who see themselves as participants inthe process, and specific context, included within a particular tradition. Ignoring this defines it:, as an event whose course cannot becompletely planned drama; infact, as an artist, Iwork inthe field of performance, and context dramaturgy, we are therefore more aware and alert to the present ers: different students, the degree of tiredness felt by the teacher, exercise that worked well inone particular lesson may not work in very exercisesvery themselves emerged from an artistic practice witha things oremerging dramaturgy, can beuseful for artists and teachers We were on the alert! proposing to dowould beconstantly reconfigured and reshaped response would bedecisive for the development of the project. moment, working together onconstructing the meaning of what we recipes intended to be applied indiscriminately. On the contrary, the therefore as more active, more empowered the response given by the students to our proposals, and that this the elements that emerge from itderive from the interactions that we were engaged inaprocess, that that everything we were the time of the lesson, the social and political context inwhich we to the contingencies of the present moment. This means that an Maria Bárcia, because the proposals that Ipresented were not mere Following this logic, both a performance and a lesson are subject fectively wished to do, to the students’ needs and to the context in fact and applying the exercises outside the context may simply not between the performers and between these and the audience here Iunderstand performance inthe way that Erika Fischer-Lichte identifying the problem; choosing the field of work; creating a working sessions, knowing that this plan would according vary to which we were operating: ninety-minute sessions inside aclassroom. whether the proposed exercises were appropriate to what we ef wanted to follow. Thus, it was important very to think together about whose work involves alarge dose of experimentation and discovery, work orelse take us inthe opposite direction to the one that we ● , inwhich theatrical writing does not presuppose the and more responsible. ■ - . The history of literature is full of episodes of writers who suffered from As an actress and astage director, my performances are always autobio- Autobiography Autobiographical writing therefore enabled us to unblock one of of beginnings; inany case, at the end, there is always an original our own “way of writing”, our own “style” or“voice”; inother words, on the contrary, our proposal was that the students should write only during the course of aperformance, infront of an audience; of any bookshop, we willcertainly find lots of manuals that are amount of speaking involved; more than sharing alist of exercises, as aspringboard for beginning to write. Inreply to the students’ and carefully edited texts based on autobiographical contents; artistic practice therefore involves alarge amount of improvisation, a routine. Finally, we can say that this was our second showed itself to befundamental, because the teacher Maria Bár- state of anxiety that we’ve all been through. Here, our third strat short texts,short but withgreat frequency, until writing became a habit, cumulation of their written production, the students should begin cia wasn’t interested in having the students begin by writing large egy, ormicropedagogy, was to use the autobiographical contents question “and what dowe write about?”, we answered “About designed to help us begin to write, to overcome fear, orto find example: I can go and live in a foreign for city four months and build graphical, orthey invariably have an autobiographical premise. For gradually define the show during its own process of creation. My creation of ashow, Idonot have apreviously written script, but I not knowing how to start writing, nor even what to write about, is a micropedagogy: to undertake aseries of exercises of rapid writing material. This means that, onstage, Iexplicitly use material that I politicians and ex-lovers of mine to create ashow based onthis memories and poems by an Indian poet; Ican interview Portuguese people who are far away to write me aletter, which Idecide to open up ashow oraperformance based onthat experience; I can ask text. This leads to my having developed apractice of recording to feel more and more capable. the question back at us: the most common obstacles to written production: not knowing the well-known “anguish of the blank page”, and, lost inthe shelves I can create ashow from that adiary mixes together childhood for which Idesign and adapt exercises, tasks, offshoots, which can have fairly fixed rules orjust beavague and imprecise collection have drawn from my own life. Furthermore, when Iembark onthe ideas, of spontaneous and fragmentary writing, and withalarge in order to unblock the “Ican’t doit”,and so that, through the ac- it was this experience that I could bring to the project. This sharing where to start. The students, who were somewhat amazed, threw what you know best, about yourselves, about your experiences.” strategy, or -

Guide Maria Gil

64 65 ● Available on the blog of the Calouste Gulbenkian’s “Descobrir” Programme are some scripts of the exercises developed in detail. You can consult these at: http://descobrirblog. gulbenkian.pt/escrever-sobre-mim. 7. 4. ent another Christian name for yourself. 1. The protocol that we established for the realisation of each exercise quickly 8. 3. rite about based amemory on five distinct smells: an old perfume, 2. 6. One of the criticisms most frequently levelled at autobiographical writ- 5. Can Iwrite about myself? Here, now, are some examples of writing exercises that we did with

A Us Inv C W C Inv W overcome these same difficulties and limitations. only for those students who wished to doso. Suggesting “Who our part, they felt more relaxed about sharing their texts by reading around the school as your alter ego. a sense of security, while, at the same time, challenging them to and withitincreased responsibility, creating acomfort zone and adhering to this dynamic, that itwasn’t any form of demagogy on according to its nature, although there was always apre-defined among your props child’s clothes and atable lamp. self-confidence and didn’t feel as ifthey were being judged, and ever wants to can read out what they’ve written” and respecting especially among adolescents, the students don’t feel exposed or gave the writing process astructure), there came the moment of do itfor them, inanew dynamic of mutual cooperation. This was reading aloud what they had written to the rest ofbut the class, use this mini-album to put together an installation, also including manage to dothis, we suggested that itshould beaclassmate to the third person singular “he/she”. the students seriously, withthe aimof giving them greater value, the peppermint plant, cedar oil, resinous incense, nail varnish. them out loud, all intheir own good time. Often, when they couldn’t their texts. Writing, even when itis non-autobiographical, is an this dynamic was decisive inensuring that the students gained time that, while creating pressure, nonetheless imposed limits and tion paper and indicated the time for each exercise (which varied took root inthe class procedure: after we had provided the ques- from the wish to take these questions and the difficulties felt by for the shyest among them to gradually become able to share the students: judged inany way. When the students understood that we were ing has to do with its solipsistic nature, encouraging a display of it aloud to the class. intimate process; understanding this fact is crucial inensuring that, where afourth sk afriend/relative to write you aletter, openthe letter and read reate amini-album using five childhood photographs and then arry out anarry interview withyourself. rite a biography about yourself using the personal pronoun in e apocket mirror to write aself-portrait inapoetic form. ent an alter egoand come to the class as that alter ego, walk strategy, or micropedagogy, was to be found, arising ● - ● “Every man bears the whole stamp of the human condition.” Quotation taken from the work by Clara Rocha As máscaras de Narciso (Coimbra: Almedina, 1992, p. 35). At first, our attention was focused onindividual exercises, ongetting each How does one create aclass? of reconstructing identity, the awareness of the various social roles of autobiographical texts, such as the creation of empathy, intersub- or dialogue or for thinking together and for building up knowledge as own safe space. Mediated by the artist-teacher pair and authorised and to produce written texts produced by several hands working abdicate all responsibility; furthermore, withgroup work being limited autobiographical writing, allows us to state, just like Montaigne, solve the problem... We know, even from our own experience as stu- students could have their own voice, in order to better understand student inthe class to write, which may seem to becontradictory, students. Infact, itenabled us to explore aseries of important similarity and difference, as well as the emotional impact of personal dents, orat the professional level, that group work often boils down class inwhich the students don’t know each other orhave difficulty ends up performing several tasks at once, while the others totally contents of the school programme, and as a starting point for questions inthe learning process, not just those related withthe ● personal writing as aspringboard for fiction, the possibility and limits reader feels closest to the writer. Infact, the universal nature of ment inindividual autobiographical writing and then, only at the end, micropedagogy, came into play, which involved first of all an invest- part of acollaborative process. This was where our strategy, fifth or reading and writing, but also with the individual experience itself, to the distribution of tasks in which there is always one person who themselves and to get to know the other; these are to beconsidered that we play, the relationship between the self and the other, intheir to this allocation of separate tasks, there is littleroom for discussion, to what is called creating agroup, creating aclass, or, inthe school to us: not to me, not to the teacher Maria Bárcia, nor even to the “chaque that homme porte la forme entière de l’humaine condition” the argument being that is perhaps the one genre inwhich the the self-centredness and narcissism that this genre encapsulates. together. Once again, the questions raised through the production However, itis also quite common for the same genre to bepraised, jectivity, individual versus memory collective memory, the relationship jargon, group work. But what is “group work”? because the tendency of teachers, especially when they have anew by the students themselves, who chose what they wrote and decided in the last working two sessions, did we begin to work in small groups in its relationship withthe other. Or, inother words, Iam referring working as a group, is to get them to do group work – as if that would when they would read it to the class, aspace was created inwhich the writing, were all important inensuring that each student had their with subjective truth and factual truth, the dichotomy of fact/fiction, . This aspect of autobiographical writing was not unimportant

Guide Maria Gil

66 67 The origins of theatre are linked to ritual, as a religious ceremony that Thinking of the lesson as aritual operates at the symbolic level. Thus, thinking about the lesson as a of surprise led to the students being prepared to choose how they or because they were simply reluctant to work withone another. A and trust that was important both for the artist-teacher pair and for adolescents, they don’t like to “lookfoolish”. Removing the element any unnecessary energy to trying understand what they were doing, action and expression, and onthe involvement of the self through an answer to the already mentioned problem of the students not students can concentrate their attention onthe relationship between each lesson sitting orstanding inacircle, and inthe artist-teacher celebrated agrarian and rites. fertility InAncient Greece, tragedy discovering things by doing them, rather than seeking refuge ina thateverything is collective, because theatre places its emphasis on decisive element for creating agroup and for training skills that involve do and what the aims of our proposals were, especially because emotionally and mentally. relaxed and cooperative when they knew what they were going to ritual was our sixthstrategy, ormicropedagogy, inorder to provide posing acelebration from which we emerge transformed. The ritual nervousness and anxiety. As aconsequence, the students began pair explaining our proposal for each working session, revealing what ritual is something that is repeated and is always the same, because reflection and action, between the abstract and the concrete, learning passive and uncritical attitude. Through the dynamics of theatre, the the students to bemore relaxed. Inthis way, they did not expend thought that those exercises might beimportant, which enabled tion of our explaining, in a highly concrete way, the reason why we these were now shared collectively. the class as awhole. We understood that the students were more they were mentally prepared for what they had to do–since, as they could understand the motivations behind our proposals and that “transports” its participants to adifferent, sacred space, pro- theatre began to besituated, which, etymologically, means “the place that this attention completely envelops their entire body:physically, the artistic practices inspired by the theatrical games include play as a the fundamental bases for creating any collective group. Furthermore, to respect our proposals more, generating afeeling of confidence Dionysius from the heart of the forest to the urban space, where the from where one can see”. Inany ritual, there is acut incommon time knowing each other, either because they came from different schools it obeys the same structure; thus, our ritual consisted inbeginning itself was due to the shifting of the dithyrambic worship of the god wanted to present themselves to the others, thus reducing their wanted to propose to the class. Or, inother words, itwas aques- we were going to doand the objectives of the exercises that we This question could bebroken down into its closest relatives: “Inwhat There always comes that crucial point when astudent has the courage to The irradiating subject In this ritual that we developed, there was also a brief moment when In the same way that itis important to start, itis also important to end, “Hello! Goodmorning!Hereweare,todaywillbe lesson fortherestofyourlife? If youcouldrepeatoneexercise,whichwoulditbe And whenwillbebegintostudythesubject? A difficultmomentintoday’sclasswaswhen... thoughts withusbeforewestartthelesson?” that? Anyquestions?Doesanyonewanttoshareany Share withussomethingthatsurprisedyou... own words, what that experience had meant for them, what had of the project. We therefore asked each student to tell us, intheir ally understand how our proposals were being received. Here are answer, someone then makes acomment that seems totally out Today’s lessoninoneword... at the end of alesson when, after the teacher asks the class ifthey ask “the question” that others may have thought about, but which artist-teacher pair to immediately assess each working session, some examples of the questions that we used to prompt a summary and why? classes become serious?” –aquestion that frequently takes the gone well and what had gone not so well, how they had felt about recognition and mental preparation for the tasks ahead: philosopher Dina Mendonça inthe course of the first residency take asummarised lookat the working session. Inthis aspect, we they didn’t dare to ask: teacher away from the seriousness of the matter, as, for example, this ritual, the lesson ended ten minutes before the end of the the students arrived, which was intended to produce an effect of to give ameaning to what has been experienced. Inthe logic of full ninety minutes, so that we could once again form a circle and helping us to cultivate active listening, which allowed us to gradu- have understood and everything receives acollective “yes” as an working inthisdirection.Howdoyoufeelabout What youlikedandwhatdidn’tlike... in the closing rituals: it. This kind of collective also summary as served away for the What areyougoingtotakeawayfromtoday’s way does this contribute to my happiness?”, or“When dothe were clearly influenced by the reflective practices proposed by the

Guide Maria Gil

68 69 This attitude has some implicit notions that itis important to undo Finally, the proposals that we were to promote trying required an active out that, from outset, the very the teacher Maria Bárcia made sure own knowledge, which called for an effort that they aren’t used to of place, as ifthey had just landed from another planet, causing a lot of subjects orare about to fail. Here, itshould bepointed attitude onthe part of the students, where they were agents of their all these different items being interconnected and communicating answers”. The second notion forms part of a historical context of a such as flexibility, innovation, imagination and the capacity to move sional life that increasingly requires the development of basic skills some of the pressure the off students. Furthermore, whilethe texts students’ concern with the final results, expressed as follows: “This subjected to their regular formal assessment, which consisted of difficulties for the students in establishing links between different community of parents duly informed and involved, could we take directing themselves towards “what willcome up inthe exam” and calls for an extra effort of breaking ingrained habits, especially easily between different languages. compartmentalisation of knowledge, inahighly specialised society, empty receptacles. A teacher irradiates the subject-matter, which placing all the rest inthe background, especially when they have mental ones, which are automatically activated inorder to make sure more practical lessons, only to ask about the “syllabus” later on. not subject to any formal assessment, they never stopped being produced by the students and their involvement inthe project were making when they find themselves in“exam response” mode. This that she had theof support the children’s parents orguardians, that alesson goes inacertain direction and not in any other way. the students, like solar panels, absorb and transform into “exam that they then regurgitate infront of the students, who are mere them doing tests two during the first period (i.e. during the time the teacher to despair. We also had such amoment, linked to the forms of knowledge, connections that are essential for a profes - first is the idea that teachers are the guardians of information but rather that this compartmentalisation frequently gives rise to know did not form part of awhole, did not come from life itself, with however, curious to note the contradiction expressed by someone having explained to them the premises of the project, how long it know how students like to organise their studies inapractical way, in which “this is Mathematics”, “that is Portuguese”, as ifwhat we it meant that they were going to have a“mark” for that period. It is, is all great fun, but we’re going to have aPortuguese exam.” We would last and what this would involve. Only inthis way, withthe with one another. By saying this, Idon’t mean that analysing a who, at beginning the of very the project, claimed that they wanted when the project took place). This reassured the students, because literary text is the same thing as solving a mathematical problem, . The ● These items are inspired by the work of the American Goat Island Performance Group, with which I studied. They are available in: Goat Island (2000). School Book 2. Chicago: Watertown Printers. → → → → → → Also connected withthis idea of linking together different forms of knowl- A lesson inthe street #3. Notice one of the following pairs #2. Make acollection of lines, points, surfaces #1. Corporal references (choose one and/or alternate) Research in silence: techniques for listening and seeing

A s A h A s F F F ocus onthe area between your neck and the sky ocus onthe area between your hipand your neck ocus onthe area from the ground to your hip car/an alteration ecret characteristic/an infinitesimal detail ole/an opening At the end of the day, literacy is, above all, related to our capac- among other things, include walking as an aesthetic and political an analytical mind, for, while, at acertain moment, they were writing and elaborate different arguments. students to bereaders of the world, based onasession of writing classroom, there is also something of the classroom inthe street. edge, itwas important that we undertook alesson inthe street, since, procedure. Below, we share withyou the instructions that were used and developing an analytical way of looking at the text, which of writing,memory reminding themselves of what they had written read “Autorretrato” (Self-portrait) by Bocage, they activated the that this was our seventh the practices of the Situationist International movement, which, to write, read and interpret specific questions, to understand what their own texts, constructing the contents of the subject that they In our case, it also meant that students were required to develop for writing purposes. formed part of the syllabus for that subject. For example, when they just as Iinitially stated that there was something of the home inthe handed to the students at the start of along walk, which, although it took place as agroup, was held insilence, with occasional stops in the street inspired by the Aristotelian peripatetic movement and is essential for the teacher of Portuguese, who wants the students identifying similar ordifferent words from the ones that they had implicit methods that the author had used inpreparing the text, ity to readity and to interpret the world inwhich we live. We can say is read, as well as to train and develop their capacity to present when they were doing their own self-portraits, recognising the were studying, they later compared them withthe literary texts that strategy, ormicropedagogy, to lead the ●

Guide Maria Gil

70 71 7. Holding alesson inthe street withthe aimof breaking the normal format → → → 4. Taking the difficulties felt by the students seriously, withthe aimof making 1. Using the concept of dramaturgy to create aline of meaning that gave #4. Observe #5. Ask: when willyou lookagain? 3. Using autobiographical contents as aspringboard for beginning to 2. Inverting the paradigm of reading/writing, to writing/reading, beginning 6. Thinking about the lesson as aritual that generates confidence and 5. Using individual autobiographical writing, so that the students could Coda It may befrustrating to hear the students saying that they don’t understand In short, the mainIn short, micropedagogies that we used were:

figu wh wh at isn’t used at can’t beseen res changing around afirmcentre our texts to the texts included inthe syllabus for the subject. one’s own thoughts, limiting words to signs, forgetting the symbolic Our approach for inverting this perspective was constructed in and establishing relationships between the world, the “self” and and, through reading aloud, to gainconfidence inour own capaci- as awhole, aware that the difference between the students also and metaphorical dimension that they include, is impoverishing. and criticism, from an interdisciplinary perspective that is charac- since they did not all think inthe same way. coherence to awhole, to alesson and to aseries of lessons. constituted arich source of possibilities for inverting this paradigm, close conjunction with the students, in this case grouped together get to know one another and create summaries, contributing to purposes of communication, but inorder to think and to organise ties; to understand what we write; to bemore capable of relating teristic of the and Arts Humanities. And even when itis generally the subject involves complex exercises of interpretation, analysis the students themselves. trust between the artist-teacher pair and the students, and between the construction of acollective; them feel valued and, at the same time, giving them responsibility for overcoming their own limitations. known that writing, just like language, does not exist just for the know how to read and write, especially when, at secondary school, what we learn at school. write, resorting to the “self” as astarting point. with exercises of rapid writing, inorder: to unblock the “Ican’t doit” why they have to study Portuguese as asubject ifthey already ● Beckett, S. (1996). Últimos trabalhos de Samuel Beckett. Translated by Miguel Esteves Cardoso. Lisbon: Assírio & Alvim. The description that Ipresent here in amore orless systematised fashion There is aspecial ontology that is peculiar to artistic languages and which In a text that amounted to a reflection on the first residency between My eight years’ experience as ateacher of drama at state schools only 10 And it is in this common territory that artistic and pedagogical of change. The space of the classroom is like aform of teleporta- one may have of gesture, which have varied over the different ages. artists and teachers, the philosopher Dina Mendonça began by allows me to conclude that this experiment is nothing more than subjective perspective about that idea, as well as an aesthetics. space that the actor moves, regardless of the conceptions that student, which results inthe common amazement that they both during the school year of 2012/2013,and, above all, without their quotations from Samuel Beckett: “All of old.Nothing else ever. Ever could not have happened without the students of class CT4 of the going much further than the mere transmission of tools, and itis closes within itself idiosyncratic characteristics of our own person, express abstractions and concepts, agesture also expresses gestures, which, for me, coming as Idid from atheatrical context, characterising what, inalater phase, we came to refer to by the name of “micropedagogies”, being considered micropedagogical many drops of water. The secret may continue to lie inthe famous meetings and assessing the students. not wish to cease to beamazed by aworld inapermanent state practices may beimportant for teachers and students who do methodologies that Idevelop and, above all, itbecame increasingly “contaminate”, can practices influence and enrich one another. profession involves communication, bethey artists orteachers. I learned that a gesture is not just an attempt withinlanguage to artistictween and pedagogical practices. As astudent of theatre, tried. Ever failed. No matter. Try again. Fail again. Fail better.” to out, carry besides the hours spent giving classes, attending teacher of Portuguese, Maria Bárcia, who decided to involve herself In this way, agesture, when itis materialised, proposes an idea, a transmits our psychological and emotional states –and itis inthis tion created especially for this relationship between teacher and During this process, Imyself began to become more aware of the Being aware of this dynamic is essential for any person whose just adrop inthe ocean –but inan ocean that is composed of being ateacher meant having ahuge volume of bureaucratic work bring withthem; artistic practices can only accelerate the process. know where itcomes from and what traditions itincludes. in aproject that took her out of her comfort zone, at atime when involves, among many other things, imagination, body and thought, important for me to map the history of my own artistic practice, to in this aspect that the dialogue between artistic and pedagogical was revealing withregard to what could bethe articulation be- th year of the Escola Secundária Padre António Vieira, inLisbon, ● , en-

Guide Maria Gil

72 73 Transdisciplinarity Testimonies from Ângela RebordãoÂngela the teachersthe and the communication communication the and Filipa Lencastre de Secundária Escola Physics Chemistry, and of scientific contents scientific of in the 10 the in

10 project

3rd edition There is no shortage of books, training courses, pedagogical theories or The success of this project lies precisely inthis combination of the ex- Many years ago now, astudent asked me why Physics was so difficultto Having an artistic partner inthe classroom, planning the activities with The presence of the artist, whose action is necessarily more than and acomplete immersion of my reason and senses that Ihad and chooses the exercises and the activities that are to be per - action rarely leads to the same results. Many years of experimen - struments, but italso affected my personal training as a teacher. someone who is not ateacher and taking part inan artistic resi- suade her from thinking that way, or, if perhaps I was feeling impa- ships withinthe group, as ifwe had invited a squirrel to come to changing (orbetter the adjustment) of my teaching practices did dency, were all challenges that meant achange inmy practices question is that we cannot separate these dimensions). two ever had as a teacher and as a person (because the nub of this come one of the most interesting training experiences that I have even just simple advice that seek to point out the way to teachers very personvery that this teacher is. It is their movement and voice pedagogies that enriched my store of educational tools and in- not arise only from the acquisition of aseries of artistic micro- never experienced inany training scheme before, not even inmy professional who is capable of planned improvisation, or, inother periences of the teacher and the artist and inthe possibility of that embody the activities that they have planned and, when they the tation, trial and error are needed to transform ateacher into a that I have wondered why on earth it is so difficult to teach science. that there have been many occasions when Iam correcting tests tient, I may have told her to study harder. Ihave to admit, however, theory, ora formula, nor even atradition (although itwas obvi- teacher pair undertook was an act of pedagogical creation, which, the construction of scientific knowledge. The work that the artist- the aquarium and we could then observe its new habitat through For, ifitis the teacher who plans the class, prepares the contents formed, the one who is exposed to the gaze of the students is the just aform of coaching, willhighlight the interpersonal relation- joining together concepts and contents, using artistic tools for but pedagogy is aroom that has many doors, where the same is made to one’s intellectual capabilities and technical skills. The initial training as ateacher –where, as ageneral rule, an appeal ing what they know, they also teach what is or what seems to be. interact with their students, they donot limitthemselves to teach- its eyes. words, into an “artist”. And it was in the context of this search that who aspire to become the experts they always dreamed of being; learn. Idon’t remember what my answer was; Iprobably tried to dis- like all acts of creation, did not arise from the application of a 10

10 project suddenly came into being, which was to be-

Testimony Ângela Rebordão

74 75 As the teachers themselves cannot individually change the curricula, nor It was enough for us to lookat the curriculum and at the management of ensuring that Physics would betransformed from something ously related withthe nature of being asquirrel orafish). It was on corporal expression and the use of the voice, from games of of school knowledge. The aimis awell-intentioned one, seeking of the teaching schedule to realise the increasing fragmentation of the reasons why Physics is difficult (we could say the same a leap inthe dark, pure experimentation, without any guarantees applied as ifthey were formulas. In some ways, they are like the away from them. The power to bethe constructors of knowledge around along time, but its pedagogical application is not yet a struct withtheir students this relational knowledge that seeks to sion comes at acost: we lose the notion of what is complex. One strategies have made itpossible for apoorcountry such as ours, difficult into something easy. creativity, which derived from along process of activities based gogies to beimitated, given that they are contextual innature; course of the training sessions, as well as the experiences shared growing bureaucratisation of the educational system has taken very act ofvery learning and teaching itself: unique and personal. they were just one person as economically as possible. And Iam practices and adapted to the teacher’s style, but they cannot be mist’s crucible from which one can draw one’s inspiration. Iuse nothing, but itisn’t. The series of experiences put together inthe ricular guidelines. The 10 unite concepts and contents into an integral whole. not going to discuss its merits here, because Ibelieve that these they may be transformed, fused together withother pedagogical the word inspiration here because itis hard for these micropeda- technician that there is inme, itseems to me to beahandful of the time orspace inwhich their teaching takes place, they need a to improve learning by reducing its technical nature and optimis- tween thetween arts and sciences is something that has already been thing about science ingeneral) is the apparent distance that best academically prepared ever. However, this mechanistic vi- improvisation and imagination. Nonetheless, inthe eyes of the in detriment to their being mere replicators of manuals and cur - ing the use of the different time slots, to teach everyone as if with the other teachers and artists function rather like an alche- is created between teaching and reality. Transdisciplinarity be- in the last decades, two to produce the generation that is the widespread practice and itmay behelpful for teachers to recon- large amount of creativity to reacquire some of the power that the

10 project allowed for an upgrade of Testimony Ângela Rebordão

76 77 Testimonies from An emotional journey journey emotional An the the teachersthe in Isabel Machado Isabel Escola Secundária Secundária Escola Portuguese, de Caldas das Taipas das Caldas de into knowledge 10

10 project

3rd edition The school should bethe space where people’s wishes to respond to It was withsuch an attitude that Ithrew myself into the 10 I believed, at that time, that itwas possible to change and my enthusiasm For this reason, inJanuary, 2014,as soon as Isaw the first Public Lessons Participating inthis project was aprivilegeand agreat for opportunity João Girão. Ibegan, then and there, to think about how best to and transform my conformity into action. Iwas delighted withthe and viability of the project. adapting to the constant and rapid changes that we are now facing. at the same time, feeling that we could bedoing much better. asm gives way to conformity, and you feel less and less desire to students and the artists happy, developing dynamics that stimu- spend much of their time, and therefore it is here, too, that they are strategies, the artistic component and the micropedagogies. My skills that make them freer, more capable and more autonomous. school that such changes can take place, itis here that students creative lessons, seeing the teachers dedicated to their task, the ence and that, objectively, Icould change the routine of my days emotional comfort, happiness and the wish to learn more and more change and to alter the routine that was beginning to take hold of combine the contents of the subject of Portuguese withthe artistic completely immersed inthe 10 carry onourcarry way, believing that we’re doing right, everything but, change; working with your peers doesn’t happen as much as you different ways of expressing themselves and, in this way, becom - Within this proactive structure, teachers should beequipped with r me, in the sense of being able to build a learning space, a space of participation was, therefore, founded onmy immense desire to proposals, to reflect and consider how to establish my first contacts process, particularly the students. routine begins to take over and it brings tiredness with it. Enthusi- renewing my teaching practices. After many years of teaching, multiple languages so that they can provide their students with I was aware that this was that an opportunity Icouldn’t afford to the capacity to dream; a new horizon was opening up before me... the challenge of our present-day society should come together, trained and that they grow, acquiring knowledge and developing the impression that there is nothing more that we can do, and we fewer moments available for shared reflection. We are thus with left began to get the better of me. Inno time at all, Ifound myself in Guimarães, Irealised that this was aproject that made adiffer- ing capable of facing up to the contemporary challenges. It is at where Ifound that everything Ineeded –new methodologies and waste and so Isummoned up all my energy to ensure the success with the students. Ifelt myself to befull of life and endowed with would like, due to time pressures and other reasons, and there are late and involve everyone concerned in the teaching and learning esidency in Lisbon, where I made my first contacts with the artist

10 project, attending an artistic

10 project,

Testimony Isabel Machado

78 79 “With each“With new challenge that was presented, we gradually incorporated Two main lines of force guided my work along this path. Onthe one hand, This personal construction of awhole, bringing together the whole(s) of To this end, itwas essential that there should besome initial sessions of sharing. It was urgent to create an environment where each of the working group –the teacher, the artist and the students. and setting various creative mechanisms inmotion. atmosphere of affection and great togetherness. “Mynotebook” a most intense fashion. Sothat this symbiosis could beachieved, it and personal knowledge. The challenge was to bring together in something new, someone who would surprise us, someone who everyone experienced what was being done both internally and in complicity, agreater knowledge of one another and the acknow- chance to work onthe students’ more emotional side, creating dimension inorder to beable to think about more creative and each time. The project made me feel more animated and revitalised, each and person, every created a stimulating path that brought making me more capable of overcoming the everyday problems up and bounce around the classroom in sessions that we held for personal reflections and the various learning outcomes that they notebook, installing/recording the fruits of their research, their micropedagogies that were implemented helped to develop this person could bethemselves, say what they wanted, and dothings routines that would stimulate and promote concentration, attention more dynamic lessons, where itwould bepossible to combine to bring everyone and together. everything In all the sessions, it the educational act the proposals of the syllabus for the subject the expounding of ideas and the acquisition of fresh confidence. It the syllabus withthe artistic universe, and, onthe other hand, the the chance to take advantage of/enhance the project’s artistic the force of each word onthe paper, and we let the words jump the group was formed and was heading towards aunified whole, the class closer together and gave them asense and a purpose; just as one of the students was to put it: brought me confidence and provided me withall kinds of tools, being taught and, at the same time, to succeed inensuring that had achieved. between the teacher, artist and students based onaphilosophy who chose the of beauty poetic words inorder to compose their would bare their soul with such clarity, always there was someone which we showed ourselves to one another. Each meeting brought was like a group therapy, our class evolved with asense of overall was possible to see the desire that everyone felt to build up their was the “object” that, in its various dimensions, made itpossible without fear. Asense of mutual trust was gradually built up and the would benecessary to establish complicities between the members ledgement of our emotions, and all of this influenced the way in “All of these activities not serve only for us to practise our writing, but also “So, from the idea, which seemed alittlestrange at first, we moved onto Throughout these three years, “Mynotebook” continued to beareality At the end of most of the sessions, amicropedagogy was implemented Every day, the work group felt anew stimulus and agreat desire to par- And, for me, itwas exciting very to “empty the bag”, itwas touch - of happiness, because they brought significant learning. Clearly, of paper, frequently inthe company of João Girão and Judite, already traces apath for us to follow involuntarily. These moments are memorable, since infactions of asecond we are ourselves. And sions, Ifelt that the working sessions were being held inspaces standing of aclass and aunion of all the small pieces of our souls, everyone wrote something ontheir paper and itinthe left bag. notebook should beafforded the status of the material that was rial. Withthis, we seek to perfect our writing, giving full vent to our passed from being an extra material to being an essential mate- practice, and, as Fernando Pessoa wrote: “At first, it’s unfamiliar, responded to aquestion; later we would throw the pieces of paper prose. Asimple notebook withsheets of paper that were not very taught in the Portuguese lesson. On this subject, I now quote the threw up new ideas. the class felt the project, understood the deconstruction that it I can’t say anything more, because as our teacher Isabel says at then itstrikes root!” And, without our noticing, “Mynotebook” had the lesson was taking place and, next, ablank piece of paper was that consisted of achallenge to think. It functioned inthe following ticipate, to reveal their world and to learn. On many, many occa- thoughts.” (Ana Margarida) form the self-portrait that we perfect witheach release of our for us to get to know ourselves a little better. We live in a world freer and less forced way.” (Nicole Silva and Inês Monteiro) knowledge. It was the students themselves who claimed that this both as aspace of written expression and as aspace of personal handed to each person, where we all wrote aword oraphrase, or into the bag. Inall the sessions inwhich this challenge took place, ing to read what everyone had written. Unfolding the little pieces imagination, for itis always much easier to acquire knowledge ina involved and felt stimulated to give their best. where being ourselves is increasingly difficult, seeing that society words of some of the students who participated inthe project: was, for me, amoment of great reflection and one that sometimes way: abag was drawn onthe wall oron the floor of the space where words from which we compose our sentences, the words which which we joined withthe syllables withwhich we make words, the white and which had ahard black cover, gave us adifferent under-

Testimony Isabel Machado

80 81 All of these dynamics created great avery sense of complicity among the As the teacher, I wanted to be a whole person, I didn’t want to be simply I also tried to infect the other teachers withmy enthusiasm, sharing with In parallel to all of this investment inthe group, another of the aspects that Even today “Mynotebook” continues to befilled withmany pages; init, The students began to beable to maintain their levels of concen- order to seek inspiration. Getting away from the routine, finding another place, adapting to and inabetter way, too. Some teachers allowed themselves to and these new experiences fostered their motivation and creativity. and we broaden our horizons, all together. We rid ourselves of our and emotions, and in it are kept all kinds of secrets and complici- and/or constant change of plans was what helped to the solidify students becoming more involved and learning to do more things, spaces were highly motivating for the development of activities. sions, and ithappened at the Spa of Caldas das Taipas. Allof these sheets beginto pile up, telling abeautiful of story sharing and space as a poetic place of learning – one of the great challenges since I soon began to experience the conflict of the separation gave to solidity the project was the enhancement of the physical cooperation. We dream, we cry, we learn, we become emotional, rewarding. For this reason, we continue to leave the classroom in prejudices and we tear up the sheets of paper... being able to be making room in their lessons for new experiences. There were even project, giving itstrength and life. members of the whole group, even though things may not always tration, regardless of the space in which they found themselves that João brought us. It happened in the square of astronomy, it them the conquests that I was making, as I could gradually feel the ties. “My notebook” established its specialown very space in the the end of each lesson when we use our notebook: “What is said the bodyas the driving force behind challenges, inciting them to I immediately began to want to have another of experiences type the teacher of the forced myself to diversify my practices inmy other classes as well, be seduced by the creative methodologies that were being used, happened inthe training room, ithappened inthe room of expres- here belongs to ourselves alone!” (Elsa Sobral) between the class of the project and the other classes. Ofcourse, have turned out as we planned; but this reinvention, restructuring it, appropriating the new space, all of this enriching is very and who we are inthe classroom is agreat privilege. we make mistakes, we argue, we acknowledge our weaknesses we find many moments of genuine learning, initwe find feelings with other students, encouraging drawing, words and the use of leave the classroom and to experiment withsome micropedagogies. lives of these students and the teacher. Close to the end, the loose 10

10 project for just one class. I therefore Forming agroup that is cohesive and motivated prepares the ground Looking back, Ifeel that Inow have much more energy as aresult of of their study, onthe different paths that can lead to learning. In Combining the contents that are to belearned withartistic experi- acquired their own status, just as the spaces themselves did. Time, aware and more critical, participating more inthe choice of the and wishes that they intend to make come true. Ihave come to the selves as subjects that are learning and reflecting onthe objects ences (occurring through the use of of amultiplicity languages, get to know the students better, but italso helps them to get to conclusion that working onthese dimensions not only helps me to thateverything the 10 given by artists at the school, under the scope of the project, also entering the classroom and bringing with them a world of dreams pletely withthe words and the lines that were drawn; the materials ranging from the verbal to the visual ordramatic) made itpossible renewed; they have changed and made me more aware. For me, it project into the following year. The training sessions that were to leave part of themselves outside the door. to construct knowledge inamore personal way, and now marked th to recreate and renew the realities of the world inwhich we live. this way, students beginto value knowledge and are withthe left two teachers,two Manuela Aguiar and Luís Costa, who continued the for learning activities which, after agiven moment, occur naturally. be experienced withthe whole of the body. Now nobody needs however, was never the same again: itbecame richer, and could knowledge that they want to learn and gaining greater autonomy know themselves better, to reflect upon themselves, seeing them- helped to involve the other teachers. Some seeds were planted – has become central to my work to give attention to the students with one’s own identity. Inthis way, the bodyidentified itself com- wish to know more. This willturn them into individuals who are more let’s hope that they willlater germinate. at itobliged me to make, for my teaching practices have been

10 project gave me and the reflections

Testimony Isabel Machado

82 83 Testimonies from Assessing students students Assessing Secundária Cerco do the the teachersthe in after the 10 after the Portuguese, Escola Cruz Paula project 10

10 project

3rd edition This text is based on the testimonies of the teachers who participated in the project: significant example. arguments,two illustrating each of them with at least one In order to justify your point of view, make use of at least of “My Notebook”. also making use of your experience withthe construction the above statement by Sophia deMello Breyner Andresen, a maximum hundred of two words, and to fifty reflect try on In awell-structured text, withaminimum hundred of two and André Guterres, Ana Gabriela Freire, Ana Paula Serra, Francisco Estorninho, Gabriel Machado,

Sophia deMelloBreynerAndresen Writing poetrymeansbeingalert Isabel Machado, Maria José Ramos, Lurdes Henriques and Sandra Santos. The workshop of work style that was required by the micropedagogy “My A teacher of Portuguese who took part inthis project considers that In the 10 In the subject of Portuguese, speaking skills have a25%share inthe as - of the path that had already been laid with the artists and extended of the voice, vocabulary, rhythm, fluency, the pertinence of the ideas of atext, dramatised/staged reading, an explanation of the entries and available elements, but because itobliges the teacher to deviate assessing the contents that are explored inaproject withthese sessed based onthe tasks of “My notebook” (the expressive reading sessment of students; thanks to the project, various shared moments sessment. In the following examples, the aim is to outline the different characteristics is a daily reinvention, not because of the lack of classified and assessed for each school period. quently (why not say it?) more consensual. From among all of the closely shared between the teacher and the student, and conse- recorded their considerations about the placement and projection re-entries that were made...). The assessment of speaking skills was poems...), was the starting point for an assessment that was more re-entering of the students’ creative texts (memories, disorganised notebook” under the scope of the 10 moments of written expression, the experience of the students pedagogies. However, since the assessment process is indissociable process, but onthe pedagogical strategies inspired by the micro- the calculation of the final assessment. Speaking skills were also as- tests followed the normal of an typology exam; however, at the the responsibility of the teacher, who, during the session, discreetly texts that they produced, the students selected texts two to be the dynamics of the 10 from the teaching/learning process, some teachers took advantage from the established paradigm. Inher case, respecting the guide- were created, albeit more informal innature, which greatly benefited ways that the teachers found to undertake this assessment. lines of the Pedagogic Council and the Curricular Department, the

10 pr oject, the stress was never placed onthe assessment (p. 181),involving the rewriting, rereading and constant

10 project to the moments of formal as-

10 pr oject was also taken into account:

Testimony Paula Cruz

84 85 The two teachersThe two of Portuguese recognise the importance of the 10 A teacher of History and ateacher of Portuguese, working inclose col- In the first session of thinking and reflection, led by the project’s philoso- The component of attitudes and values has various weightings in 60%). Among the advantages of this form of assessment, attention of Portuguese, who always considered the assessment of speaking or even the non-involvement of a certain student or students in the of particular its very nature, the a leitmotiv for the writing of an argumentative text. The fact that assessment, depending onthe schools, and, no matter how many activities that were presented. It should be stressed that the fact that affective and effective way. For this reason, and because of the ships, solidarity. should beused inthe written textualisation exercise of the test as scores awarded by the speaker’s classmates (withaweighting of skills to beahighly complex question, working under the scope of coherent) that the same question –educating for happiness – given by the teacher (withaweighting of 40%)and the sum of the everyone recorded a score for each item in the table. The mark that expressed and the organisation of the discourse. Another teacher ness and others most decidedly against –together withexamples put forward –some infavour of the possibility of teaching happi- prior to the moment of textual planning and written textualisation project inthe assessment of Being/Knowing How to Do(attitudes). pher, awide-ranging discussion was held about the question: “Is up the various speaking skills (contents, fluency, rhythm...). procedures and looking for reasons for the low level of involvement more effective assessment of attitudes and behaviours. Ineach of the responsibility, respect for the other, quality of interpersonal relation- pertinence of the question, this was incorporated into amoment of that corroborated these same arguments, itbecame logical (and the there had been a broad reflection and debate on the subject made the class became involved insuch debates inasimultaneously the formal assessment. Since, at this session, several arguments were being assessed, which were based that ona memory could be shared, indicators are created, itis always highly subjective innature. Because it much easier for the students to select arguments and examples. it among all the students. Atthose times when speaking skills were it possible to teach happiness?” This was the first moment when importance that was given to the various items that together make is drawn in particular to the sharing of responsibilities and to the which they then compared intheir weekly working sessions, analysing was awarded for speaking skills was therefore the result of the score when that dimension of the students was clearly visible: autonomy, lessons, the artist-teacher pair kept records about students’ attitudes, laboration withthe artist, looked for strategies that could lead to a 10 10

10 project, created atable withvarious items and distributed

10 sessions were undertaken with the participation of two 10

10 project created moments

10 10 → → → → →

in r th th th espect for the other and for differences; dividual, pair and group work. e spirit of sharing; e ability to reflect and make critical appreciations; e ability to overcome barriers and obstacles; Two teachers who worked together as apair withan artist prolonged the team It was inthis spirit that the self-assessment and hetero-assessment actions – and about ways of modifying and improving it,so that, through a The two teachersThe two and the artist assessed the students inaworking 10 assessment. Since itwas recognised that some of the difficulties and to overcome to try their difficulties by the end of the school about their behaviour –alienation, lack of commitment, disinterest spirit and extended itinto the exercises for formative and summative students, insmall texts, differed littlefrom very those made by the session and concluded that the self-assessment recorded by the decodification was not, however, limited to working onthe question question papers, some exercises inPhysics and were Chemistry earlier, so that the students could sense and become involved inthis gogies developed, the assessment also had to bedone inthe tests year. This strategy led some students to obtain greater success in papers for Physics and in the Chemistry subject of Portuguese, but ponent. This aspect clearly favoured some students, who, although mark to alevel that allowed them not to have to give up the subjects new way of learning. It was also agreed teachers between the two process of self-reflection, they could assess their own performance. perspectives. During and/or at the end of the lessons, inmoments the subject of History and that of Portuguese, one of the questions the final list of marks recorded at the end of the school year. teachers and the artist. The score that was obtained was registered they recorded low scores very inthe tests, could raise their negative that were scheduled and planned at department meetings. Inthis way, teachers and the artist allowed for amore detailed observation of the the students should also be specifically assessed in relation to the that, besides being subjected to this integrated form of assessment, Being closely linked to the programme contents and the micropeda- first worked upon inthe subject of Portuguese. The work of textual faced by students derive from their (lack of) understanding of the it was agreed teachers between the two and the artist that, both in in the assessment table, under the formative and attitudinal com- would have to reveal, as pertinently as possible, the link referred to were undertaken, at the end of the first and second school periods. work undertaken by the students, from different and complementary when there was apause, the students were frequently questioned

10 project itself, taking into account such parameters as:

Testimony Paula Cruz

86 87 1.7. 1.6. 1.3. 1.2. 1.1. 1. 1.5. 1.4. → → ta →

returning totheground state. atom whichwasinthe ground state[...] Once uponatime,anelectron intheHydrogen ∆ Emitted Absorbed Da

= -1,94 = E of this exercise. formulated above. constituents of sentence 1.2. state. ground a group inthe Periodic Table. atomic radius, withsome vary regularity inthe Periodic Table. High P In ten words from the family of “casa” (home). B of magnesium is higher than the ionisation energy of calcium. calcium inthe Periodic Table, justify why the ionisation energy B W Expl Som ased onthe relative positions of the elements magnesium and ased onthe chemical symbol Ca, present at least ropose an archaic version of of the two questions dicate the syntactic functions performed by the rite the electronic configuration of Mgand Ca intheir ain why ionisation energy generally decreases down e periodic properties, such as ionisation energy and the light the command verbs used inall the questions

10 - ₁₈ J Among the various possibilities offered by of this joint type proposal, In keeping withthe dynamic that you realised inone of the 10 acquired inthis way. Inthe first formal moment of assessment, the also included (inthe same working proposal) exercises relating to si subjects and the enhancement of the flexibility of the knowledge the subject of Physics and inthe Chemistry Portuguese lesson. that they were given, in which the main character was an electron: the students to complete anarrative, based onsome information teacher of Physics and resorted Chemistry to adynamic that had been demonstrated inasession of the 10 we highlight these interconnections between different school ons, complete the “story” withthe following data: → → →

U ∆ 2 nd = 1,64 = E V radiation –excited state

10 - ₁₉ J

10 project, asking

10 ses - The study of more abstract, more hermetic concepts was made easier when This of activity (storytelling), type more commonly found in a written exercise A teacher of Physics and and Chemistry another of Mathematics recog- A teacher of Philosophy prepared one of the assessment tests based on In this way, assessment and learning take place simultaneously: the students In the formal moments of assessment, the scientific questions related with the Everything thatEverything was built inthe gymnasiums was used to shape the ques- The concept of equidistance, built and experienced through strings Thus, they developed a method of self-assessment in which the overall theme –“Ecological responsibility” as –served apretext for own correspondence inthe study of the chemical bonds between at acommunity dinner cooked by the class and shared withtheir action that was directed by achef and inwhich the students “gleaned” and music, was “naturally” transported to the universe of mathemati- acquiring knowledge, the students actually experienced knowledge. strikinga very moment, innovative and shared withthe community. sobre Ambiente eSociedade, and “Respigar na Feira das Taipas”, an syllabuses of the subjects were made to fitthe contents that were being students used asystem of green, yellow and red circles to express significant mode: Physics and Chemistry can be ahouse full of stories. cal symbols. Human bridges created between students had their each of the subjects apolychrome graph was created displaying class. Basically, itwas an assessment of how they had felt about or contents, helping to bring the “self” closer to the knowledge. dents inthe class had its analogy inastructure of sodium chloride. elements. The three-dimensional construction involving all the stu- very interestingvery regular patterns that became the subject of ajoint parents and guardians inthe school canteen (see p. 172).The test munity, namely Ecorâmicas/2014 – Mostra de Cinema Documental responsible way withregard to their own learning. reflect on their learning, and, by reflecting, act in a conscious and reflection between the teachers, the artist and the students. This was nised from the outset that awareness is the first step to change the students necessarily had to reflect. This reflection was the driv- the arts. There is ademystification of the complexity of scientific to the reality of the students. The construction of ahuman ellipse tions. The formality of these questions was dismantled and adapted touched upon and physically experienced inthe project. More than just the assessment of their behaviour/attitude/learning/attention in the work that he had undertaken inconjunction withhis artist. The from Cartesian coordinates was the basis for the study of the ellipse. from the subject of Portuguese, facilitates the structuring of amore fruit and vegetables from the local market, which were then used how they had assimilated the lesson. In order to select the colour, it was first approached previously through the body, the senses and ing force for a process of self-learning and self-assessment. For working more closely withvarious groups and agents from the com - .

Testimony Paula Cruz

88 89 e) c) b) a) d) 1.

1.1. i) f) d) ef Dinis knows what the nutritional value of foodstuffs is. b) a)

[...] abbreviations inthe respective spaces. to beinagoodstate P T At th S C and how we acted when gleaning ( T AC [...] Judith, w Thi and João are the names of the artists of the 10 G gastronomy. Th Ch the market ( the situations that correspond to happening (acontecer – F ( JANTAR VEGETARIANO aking into account what has happened, what we did ripping over the rubbish bin rom the list that Iam now presenting to you, distinguish eeling and chopping onions weating withthe heat of the saucepans rying when you’rerying chopping onions abriel and Isabel are the names of the teachers, and Manuela e students of class 10-Kwere interested invegetarian ), doing (fazer – s different dinner was aunique experience! e market, there were lots of vegetables that still looked ere you expecting adinner like this? FEIRA The The use of familiar situations, besides increasing the level of the students’ Another strategy adopted, without detracting from the rigorous nature that From the following sentences, indicate those which correspond to proposi- ) and incooking the vegetarian dinner FA 10 ) and acting (agir – )...

Amid all the rules and guidelines issued by the Pedagogic Councils, as aresult of the dynamics developed by the teacher-artist pair: sonal relations and generates empathies. should characterise a moment of formal assessment, was the use of called for them to demonstrate the learning that they had acquired tions, by circling the appropriate letter: the assessment process: ifyou don’t dothe same thing, inthe same the teachers willfind the space that is needed to dosomething that humour and examples of proximity. For instance: is frequently disruptive; naturally, these practices have an effect on involvement inthe learning process, helps to facilitate goodinterper- is slightly different and to reassess their own assessment. way, you can’t assess in the same way as you have always done before. ×

10 project brings intensity, surprise and asense of strangeness and RESPIGAR AG ), placing the ) food at

10 project.

Testimony Paula Cruz

90 91 Ana Luísa de Luísa Oliveira Pires Ana Teresa Gonçalves N. R. Development, Universidade Universidade Development, EducationResearch in and Researchers at Unit the for Gomes Xavier Elisabete spaces Reinventing Genesis, developmentGenesis, Nova de Lisboa Nova de of the research projectof research the between art and education and between art and main conclusions main and Maria Ulrich Early Childhood Educators’ School Childhood Early Ulrich Maria School of Education of the Polytechnic Institute of Setúbal Institute School of Polytechnic Education of the Faculty of Education of the Federal University of Rio de Janeiro of Rio University of Federal EducationFaculty of the

1. Theoretical stance and premises

INTRODUCTION The research project “Reinventing Spaces between Art and Education” is We consider it to be fundamental to present the positions that we adopted based on the understanding that education is a multi-referenced field of in relation to some of the central concepts and questions underlying the action and thought, in which dynamics resulting from different perspec- 10× 10 project and to the analysis of its practices. Our stance was con- tives – epistemological, disciplinary and methodological – are accepted structed from educational theory, taking into account the discussions and acknowledged (Alves and Azevedo, 2010). Thus, researching into taking place in the field of education and the above-mentioned aims of education is a complex activity that has two main requirements: attention the research project. The clarification of our theoretical stance seems to to the world and the phenomena that constitute education in the present us to be fundamental for establishing the context for the construction day; and, as far as choosing what we know and understand is concerned, of our research and analysis, as well as for understanding some of the an openness in our way of looking at these questions, without anticipating main conclusions emerging from the research project. meanings or working with pre-defined models (Alves and Azevedo, 2010). The decision to study the 10× 10 project derived from the re- The term “pedagogy” has been used with different meanings, A certain idea search team’s interest in getting to know more about a project whose which do not always coincide with one another (Gonçalves, Azevedo, of pedagogy pedagogical proposals displayed a great potential for change and whose Alves, 2013; Biesta, 2010). The ambiguity of the term is linked to the

systematisation and dissemination could make an important contribu- 93 historical development of education as a discipline (German tradition)

tion to education and pedagogy. For this purpose, the team adopted a or as a field of academic research (Anglo-Saxon tradition) and it has qualitative research design, one that was open, emerging and flexible in 92 been the subject of analysis by different authors. Estrela (2007) states

nature, in order to respect the object of their study, having progressively na Luísa Oliveira Pires, Elisabete Xavier Gomes, N. Teresa R. Gonçalves that this ambiguity is still maintained today. According to this author, A constructed the theoretical framework that would support their way of the term “pedagogy” is used simultaneously to refer to an applied sci-

looking at the 10× 10 project. ence (deductive), to the science that studies the relationship between The authors assumed as their challenge the possibility of establish- educational phenomena (inductive), to a specific form of education ing research as a strategy for monitoring, theorising and disseminating – school education – and to the reflections that we make about this, as innovative and transformational experiences that give shape to these well as to pedagogical or practical action, and to our reflections upon contemporary educational practices. this or to the coming together of thought and action. In our view, these In this chapter, we present the main theoretical stances and prem- ambiguities are due to a certain naturalisation of the concept. For this ises from which the research was developed, as well as the methodology reason, it seems to us to be fundamental to clarify what we understand and a summary of its main conclusions, giving special importance to by “pedagogy” and the meaning that we attribute to it in this research. the pedagogical dimension of the experiences of the 10× 10 project, par- In our view, “pedagogy” implies a way of life – what Jorge Larrosa ticularly in relation to what these bring us in terms of an interruption (2015) has designated the “pedagogical life” – which simultaneously of established bureaucratic practices and a renewal of its repertoire and constructs itself and is constructed from a certain relationship with the languages. world. A pedagogical life implies a relationship with oneself and with the

einventing spaces between art and education world that goes beyond the formal and technical aspects that are usually R attributed to pedagogy. As a relational field, the pedagogical field is open to sudden and unexpected tensions, requiring ways of thinking and acting that call for attention, care and commitment to the other and to the world. For this reason, certain ways of thinking, deciding and acting are required, resulting in possibilities that go far beyond what is prescribed or predetermined, and which result in their own ways of theorising about the subject and produce their own forms of expression. This approach counters the trend towards a homogenisation of pedagogical practices with unique and different ways of doing things, thus making it possible the very experience of democracy itself. It is interesting to consider the for discourses, practices and languages to be more plural in nature. way and the extent to which these practices make the world public. What The relationship with the world in the field of pedagogy takes place knowledge, what meanings, what experiences are made public through in an unproductive sphere, happening at a time and in a space that are the practices of the 10× 10 project? intended to be genuinely free. The time and space of pedagogy, as the This understanding of pedagogy, in a broad sense, but even so time and space of our meeting with one another, of the construction of not an all-embracing one, combines the theoretical and practical dimen- ourselves as a unit and of the common shared aspects, only exists in the sions and makes it possible for us to establish a framework for actions, public space (Masschelein and Simons, 2013), in a space that cannot be relations, conversations, contexts and rules with educational principles privatised or even commercialised. The heart of pedagogy is its interest and aims. In this sense, pedagogy makes it possible to think about the in the common good, in the construction of spaces and times of freedom, unique and particular nature of the educational event, in its existential permitting, at each moment, a decision about what is desirable from an and public dimension, understood as relational and collective. For this educational point of view. Yet, what is desirable at one moment or in one reason, we move away from the currently prevailing perspectives that given situation is not necessarily so at another time, and is certainly not link pedagogy to the production of certain pre-defined results, following desirable in relation to the prevailing logic of production – since it does a productive and productivist logic, so that we may then consider how not obey the requirements of a merely technical or operational nature. it can establish spaces of freedom, as a vital exercise in relating to the For this reason, the so-called “pedagogical life” can only be understood world and to others. and experienced in its ethical, aesthetic and political dimensions. According to this line of analysis, some French-speaking authors Observing the pedagogical and artistic experiments developed Atr and (Houssaye, Hameline and Fabre, 2004) have proposed recovering the under the scope of educational programmes at museums and other pedagogy, figure of the “pedagogue”, as the person who, through his or her action, centres of artistic activity (see, for example, Leite and Vitorino, 2008; artistic combines both theory and practice. In other words, pedagogues are both Eça, Saldanha and Vidal, 2012; Thomson, Hall, Jones and Green, 2012), practices and pedagogical practitioners and theoreticians of educational action. Pedagogy is under- as well as studying the ideas being produced in the field of educational practices stood as something that is “between”, which takes place in the specific theory (Larrosa, 2013; Rancière, 2010 a. b.), enables us to construct a interaction between the theory and the practice that exist in education. renewed stance about the relationships between art and pedagogy. The

According to Meirieu (2006), it represents the opportunity to think about 95 experiments that have been conducted and the paths that have been fol-

(and maintain) the contradictions that are inherent in education and in lowed are organised around different approaches, which are not always the educational task, as well as to think about educational principles, 94 convergent in their practices: art teaching, aesthetic education, education aims, facts and actions. na Luísa Oliveira Pires, Elisabete Xavier Gomes, N. Teresa R. Gonçalves through art (see, in particular, the studies by Herbert Read, Arquimedes A The interest of this proposal for the analysis of the practices of Silva Santos, and João Pedro Fróis). the 10× 10 project lies in the fact that it enables us to think about them Among the authors who have sought to systematise these relation- according to their pedagogical nature and in relation to the principles ships, we draw special attention to the contribution by Helguera (2011), and aims that sustain the actions that are developed. It has a political, which is concerned with the presentation of the pedagogical project of anthropological and philosophical dimension that makes it possible to the 8th Mercosul Biennial. Based on the concept of “reterritorialisation”, go beyond merely technical or didactic questions. developed by Deleuze and Guattari, Helguera proposes that we “imagine The public dimension of pedagogy constitutes a central aspect pedagogy as a territory that has different regions. One of these, which is for understanding educational contexts, processes and actions. In this the best known, is situated in the field of interpretation or education as way, the task of pedagogy is closely related to the common good, with an instrument for understanding art; the second is the fusion of art and the possibility of preserving and constructing a common world. Its education [...], and the third is art as an instrument of education, [...] public nature therefore has to do with the building of that world, with art as knowledge of the world” (Helguera, 2011, p. 6). the form with which it is made public through education, through the The first region is worked on through the dialogue that is estab- construction of possibilities and experiences of freedom. It frees us from lished between the mediator and the audience, from the point of view of

the productivist and privatising tendencies that are currently in fashion, einventing spaces between art and education sharing reflections and the expansion of individual knowledge, mobilising, recovering the idea of education as “a liberating process, a process R for example, the ideas of critical pedagogy, developed by Paulo Freire, and whose aim is the realisation of freedom” (Biesta and Säfström, 2011). of group dynamics, developed by Augusto Boal. The second region, the By distancing education from a modern vision of progress, the authors fusion between art and education, may be found through the exploration propose an understanding of education as a responsibility for the present, of specific works of art, through which the audience are invited to enter whose aim is freedom. into a “playful world”, freeing themselves from temporal reality, through Analysing the practices of the 10× 10 project in the light of this games and pedagogical dynamics in which the “experience is not only public dimension allows us to approach them from the point of view of a scattered affair”, but rather “a constructive and generative experience their relationship with freedom, with the common good, in short with that satisfies all members of the group” – even if they are not immediately aware of this. The third area, “art as knowledge of the world”, explores Taking into account the various theoretical approaches that com- the work of the artist “as an object of study that is to be valued as such, bine pedagogy and art, we acknowledge in this text the possibility of a but also as a window to be able to acquire an understanding of themes heterodox dialogue between pedagogical work and practices and artistic that are of relevance [for other] fields” (Helguera, 2011, p. 7); or, in other work and practices. In choosing the term “dialogue”, we wish to state words, the work of art is linked to and explored from the perspective that, in this model, neither is pedagogy placed at the service of art, nor of certain disciplinary fields, such as Geography, History or Literature. is art instrumentalised through pedagogy. In fact, in line with Larrosa, Gaztambide-Fernández (2013) also reflects on various discourses we “think of art and the classroom as places that have to do with a cer- and debates taking place on the subject of the arts in education, iden- tain responsibility and a certain love for childhood and for the world” tifying tensions between different currents and trends.H e identifies (2013, p. 40). the expressionist current, which defends the idea that, through the arts, Larrosa (2013) and Rancière (2010b.) regard art and a certain children express themselves better; the reconstructionist current, which understanding of artistic work as the opening up of another space and attributes the arts with the power to transform the person and society; as time that consists in the sharing of what is sensitive, in sharing the sen- well as scientific rationalism, which emphasises the heuristic relationship sitive cloak of the world: “Artistic practices are not an exception when between art and knowledge. Above all, attention is drawn to his severe compared with other practices. They represent and reconfigure the sharing criticism of the prevailing instrumentalisation of the arts in education: of these activities” (Rancière, 2010b, p. 53). In his elegy of the sharing of activities, Silva states that “art is one of the names of the group of This ability to demonstrate what the arts do – whether it is to improve achievement techniques through which man gives form to the world and, simultane- or to make us better human beings – has become the holy grail of arts advocacy. ously, forms himself” (2011, p. 29). This approach makes it possible to [...] The rhetoric of effects is always caught in a positivist logic [...]. Moreover, strengthen the link between artistic practices and pedagogical practices a focus on effects has tended to obscure the actual experiences – whether positive, through the relationship that they both have with the construction of negative, or otherwise – that evolve within contexts defined by practices and pro- what is commonly shared and with the formation of the human being. cesses of symbolic creativity typically associated with the concept of the arts [...]. It is from this perspective that we are interested in observing the (Gaztambide-Fernández, 2013, p. 213) 10× 10 project: through the way it opens up space and time for this dialogue, which fertilises artistic work and pedagogical work and positions

We adopt a similar stance in attempting to understand whether, 97 them as elements in the construction of a shared and common world.

in the 10× 10 project, the central idea lies in the opening up of work processes or in the search for and confirmation of pre-defined effects 96 Considering that one of the main structural features of the 10× 10 Eperiencex

and impacts. The concept of “bricolage”, used by Paley (1995) to think na Luísa Oliveira Pires, Elisabete Xavier Gomes, N. Teresa R. Gonçalves project is to be found at the level of the development of pedagogical and learning A about the relationship between art and education, directs our attention situations that are then intended to serve as significant formative experi- to the possibilities of transformation through the incorporation of ar- ences, as much for the teachers themselves as for the artists and students, tistic practices into the pedagogical field. According to the same author, implicitly bringing into play the concepts of experience and learning, “bricolage” implies discontinuity and juxtaposition, decentring, and an we considered it fundamental to contextualise these concepts from a association between disconnected parts. It represents an alternative to theoretical and conceptual point of view. the compartmentalisation of knowledge, permitting the inclusion of the There are several educational currents that attribute a central role “difference”, resisting the objectification and reduction of the heterogene- to experience, recognising that it is one of the bases and also the necessary ity of the experiences and creating the possibility of an intertext. condition for learning and development. John Dewey, one of the main The historical analysis developed by Bordes (2007) also assumes authors to stress the role of experience in education, defended the concept another perspective, insofar as it proposes and highlights an intrinsic of education as the “continuous reconstruction of experience” (Dewey, relationship between the emergence of New Pedagogies in Europe from 1916, p. 80, quoted by Pires 2005, p. 145). In recognising the importance the eighteenth century onwards, based specifically on Rousseau, and of individual experiences, interpersonal dynamics and the autonomy of the possibility of developing artistic vanguards at the beginning of the the subject in the learning process, Dewey significantly influenced the

twentieth century. Bordes analyses Europe during the childhood period einventing spaces between art and education concept of experiential learning and attributed a central role to reflective of some of the artists of the vanguard movements, highlighting the pres- R thinking – establishing the difference between “activity” and “experience” ence of the pedagogical proposals, for example, of Froebel and Pestalozzi, and highlighting the fact that only through reflection is it possible to at- centred around drawing, educational games and a large group of new tribute meaning to experience, making it a formative element. exercises developed for the education of children. Bordes defends the idea As we know, the concept of experience is a complex one. Among that the New Pedagogies marked the beginning of the democratisation its fundamental properties, Honoré (1992) highlights relationality, tem- of the art forms (which tended to be elitist) of observing, expressing and porality and reflexivity. Serving as a continuation of this perspective, moving the body, permitting the separation between artistic practices, we identify the proposal of Larrosa (2002), for whom experience is a the work of art and the author. globalising phenomenon and appeals to all the senses, having as its basic condition the existence of a spatial and temporal context. Furthermore, 2. experience requires passivity (in the sense of patience and attention), receptivity (regarded as fundamental availability) and openness. In fact, General openness and receptivity are essential not only for ensuring that the methodology subject may be available for the experience – hearing, listening, feel- of the research ing – but also for attributing meaning to that experience. Experience is, therefore, simultaneously existential and contextual, as Larrosa under- lines, highlighting “its relationship with existence, with the singular and concrete life of a singular and concrete experient” (2002, p. 27). Thus, it is through experience and the knowledge that it produces that people construct themselves and take ownership of this construction process: “Experience and the knowledge that derives from it are what enable us Theory and method are interlinked, as Graue and Walsh (2003) maintain. to take ownership of our own lives” (Larrosa, 2002, p. 27). Both theory and method are tools that support (and sometimes restrict) It should further be underlined that experience is unique, hetero- research. Aware of this dual possibility, we tried at all times to assume geneous and plural, directing us towards the field of “non-order”, of the a perspective based on openness and flexibility, in accordance with the unknown, the uncertain, the unpredictable and the unrepeatable (Larrosa, nature and aims of the study. Consequently, we share the premise that 2002). It is pure “transformation”, insofar as it forms and transforms the “how one looks affects what one looks at, and what one looks at affects subject: “Thus, the result of the experience is the formation or transfor- how one looks. [...] Research, like life itself, is a connected endeavor” mation of the subject of the experience. And hence the subject of the (Graue and Walsh, 2003, p. 48). experience is not the subject of knowing, or the subject of being able, or The study undertaken here is based on the premises of qualitative the subject of wishing, but the subject of the formation and transforma- research (Bogdan and Biklen, 1994; Alves and Azevedo, 2010) and interpre- tion” (Larrosa, 2002, p. 7). Or, in other words, underlying this proposal tive research (Erickson, 1986; Graue and Walsh, 2003), and, as has already are also the principles of uncertainty and freedom – “Experience is a been mentioned, the theoretical frame of reference was built progressively, ‘perhaps’” (Larrosa, 2011, p. 19). in an inductive way, based on the analysis of the situations, practices, charac-

As far as learning is concerned, we understand that learning is not 99 teristics and dynamics that emerged during the course of the 10× 10 project.

a way for the subject to adapt to the world, to recognise it or to establish a An attempt was made to develop a methodology that ensured a framework for its contextualisation, but instead it is a way for the subject 98 dynamic relationship between theoretical research and empirical research,

to invent his or her own world, in accordance with the proposal made by na Luísa Oliveira Pires, Elisabete Xavier Gomes, N. Teresa R. Gonçalves in order to maintain the necessary openness that is required by the induc- A Deleuze (1987, quoted by Uberti, 2013) ●. If we consider that learning tive construction of knowledge. Instead of translating theory into practice, is a creative process of searching for meanings and solving problems, our intention with this proposal was to theorise practice and maintain the which produces knowledge of a multiple and diverse nature, we also have experimental nature of the theoretical exercise that accompanies, observes to take into consideration that this knowledge is situated on two sides: and questions the empirical project. In this sense, the research project devel- on the one hand, it is constructed from the subject or subjects’ frame oped along three central and interconnected lines of questioning, mutually

berti, 2013, p. 1232) p. 2013, berti, of reference, which is constantly being (re)invented; on the other hand, intercepting and feeding off one another, namely: U it is influenced by the elements and conditions in which the situation/ experience itself occurs. A) How have experiences about the relationship between education and art been theorised? How can innovative educational experiences be theorised? B) What are the characteristics, impacts and educational possibilities opened up by the 10× 10 project? C) What strategies are best suited to the dissemination of a project of this nature?

einventing spaces between art and education The research work that embodied the first of this series of questions, R based on critical analysis and writing, consisted in defining a theoretical and conceptual framework that would enable us not only to make a comprehensive reading of educational experiences, but also to study the potential enlargement of its effects/characteristics/impacts, as well as to interrogate and pluralise the relationship between theory, practice and research, with a view to inductively constructing a theory of education. subject has an experience of problematisation, when the differential nature when subject has an experience of problematisation, there that the subject begins to search for a meaning to the problem, seeking the problem, to beginsthe subject search for a meaning to that there ( to circumscribe it in order truth a to solve for it.” is deciphering the signs that unexpectedly force their way into the human into way their is decipheringthat unexpectedly force the signs experience of the subject. It is due to the encounter with the signs that the that the signs with the encounter to It is due experiencethe subject. of It is from thinking. their creating a problem for them, the sign affects of

This is what the author says about this question: “Inventing one’s world world one’s “Inventing question: this about says author the what is This The second line of questioning was geared towards identifying the aims ● and empirical premises for the activities of the 10× 10 project, understanding its continuities and discontinuities, as well as legitimising the use of the — Questionnaires addressed to the teachers (applied in the first three editions)●, 10× 10 micropedagogies. To this end, we undertook an analysis of the with the aim of characterising, understanding and assessing the impact of the documents produced under the scope of the project, constructing ques- training project at the level of its concepts and practices. The questionnaire was tionnaires to be addressed to the teachers who took part in the first three organised into five thematic groups: personal characterisation, professional editions of the project, applying them and then analysing their results, development, perceptions of the 10× 10 project, micropedagogies and final as- taking part as observers in the meetings held between the working team sessment of the project. It included open-ended questions, closed questions and of the Calouste Gulbenkian Foundation/artists/teachers, and also sitting (4-point) Likert scales. The aims were as follows: to characterise the perspectives in on the public lessons. of the teachers in relation to the project’s effects at various levels and dimensions The third line of questioning had as its aim to disseminate the (on the students, and on the teachers’ educational practices and concepts); to experiences and results of the research in progress, to organise the make an overall assessment of the project, identifying the strong points and discussion of these at national and international conferences, promot- the less successful aspects; to gather suggestions for changes and improvements. ing dissemination as a theorising strategy, and also to establish and/or strengthen networks of cooperation with other national and international — Documentary analysis of the materials produced by the teachers and the institutions. This line of research was developed through a theoretical artists: lesson plans, reports and other records and documents about the strate- and scientific approach, consisting in the presentation of papers at na- gies produced; documents from the 10× 10 project prepared by the FCG team, tional and international seminars and conferences, and their submission as well as the Notebooks of the Public Lessons and the Micropedagogies Docu- for inclusion in different types of scientific and academic publications: ment, among others. conference proceedings, journals, chapters in books. We also organised the international seminar “Spaces between Art and Education”, held at In the documentary analysis and the analysis of the records of the UIED-FCT/UNL, in December 2015. observations, special privilege was given to an interpretive consideration of the documents, so that, on the one hand, the wealth of the material 2.1. Just like Graue and Walsh (2003, p. 148), we consider that “an instru- collected would be respected and, on the other hand, it would be af- Research ment is a research tool constructed to assist in the generation of a certain forded greater visibility. Instruments kind of data in a systematic way”. As such, we constructed our tools As Bogdan and Biklen (1994, p. 50) state, “qualitative research-

throughout the course of the research, adapting it to the contexts, in 101 ers tend to analyze their data inductively”, mobilising concepts from

order to gather relevant and pertinent information, taking into account abstractions that arise from the collection and grouping together of data.

our initial research questions, which were also (re)formulated during 100 The theory is constructed in a “bottom-up” fashion; in other words, a

the course of the study. na Luísa Oliveira Pires, Elisabete Xavier Gomes, N. Teresa R. Gonçalves framework is constructed as its forms are being delineated and as its parts A We also tried to guarantee data triangulation – mainly through the are being put together, in a heuristic dynamics of knowledge production. use of different sources of information, spaces and people (Denzin, 1978, quoted by Graue and Walsh, 2003). It should be noted that the fact that the team was composed of three researchers with PhDs in Education Sciences, but with different backgrounds in terms of their basic training and with a wide range of different experiences, also contributed to the adoption of a multi-referenced approach, which always underlay the carrying out of this study. Thus, based on these principles, we resorted to the following procedures:

— Non-participant observation of the public lessons presented by the project’s participants in Auditorium 2 of the Calouste Gulbenkian Foundation

(FCG), at the beginning of each calendar year (January 2013, January 2014, einventing spaces between art and education January 2015); R

— Participant observation of the monitoring meetings of the 10× 10 project, held between members of the FCG team, the teachers and the artists, throughout the duration of the research project (three years). For one of the meetings, a script was drawn up with questions that focused on the conception and use of roughly a year after the end of the respective edition. The time intervalThe edition. the respective the end of after year roughly a summoned to attend beforehand, and in good time, and that the question - that and time, and in good to attend beforehand, summoned naire was administered by the researchers administered by the FCG. was in a room at naire their contributions/suggestions/difficulties were incorporated final were the into contributions/suggestions/difficulties their the assessment of its impacts. As far as the conditions under which it was was it which farAs under conditions the as impacts. its of assessment the questionnaire. This was filled in by the teachers of the first three editions, teachers the first filled in by of three editions, was This questionnaire. administered are concerned, we highlight the administered we factare concerned, that the teacherswere the micropedagogies, which was used as the document to promote a collective temporal distance from and to create a physical the need justified by was The questionnaire was pre-tested with a reduced groupreduced a with teachersof pre-tested and was questionnaire The group discussion (focus-group). ● 3. The analysis of the experiences resulting from the interaction between I The questions that artists and teachers, and between the artistic and pedagogical work pro- What are the cesses made possible by the 10× 10 project, enabled us to glimpse ways of distinctive guided the research doing things that concentrate more on exercises than on products, more characteristics of the and shaped the on teaching/learning processes than on the “effective” learning outcomes pedagogical main conclusions achieved, measured in the form of tests and final marks. strategies We were interested in understanding the mechanisms, devices and that were of the study principles established and recovered through interdiscursivity, realised in tried out the form of a generative dialogue between vocabularies and artistic and throughout pedagogical ways of doing things provided by the project under analysis. the course of the project? We consider that the strategies developed and tried out under the scope of the 10× 10 project may be organised according to two dimensions:

A) 10×10 experiences that made it possible to renew scholastic technologies

Scholastic technologies [...] are by no means tools that, when used correctly, produce well-formed young people, like finished products off a production line. [...] Scholastic technologies are techniques that engage young people on the one hand and present the world on the other. (Masschelein and Simons, 2013, p. 65)

Known as elements of scholastic technology or as devices (Chartier, 2002), there are components that define life at school and that, once they

Based on the questions that were originally drawn up in the questionnaire, 103 have been established and incorporated, function automatically and produce specific ways of being and doing things. The risk of automatisms in we reformulated and reconstructed the lines of our research throughout the use of scholastic technologies is especially high because of the mass the study, always from a dialectic perspective and with a spirit of open- 103

na Luísa Oliveira Pires, Elisabete Xavier Gomes, N. Teresa R. Gonçalves spread of working instruments (see the case of the industrialisation of

ness to new questions that might arise, through comparisons that we A made between the analysis conducted empirically and the theoretical file cards, didactic games and other “ready to use” devices, which almost

concepts that emerged and were constructed inductively. completely dispense with the need for the teacher’s own professional ex- From these new lines of questioning, we highlight the following ercise) or the political and administrative institutionalisation (remember, questions: in Portugal, the case of the Project Area and the consequent trivialisation that it caused in the methodology of project work). I. What are the distinctive characteristics of the pedagogical strategies that were In fact, the effectiveness of scholastic technology lies in the very tried out throughout the course of the project? smallest of details (Masschelein and Simons, 2013) – or, in other words, II. What are the main aspects of the 10× 10 project as a formative experience? it is the details of the pedagogical exercise that make it possible for scho- III. To what extent can the 10× 10 project be recognised as a unique project con- lastic technology to catch the attention of the students, making them structed in discontinuity with other formative proposals? interested in something that lies outside them, in the common world (a IV. What intentions lay behind the experiences of the 10× 10 project? skill, a language, an equation, an author, an exercise), to the extent of V. What is the nature of the relationship established between artistic practices and their committing themselves to passing from the state of “I don’t know/I pedagogical practices? can’t do this” to the state of “I can do this/I’m capable of doing this”. One of the key elements of the relevance that we attribute to the einventing spaces between art and education Just as we stated in the introduction to this chapter, it is our inten- R 10× 10 project lies precisely in the attention that is paid to the details, to tion to give greater visibility to the pedagogical dimension of the 10× 10 the work that is realised in the micropedagogies. By being obliged to rethink experiences, which leads us to the gradual revelation of the characteristics the working mechanisms that are already incorporated into the teaching that make it possible to interrupt established bureaucratic practices and practices of each and every one of us, and which are sometimes used in renew repertoires and languages brought to us by the micropedagogies a routine fashion, we concluded that the 10× 10 project provided a cer- that are the central focus of this book. It is for this reason that the answer tain interruption in the (not always) pedagogical automatisms, brought to the first question merited a greater in-depth study and extension, as about by the interdiscursive relationship constructed between clearly we explain below. pedagogical procedures and languages and clearly artistic procedures and languages. The work of bricolage developed by teachers and artists made In the 10× 10 project, the use was proposed of diaries, notebooks it possible to introduce renewed forms of discovering and establishing and anthologies that expanded the limits of the subjects which characterise a relationship with the world through this generative dialogue between secondary education (it was proposed that the same notebook should be art and pedagogy. We consider that this generative dialogue of languages used to record situations and the exercises from the various school sub- and actions was possible because the 10× 10 project placed teachers and jects) and made it possible to use different languages and different ways artists in a situation where they felt that they were beginning something of keeping records (writing, drawings, collages, among others). anew, that they were radically involved in what they were doing. It was noted that the pedagogical experiences of the 10× 10 project In order to make this conclusion visible, we will use the pair of made use of devices that were familiar features of the day-to-day life of notebooks and routines/rituals – objects and practices that inhabit the schools, so familiar that they were close to being forgotten, so forgotten that territories of art and pedagogy – as key elements of the scholastic devices they were close to being automatisms. The reinvention of the notebooks, that have no author and which, because of their artistic influx, were infused with a certain artistic quality, did not result in artist’s books, but thought about, reconfigured and infused with meaning throughout the they produced a school atmosphere, insofar as they captured the attention various editions of the 10× 10 project. of each student, inviting them to indulge in an element of surprise, through their close and attentive relationship with the world that they inhabit. Notebooks Routines and rituals Chartier and Renard (2000), Chartier (2002) and Mignot (2010) identify notebooks as one of the scholastic devices that, despite their tendency The invention of simultaneous teaching in the eighteenth century, and to be used without thinking, make it possible to think about and to get the gradual replacement of the traditional methods of education, came to know the inside of the classroom, by making what the students are to require the introduction of routines and rituals for the organisation doing and what the teachers make them do visible. This historiographical of time, the space, the group and general conduct. However, today, research into the school notebooks makes it possible, first of all, to note the relationship that teachers and students have with the routines and their duration (they have been used since the time of the precursors of rituals of school life is not a peaceful one, given their repetitive nature schools in the Middle Ages), the universal spread of their use (at different and their disciplinary function, setting up the group and community levels of teaching, in different subjects), as well as to note their pragmatic 105 life, which fosters a certain normalisation of what it is to be human functions (they make the students do things and act), their pedagogical at each stage in one’s life. These dilemmas and ambiguities provoke

functions (they mark out the boundaries and limit the possibilities of 104 some unease about routines and lead to some difficulties in the way the exercises that the teachers make them do) and their cognitive func- na Luísa Oliveira Pires, Elisabete Xavier Gomes, N. Teresa R. Gonçalves that they are used and thought about. A tions (the notebooks are instruments of thought and of the organisation, By way of contrast, under the scope of the 10× 10 project, a construction and consolidation of knowledge). particularly fertile group of experiences was identified which acknowl- In the context of the plastic and visual arts, the notebooks of the edged the need to give visibility, body and originality to the rituals and artists, because they have an author, because they are public and are routines that form part of everyday school life (see the micropedago- published, and because they represent “laboratories of the imagination” gies of stretching, the security rituals, among other examples). In the (Paul Claudel, quoted by Vale, 2015, p. 125), based on the 1960s and 10× 10 project, the rituals contain an openly acknowledged artistic 1970s, have established their own autonomy as an artistic object, gaining and playful dimension, which shifts and disconfigures the pedagogi- the name of “artist’s books”. cal action, causing it to be an element that disturbs the established Since the first edition of the 10× 10 project, notebooks have been environment, which makes it possible to ensure the student’s full worked upon by the various pairs of teachers and artists: “Polyphonic enjoyment of each situation, avoiding the automatic repetition that graphic diaries”, the “Fieldwork notebook”, “Diary of unusual events”, “My has led to the stiffening of methods and techniques that so often are notebook” and “Anthology”. These experiences appear as examples that only ephemerally innovative (see “Making the invisible visible”, p. 142). mark the miscegenation between pedagogy and art, the above-mentioned It was noted that the use of rituals promoted the necessary feel-

interdiscursivity. In fact, just as occurred with the use of the school notebook einventing spaces between art and education ing of security and a certain decentring of each subject, which allows device, the teacher-artist pairs made the students do the notebooks, defining R for a freer entry into a universe of enjoyment and experimentation. rules for recording items, the languages to be used, and dignifying this instru- The reinvented rituals of the 10× 10 project, where the performers ment, as an integral part of the school work that was being experimented (the student and the teacher and the artist) show themselves to a re- with. Perverting the most basic rules for the standardised use of the school stricted community (the community of the classroom, of each class), notebook, the students were asked to use the notebook outside the classroom, makes it possible to suspend the rules that previously existed. Their outside the school, to record aspects of everyday life that are not considered relevance is accentuated by the fact that they have been identified by by the educational institution to be part of the canon and which were not some teachers as examples of micropedagogies that continued to be previously known about by the teacher-artist pair (see “Diaries”, p. 179). used autonomously, already after the students’ participation in the 10× 10 project, as well as the fact that they enabled the pedagogical of pedagogical work may be developed independently of the subjects or imagination to be fed, causing it to be understood that teaching ad- the curriculum in question, and the way in which the teachers use the mits all possibilities, moving teachers away from the routine practices body (their own and that of the students) during the lessons paves the that are manifested way for new practices full of potential, in keeping with the arguments of Rossana della Costa (2009). The strategies are mobilised to attain certain [...] in the most common ways of thinking about lessons, pedagogical prac- objectives, both at the level of promoting self-knowledge, communication, tices, teaching and assessment methodologies: methods that are hidebound by interpersonal relationships and group cohesion and at the level of acquir- prescriptive manuals, methods that are resistant to any form of boldness, to ing concepts and contents from specific subjects. Within the context of innovations and to any unaccustomed way of thinking that breaks away from the 10× 10 project, there are various pedagogical strategies that attribute what is already expected. (Loponte, 2013, p. 6) a great central role to the space in which the students work and the different ways of exploring it. The use of space in the participating schools is b ) 10×10 experiences that dynamic and was extended beyond the physical space of the classrooms provoked a disruptive force and – with frequent use being made of gymnasiums, corridors, outside spaces, led to the exploration of other courtyards, stairs, etc. On the other hand, the use of the space and the paths and other pedagogical materials inside the classroom and the different and non-traditional forms possibilities of arranging the space (see “Choreography for a U-shaped classroom”, p. 136) are also one of its predominant characteristics. Underlying this These are experiences that, although they form part of the pedagogical form of pedagogical work is the explicit intention of promoting significant set of ideas announced by the New School or by Active Pedagogy, have experiences for the students, establishing different relationships with the had difficulty in taking root, but which, under the scope of the 10× 10 space, exploring different pedagogical possibilities related with the body project became possible. The creative potential of the 10× 10 project al- and with its movement in this space, being able to “untidy” and “empty” lows for experimentation and openness to new practices and languages, (of the tables and desks) the traditional places of school work, breaking rehabilitates and gives visibility to the artisanal dimension of pedagogy, with the formatting of the pre-established model. lost in detriment to a certain vision of technicity, enclosed within criteria In this project, we must also emphasise the fact that the use of

of objectivity and predictability and restricted by the trivialised recourse 107 the space expands beyond the physical limits of the internal walls of the to stereotyped materials. classroom and the external walls of the school. Study visits and field Based on the research that was developed, it was possible for us

106 trips are held to various places – courtyards, gardens, museums, fairs...

to find some lines of force that emerged in a consistent fashion, be- na Luísa Oliveira Pires, Elisabete Xavier Gomes, N. Teresa R. Gonçalves – materialising this “decloistering”, bringing with it other possibilities for ing organised around a set of characteristics, which, since they are not A the pedagogical exploration of the space and the surrounding contexts self-enclosed, are combined and linked to one another, giving rise to a of the schools. As we know, the organisation of the educational space multiplicity of situations and educational experiences. is intentional and flexible, so that it must be adapted to the nature and Here, we should like to highlight three predominant aspects: a aim of the educational activities. first aspect that is linked to the dimension of corporality, movement Considering that one of the aspects defended by the “pedagogy- and space, which is developed by breaking away from the traditional in-participation” is the greater value that is given to the pedagogical pedagogical conceptions that prevail in the classroom; a second aspect space as a terrain where experiences occur and learning processes are that is linked to the new technologies, which legitimises the use of developed (Oliveira-Formosinho, 2007, 2011), it is possible to state “prohibited”/”disruptive” instruments in the class, such as mobile phones that this concern is an underlying feature of various “micropedagogies” and hyperlinks; and a third aspect, which is autobiographical in nature (p. 118) constructed under the scope of the 10× 10 project. and highlights experiences of self-production and sharing, supported by different instruments, such as writing or practices inspired by cartography. The transgressive – “prohibited” and “disruptive” – instruments B ody, movement and space einventing spaces between art and education R The relevance of “cultivating positive transgressions” (one of the recom- The body assumes a very powerful central role in various practices devel- mendations of the 10× 10 project), together with the idea that the school oped by the teachers-artist pairs. The possibility of liberating and enjoying should be a place where one goes to find meaning and not information, the movements of the body is highlighted in a broad spectrum of strategies are materialised in the form of strategies that make an appeal to the inthat, under the scope of the 10× 10 project, are known as “corporisations” formation technologies, to the various instruments of the visual world or (p. 173). They have as their pedagogical intentionality to approach specific to mobile phones, among many other things, which are instruments and problems and concepts relating to school subjects, based on concrete tools that today form an integral part of the everyday life of the students experience and valuing the body as a pedagogical possibility. This type and which mediate their relationship with the world. “construct their own“construct worlds”, po- of take ownership their surroundings “Autobiographies”, p. 162). areshared through Individualexperiences (2015, p. 7)consider the emergenceof “a perspective that can transcend These pedagogical proposals of the These pedagogical young people–considered natives”“digital –mainlyoccur through the construction ofknowledge.construction Itisinkeeping with this lineof thinking that computer, used for editing video programmes and sound, the Internet, of mapsand the mapping ofone’s affections and emotions.groups The of promotingself-knowledge instudents, of the selfand the construction hasbecome, contact where learning of permanent above all, ashared of mobile tools intoastrategyfor the decentralisationof teaching.” In digital equipment digital within the classroomcontext(see “Forum”, p. 168). who, as Ganito highlights (2009, p. 77), “have to adapt to this culture valuing one’s own world and the lifepath that onehasdeveloped (see an awareness ofothers. and the and movement. am I?”), they seek to develop skills through the production of texts ofa and systems. the expansionof the schoolspaceand the need Observing experience”, or, inother words, basedon the collaborative anexperience etically andaesthetically, expressing their perceptions about their “local” ing the potentialities deriving from ing theuseofmobilephonesandother the potentialitiesderiving ised” asa strategyofpositive instruments transgression, openlyexplor- family histories,family photographs, images, material,writing mirrors... –seeking by mobile phones, among other devices. They mobilise as resources the biographical nature,biographical besidesof the skillsneededfor the interpretation the construction ofintersubjectivity,the construction relation- reinforcinginterpersonal to increase the potentialforself-knowledge and of the discovery the self, to think about new possibilities for new times, the the school walls, breakthe use the controlmechanismsby transforming theatrical staging ofevents, staging theatrical amongothers, constitute for the terrain sharing ofknowledge,sharing inacollective andnot inanindividual way (Car- ships. Besidespromotingquestioning ofaphilosophicalnature(“who of the scope project, we find theuse ofautobiographiesandcartographies, of teachers,tool demands new attitudes and skills on pedagogical the part photographic cameras,photographic film cameras, mobile phones, sound recorders poems, andimages. photographs In this way, poetry, music, images, the hyperlinks, to the sendingof text messages, videos andrecordings made rega, 2011). revelation, ofidentities. andsharing (re)construction the pedagogical strategies developed strategies under the scopeof the pedagogical 10 10 × The strategies of an autobiographical naturemobilisedunder the ofanautobiographical The strategies training P In the same way, of the self enable the construction cartographies processesof It hasbecomeincreasinglyevident that the learning

10 ractices creation of worlds (Panellacreation et al, 2015), through the construction project assumed the useof “disruptive”/“prohibited”/“penal 10 Y oung peoplecreatenewlanguages, ×

project use a variety of resources – handwritten letters,10 projectusea ofresources – handwritten variety H owever, of themobilephoneasa the incorporation

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Reinventing spaces between art and education Ana Luísa Oliveira Pires, Elisabete Xavier Gomes, Teresa N. R. Gonçalves

108 109 2002, 2011). calligraphy, dramaor film, creatively mobilising thebody, the voice, the of different languages and forms ofexpression,of differentlanguagesandforms suchasmusic, dance, of inhabiting territories, constructing an experiential and uniquespace anexperiential constructing of inhabiting territories, dimensions (seePires, Gonçalves andGomes, 2015), which, becauseof and others and others whicharealso “forbidden”. applied –foritoperates through the exposureofoneselfandone’s af- ability from which oneemerges transformed. In this sense, itoperatesa lised with this aim(see p.“Cartographies”, 129). isa way Cartography invention and of inventing the world, producing ways of looking and fections (Kastup, 2008). forming knowledge that areimplied(Rolnik,forming 1987)–andnotmerely by the teacher-artist pairs are inspired by artistic practices, areinspiredbyartistic making use pairs by the teacher-artist tify the main dimensions of the 10 the training process, from the perspectiveofbothand the students.teachers their transversal nature, have significant implications at the level of the the scopeof that implies an idea of experience understood asaspaceofunpredict- understood that impliesanideaofexperience understanding experience in its complex and globalising sense (Larrosa initscomplexandglobalisingsense(Larrosa experience understanding shift, a disturbance that touches modes of existence, processes of self- pedagogical instruments and tools, instruments pedagogical some of which are almost “forgotten” place, linked to a whole, creatingnewrelationships with reality. movement, the space, amongothers, andrehabilitatingdifferent typesof 10 × Throughout the study that Throughout thewasundertaken, weiden- care to took These maindimensions were: In overall terms, andinclosekeeping with the intentionalityof In a more summarised form, In amoresummarised we highlight some of itsmostrelevant

10 project, we developed notestrategies that the pedagogical the 10 ×

— The pedagogical dimension, through the conceptionand designofactive and — The space-timedimension, and linked to the contexts/spaces/timesoflearning — The relationaldimension, anddevelopment of new through the construction 10 project, aremobi- strategies pedagogical various artist, ofrelationship with andbetweenthe openness to newforms the studentsand ardising logics. and producemeaningfor those who arelearning. The natureof the pedagogical experience opens up the possibility of introducing an epistemological and aesthetic experience experiences arise that can contribute to personal, that can contribute arise experiences professional and organisational collective pedagogical strategies that are participatory in nature and contribute in nature and contribute collective pedagogical strategies that are participatory development (althoughsignificantexpres- the lastof these didnothave agreatly of the trainer (Gonçalves andGomes, 2014): the creativewith the partnerships order into the classroom, ofobjectifyingorstand- which enables the interruption sion in the 10 to the students’ development dimensions (cognitive, in various socio-affective and ofknowledge.the construction As far as the teachers areconcerned, this has to do the school issimultaneouslya working and training context, in which formative professional relations based on horizontality and equality and not on the expertise andequalitynoton professionalthe expertise relationsbasedonhorizontality based onrealsituations, ofsharedstrategies; problemsolvingand the construction with their own work situation, of training mobilising the principles “in acontext”, relational, etc.) and to the construction of significant learning processes thathaverelational, ofsignificantlearning and to etc.) theconstruction

× ×

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— The epistemologicaldimension, which emerges from the interdisciplinary — The identitydimension, linked to the change in the teachers’ educationalconcepts, artists, students, and the s p a r pr T III f w d t e ence provided by the 10 pr collectively, and reflection, through experimentation ina shared and cooperative that isbeingmadebetween subjects,comparison ofa through the construction different rationalities, both theoreticalandpractical. Knowledge isconstructed of their identity.of their fashion –between teachers, andstudents. artists self-esteem and self-image and contribute to self-esteem andself-imagethe changes andcontribute taking placein terms transdisciplinary transdisciplinary “knowledge for action”, which canbeused to mediatebetween that they are developing skills and professional practices that can strengthen their in which (teachers, it of its participants values the individuality and singularity with their becomingaware madeby the project, of the contributions the feeling with the educationalcommunity.- Itshouldbenoted experi that the formative tr roject or xtent s o ecognised h iscontin it

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10 – resultinginanobjective andhierarchicalknowledgeto that isexternal 10 (2009) for the models to beusedfor the professionaldevelopment of The opening upof the to unpredictability and training experience the The analysis of the 10 Gomes, 2014). Basingourselveson the typology proposedbySachs currently beingusedforcontinuous teacher currently training and the professional open upotherpossibilitiesfor thinking about teacher training, namely of professionalism, with knowledge based onarelationshipofexternality denaturalise established practices andgobeyond individualistic under- dimension of their work.of dimension development inregard ofto teachers their contribution toimproving with regard to the promotionofcollaborative work between and teachers which someof these training proposals tend to promoteindividualism, valuing the project’s andcollaborative nature and the interdisciplinary artists and the consequentopeningupofunforeseenand unforeseeable artists alise the creative dimension of the teacher’s work, making it possible to geared towards pre-established ends configuring pre-determined forms forms geared towards pre-determined pre-established ends configuring fact creation.that it fact was basedupon languagesandprocesses ofartistic by the participating teachers with regard to the training offered bythe offered regardtothetraining with teachers participating by the those who responded to the questionnairesaid that they did notfindany teachers, of the our criticism traditional models focuses on the way in tonomy away fromandpoliticalthem andneglecting the pedagogical and technifyteachers’standardise practices,tend to au- takingtheir the subject that possessesit. neglecting the collaborativeof theteacher’sneglecting thedimension work,as they similarities between the similarities standings of teaching practices. The analysisof the perspectivesexpressed spaces fordialogueandreflection, promoting theimplementation of student learning, strengtheningoren- the professionalismof student learning, teachers - that single outandmateri (“micropedagogies”) strategies pedagogical hancing the informal dynamics in training experiences (Gonçalves dynamics in training experiences andhancing the informal project is profoundly democratic, because of the way × team).

10 projectreinforcedourinitial readingof the situation, sincemostof These models produce forms of mastery andcontrol that are ofmastery These modelsproduceforms In contrast, some of the central of characteristics the 10 × 10

10 project enabled us to question the models ×

10 projectandprevious training experiences, ×

10 project

Reinventing spaces between art and education Ana Luísa Oliveira Pires, Elisabete Xavier Gomes, Teresa N. R. Gonçalves

110 111 10 As cesses, byincreasing their motivation, attentionandotherattitudes that pairs; conceivedby theteacher-artist of knowledge and specific curricular contents.of knowledge andspecificcurricular inten- Thispedagogical relationship and the acquisition that foster of groups the interpersonal on the empirical research on that the empirical was undertaken, we sought to find the determined group ofpeople(andnotone that isspecificallychosen)and group determined with a set of pre-defined subject-matters –constitutedby therelationship with asetofpre-definedsubject-matters were mentioned by the teachers taking part and werewhich clearlyreinforce mentionedby the takingpart teachers assumed throughout the course of the course assumed throughoutthe acquired, given the flexible way in which theseroles were definedand - aware ofunpredictabilityandindetri the need to mobilisestrategies answer to the questionof intentionsof what the10 the pedagogical and weaknesses inherentin the existenceofanon-relationshipbetween environments andatmospheresthestudents’that facilitate pro- learning education, basedona transfer ofknowledge between aholderof that established between those who are teaching, and those who arelearning learning strategies strategies were conceivedlearning and the relationships were established in the very uncertainty of the actionitself, in whichimpliesouralsobeing uncertainty the very in a certain pedagogical context – in a certain space-time, context–inacertain pedagogical with a pre- in acertain con- as the implicitaiminacertain intentionality canbeunderstood institution – the way in which the schoolisorganisedand works inorder intention(s) underlying action,the pedagogical making it possible to intentions arefounded. full involvement in the processareaspects that ofall the participants between theteacher/educator,knowledgeand the student/pupil and the ofrationality andpredictabilityon by the discourse whicheducational tionality isclearly visible in the differentdocuments producedby the the direction of its intention”, so that we accept the challenges inherent the knowledge that circulatesbetween them. to achieveobjectives establishedpedagogical – which arehidebound the educationalintentionsand teaching processesof the schoolasan that the spaces that thewereorganised, thetimes weremanaged, theteaching/ the uniquenessof the 10 understand the concepts,understand and values principles that guided this project. knowledge (teacher) and a receiver of that same knowledge (student). sons. We also noted that this intentionality was to befoundin the way purpose, anddeveloped scious action foraparticular that isstructured promote learning, their potential being increased by the construction their potentialbeingincreasedby promote learning, the construction project are. One of the main intentions has to do with the creation of p. 90)highlights, we areaware that “no actionisassuredof working in proposals. process cannot be understood in the lightofa process cannot beunderstood “banker’s” vision of ment to programmes programmes ment to × U

10 project–forexample, in the recordsheetsof the micropedagogies berti (2013)pointsout,berti we confronted arecurrently with the limits As was defended byPaulo Freire(1996), the teaching/learning We to identifyandgive visibility consideritimportant to the First of all,First we base our thinking on the idea that pedagogical In view of the reflections thathave beenpointedoutabove, based ●. ×

10 project when compared with other training in the Notebooksof the PublicLes- 10 ×

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gathered along the way and hazards, mishaps or good fortune ? encountered.” (Morin, 2000, p. 90). Quoting the pedagogue in this respect: “There is no teaching without by Biesta, 2006) of bureaucratic and standardised dynamics, through learning, they explain each other, and the subjects, despite their differ- the construction of a certain bricolage. What therefore happened was ences, are not reduced to the condition of being objects of one another. an opening of cracks in the pedagogical work, provided by the artistic Whoever teaches learns in the act of teaching and whoever learns teaches action, and leading to exercises of liberation: pedagogy freed itself from in the act of learning.” (Freire, 1996, p. 12) the shackles of pre-defined outcomes and became available to provide The intentionality of this proposal is not based on the transfer formative training experiences, in the sense that is attributed to them of knowledge, but instead on the creation “of the possibilities for its by Larrosa (2013); the teachers freed themselves from the automatic production or construction” (Freire, 1996, p. 12). At the same time, didactic methods used for the teaching of their subject; the artists freed the relationship of cooperation and partnership that it was intended themselves from the association between their practices and their art should be promoted between teachers, artists and students was based work; and the artistic practices were themselves freed and placed at the on democratic principles, on the respect for each other’s knowledge, on disposal of the students. the expression of uniqueness, diversity and multiplicity, in detriment to the hierarchical structuring of roles and functions. In his historical analysis of the infancy of the vanguards, Bordes final (2007, pp. 20-21) defends the evidence that the teaching vocation is habitu- considerations V This question guided a central part of our research work. One of the ally accompanied by the creative vocation. Among other considerations, What is the key ideas that emerges from our analysis of the way in which the 10× 10 the author situates and defines the figure of the teacher-lecturer (the one nature of the project was developed is that there is a strong isomorphism between the whose work is not made public and is restricted to the classroom) and relationship design of the training programme and the pedagogical experiences set the figure of the teacher-lecturer-author (who writes about and publishes established in motion by the various pairs of teachers and artists. This isomorphism his or her pedagogical experiences). between lies in the opening of a space-time for collaborative work, which is char- In contrast to the industrialisation of the didactic objects of im- artistic practices and acterised by the experiences of bricolage (defined above on the basis of mediate consumption that tend to invade the schools and the classrooms, pedagogical Paley’s works) and interdiscursivity. the pedagogical experiences of the 10× 10 project made it possible to practices? For various authors, collaborative work amounts to more than a highlight the artisanal dimension of pedagogy (the act of doing, the practice, a philosophy and an ethic: it is a more democratic way of working, inventing of ways of teaching, revaluing routines and materials, objects

insofar as, by being more supportive and less competitive, it assumes a 113 and spaces), together with the relational dimension (the sharing with

greater willingness to help the other, promoting a greater openness and a other professionals, team work, self-knowledge, the knowledge of the

better interpersonal relationship (Fullan and Hargreaves, 2000; Roldão, 112 students, the construction of a community). They also made it possible

2007; Damiani, 2008; Freire, 1997; Nóvoa, 2008). The commitment to the na Luísa Oliveira Pires, Elisabete Xavier Gomes, N. Teresa R. Gonçalves to achieve ways of fulfilling one of the rules of the pedagogical life as A construction of collaborative relationships was a feature that cut across defined by Larrosa (2015): the whole of the 10× 10 project and we found various examples of this in the relationships of the teacher-artist pairs, in the relationships between Il est nécessaire de travailler sur des matérialités éducatives. Pas seulement sur des this pair and the students, as well as in the relationships between the idées éducatives mais aussi sur des matérialités éducatives. Sur l’architecture des various actors involved in the 10× 10 project, as can be noted in Gomes, écoles, par exemple, ou sur les objets pédagogiques, les choses qui sont utilisées pour Pires and Gonçalves (2016). enseigner, sur les gestes de l’éducation, sur les temps et les espaces de l’éducation, The concept of interdiscursivity is based on the conjugation of sur les corps à l’éducation, sur les dispositifs de l’éducation, si l’on prend le mot distinct languages and discourses for a better understanding of the edu- dispositif dans le sens de façon de poser, ou de disposer, ou de composer les espaces, cational phenomenon and of human capacities (Gonçalves, 2008). With les temps, les matérialités, les savoirs, les corps, les langues, etc. its origin in post-structuralism, interdiscursivity deals with the way that Il s’agit de faire de la pensée non seulement une question d’intelligibilité, mais discourses intersect with one another, are juxtaposed and intertwined. également de sensibilité. (pp. 5-6) ● Underlying the idea of interdiscursivity is the view that all discourses function according to a logic that is based on their relationship with or The collaborative work and the interdiscursive nature of the opposition to other discourses (Davis and Sumara, 2005). As we previ- experiences developed in the course of the 10 10 project address the einventing spaces between art and education × ously argued, interdiscursivity is a central characteristic in the relationship R technical rationality within which the teacher’s profession has developed, between the artistic practices and the pedagogical practices experienced as well as the artistic and authorial rationality that has been the hallmark in the course of the 10× 10 project (Gomes, Pires and Gonçalves, 2016). of the artist’s profession. The writing of this book and the various working In fact, the working processes that were set in motion were not mechanisms used under the scope of the 10× 10 project, namely the public intended to publicise artistic movements, works of art or specific authors, lessons, made it possible to fix the pedagogical work beyond the time and nor even to use art as a tool for expanding the means of expression of space of the class(room), combining art and pedagogy in the construction pedagogical objects (the things that are used for teaching), the gestures of educa - teaching), pedagogicalthat are used for things objects (the sensitivity. (pp. 5-6) (Translation by John Elliott) by John 5-6) (Translation (pp. sensitivity. tion, the times and spaces of education, bodies in education, the mechanisms ofmechanisms the education, in bodies education, of spaces and times the tion, but also educational materialities. The architecture of schools, for example, or for example, The architecture of schools, also educational materialities. but education (taking the word “mechanism” to mean a way of organising, arranging of organising, way to mean a “mechanism” word the education (taking etc.) languages, bodies, knowledge, materialities, times, or composing spaces, Educational materialities need to be worked upon. Not only educational ideas, Not only educational ideas, upon. worked Educational materialitiesto be need

This involves turning thought into a question not only of intelligibility, but also but turning intelligibility, of only not question a into thought involves This children and young people. They were, instead, designed to make the edu- of ways of acting, experiencing and disseminating pedagogy. It made it ● cational event possible through the interruption (in the sense constructed possible to extend the idea of the author, from the artist to the teacher, 10 10 constructed in the collaborativeconstructed betweenwork and performed teachers competences. of frameworks for thinking and acting, as well as multiple skills and of reference, appealing to reflection), contributing to the development different forms of knowledge and (trans)forming identities. ofknowledge and(trans)forming different forms we caninvent possiblenew worlds that we canshare with oneanother. ways of thinking andacting. The spaceofcreationopenedupby the a community of people who constructed something a communityofpeople together,who constructed inacol- ence afundamentalplace, as they seek of insofar toprovide experiences laborative processes, fashion, promotingmultiplelearning constructing imprisoning the individuals andforcing imprisoning them to adoptnaturalised in the actions, procedures relationships and everyday of the school, in the classroom with the students, the project was organised around globalising and integrating spaces-timesfor(trans)formation, globalising andintegrating through from the individual to the partnership andcollaborative from the individual work,to the partnership leaving to experience new to experience ways oflivinginacommunityandconceiving that makesitpossiblefor the thinking and ways ofdoing things at the themselves. occur in a multiplicity of registers: senso- These experiences the interactionsand transactions that areestablished within the groups this questionopenandunanswered: “What isanauthorofpedagogy?” teacher-artist pairs, strategies teacher-artist who conceived andimplementedlearning students, andartists, thinking andplanning researchers together so that school to becomeinventive andsensitive processes that enablepeople planning their actionsina way that ismoreopen to others. This path is rial (appealing to the senses) and logical and rational (mobilising frames (appealingandrational(mobilisingframes to rial the senses)andlogical rebellion against practices that crystallise andcapturelife the rebellion againstpracticesworldthat crystallise × ×

project may correspond to aprocessofproducingmultiplicities 10 projectmaycorrespond 10 project were basedonaneducationalconcept- that awards experi The pedagogical proposalsdevelopedThe pedagogical under the scopeof the One of the basicconditionsof this work isitsboldandconstant Following of alogic “creative asembodiedby the partnerships”,

Reinventing spaces between art and education Ana Luísa Oliveira Pires, Elisabete Xavier Gomes, Teresa N. R. Gonçalves

114 115 Alves, BLIOGRAP B Davis &Sumara(2008). Bordes, J. (2007). Lainfancia Bogdan, R. &Biklen, S. (1994). Biesta, G. J. &Säfström, C. A. Biesta, G. J. (2011). Disciplinesand Biesta, G. J. (2006). Beyond i Qualitative Studiesin Learning. Democratic Education à teoria eaosmétodos. à teoria International Journal of Journal International (2011). A manifestofor (Re)pensando ainvestigação em (2010). Investigação qualitativa em Education, 18(3), 305-321. educação: Umaintrodução educação: Desafiosdaconstrução desde RousseaualaBauhaus. de las vanguardias: Susprofesores dos investigadores numcampo do conhecimentoedaformação Society, 19(2), 175-192. Challenging imagesof Challenging Caparica: of education: A comparative M multi-referenciado (pp. 1-29). in Education, 9(5), 540-547. and educationalresearch. and Continental construction of of and Continentalconstruction the Anglo-American of analysis education. Policy Futures educação. In London: Paradigm Publishers. Boulder,for aHumanFuture. R.(eds.), Azevedo Porto: Porto Editora. Educação eDesenvolvimento. the field. Pedagogy, Cultureand in the academicstudy theory knowing: Complexityscience adrid: Cátedra. M . G. & Azevedo, N. R. Introdução: U IED – Coleção IED –Coleção M h . G. Alves, &N. y Investigar em Gomes, E. X. Pires, A. L. & Gomes, E. X. &Gonçalves, Gonçalves, T. N. (2010). Investigar Gonçalves, T.(2008). Gaztambide-Fernández, R. (2013). Freire, P. (1996). Pedagogia da Eça, T., Saldanha, A. & Estrela, Erickson, F. (1986). autonomia: Saberesnecessários à práticaeducativa. SãoPaulo: Interacções, 37, 24-46. EducationalReview,Harvard (Eds.). (2012). Atravessar pontes: (Eds.), Teoria daeducação: Handbook ofresearch on teaching. Entre escolasemuseus/ e cognição: deum Construção da SociedadePortuguesa de de desenvolvimento cognitivo . Porto. Internacional Seminário ,83(1) 211-237. Why the arts don’tWhy doanything: the arts [ Ciências daEducação. (pp. ibéricos Contributos 71-108). T. N. (2015). Trabalho da Toward anew vision forcultural schools andmuseums. Actas do Crossing bridges: Between Gonçalves, T. N. (2016, qualitativa. In Chicago: Coimbra: Coimbra de uma teoria daeducação.de uma teoria modelo deanáliseprogramas U artística. Atasdox educação: Acção humana, não- as possibilidadesdeconstrução e dimensõesda investigação em educação: Fundamentos Paz e Terra.Paz Press. Interdiscursivas comas Interdiscursivas In J. Boavida& A. G. delDujo N.(eds.). AzevedoInvestigar em methods inresearchon teaching. In produtividade ecomunidade. production inEducation. linguagens pedagógica e linguagens pedagógica in press). Composições U niversity ofSeville. npublished PhD thesis].npublished M . T. (2007). Notassobre M ac M M M . Wittrock (ed.), illan. Q . G. Alves & Educação ualitative iii V U idigal, L. Congresso Congresso niversity Gonçalves, T. N. &Gomes, Graue, Gonçalves, T. N. R., Azevedo, Larrosa, J. (2015). Règlespourdire, Larrosa, J. (2013). Por amorà Larrosa, J. (2011). e Experiência Larrosa, J. (2002). Notassobre H H H elguera, P. (2011). Transpedagogia. oussaye, J., Setard, onoré, B. (1992). Vers l’oeuvre and linesofflight(pp. 5-19). Manifesto afavor dospedagogos. Medi@ções, 2(2), 63-80. Reflexão e Ação, 19(2), 4-27. (pp. 11-12). FundaçãoBienal Investigação com etnográfica Pedagogia nocampoexpandido Educational theory informing informing Educational theory educational research: Scenarios crianças: Teorias,métodos eética. de formation: L’ouverture à educação: Desafiosdaconstrução de Educação, 19, 20-28. de investigadores numcampo de conhecimentoedaformação & T. N. R. Gonçalves (eds.), Theorizing education:Theorizing Gulbenkian. Calouste Gulbenkian. contínuo dosprofessores: Caparica: o projeto10 do desenvolvimento profissional M multi-referenciado (pp. 39-62). U D. &Fabre, aula. Imaginar, 56, 39-46. alteridade em educação.alteridade Revista eosaberde a experiência experiência. RevistaBrasileira Lisbon: Fundação Calouste Porto Alegre: Artmed Editora. Porto Alegre: Artmed In P. In Introducing aconversation. E. X. (2014). o Re-imaginar Notas sobre a arte na salade Notas sobreaarte N. R. & Alves, l’existence. Paris: L’ infância eporamoraomundo.infância IED-FCT/ onte daCaparica: M M M H . G. Alves, N. R. Azevedo ercosul. . & Walsh, D. (2003). elguera & U × IED-FCT/ M U 10 daFundação . (2004). NL M M . G. (2013). M H . ., H armattan. H off (eds.), U ameline, NL. M M M Leite, E. & Paley, N. (1995). Findingart’s place: Pires, A. L. Gonçalves, T. N. Pires, A. L. (2005). Educação asschelein, J. &Simons, orin, E. (2000). Ossetesaberes eirieu, P. (2006). Sciencesde ... Análise críticadossistemase ( 2002-2007. Porto: Fundação Autêntica Editora. A. A. Uma questãopública. (2013). Emdefesa daescola: Interacções, 37, 5-23. Experiments in contemporary incontemporary Experiments education andculture.New e formação aolongo da vida:e formação competências. Lisbon: Fundação contexto (pp. 61-78). Setúbal: dispositivos dereconhecimentoe Serralves: Projectoscomescolas & Gomes, E. X. (2015). Gulbenkian. In A. Pereira, Calouste Gulbenkian. C. G. Silva, F. Botelho, J. Pinto, contexto: Oprojeto10×10 validação deaprendizagens ede teoria, osdadoseoconhecimento da FundaçãoCalouste em de saberespedagógicos do InstitutoPolitécnico de necessários àeducaçãodofuturo. necessários ebook_versao_final_web.pdf Formação contínuade Serralves. São Paulo: Cortez. Setúbal. Recovered from Routledge. file?p_name=F-1578426110/3_ Recovered from Belo web_gessi_docs.download_ Escola Superior deEducação Escola Superior penser ethabiterl’éducation. https://www.si.ips.pt/ese_si/ professores e construção professores econstrução pedaetscienceseduc.pdf. l’education etpédagogie. http://meirieu.com/CO iii M ): Investigar práticasem . P. Alves (eds.), Entrea H V asconcelos, orizonte, SãoPaulo: orizonte, V itorino, S. (2008). C. Delgado, M U RS/ . Y ork:

Thomson, P., U Sachs, J. (2009). Aprender Silva, R. (2011). Apresentação Rancière, J. (2010c). Omestre Rancière, J. (2010b). Oespectador Rancière, J. (2010a). Estéticae Pires, A. L., Gomes, E. X. & berti, L. (2013). Intencionalidade Aprendizagem edesenvolvimento A repúblicapor vir: Arte, política a emancipaçãointelectual. Medi@ções. Realidade, 28(4), 1223-1242. (pp. 11-37). Lisbon: Fundação (elegia docomum).(elegia In (pp. 99-118). education. London: emancipado. Lisbon: OrfeuNegro. e pensamentopara oséculo signature pedagogies project: Final College. Recovered from Calouste Gulbenkian. of Nottingham, Goldsmiths G. Didi- daescolacomo construção Gonçalves, T. N. (2016, no report. Creativity, cultureand M política: dosensível. A partilha profissional deprofessores M ignorante: Cincoliçõessobre Flores & A. a aprendizagem. In educativa. Educação& education.org. espaço e tempo dademocracia. na e práticasartísticas R. Silva &L. Nazaré(eds.), K. &Green, J. (2012). The Porto: DafneEditora. Edições Pedago. para melhorarou prelo). Práticaspedagógicas http://www.creativityculture angualde: Pedago. .-J. M ondzain, B. Stiegler, H H uberman, J. Rancière, M all, C., Jones, M . Simão(eds.), angualde: U M niversity . A. xxi

Reinventing spaces between art and education Ana Luísa Oliveira Pires, Elisabete Xavier Gomes, Teresa N. R. Gonçalves Reinventing spaces between art and education

118 119 Micropedagogies 123 130 128 128 portrait portrait 4.3. Mapping aself- 4.2. Body-silhouette 4.1. Mapping the self Cartographies 3.2. whoever...... 3.1. Change places and the other Between the self gestures/movements 2.3. Game of imitating 2.2. Stop inmovement 2.1. The shoal game Complicities 1.6. Body-signature nearest the 1.5. The furthest, 1.4. Family photos 1.3. IfIwere... Iwould be... with objects 1.2. Icebreaker 1.1. Iidentify with... Identities games/group activities) ending the lesson, for beginning and (icebreaker, rituals relationships interpersonal groups and Constructing Ⅰ Ⅰ Ⅰ Ⅰ Ⅰ Magnetic campuses 4 3 2 1 143 140 135 132 knowledge 3.2. The signaller of 3.1. Manifestos invisible visible Making the 2.4. Copacabana! 2.3. Ball game 2.2. Silence 2.1. Stretching Awakenings 1.7. Today Ilearned that... 1.6. Imagining to question to questions 1.5. Questions give birth and ending asession 1.4. Ritual for beginning U-shaped room 1.3. Choreography for a 1.2. Pieces of paper rituals1.1. Security Rituals listening and relaxation) memorising, active concentration, (exercises in learning that facilitate concentration attention and motivation, attitudes of Promoting 5.2. Water bubble 5.1. Human chain Synergies Ⅱ Ⅱ Ⅱ Ⅱ Ⅰ 3 2 1 5 145 152 149 148 7.4. Whisperer 7.3. images 7.2. Gallery of scientific binding images 7.1. Divisive images/ Focuses of others 6.4. The conversation that see 6.3. Drawing witheyes 6.2. The life of aline happiness? this contribute to my 6.1. Inwhat way does Perspectives game5.2. The memory 5.1. The addition game sequences of Game 4.5. Word volcano conductor 4.4. Game of the sound 4.3. Mantra mathematical operations 4.2. Game of enunciating as agroup 4.1. Counting and Group evocations Ⅱ Ⅱ Ⅱ Ⅱ Ridikulus articulatis 4 7 6 5

MicropedagogiesMicropedagogies Contents

120 121 160 157 2.4.2. Hangman game 2.4.1. Handkerchief everyday glossary 2.4. Biological and glossary2.3. Chemistry 2.2. Invented words 2.1. Word glossary Glossaries 1.4. Text message tales with connectors 1.3. Undying body 1.2. Undying body 1.1. Poetry machine Thought machine and argumentation) appropriation, negotiation the bodyand space, exercises, exercises with (glossary, writing contents subject/curricular the learning of Facilitating Ⅲ Ⅲ Ⅲ 2 1 163 169 165 at the Taipas Market 5.6. Dinner... after gleaning of classical stories 5.5. Simplified retelling 5.4. Talking stick phone 5.3.3. Film withmobile photographs 5.3.2. Film with 5.3.1. Our trailer would make agoodfilm 5.3. Our subject my homeland 5.2. Journey to (Quick Response Code) 5.1. Forum first-century poetry twentieth and twenty- 4.8. Medievalisations – 4.7. Phonetic notation 4.6. Word fight 4.5. The power of poetry 4.4. Reciting aloud poetry 4.3. Poem choirs 4.2. Space and poetry 4.1. Thematic recitals Recitals 3.7. Family stories 3.6. Aletter to oneself 3.5. Autobiography autobiography3.4. Short 3.3. Individual letter 3.2. True orfalse exercises 3.1. Series of writing Autobiographies Ⅲ Ⅲ Ⅲ QR Code 4 5 3

174 183 180 that tell stories) of Map/Score 7.5. Anthology 7.4. Mynotebook events unusual of 7.3. Diary 7.2. Field notebook graphic diaries 7.1. Polyphonic Diaries simplification 6.11. Symbolic 6.10. Clothesline 6.9. Symmetry/Mirror 6.8. Vectors model present-day atomic model versus the electrons: the Bohr 6.7. Distribution of 6.6. Emission/Absorption you can stay stable? 6.5. Doyou think 6.4. The cake invisible visible 6.3. Making the 6.2. Meteoric dynamic 6.1. Paramecia Corporisations Ⅲ Ⅲ Ⅲ OTS (Objects 8 7 6 Group activities Games and ending the lesson Rituals for beginning Icebreaker Constructing groups and interpersonal relationships Ⅰ

Micropedagogies

122 123 history of the student’s life. Once again, they must justify their choice. a material namely support, atrulypersonal object that is relevant inthe As inthe previous proposal, this presentation also activity starts with ly and must include ajustification of why they chose that particular image. they wish to present themselves. Thispresentation takes place individual- projected twice. Insilence, each student selects an image through which The teacher presents the group withasequence of diversified images, 1.2. Icebreaker withobjects 1.1. Iidentify with... Icebreaker dynamics. Influence pedagogical proposal in the construction of the Sources/references used camera, mobile phone. Computer, projector, photographic Images, photographs, objects. used Resources one’s bodyand the space. analysis. To take ownership of biographical dynamics and self- tion and communication through facilitate the student’s presenta- ing the group’s cohesiveness. To ties and apredisposition for sens- class members; to lookfor affini- To make oneself known to the Intention/aims solidation of the group. ficulty of acceptance by and con- interpersonal relationships. Dif- exposing themselves and about shyness of the students about the school year. Inhibition and the teacher at the beginning of Presentation of the students and was conceived problem for which the strategy Characteristics of the situation/ Identities Ⅰ 1 the cohesiveness of the class. initial resistance and promote in an attempt to reduce the indirectly reveal information, of objects and forms that that privilegeis given to the use It is through this guiding thread feeling of belonging to agroup. year, as well as the lack of the at the beginning of the school of individual presentation that characterises the moments seeks to combat the fragility dynamic and visual forms, Exercise that, by exploring of the activities General description on the question: “Whoam I?” Philosophical questioning, focus Phonology: the prosodic level. tion. The autobiographical text. and the capacity for argumenta- The structure of communication Syllabus contents worked upon Voorham and Howard Sonenklar. with Dieter Heitkamp, Benno Tanzfabrik Berlin in1989/1990, tion and painting. Dance at the of the horizon of theatre, illustra- habit of strategies of this both type, for students and for teachers. interaction between contents and micropedagogies helps to instil the – either they fall down dead orare standing and alive. of This type she willhave to use their bodyto express the result of that calculation of acertain dose. When we take the photograph onthat day, he or calculation, the student survives (ordoesn’t the survive) administration chemical substances, an exercise can begiven, inwhich, inthe in the family photo. When the class is about lethal doses of certain Give an exercise inwhich the solution to the problem is then mirrored students orinspired by the topic that is being taught. in the different photographs, and which may besuggested by the consideration. It is also important to lookfor the variations that appear the framing of the photograph are factors that should betaken into proud of it(including the teacher). Here, the position, the lighting and so that all the members of the class are included inthe image and are taken at different moments during the year and always using the timer, cooperation and of constituting awhole. The photographs should be the group, to the importance of the class’s feeling of unity, of mutual family that provides the titleof this micropedagogy refers precisely to gradually composed inthe course of the school year. The concept of adopted of constructing something similar to aphoto album that is Seeking to foster the spirit of belonging to the group, the strategy is referring to their ability to recall the answers that they presented. cation and argumentation skills. They can also appeal to their memory, The students may also justify their choices, developing their communi- → ... → IfIwere afeeling, Iwould be... → IfIwere an object, Iwould be... → IfIwere aplant, Iwould be... → IfIwere anumber, Iwould be... → IfIwere averb, Iwould be... → IfIwere acolour, Iwould be... → IfIwere an animal, Iwould be... their ideals. each student to reflect upon themselves, reflecting their wishes and to certain criteria. Various categories are proposed that challenge This determines activity the student’s initial presentation according students may bring an image of the same thing orjust explain it. When itis impossible to present an object inthe classroom, the 1.4. Family photos 1.3. IfIwere... Iwould be... Suggestion Suggestion Examples Note

Micropedagogies

124 125 participant’s mood at that time. It can also berequested that the signature should demonstrate the sibility. Atthe end, impressions are shared about the experience. their name withtheir body, including previous explorations of this pos- signs. When they are comfortable about doing this, each student signs encouraging the group to freely explore their own drawings and de- dure by drawing circles, numbers, letters, but only withthe purpose of the space (ceiling, floor, wall...). The teacher can exemplify the proce- ment (weight, amplitude, time), as well as different levels and planes in and other limbs/organs. They first explore different properties of move- hands, using their shoulders, nose, elbows, bottom, back, feet, knees pants to beginby draw trying part with every of their body, except their quires people to bestanding up and inan empty room. The partici- iseverybody invited to physically sign their name. This exercise re- by resorting only to corporal expression, gesture and movement, drawing the signature of each member of the group. This means that The proposal made by this exercise is to use the bodyas atool for use your hands to perform this task. to the other, but, onthis occasion, withthe particularity of being able to keep as far away as possible from one of them and as close as possible → Againchoose another members two and, ona signfrom the teacher, one, again without using your hands. away as possible from one of them and as close as possible to the other → Choose another members two and, when the signis given, keep as far close to them as possible, also without using your hands. → Choose another member and, onasignfrom the teacher, keep as as far away from them as possible without using your hands. → Choose amember of the group and, onasignfrom the teacher, keep the following challenges are proposed: constant movement (walking around the space), and secret choices, that room, occupying the space inabalanced fashion. It is inthis context of separate moments. Ineach of them, the students move around an empty This exercise comes from the world of dance and is divided into four Family photos 1.6. Body-signature 1.5. The furthest, the nearest Suggestion Complicities camera. Music. of various colours. Photographic paper,Scenery writing material used Resources proximity and motor coordination. leadership. To work onphysical forms of positioning, especially work and experiment withdifferent a group. To develop cooperative To contribute to the formation of of respect and cooperation. To expand the relationship Intention/aims the feeling of group identity. sonal relationships, strengthening Reducing resistance to interper- was conceived problem for which the strategy Characteristics of the situation/ Ⅰ 2 the freedom of corporal expression and on the importance that the Combining three complementary moments, this is activity centred on during the exercise. make itpossible to record the degrees of cohesiveness of the shoals tographing the flow of the groups inthe course of their journey, this will If one of the members of the group is outside, left withthe aimof pho- nature. The maps are then presented to the class. were particularly important, because of either their negative orpositive that they made. Onthis map orchart, they must also mark situations that ed to each group that they should draw aflow chart of the movements ship and obedience. Once the route has been completed, itis suggest- er. Each member of the shoal willexperience the position of both leader - shoal establishes aroute that itwillfollow under the guidance of alead- ple (between five and seven) into small shoals. In an empty room, each isactivity developed through the transformation of small groups of peo- Being concerned withthe group spirit, team work and leadership, this 2.2. Stop inmovement 2.1. The shoal game Suggestion the members of the class. roles and responsibilities to to the attribution of different work, resorting, for this purpose, of proximity and cooperative concern to establish relationships below reveal as their fundamental contact, the strategies presented body movement and physical Using the dynamics of of the activities General description and intergroup dynamics. Social roles; intragroup worked upon Syllabus contents Inspired onother dance exercises. pedagogical proposal in the construction of the Sources/references used

Micropedagogies

126 127 ferent readings. ofsimplicity the gestures that are reproduced to become opento dif- The playing of background music withadramatic tune allows for the are given the task of reproducing these same movements. hands, head and the upper part of their body. Those who are being led make slow, continuous and contrasting gestures, mainly using their arms, a group, and its first member is given the role of leader. Their task is to groups for the second phase of the exercise. Each row corresponds to tablished that the customary alignment of the tables willdefine the work teacher, who asks the class to replicate his orher gestures. Next, itis es- egy for developing the lesson. This game is first demonstrated by the – this can activity beused as awarming up procedure oras astrat- ing for concentration and motor coordination onthe part of the students Designed for the reproduction of movements –and simultaneously call- now required to keep at adistance from the latter. movements of the person that they touched, although the former is their movement again, the one who did the touching must copy the stop for five seconds after the accidental touch, but, when they start Following onfrom the previous exercise, the members of the group again after abrief pause of roughly five seconds. participants touch one another accidentally, and the dance can begin In the second phase of the exercise, the “stop” occurs whenever the right moment. be heard by everyone; acertain sensitivity must beused to choose the only one member at atime can utter the word “stop”). The order must feels the impulse to give the command (itis important to consider that way, the order to “stop” begins to bedetermined by any student who to doso, withthe words “carry on”. After afew stops performed inthis position, and only beginning to move again when they hear the order uttered by the teacher. Atthat moment, they must stop, freezing inthat The first proposal consists of moving until they hear the word “stop” floor, crawling on hands and knees, medium, high and jumping). (continuous, slow, rapid, intersecting...) and using various planes (onthe class arranged inacircle, experimenting differenttypes of movement thetween members of agroup. It begins inan empty room, withthe physical touch assumes inthe process of approximation and trust be- Suggestion 2.3. Game of imitating gestures/movements 2.2.3. 2.2.2. 2.2.1. Chairs. used Resources to the group. themselves to their own self and express themselves and expose of freedom for the students to laborative work. To create spaces equal circumstances and col- intimate and friendly atmospheres, other through actions of sharing, tion between the self and the To help inmaking the identifica- Intention/Aims fording itacommon identity. consolidating the group and af- individual exposure. in Difficulty Reducing embarrassment about was conceived problem for which the strategy Characteristics of the situation/ Between the self and the other Ⅰ 3 → ... → Change places whoever... has confidence inthemselves. → Change places whoever... has asecret mania. → Change places whoever... has done something forbidden. come progressively more complex, personal and revealing. ever, itis most important that the instructions given by the teacher be- one another. The exercise continues following this same structure. How- identify themselves withwhat is said must swap places randomly with was late for school today”, and, inresponse to this, the students who example, the teacher can beginwiththe order “Change places whoever the words: “Change places whoever...... ”, followed by its complement. For instruction, which, just like all the following ones, willalways beginwith The students sitinacircle and, outside it,the teacher issues the first 3.1. Change places whoever...... Examples: liberating fashion. their identity inadynamic and way, lead to the students sharing inhibitions/prejudices and, inthis here are designed to overcome classes, the strategies presented in fragmented ornewly-formed with others, particularly notable self and forming arelationship that characterises exposing one- In view of the natural difficulty of the activities General description questioning about the self. of philosophical and reflective Autobiography. Attitude Syllabus contents worked upon by Dieter Heitkamp. context. Dance exercise References to the theatre pedagogical proposal in the construction of the Sources/references used

Micropedagogies

128 129 → ... → Those who like themselves goto X;those who don’t goto Y. → Those who still have grandparents goto X;those who don’t goto Y. → Those who like sweet things goto X;those who don’t goto Y. questions should become progressively more profound. their answer. It is fundamental for the success of the exercise that the choice, the students should then run to the corner that corresponds to will beeither positive ornegative for each student. Depending ontheir in the empty space, the teacher throws out questions whose answers to opposite corners of the room. As the group circulates naturally with- consists polarising of two answers –yes “Magnetic campuses” is agame that is characterised by the fact that it of their capacity to intervene and to take ownership of the game. instructions by the students themselves, since this willbesymptomatic It is recommended that this should activity end withthe production of Note 3.2. Magnetic campuses Examples

Change places whoever...... and no and –which are attributed images. Overhead projector or of various colours, glue, sellotape, paper,Scenery writing material used Resources and established barriers. manner. To overcome prejudices identity inavisual and graphic to express features of one’s own work onself-exposition, valuing it; mote aknowledge of others. To awareness of oneself and to pro- sis and self-analysis. To create the To develop the capacity for analy- Intention/aims the group. belonging and of autonomy within personally. Lack of feelings of inDifficulty revealing themselves little questioning orreflection. A reduced critical attitude, with was conceived problem for which the strategy Characteristics of the situation/ Cartographies Ⅰ 4 which they consider important (favourite animal, memories...). toserve define their identity (personal characteristics, wishes...) and The students can fill intheir maps withthe elements that they believe should bearranged vertically invisible places. and cooperation. After the physical outline has been drawn, the sheets ultimately, physical contact that generates an atmosphere of respect the sheet. This moment of mutual cooperation provides proximity and, ises them, whileanother colleague draws the outline of their body on the student then lies down, choosing the position that best character- a sheet of paper, scenery which willbelaid onthe floor and onwhich with which they identify. For this purpose, each member must begiven of their own self, causing themselves to bedrawn inaphysical position terwards making the suggestion that each student should draw amap The teacher begins by explaining the purpose of the cartography, af 4.1. Mapping the self Suggestion aware of themselves and others. that can help students become of cartography as an instrument the following activities make use between the self the self Rooted inreflection about of the activities General description “Who am I?” ing and afocus onthe question: cal text. Philosophical question- Cartography. The autobiographi- Syllabus contents worked upon Castro’s sculptural work. Drawing. Inspired by Lourdes References to Geography and pedagogical proposal in the construction of the Sources/references used with aspotlight. another piece of equipment and inthe relationship and the other , -

Micropedagogies

130 131 self-portrait of the cartography and the contents of the text. in class and write their own fictional that story combines precisely the dents work ontexts written by authors that have already been analysed is not introduced by another person. It is also suggested that the stu- sheet of paper, scenery so that, inthis case, the outline of their body that the students should work individually ontheir self-portrait onthe does, however, present some variations. Inthis activity, itis proposed ducing an individual and personalised map of the self –this exercise While itis similar to the preceding exercises –regarding the aimof pro- areas of weakness/strength; draw relevant symbols; fears... the body, according to the areas of the bodywhere they are felt; signal Symbolise bodyorgans and write thoughts, but indifferent places of graphical information can berecorded onthe surface of this “map”. the body, makes itpossible to project its shadow/silhouette. Other bio- light source (for example, an overhead projector), which, by shining on student lying down onthe paper, scenery but instead depends onthe is placed vertically and the bodyposture no longer arises from the the drawing of the outline of astudent’s bodyby aclassmate, the sheet strategy proposes only some slight alterations. Although italso involves Adopting the same logic as in“Mapping the self”, this pedagogical 4.3. Mapping aself-portrait 4.2. Body-silhouette Suggestion

Mapping the self in the construction of the Sources/references used Music. used Resources the class down. centration and creativity. To calm ing of belonging. To develop con- experience and of unity the feel- strengthen the group feeling, the highlighting the attempts to To produce cooperative work, Intention/aims and anxiety inthe class. sonal relationships. Restlessness of identity. Weakness ininterper- group and the respective sense Gaps inthe cohesiveness of the was conceived problem for which the strategy Characteristics of the situation/ Synergies Ⅰ 5 a horizontal position and are comfortable. and, like spaghetti, they allow themselves to become soft until they reach and slow movements. The ends activity when everyone is close together group must move together and slowly, producing gentle, very continuous In an empty room and without letting goof each other’s hands, the go of each other’s hands. tegrate that member into the group, oncondition that they donot let excluded. Inthe second phase, the group to can find a try way to rein- In the first phase, any member of the group who breaks the chain is tersecting...), they must make sure that the human chain is never broken. jumping planes (onthe floor, crawling on hands and knees, medium, high and one another, drawing different shapes and experimenting with various abandon the vertical position. Bumping into one another, crossing over and forming acircle, the group members must move inan attempt to This involves activity the class being inan empty room. Holding hands ) and differenttypes of movement (continuous, slow, rapid, in- 5.2. Water bubble 5.1. Human chain Suggestion single united whole. bers and the formation of one each of each of the group mem- lead to the coming together of collective centripetal force. They gether and convert them into one to bring the individual forces to- operate as instruments that seek body, the proposed exercises Being based onthe use of the General description of the activities interpersonal relationships. Group dynamics and Syllabus contents worked upon by Hemmanuelle Huyn. choreography and dance plan is on the theme of connections. The Inspired by street games that work pedagogical proposal

Human chain

Micropedagogies

132 133 that facilitate Relaxation Active listening Memorising Concentration attention and attitudes of Promoting concentration learning motivation, Ⅱ

MMicropedagogiesicropedagogies

134 135 two momentstwo of dialogue that are repeated lesson. inevery The first school year. This is the underlying basis of the proposal to create idea of the group and the joint path that is followed throughout the a transparency about its meaning, contribute to strengthening the used by the teacher lesson inevery and which, besides allowing for precisely what is intended are some of the strategies that can be Clearly establishing guidelines, highlighting aims and explaining 1.1. Security rituals1.1. Security Operativo AND, of João Fiadeiro. Project. Inspired by the Modo Activities from the “Respira” proposal construction of the pedagogical Sources/references used inthe objects, bag. paper tape, dominoes, pegs, small drawing pins, scissors, gummed writing material of various colours, cm), sellotape, post-its, paper and Sheet of paper scenery (200 used Resources and questioning attitude. expression. To practise a reflective habits of hard work and critical the class down, implementing constructive assessment. To calm group. To promote reflection and and asense of belonging to the stimulate confidence, empathy To produce clear instructions that on the communication process. To focus the students’ attention Intention/aims of synthesising and focusing. questioning, critical reasoning Difficulties of communication, the strategy was conceived situation/problem for which Characteristics of the Rituals Ⅱ 1 × 200 200 thought and action. constant interconnection between the students, seeking to effect a questioning and autonomy of of openness that allow for the rituals must beset up as moments Occurring lesson, inevery these the introduction of rituals. seek to bridge that gap through the world, the following activities one that is aware of the self and a purposeful and critical attitude, creating habits that can enhance Because of the importance of of the activities General description to all contents. Capacity for synthesis. Applicable questioning and critical spirit. areas. Philosophical attitude of vocabulary from the curricular Acquisition of specific Syllabus contents worked upon logics). learning two –between the regulation of excellence in Entre deux logiques” (Reviewing régulation des apprentissages. fabrication de l’excellence àla “L’évaluation des élèves de la Philippe Perrenoud (1999). Influences from the work of adapted vocabulary. This micropedagogy can be applied to any subject area withsuitably Market, Fair, Town square, Borough, Trade route. students with the same word belong to the same group. can bewritten, depending onthe number of groups to beformed. The A variant for the formation of groups: instead words, of two four orfive electrons/protons, infrared/ultraviolet, Celsius/Kelvin, polar/apolar. A variant for Physics and could Chemistry include the word pairs: the activities that are about to bedeveloped. attention and willingness on the part of the students to participate in atmosphere is created, withitbeing possible to detect greater expectation created by the word received, amore collaborative After the new rearrangement of the classroom space and the → clero/nobreza (clergy/nobility). → feudo/burgo (fiefdom/borough); → poesia/prosa (poetry/prose); teacher (e.g. “rhapsodes”, side; left “troubadours”, right side), and sits down. moves over to one of the sides of the classroom, previously defined by the → inaccordance withthe name recorded onthe piece of paper, each student invited to take one of these pieces of paper; → at the beginning of each lesson, the students, onentering the room, are → the pieces of paper are folded and placed inside abag oran envelope; corresponds, inequal parts, to the number of students inthe class: (e.g. “rhapsodes” and “troubadours”). The number of these pieces of paper of them one of the words related withthe contents that are being taught The teacher creates sets two of small pieces of paper, recording oneach create discomfort and tension. empathy and about security the performance of exercises that may The explanation of the aims is particularly important to generate taken place. → Atthe end of the lesson, ask the volunteers to freely sum up what has → Point out the knowledge that is expected to beacquired. → Explain the aims of the activity. → Perform the tasks and prepare the materials to beused. → Indicate the to activity bedeveloped. volunteerstwo of the work that has been done during the lesson. second occurs at the end and involves the free summing up by one or explanation of the day’s agenda and the planned objectives. The takes place at the beginning of each lesson and is given over to the 1.2. Pieces of paper Note Example for the subject of History Examples of word pairs Note Examples

Micropedagogies

136 137 [Groups Band Cobserve] behind the chair. 4. Students position themselves the table and the wall. 3. Place the chair between [Inside row to shifts the right] 2. Place tables side by side. 1. Place chairs inthe aisle. each other’s actions! simultaneously and mirror Groups Aand Dmove of this choreography: 33seconds! → Ideal time for the performance through the air. of objects and their transport picking up and putting down to synchronise the taking hold, ellipses and arches. It is important and not along the floor, drawing are transported through the air, → As objects, the chairs and tables, Group CinPhase II. → Group Bmirrors the actions of Group DinPhase I. → Group Amirrors the actions of tables and chairs. with the aimof rearranging the phasestwo of four steps each, → The choreography is divided into → There are four groups: A,B, C,D. to implement in 33seconds! constructed quite easily, which, after repetition, proved to bepossible systematic nature of the transformation, the following choreography was is given to activities insmall work groups and “corporisations” can take place, and micro areas where privilege same room between aspacious central area, where group exercises or horseshoe shape, however, makes itpossible to alternate inthe are possible throughout the lesson. Arranging the tables inaU-format Often the classroom’s expository cartography limits the dynamics that Choreography Premises 1.3. Choreography for aU-shaped room Phase I Phase . Inview of the rapid and A Armário A B B Quadro C C D Professor D A B closing ritual. This involves sticking alarge sheet of paper scenery on action, itis, however, suggested that adifferent habit is adopted for the in other words, the clear explanation of the activity, aims and lines of lesson the one that is described inthe previous micropedagogy, or, reverse (from the end to the beginning)! (dis)choreography, which follows all the steps of the choreography in → To return to the original format, 33seconds willbeneeded for the physical activity, concentration and active listening. the functions of the ritual at the beginning and end of the lesson, this can choreography, → Givenalso the the speed and of fulfil agility While maintaining as the ritual for the beginning of the 1.4. Ritual for beginning and ending asession C D

Ritual for ending a session the chair. 4. They position themselves behind chairs behind the table. 3. Groups Band Cplace their row of tables] [Gap inthe middle between the finally Row 1. repeat the gesture, then Row 2,and positioned their tables, Row 3 side ends. As soon as they have 2. Row 4place their tables at the 1. Place chairs inthe aisle. I. A and Dcomplete Step 4of Phase other’s actions, as soon as Groups simultaneously and mirror each Groups Band Cmove Notes II Phase

Micropedagogies

138 139 occasion. of the students’ apprehension of the contents presented oneach on the part of the teachers, since itallows them to form aperception Nonetheless, this ritual also serves as amechanism for self-regulation the emphasis is placed on the practice of reflection and synthesis. Identifying the author’s name onthese summaries is optional, as their own) inadated envelope. that day. The teacher should then keep these summaries (including most important things that they have learned and willremember from end of each lesson, to write asinge sentence that can summarise the characterised by the circumstance of the students being asked, at the As aritual that insists onthe constant use of reflection, this is activity describe their experience through areflective verbal discourse. previous ones. Atthe end of the exercise, the group are invited to be acompletion of, complement, ormake acomplete break withthe materials made available to present their answers. These answers can to any verbal expression, they must freely use their bodies and the are we?” and, without any pre-established order and without resorting scissors, pegs...). The students are invited to answer the question “Who the floorinthe centre (post-its, pens and different-coloured paper, begins by sitting inacircle and various materials are laid out on geared towards reflection and non-verbal communication. The group definition of oneself and one’s relation to the other, this is activity Based onphilosophical problems and the inherent search for the be sought. for the beginning of the next class, during which possible answers will that day. The same question is then transposed to the opening ritual about and formulates aquestion that reflects the class’s experience for As aclosing ritual, itis suggested that, together, the group reflects the signal from the teacher. students only move forward to write onthe sheet when they receive from the previous lesson), as they are not allowed to repeat words. The reading the words already written (insofar as the sheet always comes seconds. This pause is due to the need for reflecting upon and re- students should first look at the paper scenery for roughly thirty In silence, and before they write their word, itis important that the relating to the lesson that has just taken place. freely –insilence and simultaneously –noting down one single word the wall (which is invariably the same one), onwhich the students write 1.7. Today Ilearned that... 1.6. Imagining to question 1.5. Questions give to birth questions Note Note Awakenings Tuning fork orasmall bell. used Resources contents. to assimilate the intended awakening the student’s readiness to the silence/noise, inthis way physical posture) and/or to listen will also help to improve the and relaxing the body(which introducing moments for pausing concentration and active listening, To recover the levels of Intention/aims and inside the classroom. lesson. Excessive noise outside active listening throughout the capacity for concentration and Gradual decrease inthe students’ was conceived problem for which the strategy Characteristics of the situation/ Ⅱ 2 the students. explained afterwards, inorder to cause greater surprise and impact for The first act of stretching can beproposed unexpectedly and only students that they are in need of this activity. should arise from the suggestion and/or the signs being shown by the corporal inactivity. This moment is decided upon by the teacher, but it stretch, seeking inthis way to recover concentration and reduce their In each lesson, amoment may becreated for the class and teacher to 2.1. Stretching Suggestion rhythms. awareness of their bodyand its the students’ senses and their They function by awakening bring silence to the classroom. attention and subsequently that seek to recover the students’ lesson, strategies are presented decrease infocus during the Taking into account the natural activities General description of the (not applicable) Syllabus contents worked upon body. learning Auditory exercises. correlation between mind and Classical tradition of the proposal construction of the pedagogical Sources/references used inthe

Micropedagogies

140 141 considered to be“noise”. → There is just one ball. Allthe rest (commentaries, extra gestures) is → Ifthe ball falls to the floor, it is returned to the sender. which promotes the focus and attention. ball belongs to both parties, sender and receiver, and to the group, → The responsibility for the quality of the sending and receiving of the → The ball cannot fall onto the floor. direct (inastraight line and without any hesitation). → The movement forward to occupy the place of the receiver is always receiver. → Eye contact must always 9. ... at Cátia: eye contact is clear. 8. As soon as she receives the ball, Cátia looks at Daniel. Daniel looks circle. 7. Bruno moves forward to occupy Cátia’s place, walking across the 6. Bruno sends the ball to Cátia. Cátia receives it. Bruno: eye contact is clear. 5. As soon as he receives the ball, Bruno looks at Cátia. Cátia looks at circle. 4. Ana moves forward to occupy Bruno’s place, walking across the 3. Ana sends the ball to Bruno. Bruno receives it. Ana: eye contact is clearly established. 2. Ana looks at Bruno from the other side of the circle. Bruno looks at 1. The group begins. activity Ana has the ball. almost immediately occupied by Sender 1 the place of Receiver 2and leave their own place vacant, which willbe Receiver 2,inorder to send them the ball and move forward to occupy he must to now establish try eye contact as quickly as possible with receiving the ball, Receiver 1is transformed into Sender 2,so that Sender 1moves forward to occupy the place of Receiver 1.On eye contact has been made, and the ball has been sent and received, when eye contact is established of between the them. two Once this The sender/receiver relationship is considered to have been formed has the ball is the sender; and the one who receives itis the receiver. Arranged inacircle, students and teacher share aball. The one who the members of the class. of increasing the students’ active listening and creating silence among This sound should beaprotracted one that ends slowly, withthe aim which can beproduced, for example, by atuning fork orasmall bell. asked to raise their arms when they stop hearing acertain sound, Sitting inacircle, orinthe normal classroom layout, the students are 2.3. Ball game 2.2. Silence Premises Group inacircle Example beestablished between sender and same classmate. same positions. The only ruleis that they can’t remain seated next to the cacophony that ends insilence, witheveryone sitting indifferent Everyone changes places singing whatever they feel like. Ajoyous at least once. this case, itis recommended that the exercise is performed in acircle between the tables and without altering the layout of the classroom. In parallelc) Intwo lines, face to face, taking advantage of the aisles such as “troubadour or“molar mass”. poetry” of the participants; 3)vocabulary related withthe curricular contents “I like…”, “yesterday, Iremembered…”, “father”, which reveal the world the ball to; 2)the vocabulary associated withother themes, such as You can beginby saying: 1)the name of the person→ Iam “sending” precision and energy. The ball becomes the voice, or, better,→ itis delivered vocally: with without changing places. Take away the→ ball and perform the exercise just withthe eyes and b) Without the ball, withthemes and associated vocabulary making more everything efficient and more risky Increase the number of balls (up to 5!),without losing any→ precision, more efficient and more risky. → maintaining the precision of the eye contact. Take away the→ ball and perform the exercise just withthe eyes, a) Withmusic, increasing the speed and the number of focal points Increase the speed, without losing any precision, making everything 2.4. Copacabana! Variations . .

Micropedagogies

142 143 and must/may.and The correct use of modal verbs can bepractised: could/should → Students give the best of themselves. → Students must respect each other. the impressions that are produced by the posting of these slogans. around the school. It is also important that they should later reflect on ones and then to place them instrategic and highly visible places whether they have created new slogans originating from the previous they have shared their slogans withthe class, itis important to analyse and semantic structure of the language that they are learning. After their own slogans, which will enable them to practise the grammatical language, the students are asked to use these expressions increating With the aimof working onand internalising certain terms inaforeign 3.1. Manifestos Suggestion Examples a sound: tuning fork orsmall bell. or baton. Something that emits marker pens, sellotape. Aracket Cardboard sheets, post-its, used Resources classroom and the school space. actively intervene inside the giving them the freedom to and trust among the students, To foster confidence, autonomy Intention/aims theoretical lessons. of remaining inactive during the students to intervene instead a foreign language. Encouraging in general, and, particularly, in and problems of communication Overcoming learning difficulties was conceived problem for which the strategy Characteristics of the situation/ Making the invisible visible Ⅱ 3 are considered fundamental. analysis of the contents that information according to the for synthesis, organising towards developing the capacity through written work, geared Exercises that are materialised of the activities General description essential. The power of the word. what is accessory and what is Language. Distinguishing between Portuguese and aForeign Written communication in Syllabus contents worked upon strategies, making use of slogans. Influences of advertising proposal construction of the pedagogical Sources/references used inthe

have been signalled. and which, at the same time, indicates the contents that should It is also important to create astrategy that validates the signallers commitment to their work, inchorus and/or in the form of a role play. At the end of the lesson, the signallers can bethanked for their been suggested by their partner, they can signal this disagreement. However, should either of them disagree withthe signalling that has must use to make asound as acomplement to the signaller’s decisions. an object that emits asound (atuning fork, asmall bell),which they their notebooks. Inturn, the counter-signaller has, as his orher “flag” class should transcribe the contents that are being mentioned into by aracket orbaton) when they consider itto beimportant that the lesson, itis the signaller’s job to raise his orher “flag” (represented therefore withinthe visual range of the whole class. During atheoretical have some of sort racket orbaton and besitting inthe front row (and counter-signaller. Inorder to perform their functions, they must both Choose apair of students and give them the roles of signaller and 3.2. The signaller of knowledge Suggestion

Manifestos

The signaller of knowledge

Micropedagogies

144 145 6CO/plus/12HO/chlorophylls/sunlight/originates/C The general equation of photosynthesis can beexpressed as follows: the joint enunciation of aformula, concept ordefinition. can also beintroduced by replacing the counting of the numbers with counting while walking around the space. Anextra level of complexity numbers, such as using ablindfold, playing withthe eyes closed or are other strategies that can beapplied inthe process of counting Besides the customary arrangement of the class inacircle, there reached, the limitof the counting can beincreased. the game must start all over again. Once the number 10has been their voices. Should ormore two students say anumber simultaneously, should say the numbers successively, but without any overlapping of begins by saying the number 1,and other members of the group verbalised by only 10of its members. For this purpose, astudent The aimof primary the group is to succeed incounting to ten, but plus/6HO 4.1. Counting and enunciating as agroup Example Suggestion facilitate learning. develop mnemonic strategies that of formulae and equations. To through the precise memorising mathematical calculus, as well as listening as agroup through for concentration and active To stimulate the capacity Intention/aims andunity individual exposure. resistance to the spirit of group formulations. Simultaneous with regard to mathematical dispersed attention, particularly inDifficulty concentrating and was conceived problem for which the strategy Characteristics of the situation/ Group evocations Ⅱ 4 6 HO 6 /plus/6O/ formulations and concepts. learn about and practise certain rhythmic dynamics, the students Through mental calculations and of the activities General description mathematical formulae. Calculus, equations and Syllabus contents worked upon and Buddhist practices. and music. References to Hindu References to the world of theatre proposal construction of the pedagogical Sources/references used inthe (not applicable) used Resources the mantra also makes iteasier for the students to memorise. the formula easier to memorise. Nonetheless, the appealing nature of The use of simple and melodious forms that are only intoned makes of the centre of the circumference. squared equals the radius squared, bbeing the withaand coordinates Equation of the circumference: X minusa squared plus Yminus b to learn acertain mathematical formula orequation by heart. precisely because of its repeatability and cadence, makes itpossible This consists activity of successive and rhythmicrepetition, which, the use of ever more complex numbers and operations. This exercise can generate different degrees of difficulty through 2 +3=7–: 2 +3=5– students are paying attention to the number that is being transposed. game then proceeds successively, and inorder, ensuring that all the next student, who willalso use itfor anew mathematical operation. The choice. Inturn, this new result that is found must betaken up by the another calculation that results inanew number of his orher own is found, the student must use it,inasecond phase, to develop a calculation that presents this as aresult. However, when the solution teacher, and itis the job of the student beginning the exercise to make certain proposed number. The first number may besuggested by the group should think about and verbalise an operation that results ina subtraction, multiplication, division and result, each member of the Using positive whole numbers up to 5,and the operations of addition, 4.3. Mantra 4.2. Game of mathematical operations Suggestion Example Suggestion Examples

Micropedagogies

146 147 associations that are being made. but this doesn’t prevent the themes from being altered by the free A theme may besuggested that serves to guide the eruptive action, should come up, as ifthey were inthe process of erupting. intention is that the pulse should remain constant and that the words takes place, astudent says aword related to the proposed theme. The Proceeding from right to each left, time the movement of raising arms movement of raising one arm towards the ceiling and then lowering it. a common pulse. Theof rhythm this pulse is defined through the joint Standing inacircle, the group functions as one single organism, with Some of the sounds to beused could be:ahhh sounds to bemade simultaneously. particularly onthe repetition of patterns, as well as calling for various is responsible for directing amusical composition, and should insist be produced when the conductor gives the signal. The conductor the conductor. Each group is given acertain sound, which should and 7members each) and astudent is chosen to play the role of The class begins by being divided into small groups (between 5 4.5. Word volcano 4.4. Game of the sound conductor Suggestion Examples ; ehhhh ; tssssss ; chhhhh , tum ... vocal and motor coordination. Portuguese language. To improve semantics of the gesture and the and concentrating through the their capacities for memorising and commitment. To work on and improving their initiative the students’ expository activities reducing the barriers inherent in verbal and physical expression, To develop the capacity of Intention/aims movements. textual contents and sequences of focusing, particularly inthe case of inDifficulty memorising and was conceived problem for which the strategy Characteristics of the situation/ Game of sequences Ⅱ 5 that, littleby little, lead to the construction of atext. more words, making itpossible to join together words and/or phrases With each gesture that they make, the students can attribute one or sequence reveals achoreographic design composed by everyone involved. group expresses their choice, thus resulting inaseries of gestures whose comfortable. Following an order of presentation, each member of the student begins by choosing agesture/movement withwhich they feel the conjugation of individual movements. According to this logic, each The aimof the exercise is to create a choreographic sequence based on of the poemcan becomplemented withachoreography. example, by attributing aword from apoemto each student, the recital This can activity beapplied to texts, especially poetic ones. For each of the names speltout inthis way. their choice. This results inasequence of movements that expresses Each syllable that is pronounced should correspond to agesture of Arranged in acircle, the students are asked, inturn, to spelltheir name. 5.2. The memory game 5.2. The memory 5.1. The addition game Suggestion Suggestion between the word and the gesture. a relationship of dependence physical expression, calling for in terms of their verbal and designed to unblock the students The proposed exercises are General description of the activities communication. of verbal and non-verbal semantic structure. The structure Narrative text, poetic text and Syllabus contents worked upon its relationship withpoetry. The artistic practice of dance and proposal construction of the pedagogical Sources/references used inthe Music (optional). used Resources

Micropedagogies

148 149 same practice. Asking open-ended questions; respecting the answers that they wish to analyse, whileencouraging students to engage inthe teachers can beginby asking their own questions about the contents for their own questions and answers. By following such aprocedure the students their own attentive way of seeing things and the search teacher presents and explains contents, this micropedagogy returns to Reversing the traditional logic of meaning, according to which the 6.1. Inwhat way does this contribute to my happiness? soft pencil and writing material. “Field notebook”, blank paper, used Resources expression. and to explore visual and written on free register through drawing capacity for interpretation. To work foster creative thinking and the curricular contents and reality. To To establish links between the in the search for knowledge. people and their participation greater value to themselves as with an interventive role, giving a group. To attribute students doubts and debating them as search for answers, sharing prejudices, developing an active and acritical mind, deconstructing To encourage problematisation Intention/aims when beginning atask. of the world. Feeling blocked reality and areduced observation alienation from the surrounding questioning and critical thought; A weak attitude interms of was conceived problem for which the strategy Characteristics of the situation/ Perspectives Ⅱ 6 especially through drawing. own language and expression, are encouraged to develop their the world around them. They understanding themselves and active, dynamic attitude of positioning the student inan with the practice of register, and formulating questions the capacities for reasoning spirit. These proposals associate sensory awareness and acritical reality through aheightened awaken the group to everyday Activities are suggested that of the activities General description Differenttypes of texts. expression and communication. questioning. Interpretation, Philosophical attitude of Syllabus contents worked upon and constructing narratives. Practical exercises indrawing pedagogical proposal in the construction of the Sources/references used , reflect about the plurality of expressions that the drawing can transmit. At the end of this activity, the results may beshared, so that students can be drawn from to left right and without taking the pencil from the paper. thread that the teacher proposes “specific lives” for each line, which must different life, so that it must be drawn accordingly. It is by using this guiding seven lines. Each of these imaginary lines must represent and express a student individually imagines that ablank sheet is marked withat least The second exercise is called life “The of aline” and its aimis that each minutes, the tasks are reversed. reproduce it–inmirror form –ontheir side of the sheet. After three begins afree drawing inone of the halves, whiletheir partner tries to paper. As this is an exercise that is done inpairs, one of the members drawing/symmetry” and involves vertically dividing ablank sheet of A4 The first moment consists of an exercise that is dedicated to “Mirror beginning atask. the potential fear of ablank sheet, and the subsequent in difficulty and is composed complementary of two moments that seek to unblock This pedagogical strategy is developed under the scope of Drawing plant, does itphotosynthesise?...” scientific name? What environment does itlive in? Being an aquatic observation, orfrom other sources: “Why is this leaf green? What is its challenged to record their own questions and lookfor answers through Before looking at aleaf under the microscope, students can be teacher’s involvement. the students are just some of the lines of action that should mark the but instead one of genuine interest inthe questions and answers of correcting those that are given; not adopting an attitude of assessment, and questions of all concerned; not pressing for the right answers or 6.2.2. 6.2.1. 6.2. The life of aline Example

The life of a line

Micropedagogies

150 151 then share this narrative, by retelling italoud to the class. some of the phrases that they initially transcribed. The students can theme for the composition of asmall imaginary narrative that contains that they hear between other people. This record must beused as the the students to listen to and register phrases and/or aconversation As awork to bedeveloped outside the classroom, the teacher asks In each frottage, alegend should be included. surface and rubover itwiththe pencil until the transfer image appears. frottage, i.e. that they should place asheet of paper oneach chosen textured surface), itis suggested that the pairs should undertake a After choosing three different surfaces (preferably a stone witha not normally used, rapid drawing, slow drawing... in various ways, namely through blind drawing, drawing withthe hand find intheir immediate surroundings, the pairs must draw that element Having been invited to choose apoint of view oran object that they to its description, mentioning all the senses used. garden, orarchitecture...), withthe following five minutes being devoted For five carefully timed minutes, the pairs must observe adetail (of the and expressive drawing, the following exercises are suggested: them to draw what is asked for. For this of activity keen observation teacher, the pairs must choose the different points of view that enable outside the classroom. Inkeeping withthe instructions given by the Pairs are formed and asked to circulate inthe precinct of the school → aline that disappears onthe sheet. → aline that hides something; → aline that copies something from our field of vision; → aline that symbolises something; → aline that always says something; → aline that is almost invisible; → aline that is as heavy as possible; the students draw: As far as the imaginary lines are concerned, itmay besuggested that 6.4. The conversation of others 6.3.3. Frottage (transfer of materials) 6.3.2. Drawing by sight 6.3.1. Visual and residual memory images 6.3. Drawing witheyes that see Examples images. paints, glues, stickers, texts and of cloth orpaper), marker pens, Cardboard tubes (used for rolls phone orphotographic camera. Computer, projector. Mobile used Resources instruments of communication. to the ridiculous side of things and in astructured fashion, by resorting To centralise attention, quickly and with thestudents’ life experience. interweaving the syllabuscontents and the crystallisation of concepts, compartmentalisation of themes To counter the Intention/aims conversations. general distraction and parallel behaviour, expressed by everyday reality. Disruptive between thematic areas and inDifficulty establishing alink was conceived problem for which the strategy Characteristics of the situation/ Focuses Ⅱ 7 discussed. the possibility of ideas being shared and different points of view being can ask them to attribute ameaning to the images, thus opening up a brief pause that gives the students for an opportunity reflection, or During the projection, the teacher can choose to remain silent, making students’ gaze and focus their attention. a strong visual impact, insofar as they are designed to capture the be chosen according to their aesthetic principles and should provoke do ornot refer to the contents under analysis. These images can teacher can introduce some surprising and unexpected images that By preparing atraditional presentation to project inthe classroom, the 7.1. Divisive images/binding images Suggestion of the lesson. become dispersed inthe course for the attention of students to and overcome –the tendency structures designed to tackle – of different communicative above all, onthe application The proposed activities are based, activities General description of the the poetic text. structure of communication and science and technology. The particularly inthe context of Applicable to all contents, Syllabus contents worked upon nonsense. chosen and premeditated strategies based oncarefully The importance of humour and image and the power of the word. Recognition of the power of the proposal construction of the pedagogical Sources/references used inthe

Micropedagogies

152 153 increasingly nonsensical. voice, the teacher can about add a story this presence that becomes classroom, real or imaginary. Without changing his orher tone of the→ Alerting students to the presence of something strange inthe lesson as ifnothing unusual has occurred. again, and then ask them to sitdown once more. Continue onwiththe request them to sitdown. Indicate to them that they should stand up Asking the class to stand up and, once they are on their feet, to politely and fluid exit from his or her state of apparent madness. attention has been recovered, itis the teacher’s task to find a natural this strategy is intended to beused... Once the focus of the group’s class functions, the rhythms of the lesson, the number of times that variety of factors to beconsidered, including: the way inwhich the the teacher. The decision to resort to the ridiculous depends ona staged, unexpected and equally disruptive response onthe part of behaving inadisruptive manner, and manifests itself precisely ina It was designed to beused incircumstances where students are to aridiculous situation, withthe aimof regaining the group’s attention. This pedagogical strategy consists inthe teacher’s deliberate exposure and interpretations about the same object. collected and agreater openness can becreated to different views example, ascientist oran artist), so that their comments can also be Later, the images can besent to professionals from different areas (for must bepresented and commented oninclass. platform where they can becollectively accessed, all the photographs refer to the horizon of science. Before being transferred to adevice or each student that they should collect images of everyday life that Using the mobile phone orphotographic camera, itis suggested to Divisiive Images 7.3. Ridikulus articulatis of7.2. Gallery scientific images Examples of ridikulus behaviours Suggestion

Scientific Images valuable for promoting asense of calm and for working onpoetic texts. It can beused inmultiple contexts and activities, being particularly with. This tool functions particularly well when used by large groups. produced, so that different cardboard tubes should be experimented The size and diameter of the whisperer influence the sound that is facilitates communication. Because itoperates even innoisy environments, itis an object that poem, this device also allows the receiver of the message to answer. for the sender to convey apersonal whispered message, ora astory transmission of bilateral messages, in an atmosphere of intimacy. Ideal each of the students. It is defined as a sound tool that allows for the The whisperer is acardboard tube, decorated and personalised by apparent delirium to the syllabus being taught. → Making abrief reference to the ridiculous moment and linking this → Recommencing the class as ifnothing absurd had taken place. attitude of perfect naturalness and normality. → Using adifferent, foreign orinvented language, while maintaining an part of the general madness. → Adopting the previous strategy, but including astudent as an integral 7.4. Whisperer Suggestion Example of strategic exits for ridikulus behaviours

Whisperer

Micropedagogies

154 155 the learning Argumentation Negotiation Appropriation the space The bodyand/with Writing Glossary Facilitating contents curricular of subject/ Ⅲ

MMicropedagogiesicropedagogies

156 157 5. Adjectives. 4. States of being (abstract nouns); 3. Places (substantives); 2. Verbs; 1. Nouns (substantives); of words are introduced into its five divisions: which needs words to make itwork. Inthis way, five distinct categories students as an instrument that willrapidly turn them into poets, but lines that divide itinto five spaces of equal size. It is presented to the paperscenery (150×200cm) stuck to the wall, containing only vertical The poetry-producing machine begins by consisting of asheet of 1.1. Poetry machine Computer and video projector. marker pens, gummed paper tape. paperscenery (150×200cm), Texts, writing material, sheet of used Resources collective imagination. importance to the individual and and active listening. To give reinforce team work, sharing the students’ self-esteem. To strengthening creativity and the different school subjects, language and other areas from potentialities of the Portuguese to deepen the knowledge and To work onpoetic writing and Intention/aims cooperation. and strengthening ties of creativity, awakening reasoning lack of concentration through interest inwords. Fighting the Lack of reading habits and of was conceived problem for which the strategy Characteristics of the situation/ Thought machine Ⅲ 1 narration. to creative writing and spoken exposition of their meanings, to the use of words, to the exercises that are dedicated These consist of pedagogical activities General description of the structure; semantic field. connectors; grammatical cohesion; stylistic resources; Narrative categories; textual Syllabus contents worked upon Maria Gil. method of the cadavre exquis. spoken narration. The surrealist improvisation and the training of Influences from the theatre of proposal construction of the pedagogical Sources/references used inthe Mobile phone. 1. Nouns: poet, sun from this should beread aloud to the class inan expressive way. used and/or the order of reading can bereversed. The verses resulting introduced into the columns. To this end, only some columns can be (five lines) resorting to a combination of the words that have been of paper scenery is filled in,they are challenged to write poetry words, encouraging one another through pair work. When the sheet The students are then invited to fillinthe five columns with appropriate 3. Places: desert 2. Verbs: kiss 5. Adjectives: sensual 4. States of being: health imaginary). with alater proposal for an illustration of these same poems (real or performance. The poems written inclass may also becomplemented Japanese origin),which willbeused to enhance the students’ creative The session can end withthe reading of ahaiku poemof (ashort strange→ “The longing discovers the sun.” idea→ “The laughs at the thought withintelligence.” poet→ “The kisses the profound universe.” Examples Suggestion Possible combinations , laugh, discover... , thought, universe, island , wave , friendly, profound , hunger, courage, intelligence...

Poetry Machine , idea ... , strange ......

Micropedagogies

158 159 → ...but wanted to help, but → ...when alady stumbled and fell, right infront of him.He immediately mindedly feeding the ducks when... man→ “The arrived inthe garden and sat down. He was absent- the narrator must give continuity. that this moment of transition is accompanied by aconnector to which transfer of the narration witha glance same pattern as the previous game, inthe sense that itmaintains the introduces an extra level of complexity: the connectors. Following the The structure of this is activity similar to that of thebut “Undying body”, greater power and meaning. possible, they recover the details that have been added, giving them to; they cannot negate orcontradict the previous proposal; whenever apply: the narrators cannot end the before story the teacher tells them construct asingle and collective narrative, the following conditions also to another colleague, also through their glance, and so on.Inorder to member of the group willalso pass onthe continuation of the story group, who must then pick up and continue the narration. Inturn, this and, withtheir glance, they pass onthe to story another member of the arranged inacircle, one of the participants begins an imagined story in the fact that the narrators are chosen through aglance. Inagroup This exercise consists intelling just one single story. Its particularity lies into amicro-tale inthe form of atext message. synthesis is then made, and then another one, transforming the story that, based onthis reduction, anew synthesis is asked for. Another At alater moment, it may beproposed that the tale is shortened and constructs anarrative and presents itorally. sitting next to them, who, based onthe contents of the messages, different senders. This same sheet is then handed to their classmate sheet of paper the first three text messages that were received from mobile phone. For this purpose, each student must transcribe to a this proposal consists in writing through astory text messages ona Making use of afundamental object from the students’ everyday life, are listed. difficulty can be introduced if the ideas that the connectors transmit the board, which willhelp to develop the activity. Agreater level of In an initial phase, alist of connectors can beprojected orwritten on he couldn’t stand up. So 1.3. Undying body withconnectors 1.2. Undying body 1.4. Text message tales Examples Suggestion Suggestion ...... ” , this micropedagogy also requires Glossaries and writing material. guide, school textbooks, paper Computer, dictionaries, spelling used Resources everyday reality. between scientific concepts and contexts; to establish bridges of vocabulary intheir different have. To suitably apply the items multiple meanings that these may words and understanding the the field of signification of the different areas of study, expanding the specific vocabulary of the Portuguese language. To enrich To develop curiosity about the Intention/aims in understanding concepts. Lack of vocabulary and difficulty was conceived problem for which the strategy Characteristics of the situation/ Ⅲ 2 → “jonas” +“tal” =Pai Natal da Jamaica (Santa Claus from Jamaica) introduce some of these new words. suggested to the students that they write in which story ashort they invented words that is gradually created throughout the year, itmay be definition using an instinctive etymology. Based onthis dictionary of thus inventing aword, for which they must then provide an explanation/ student says asyllable and aclassmate adds syllables one ortwo to it, Inventing words arising from acreative and imaginary plan. One curious facts about it. meanings. This may include the etymology of the word, its history and Collection of words, research into and recording of their respective 2.2. Invented words 2.1. Word glossary Examples other themes. them to make possible links with characteristics and/or expanding the understanding of their their meanings, deepening Searching for and noting down words, concepts orexpressions. with the recording of unknown Creating aspace to befilled activities General description of the discursive...). of texts (narrative, descriptive, understanding differenttypes Distinguishing between and terminology from curricular areas. Apprehension of specific Syllabus contents worked upon the writer Mia Couto. Writing exercises. Literary world of proposal construction of the pedagogical Sources/references used inthe

Micropedagogies

160 161 teacher asks corresponding the two students to come to the centre of numbers are the same for both teams). By saying acertain number, the their glossary withthem and each student is given anumber (these The class is divided into teams. two Each member of the class has concepts and areas. recorded, as well as for establishing transversal relationships between memorising orunderstanding the words and concepts that they have knowledge acquired by students, as well as gauging their capacities for Games and other activities playful can beperformed that test the → Tissue –apaper handkerchief. function. → Tissue –agroup of specialised cells that perform the same specific → Cell –asmall room. → Cell –astructural and functional unit of all living beings. everyday language. relationship between concepts used both at the scientific level and in Collection of scientific words and/or expressions that establish a (principal), d(diffuse) and f(fine). orbitals. Their energy levels are symbolised by letters: s(sharp the distribution of the electrons inthe electron configuration of atomic the American chemist Linus Pauling. It is designed to help understand → Linus Pauling Diagram: This is adiagram that has taken the name of that was created intribute to the planet Uranus. controlled fission of its isotope uranium-235 (235U).Uranium is aword 6d4. Its most significant use is inthe production of energy through the is solid at room temperature and its electronic configuration is [Rn]5f7 atomic mass of 230.03and aboiling point of approximately 4404K.It represented by the symbol U, withthe atomic number 92,arelative to the group 6elements of the actinide series. It is aradioactive element → Uranium: Uranium is an element from the Periodical Table that belongs brief biographies of scientists and an explanation of scientific models. description of their respective meanings. The glossary can also include Collection of words and/or concepts from Physics and Chemistry, and a to understand them. meaning through their different compositional elements make it easier A knowledge of the originof words and the explanation of their what came before –“antes”) → “ante” +“ólogo” =Pessoa que estuda o“antes” (Person who studies 2.4.1. Handkerchief game 2.4. Biological and everyday glossary 2.3. Chemistry glossary Note Examples Examples Note ), p closing ritual. This can activity beperformed lesson, inevery as an opening or the correct discovery of the word. gallows is drawn. The game ends withthe hanging of afigure orwith appropriate spaces onthe board. Ifthey get itwrong, part of aset of is to form the word. Ifthey guess the right letter, this is placed inthe Each guess corresponds to the choice of aletter, and the final aim each student, or the class as awhole, to find to the try right answer. subject being taught. Amaximum number of guesses is established for corresponding to the letters of aword that has been analysed inthe The teacher (orastudent) draws onthe board the spaces correctly, and so on,until the winning team is found. context. One point is awarded to the team that presents their words which they use the term correctly, both inits scientific and its everyday seconds,in thirty students the two must separate say two sentences in the room (one from each team). They are presented withaword and, 2.4.2. Hangman Suggestion

Micropedagogies

162 163 journey of self-knowledge. promoting reflective, biographical writing, together withthe students’ or writing about adesirable imaginary experience are other ways of to someone that they haven’t been incontact with for along time and/ of the body, an autobiographical event orphotographs, sending aletter see ifthese evoke memories inthem. Writing about their favourite part used and, by exposing the students to different smells, the teacher can that the students write about who they are. Ablindfold can also be conscious experience of self-observation, the teacher can propose of the self. For example, withthe use of amirror and through the This involves the use of diversified resources to enhance the revelation 3.1. Series of writing exercises “Self-accusation”, by Peter Handke). smells, poems (as, for example: writing material, mirror, diversified family stories, photographs, images, Hand-written letters, envelopes, used Resources registers. critically analyse different written materials. Learning to listen and to production of autobiographical moments of intimacy through the differenttypes of text. To create understand the characteristics of foster an interest inwriting and to reflect about their own self. To awareness, leading them to To awaken the students’ self- Intention/aims Lack of interest inwriting. in Difficulty showing emotions. Lack of aself-critical spirit. was conceived problem for which the strategy Characteristics of the situation/ Autobiographies Ⅲ 3 interpersonal relationships between them and strengthening helping to create greater proximity students to moments of sharing, are also intended to expose enhance one’s life path. They knowledge and, simultaneously, that reflect the search for self- of autobiographical materials in the individual production These correspond to exercises of the activities General description truth and verisimilitude. am I?”Distinguishing between philosophical nature, namely “Who Introduction of questions of a compositional structure of aletter. oftypes text. Understanding the distinguishing these from other of autobiographical texts, Recognition and production Syllabus contents worked upon theatrical improvisation. stories. Exercises inoral and Autobiographical literature; short of the pedagogical proposal in the construction Sources/references used . Autobiographies can then present itto the class, orally, without resorting to reading. mind afamily and story describe it in the form of narrative. ashort They students closer to their own family sphere, they are asked to bring to In parallel to the above exercises, and inan attempt to bring the texts of abiographical and an autobiographical nature. makes itpossible to engage inadialogue about the differences between that were registered. The dynamic created by the exchange of letters As such, an attempt must bemade to absorb the biographical aspects the students were actually conducting an inner dialogue withthemselves. are then handed to the teacher, who replies individually to each one, as if freedom to talk about themselves inwhatever way they wish. The letters a reflection, or more similar to a confession, and each student is given the they want to say to themselves. The letters may bemore inthe nature of Each student writes aletter addressed to themselves, reflecting onwhat poem, through the deconstruction of its titleand an analysis of its theme. it, and discuss itwiththe class. The music is introduced as abridge to the while also, ifthey wish, making use of acorporal expression that illustrates photograph/image they have chosen. Next, they present the description, previously selected, the students beginby writing atext describing the Based onaphotograph/image and apiece of music that they have and present autobiographical ashort poem (roughly five lines). Peter Handke. Taking their inspiration from this, they must then write Each student reads and interprets the poem,“Self-accusation”, by The students are invited to reply inthe same way. each of the students, such as, for example: poems, images, song lyrics. introducing references that are directed more towards the identity of and gives them individually to all the members of the class, possibly 3.7. Family stories 3.6. Aletter to oneself 3.5. Autobiography autobiography3.4. Short The teacher writes some letters by hand (hesitations, glancing away, emotions...). to the fact that one of the stories was false to later analyse the elements that pointed true, justifying their choice. It is important rest of the group to discover which one is the order that they prefer. It is up to the one false, sharing them withthe class in storiestwo from their lives, one trueand It is proposed that the students think about 3.3. Individual letter 3.2. True orfalse

Micropedagogies

164 165 is chosen that must berecited aloud and inunison. This task is guided After listening to poems recited by some actors and poets, another poem straight line; whispering it,shouting it,singing it... Recite the line inthe precise time ittakes to cross the room ina experiment withsaying the lines indifferent ways. freely around the space whilethey recite their line aloud. They must then memorise it.Working inan empty room, the students can move A poemis chosen and aline is attributed to each student, who must recordings and the live recital of the phrases. discussing the difference in the impact between listening to the recorded. After recording, the phrases are listened to inthe dark, rehearse just once the way inwhich they want these phrases to be their selected phrases and justifying their choices, the students contents of the syllabus being analysed inthe classes. After sharing students must select aphrase that is related insome way withthe Using books that are not included inthe compulsory bibliography, the 4.3. Poem choirs 4.2. Space and poetry 4.1. Thematic recitals Suggestion Poems, sound recorder. used Resources poetic texts. sound. To find the musicality in discovering the importance of their the articulation between words, expression and To rhythm. improve of active listening, diction, oral raise awareness of the importance the expressive reading of poetry. To To promote interest and pleasure in Intention/aims deciphering. texts; in difficulty memorising and reading and interpretation of poetic Absence of habits relating to the was conceived problem for which the strategy Characteristics of the situation/ Recitals Ⅲ 4 expression. exercises for their declamation and different poetic texts, through memorising and interpreting Developing practices for activities General description of the of versification and declamation. Expressive reading. notions Rhythm, connoting. Stylistic resources. and lyric poetry. Denoting and text; the structure of poetry The characteristics of the poetic Syllabus contents worked upon Camões. Poetic texts and by lyric poetry proposal construction of the pedagogical Sources/references used inthe in it,the students can provoke and respond to the opposing team, thus so that they can study it.Using just the words and the lines contained face to face. poemis Ashort chosen and handed to each of the students groups, and their respective members are arranged parallel intwo lines, only withthe use of poetry. For this purpose, the class is divided into two This promotes activity adialogue between rival groups, but conducted that one wishes to work on. circumscribed to certain stylistic resources, orto other linguistic features on different degrees of complexity, should the continuation of the line be but completing itfreely withwords of their own. This exercise can take signal from the teacher, each student must stand up and say their line, student, asking them to memorise it.When their turn comes, and at a The teacher previously chooses apoemand distributes aline to each the meaning of the poemwhileanother student is reciting it. by taking into account its expressiveness, musicality and movement; explain words withthe voice; introduce different accents and intonations; recite it Recite the poem without punctuation; sing it;prolong the syllables; highlight and take ownership out of countless it,trying other ways of reciting it. dedication. It is important that the pairs should identify withthe poem the poems must bepreviously personalised through the writing of a teacher groups them together inpairs and offers each pair apoem.All Taking into consideration the identity of his orher students, the to accompany aspoken chorus. a group member that can produce box arhythm withtheir voice, inorder the teaching of the subject. Another exploratory possibility may beto find metaphors, hyperboles, repetitions orother linguistic features analysed in Stress certain lines oromitthem altogether; create rhythms; highlight during the recital of the poem. also possible to create small groups who are given other tasks to perform or more students), whose instructions must befollowed by the class. It is by aconductor (arole that may beperformed by the teacher, orby one 4.6. Word fight 4.5. The power of poetry 4.4. Reciting aloud poetry Suggestion Suggestion

Poem choirs

Reciting poetry aloud

Micropedagogies

166 167 the following proposal was developed, which seeks, through the of sounds and words through challenges and for their own pleasure, increasing their sensitivity to the listening exercise and the articulation With the aimof encouraging group work and the students’ autonomy, and practising reading aloud. of apiece of troubadour poetry, observing phonological processes g) Making use of the manual for Portuguese, reading duced, f) The concept of experimentation with phonological processes is intro- the total class number, including the teacher). RR. of ON; ÕE inplace of IN; EM inplace of EINHE; RR inplace of R;Rinplace B; Vinplace of F;Sinplace of CH; R and Linplace of G;ÃO inplace of the following changes between letters: Binplace of V;Pand Ninplace of aloud indifferent registers proposed by the teacher, experimenting with “dizer mal” because of the differences intheir articulation; reading of texts e) Areflection is proposed about the relationship between “maldizer” and theirsupport point of view. dieval orcontemporary? Each participant must then present arguments to d) Inacircle, the following question is asked: is the text that was read me- the records. joint record onthe wall; intergroup observation of the differences between c) When the reading of the poemis completed, each group posts their repeated only careful twice, withavery articulation. said of the student who is responsible for its transcription. Each line is by Alexandre O’Neill, line by line. Before each line is read, the number is b) The teacher reads aloud the poem“Anda, meu silva, estuda-m’aleção”, corresponding to the number that they have been given. the task of transcribing to the paper phrases that are said by the teacher, student willbegiven anumber between 1and 5.Each student will have a) The class is divided into groups of five students each, inwhich each “argumentation” and “intertextuality”. nological processes”; to enhance the students’ skills of “oral expression”, contents “troubadour poetry/cantigas deescárnio emaldizer” and “pho- oral expression; to link together and explore the relationship between the on the gaps inthe students’ articulation of these; to relate writing and “cantigas deescárnio emaldizer” (songs of mockery and vilification) and ness and actively reflect onthe differences and characteristics of the The following proposal for amicropedagogy is designed to raise aware - – that are crucial for enriching this challenge. stress certain factors –such as expressiveness, tone and physical posture constructing afragmented conversation about the poem.It is important to Each reader willhave 24listeners (orthe number corresponding to as a continuation of the previous exercise. twenty-first-century poetry 4.8. Medievalisations –twentieth and 4.7. Phonetic notation “Anda, meu silva, estuda-m’aleção”

Rearrangement of the room inaformat for expository activities, ifrequired. the interest in listening to the text? → Interest of the presentation: did the presentation significantly increase expression. → Quality of the oral presentation, bearing inmind the principles of oral → Compliance withthe rules. → Pleasure gained from listening to the medievalised text. poem. → Diversity, wealth and interest of the sound score/medievalisation of the accordance with the following parameters: Together, students engage incritical thought about the presentations, in Maximum duration of each presentation: 2minutes audience inthe listening exercise. Each group performs the role of the actor inthe presentation, and the → clarity of articulation. → volume and speed; → direction of the gaze; actor and the audience]; → choice of the places for the presentation [relationship between the relating to oral expression: 5. Rehearsal of the presentation, bearing inmind the use of principles 4. maintenance of the metre of the poems. → conscious use phonological of two processes. → alliterations/families of words; → addition orexchange of expressions and words; → addition and exchange of consonants and nasalisations [X,Z,ON...]; 3. Exploration of the sounds of the poemusing the: the previous distribution. 2. Reading of the poemaloud inthe presence of the group, respecting group. Everyone must have at least three lines. 1. Division of the poemand distribution of lines to each member of the Duration: 20to 30minutes more “medieval” and respecting the following coordinates: c) Each group prepares apresentation of the poem,seeking to make it grouped together. poem willhave four copies. The students withthe same poemwillbe b) Distribution around the class of sixtwentieth-century poems. Each a) Rearrangement of the room into aU-shape. critical thought. explore and study ingreater depth oral expression, intertextuality and phonological processes, while, at the same time, making itpossible to micropedagogy combines the contents of troubadour and poetry challenges the students to create their own phonetic notation. This to develop an awareness of the sound and resonance of words, and exploration of sounds from twentieth and twenty-first-century texts, Moment II —Presentation Moment I–Sound exploration of the “medieval universe” Premises

Micropedagogies

168 169 proposal construction of the pedagogical Sources/references used inthe napkins.... the market; “dinner kit”:apron, flask, kitchen/canteen; food “gleaned” at Notebooks; ballpoint pens; school Sound recorder and sound system. with photographic/video cameras. and film cameras or mobile phones programmes, Internet, photographic Computer, video and sound editing used Resources and behaviours. of the need for ecological attitudes and creativity. To raise awareness argumentation, analysis, synthesis develop the students’ capacities for through the use of technologies. To production of syntheses, especially its active deciphering and the everyday life; to contribute to relate the syllabus to the students’ will to work together as ateam. To develop practices and increase the cohesiveness and group spirit. To horizontal debate through greater To encourage communication and Intention/aims part of awhole. compartmentalised, but is instead that knowledge cannot be by the students inunderstanding cooperation. Difficulty experienced the feeling of belonging and a work team, strengthening Need to transform aclass into was conceived problem for which the strategy Characteristics of the situation/ Forum Ⅲ 5 conclusions. discussing ideas and reaching action, planning work, reflecting, knowledge, defining strategies for also involve aconsolidation of everyday reality. These proposals universe of the students and their argumentation, the creative between synthesis and and especially acomplementarity sharing and discussion of ideas, are designed to encourage the developed collectively and which Below are work proposals to be activities General description of the network of human action. (troubadour Conceptual poetry). civilisation and the Middle Ages Classical Antiquity, inRoman science. Vulcanology. Lovein of rocks. Plate tectonics. Planetary oftypes heavenly bodies. Cycle the solar system and the different the solar system. Composition of Nebular of the theory formation of Syllabus contents worked upon Varda. The Gleaners and I,by Agnès Tangerina restaurant; documentary Chef Dinis; website of the Cor de and Dona Inês”. the love affair between “Dom Pedro Legend of “Dido and Aeneas” and Decodifier: http://zxing.org http://br.qr-code-generator.com hyperlinks: Generator: the of cinema and photography. For Influence of exercises inthe world QR Code, the following

help to understand and assimilate the contents of the different subjects. The video offers several possibilities for creating audiovisual objects that constant link withthe horizon that defines the reality of the students. relevant contents for the subject being studied, seeking to ensure a The destinations chosen can beused to form atheme for exploring the would like to enjoy there, what they would like to get to know and/or share. their partner their reasons for choosing that place, the experiences that they applications Google Maps and/or Google Earth, explaining and justifying to to. Arranged inpairs, each member must make this journey through the Each student is asked to choose adestination that they would like to travel landscapes. as music videos, sounds, images, architectural features, cartoons or possible crossovers and associations withthe present-day world, such The hyperlinks may refer to unexpected contents, inorder to increase the theme under analysis. members of the class must interact inthis process and justify their views on must beaccompanied by the webpage to which the code refers. The other presented inthe lesson inwhich these concepts are touched upon and about the information that they have gathered. This synthesis must be the syllabus for that subject, and end the exercise withareflective synthesis also critically analyse their contents, the relationship that they establish with stuck, withthe students being responsible for their decodifying. They must are correlated withthe thematic contents of the pages onwhich they were the QR codes that were distributed at that precise moment. These codes subject being studied and, onthe specific pages indicated to them, to stick Unexpectedly, the students were asked to opentheir textbook for the 5.3. Our subject would make agoodfilm 5.2. Journey to my homeland 5.1. Suggestion Suggestion QR Code (Quick Response Code)

Forum

QR Code (Quick Response Code)

Micropedagogies

170 171 belonged to them. Each student narrates the result of their research, which production, from the moment when it was made until the moment that itfirst They photograph this object and research into the conditions of its making abiography of this object that forms part of their own biographies. The students choose something that they bring withthem, withthe aimof “stop-motion” technique, the suspense film, etc.). themes and present strategies for making the videos (for example, the solve aproblem related to the subjects chosen. The teacher may propose editing the film. The aim of the video resulting from this work may be to different phases of the process: writing the script, planning, shooting and Several work groups can beformed, each performing the tasks for the and ameans of establishing links between the images. a narration (given live orpre-recorded). Music may beused as asupport a photographic camera oramobile phone. Ifnecessary, the film willinclude photography facilitates the shooting of the film, so that all that is needed is directing the filming/photographs; editing and finishing work. Theof use work process: sharing ideas inthe group; building the script; planning and capacity for argumentation. It is important to establish the stages of the of the contents of the subject being studied, as well as the students’ moments of discussion among the class should demonstrate mastery filmshort produced withthe use of photographs. For this purpose, the be the guiding thread that willthen accompany the production of a clarify orexplain acertain content from the syllabus. This narrative will This collective begins activity by involving the writing of aplot that will original film. many of the contents as possible about acertain matter contained inthe the trailer. This micropedagogy is all the more effective when itincludes as that willestablish criteria regarding what is essential and has to beshown in fundamental aspect of the film has been left out, promoting adiscussion the process of constructing the trailer, check withthe class whether some the passages to beincluded based on prior negotiation. Atthe end of maintained and which can out, beleft as well as the possibilities of ordering by each member of the group. Next, discuss which excerpts are to be and ascertain the affinities and the differences in the excerpts chosen as agroup, they willgather together all the selections that have been made of the film that they consider it essential to include inthe trailer. Afterwards, Firstly, ask the students, as ahomework task, to individually select the parts aspects. approached inagiven subject and mentioning their most fundamental feature ormedium-length film, which is capable of condensing the themes This consists activity inchallenging the class to produce atrailer for a 5.3.2. Film withphotographs 5.3.1. Our trailer (can beseen here: https://vimeo.com/oantoniopedro/made-in) Made in Examples Suggestion example, Dido and Aeneas (from Classical Antiquity) and Pedro and → Two love stories from different periods are narrated to the class. For that are recorded onit. be listened to withthe aimof ascertaining the silence and the noise presenting the argument. Inasubsequent phase, the recordings can silence for the recording process, and autonomy in the act of is available and use itto record their speech. This requires activity they may only doso when they request the only sound recorder that of the students are invited to share their opinion withthe class, but listening and communication. Inadebate about acertain theme, all recorders) can beused as an instrument that enhances active mobile phones have an application that transforms them into sound about the syllabus that is being taught, the sound recorder (almost all With the aimof encouraging moments of dialogue and argumentation the video editing programme. narration are made onthe school’s white board and then sped up in well-known by most adolescents: simple drawings that illustrate the This is ahighly fashionable trend onYouTube and is one that is discussed among concerned. everybody that the subject-matter has to besummarised inademocratic way and to divide the work up between the members of the group and means quality. The separation between image and sound makes itpossible off separately, withsurprising results at the level of the film‘s technical the group project. Themobile phone can film and record the voice a lot of skills, whilebeing adifferent and effective way of producing This challenge proves to behighly motivating and brings together in all of our lives to produce film-summary ashort of agiven subject. This involves activity using an object that much is very present the images inthe editing programme later recorded withmobile phones and was then joined together with In this particular case, itwas presented withalive narration, which was a narrative that forces students to master this mathematical content. A suspense film that uses theof theory binary codes to construct provides aview of the capitalist mode of production. is recorded and joined withthe photographs. Together this information 5.5. Simplified retelling of classical stories 5.4. Talking stick 5.3.3. Film withmobile phone (can beseen here: https://vimeo.com/97939322) about Fermat’s Last Theorem A Vingança de Fermat (Fermat’s Revenge), Suggestion/example (can beseen here: https://vimeo.com/98018634) O Código –The Code .

Micropedagogies

172 173 spaces used.spaces The was activity concluded withthe cleaning and tidying up of the with some teachers and the students from the class. todinner party which the parents and guardians were invited, together of the different foodstuffs and sustainable development, and witha and his assistant Liliana, about the theme of gleaning, the properties This was activity completed withalecture, given by the chef Dinis (Descriptive synthesis made by one of the groups) and the event, where we would use all the food that we had gleaned.” necessary for the preparation of adinner and to organise the table The following day, the groups were summoned to perform certain tasks The photographs of this event willbepresented inthe lesson. experience and took note of the products that they had collected. to present asmall spoken report, inwhich each group recounted their Finally, we all met up at the agreed place, already withbags full of food, interest of the and activity the lessons that we might derive from this. our gleaning process, but now withpeople better understanding the no longer bepossible for himto sell. We continued to engage in the to activity him,gave us some fruit and vegetables that itwould We approached one of the stall holders, who, after we had explained leftover products that might begiven to them by the stall holders. The class was divided into groups. Our group set off in search of the of human action. subject of Philosophy, namely withquestions relating to the theme They understood that this had activity to dowithcontents from the and his assistant Liliana, who explained to them the aims of the activity. ofactivity gleaning. When they got there, they met the chef Dinis Secundária das Taipas went to the local market to engage inthe “Once upon atime... aclass from the tenth year of the Escola puppets, paper theatre, video. The students revealed creativity and used diversified resources: complete their works outside the classroom, inan autonomous fashion. → The groups work inclass under the of supervision the teacher, but they finished product. → Each group plans the respective project: stages, materials and that reproduces the narrative inan original way. → The students are challenged to create an artistic product/object (choreographies, operas). from performances inspired by the above-mentioned stories → Before beginning the group work, the whole class watches excerpts one of the stories to someone who knows nothing about them. → Insmall groups, formed at random, the students are asked to retell Inês (from the Middle Ages). 5.6. Dinner... after gleaning at the Taipas Market Note THEATRE%20GAMES.pdf stories/OBC/Handbook/H.%20 → http://www.ufoc.org/images/ 2009/10/games-dram%C3% → http://notasdator.blogspot.pt/ games//Cross_Circle.html → http://improvencyclopedia.org/ proposal construction of the pedagogical Sources/references used inthe notebooks. Ladders and papers. rubbers, scissors, books and and post-its. Tables, pens, pencils, different-coloured strings, pegs objects and plastic materials. Three bands, gummed paper tape, small Computer and Internet. Four elastic Film camera and video projector. used Resources work. To complex simplify scenarios. contents, reinforcing collaborative and memorising conceptual as acomplement for apprehending real life. To use corporal expression of interpretation and intervention in use mathematics as an instrument based on concrete experience. To subjects in arigorous manner, concepts from the different school To approach scientific problems and Intention/aims various subjects. concepts and contents from well as inapprehending scientific and geometrical problems, as Difficulties in solving mathematical was conceived problem for which the strategy Characteristics of the situation/ Corporisations A1ti Ⅲ cos-e-teatrais-concept-html 6

The Iliad, by Homer. links withreality. them concrete and to establish abstract nature, seek to make working onnotions of amore corporisation of concepts that, Strategy for the spatialisation and of the activities General description the political regimes inAthens. – Athenian democracy; evolution of History: the art and culture of Greece amor cantigas de amigo, Portuguese: troubadour – poetry reproduction and genetic variability. of photosynthesis and sexual of the solar system; equation the formation and composition from an electron. Biology-Geology: emission and absorption of energy Contents of Physics and Chemistry: and the Cartesian reference frame. symmetries inrelation to an axis vectors and operations withvectors; intersection of asolid by aplane; Plane and space geometry: Syllabus contents worked upon subjects. School textbooks from different Civilização Brasileira. para atores enão-atores. S/l: → Boal, Augusto (1998).Jogos Northwestern University Press. directing techniques. Evanston: A handbook of teaching and Improvisation for the theater: → Spolin, Viola (1999). Bibliographical references Teatro Praga. Eu Sou Hamlet and cantigas and de maldizer. , performed by the cantigas de

→ The play

Micropedagogies

174 175 pedagogical strategy proposes that, through the use of the bodyand of different elements that are not visible to the naked eye, this Taking as the starting point and the object of analysis arange and rotation of the Earth. the possibility is added of simulating the movements of the revolution a central position, representing the Sun, to one of the group members, symbolising the planets and their respective satellites. By attributing matter. Inathird phase, the students are grouped together inpairs, are formed that relate to the notion of planets formed from cosmic person as possible. From this pattern of movements, nuclei of students is proposed, or, in other words, that they move as close to the other as far away from this person as possible. Next, the reverse movement choice, they are asked to think of amember of the class and to keep The students circulate freely around the room. Without revealing their multiplication, haplont, diplont, haplodiplont. Paramecia, flagellate, rhizopod, sporozoa, bipartition, fragmentation, concepts, inorder to strengthen their understanding and memorising. kind of orchestration. The gestures should beclosely related to the simultaneously inachorus of several bodies and voices, creating a voice and movement. Allof the concepts may also be“corporised” sounds and rhythms, according to alogical sequence and by coordinating responsible for the translation of their concept into appropriate gestures, can choose to work onseveral concepts, witheach group being made dividing the class into as many groups as there are concepts chosen, one them through different body movements and vocal interpretations. By specific concepts approached inthe classroom context and to express This is activity designed to help students memorise and understand 6.3. Making the invisible visible 6.2. Meteoric dynamic 6.1. Paramecia Examples of concepts (generally “difficult” words)

Paramecia radiations willbe directed towards the various atoms and willremove this electron belongs to the atom that needs it.During the game, four corresponds to the required valence electron, which then means that from the atom, itis enough to touch the shoulder of the person who all the atoms are stable. To obtain the electrons that are missing and withdraws from the competition, but the game continues until The first team that manages to make its atom stable wins the game each team is to make its atom stable, forming the corresponding ion. its atom, taking into account its electron configuration. The aim of according to the number of electrons. Each team has to organise There are four teams that have been given the names of certain atoms, https://vimeo.com/oantoniopedro/o-bolo. A lesson inwhich this micropedagogy was used can beseen here: this not always fully appreciated content. like, one can construct avisible relationship and asweet of memory not only withareal object, but also withan object that the students that is not always easy to assimilate. By associating this subject-matter something real, visible and edible. This is apivotal question and one Turning the intersection of ageometrical solid by aplane into tic materials, thus facilitating their visualisation inthree-dimensional terms. One may choose to make aprior representation of the elements using plas - Use the bodyto represent the molecules, atoms orcomposition of acell. other become decisive for the conception of the representations. such as horizontality, verticality, space and the relationship withthe physically and inthree dimensions. It is insuch acontext that aspects corporal expression, the students can represent these same elements 6.5. Doyou think you can stay stable? 6.4. The cake Example Suggestion Examples

The cake

Micropedagogies

176 177 The experiment can be repeated withthe present-day atomic model, the ordered filling in of the various levels of energy. (students withthe numbers 3to 10).The experiment continues with second rung of the ladder. There can beeight electrons at this level Only after this level has been filled can students begin to occupy the can electrons only be two students (two withthe numbers 1and 2). the ladder represents the level of least energy, and, at this level, there electrons in a zinc atom, according to the Bohr model”. The first rung of indicates the model that is to beused – for example, “distribution of student number orpieces of paper can bedistributed). The teacher 30 students-zinc. Each student willhave anumber (this may betheir lower than the number of students. An atom must bechosen withan atomic number that is equal to or distribution of electrons according to these models. the different atomic models and the teaching of the rules for the This must activity beundertaken after the exposition/revision of present-day atomic model torch. This requires activity aroom which can beblacked out easily. also has atorch and, when returning to the initial level, emits light withtheir symbolically provide the student-electron withenergy. The student-electron The student who is emitting energy, uses atorch instead of asound to The experiment can bedone using more than one electron at the same time. of small movements (one rung at atime and sounds). withshort done injust one go(continuous movement and sound), orinaseries had previously received (the phenomenon of emission), which may be up returning to its initial state (alower rung), emitting the energy that it innatureeverything tends towards minimum energy, the electron ends when the sound ends (the phenomenon of absorption). However, as a sound, their classmate-electron moves up the rungs and only stops for example). As the studentof sound (acontinuousemits AAAAAAA, student-electron, there is astudent that provides energy inthe form representing an electron takes up position onarung. For each The rungs of aladder symbolise different levels of energy. A student bands willbeused to mark out the boundaries of each atom. person, and this electron then belongs to that atom. The four elastic this electron, itis enough to touch the shoulder of the corresponding from the others, waiting until itis needed again. Inorder to obtain person), this electron leaves the atom and moves away from itand electron from an atom (by touching the shoulder of the respective atom at atime, only once pergame. When aradiation removes an their valence electrons. These radiations willbedirected towards one 6.7. Distribution of electrons: the Bohr model versus the 6.6 Emission/Absorption Example Variant withlight Note point must bechosen that is roughly 150 centimetres above the floor. clothesline is designed to create a Cartesian reference frame. Acertain Previously, installed and intended to surprise the students, this Once again, installing acamera inthe ceiling may facilitate learning. be determined by the positioning of the students. context that the coordinates of the symmetrical points willbefound, to to the line that was originally drawn, thus revealing the axis. It is inthis briefly halted, at which point the students willbe symmetrical in relation swap roles orpairs. Moments are established when the willbe activity the other reproduces them. Inthe course of the activity, the students movements (taking into account the high,central and low planes), while a mirror, which means that one of the students represents certain occupies one end of the line, facing each other. This line willrepresent using gummed paper tape. The students form pairs and each of them A line representing one of the axes (xory)is drawn onthe floor of the students, facilitating the recognition of the vectors. to the line drawn onthe floor, makes itpossible to view the movements Installing acamera inthe ceiling, offering a bird’s eye view perpendicular subtraction and product of awhole number. is possible, for example, to work onoperations withvectors, addition, direction and length, so that, based onthe students’ movements, it What one has here are lines that are defined by a certain meaning, movements (from Ato B, from Bto C...)are now defined as vectors. C’s place, and so on.Once the game has been mastered, the students’ place inthe circumference that Awillthen occupy. Inturn, Bwilltake towards whom he orshe willthen walk –before Aarrives, freeing up a moves towards himorher. Bneeds to name another person (C)– saying the name of another student (B)and, at that same moment, The class and teacher stand in acircle. One student (A)begins by with alower atomic number. classroom, attributing alevel of energy to each row and using an atom In the absence of aladder, the experiment can beundertaken inthe (each student has to know their place inthe group). promote concentration and individual responsibility withinthe group but insilence and without any guidance. This variant is intended to teacher, the students are challenged to perform the same exercise, After some examples of filling inthe energy levels, guided by the placing students two inthe orbital inthe 1s, orbital two 2s, and so on. 6.10. Clothesline 6.9. Symmetry/Mirror 6.8. Vectors Suggestion Suggestion Note Variant insilence

Micropedagogies

178 179 from historical events to scientific phenomena. This micropedagogy can beused to explain various other contents, from the Trojan War, as described inHomer’s work. intervention and the return of the warriors, as well as other episodes the siege of Troy, the anxiety and the warnings of Cassandra, the divine materials, the following scenes were enacted: the kidnapping of Helen, both sides of the conflict); scissors were used as gods. Using these pens represented the Trojans; some rubbers became the women (on became the wall of of Troy; the city pencils became the Greeks; various copy of The Iliad itself (which was particularly voluminous and visible) creating ametaphor withmaterials from the classroom. The actual narrative progression, asimplified version of the wasstory produced, analysed, inorder to understand the complexity of the lexicon and the In aHistory lesson, inwhich an excerpt from The Iliad was read and even be used inother classes at the school. These willlater betested and assessed by all concerned, and may developing creative games that reflect a pragmaticcertain content. be invited to work insmall groups withthe aimof conceiving and After the “corporisations” of the various concepts, the students can coordinate planes This clothesline also makes itpossible to identify the octants and the the point of origin,the orientation of the axes and the respective scale. be further complemented by the use of pegsand post-its that mark This structure willmake itpossible to circulate inthe space and itwill walls, and the third willbefixed between the ceiling and the floor). a string of adifferent colourstrings (two willbefixed oppositebetween the three perpendicular axes intersect, each of which is represented by This point represents the originof the reference frame and itis where 6.11. Symbolic simplification Note Suggestion . notebooks and sketchbooks. collage and writing. Influence of Exercises relating to drawing, proposal construction of the pedagogical Sources/references used inthe material. Scissors, glue, texts, images. Internet. Recording and writing used Resources mapping and recording information. of. To use different forms of students can then take ownership oftypes graphic records, which the forsupports the use of different and knowledge. To create material generates stimuli for the senses of the world as asource that awaken students to the experience informal and stimulating record. To answers through the keeping of an them to question and search for world around them. To challenge and awaken students to the To promote an attentive attitude Intention/aims implementing its practice. an interest inwriting and analytical observation. Developing students, stimulating critical and concentration onthe part of the a lack of attention and Fighting the tendency towards was conceived problem for which the strategy Characteristics of the situation/ Diaries Ⅲ 7 areas of knowledge. the aimof stimulating different be used inatransversal form with their experiences, so that itshould can bring together and organise of individual freedom where they results inthe creation of aspace search for knowledge. This activity their aesthetic sensitivity and the ownership of the world, developing acumen and helping them to take focus their senses, increasing their encourage them to permanently reflect the students’ identity and recording of information and that can beused for the individual Constructing instruments that of the activities General description oneself and others. Citizenship training: knowledge of elements that structure meaning). poets (lyric mode/genres, sounds, Lyric and poetry twentieth-century syllabuses for the various subjects. from the different areas of the and literary genres. Scientific texts synthesis. Differenttypes of texts Descriptive synthesis and narrative Syllabus contents worked upon

Micropedagogies

180 181 in which each student should record, ona daily basis, an event that This has diary the particularity of consisting of amaterial support experiences and learning processes. that clarify the transversal nature of these notebooks and reconcile can beshown, as well as giving theoretical and practical explanations When the proposed work is presented, examples of field notebooks answers, diagrams, drawings... recording of them. The notebook may also contain questions and be examples that arouse the interest of students and their subsequent Everyday objects, landscapes, still lifes, orthe human bodyitself, may for mundane contents that make an appeal to the observer’s focus. a context that goes beyond the mere recording of sounds, also looking students. However, this is support also capable of being expanded to practice of observation, analysis and the sensory records made by the the concept of the “field notebook” was also devised to stimulate the Being similar, insome aspects to the polyphonic graphic diary, music, aconversation, anoise... throughout the course of one day. Graphically record apiece of Based onamap of the school, draw the different sounds perceived if itwere amap. their intensities, rhythms and repetitions. Draw that experience as and identifying the range and diversity of the sounds around you, Stay inone specific place for some time, keeping your eyes shut of the world. display apredisposition and an sensitivity to auditory their experience fora support the graphic recording of sounds, requiring the student to study. This is, diary however, made special by the fact that itconsists of that knowledge is not hermetic, and nor is itlimited to certain areas of cuts across all school subjects, withstress being placed onthe notion Each student is encouraged to develop apersonal graphic that diary Autobiographies 7.3. Diary of7.3. Diary unusual events 7.2. Field notebook 7.1. Polyphonic graphic diaries Suggestion Suggestion

Field notebooks

areas, thus making the anthology transdisciplinary innature. The texts compiled inthis way can beextended to other thematic will betransformed into apoetic anthology. These should then betranscribed to anotebook, which, inthis way, texts that they consider to beof greatest interest orimportance. Using avariety of supports, the students search for and select poetic a word glossary, loose leaves, graphic elements, wishes, questions... The notebook may contain aspace set aside for an anthology, reading of the learning activities. of the proposed micropedagogies and promoting atransversal organised into various thematic areas, bringing together some This notebook is characterised by the circumstance of its being working inthis way onthe characteristics that define this literary genre. unusual event and then develop itand transform itinto achronicle, It can beproposed to each student that they should choose an of the students and may later beshared withthe class. accuracy, these unusual events must arise from the everyday reality they consider to beunusual. Described indetail and withgreat 7.5. Anthology 7.4. Mynotebook Suggestion Suggestion Suggestion

My notebook

Micropedagogies

182 183 world of teens”. world of technology” and “The global communication”, “The many languages”, “Media and Language textbook: “A world of Four themes from the English pedagogical proposal in the construction of the Sources/references used scissors, glue and images. recording and writing material, Internet, videos, various texts, used Resources questioning and research. and analytical observation, connections. To stimulate critical at the level of our emotional of technical knowledge and is around us, both at the level world. To establish links to what each individual’s view of the used to tell stories and reveal that we are connected to can be through the idea that the objects To develop speaking skills Intention/aims what willbetaught and when. organisation into amap indicating its structure and thematic the contents of the textbook, the school year, transforming that willbedealt withduring a general view of the material Enabling the students to gain was conceived problem for which the strategy Characteristics of the situation/ (Objects that tell stories) Map/Score of OTS Ⅲ 8

( is subject to some rules, namely: emotional link. The presentation which they have asignificant presentation of an object with Each student makes an oral of the activities General description texts, listening exercises. biographical and autobiographical watching videos, composing of texts, grammar exercises, Reading and interpretation worked upon Syllabus contents this object is special; ( (classmates) of the reason why units of the textbook. containing the different thematic and designed by the students, object) and a“stamp”, planned student’s emotional links to that description (atext outlining the of the object); an emotional providing atechnical description description (aphoto and text paper, containing: an objective written work onasheet of A4 student must then produce a After the oral presentation, each links to the object. description of the emotional materials, etc.; ( references, technical instructions, dictionary definitions, historical object, resorting, for example, to a technical description of the i ) convincing the audience iii ) making a ii ) making A4 sheets of paper with descriptions of the objects

MMicropedagogiesicropedagogies

184 185 Manuela Ferreira 1.6. Authorship Ana Margarida Magalhães by Aldara Bizarro and development inthe classroom 1.5. Conception and and Maria Bárcia Leitão, and by Maria Gil Dinis, Paula Reis, Irene by António-Pedro withIlda development inthe classroom 1.4. Conception and Gabriela Freire Ana Paula Serra and Ana by Catarina Requeijo, development inthe classroom 1.2. Conception and and Maria José Mira classroom by Sofia Cabrita and development inthe 1.1. and 1.3.Conception relationships interpersonal groups and Constructing Ⅰ

Manuela Ferreira 4.2. Authorship and Ana Margarida Nunes classroom by MiguelHorta development inthe 4.1. Conception and Ana Margarida Magalhães by Aldara Bizarro and development inthe classroom 3.2. Conception and José Mira by Sofia Cabrita and Maria development inthe classroom 3.1. Conception and Ramos and André Guterres Catarina Lacerda, Maria José Margarida Magalhães, and by by Aldara Bizarro and Ana development inthe classroom 2.3. Conception and 2.2. Authorship Aldara Bizarro Margarida Magalhães by Aldara Bizarro and Ana development inthe classroom 2.1. Conception and strategy and script. matter oradifferent school subject, resulting ina new and which was determined by the learning of agiven subject- different from the one for which they were originally designed and/or devices through their transfer to acontext that was Combination and further development of pre-existing ideas previously exist. Creation of an autonomous pedagogical device that did not distinguish categories between two of authorship, namely: In this way, itseems to us to bepertinent, inthis context, to from and unrelated to their original conception and definition. towards the learning of curricular contents that are different their creative transfer to the classroom and which are geared gogies as devices that were invented orreinvented through It is important to legitimise the authorship of the micropeda- Conception and development inthe classroom Authorship (orco-authorships) Authorships

and Ana Margarida Magalhães classroom by Aldara Bizarro and development inthe 5.1. and 5.2.Re-creation João Avelar by Rosinda Costa and Maria development inthe classroom 4.3. Conception and and Ana Gabriela Freire Requeijo, Ana Paula Serra classroom by Catarina development inthe 1.2. Conception and and Maria Bárcia classroom by Maria Gil development inthe 1.1. Conception and facilitate learning concentration that attention and motivation, attitudes of Promoting Ⅱ

4.2. and 4.3. Authorship and Margarida Soares classroom by Sofia Cabrita development inthe 4.1. Conception and 3.2. Authorship António-Pedro Cabrita 3.1. Co-authorship Sofia Leitão by António-Pedro withIrene Santos, and Sandra by Nuno M.Cardoso with development inthe classroom 2.4. Conception and Guterres Maria José Ramos and André by Catarina Lacerda, development inthe classroom 2.3. Conception and classroom by António-Pedro development inthe 2.2. Conception and Mendonça classroom by Dina development inthe 2.1. Conception and Rebordão Requeijo and Ângela classroom by Catarina development inthe 1.7. Conception and Ferreira 1.6. Authorship Manuela Machado Ferreira and Gabriel classroom by Manuela and development inthe 1.5. Conception Magalhães Bizarro and Ana Margarida classroom by Aldara development inthe 1.4. Conception and and André Guterres Lacerda, Maria José Ramos 1.3. Co-authorship Catarina and Dora Santos

and Ana Margarida Nunes classroom by MiguelHorta development inthe 7.4. Conception and Costa and Mabel Carrola 7.3. Co-authorship Simão Rebordão Requeijo and Ângela classroom by Catarina and development inthe 7.1. and 7.2.Conception Cabrita and Maria José Mira 6.4. Co-authorship Sofia and Maria João Mineiro classroom by HugoBarata and development inthe 6.2. and 6.3.Conception and Margarida Soares classroom by Sofia Cabrita development inthe 6.1. Conception and Magalhães and Paula Cruz classroom by Elisabete and development inthe 5.1. and 5.2.Conception and Teresa Alves classroom by Nuno Cintrão and development inthe 4.4. and 4.5.Conception Carmo Botelho Paula Reis and Maria do classroom by António-Pedro, and development inthe and Maria José Mira classroom by Sofia Cabrita and development in the 1.2., 1.3.and 1.4. Conception 1.1. Authorship Miguel Horta contents subject/curricular the learning of Facilitating Ⅲ José Ramos José Catarina Lacerda and Maria 4.7. and 4.8.Co-authorship Bizarro and Olga Esteves in the classroom by Aldara Conception and development 4.2., 4.3.,4.4.,4.5.and 4.6. and Ilda Dinis classroom by António-Pedro development inthe 4.1. Conception and and Maria Bárcia classroom by Maria Gil development inthe 3.5. Conception and Ferreira and Gabriel Machado classroom by Manuela development inthe 3.4. Conception and 3.3. Authorship Sofia Cabrita and Maria José Mira classroom by Sofia Cabrita and development inthe 3.2. and 3.7.Conception and Maria João Avelar classroom by Rosinda Costa and development inthe 3.1. and 3.6.Conception and Margarida Soares classroom by Sofia Cabrita and development inthe 2.4. and 2.4.1.Conception Rebordão Requeijo and Ângela classroom by Catarina and development inthe 2.3. and 2.4.2.Conception and Maria José Mira classroom by Sofia Cabrita development inthe 2.2. Conception and Isabel Machado classroom by João Girão and development inthe 2.1. Conception and

MMicropedagogiesicropedagogies

186 187 7.1. Conception and Requeijo 6.10. Authorship Catarina 6.9. Authorship Teresa Alves Santos Sandra by Nuno M.Cardoso and development inthe classroom 6.7. and 6.8.Conception and and Maria doCarmo Botelho by António-Pedro, Paula Reis development inthe classroom 6.4. Conception and Rebordão Requeijo and Ângela classroom by Catarina and development inthe 6.3., 6.5.and 6.6.Conception Pereira by MiguelHorta and Ana development inthe classroom 6.2. Conception and Mestre 6.1. Authorship Margarida Ferreira 5.6. Authorship Manuela and Ana Gabriela Freire Requeijo, Ana Paula Serra classroom by Catarina development inthe 5.5. Conception and Pedro 5.4. Authorship António- Maria doCarmo Botelho Ilda Dinis, Paula Reis and classroom by António-Pedro, and development inthe 5.3.2. and 5.3.3.Conception and Ilda Dinis classroom by António-Pedro development inthe 5.3.1. Conception and Ana Margarida Nunes by MiguelHorta and development inthe classroom 5.2. Conception and 5.1. Authorship MiguelHorta

Costa and Mabel Carrola 8. Co-authorship Simão Machado João Girão and Isabel 7.4. and 7.5.Co-authorship and Maria João Avelar classroom by Rosinda Costa development inthe 7.3. Conception and and Maria João Mineiro classroom by HugoBarata and development inthe 7.2. Conception and Mário Linhares by Ricardo Jacinto development inthe classroom

Teresa N.R. Gonçalves Pedro Sena Nunes Pedro MigueldeJesus Paulo Jorge Torcato Mariana Cansado Maria Glória Pombo Maria Eduarda Carnot Manuela Aguiar Lurdes Henriques Luís Costa Isabel Nunes Francisco Estorninho Elisabete Xavier Gomes Elisa Moreira António Jorge Gonçalves António Joaquim Martins Ana Maria Fernandes Ana Luísa deOliveira Pires Ana Leite Ágata Mandillo Other participants Irina Duarte Diana V.Almeida Editors Maria deAssis Judith Silva Pereira Pardal Adriana Coordination Micropedagogies Micropedagogies

188 189 Artists 10 × 10 Ágata Mandillo Gabriel Machado – Aldara Bizarro Philosophy Conception and direction António Jorge Gonçalves Helena Moita de Deus – Maria de Assis António-Pedro Biology and Geology Catarina Lacerda Ilda Dinis – Executive coordination Catarina Requeijo Management Adriana Pardal Elisabete Magalhães Irene Leitão – Paulo Torcato- (3rd, 4th and 5th Hugo Barata Physics and Chemistry Computing editions) João Girão Isabel Machado – Pedro de Jesus – Ana Rita Canavarro Manuela Ferreira Portuguese Visual Arts (2nd edition) Margarida Mestre Isabel Nunes – Sandra Inês Santos – Maria Gil Biology and Geology Mathematics Local executive Miguel Cheta Luís Costa – Susana Rosa Marques coordination Miguel Horta Physical Education de Jesus – English Ana Runkel, Eduarda Nuno Cintrão Lurdes Henriques – Oliveira, Marta Martins Nuno M. Cardoso Physics and Chemistry Mediators (Oeiras – 5th edition) Pedro Sena Nunes Mabel Carrola – Ana Rita Canavarro Elisabete Paiva, Ricardo Jacinto English Dina Mendonça Sandra Barros Rosário Costa Manuela Aguiar – (philosopher) (Guimarães Rosinda Costa Portuguese Elisabete Paiva – 3rd edition) Simão Costa Margarida Soares – Susana Gomes da Silva Lara Soares Sofia Cabrita Biology and Geology (Guimarães Maria Cristina Fernandes Schools – 4th edition) Teachers – English Colégio Santa Luísa Corte-Real Ana Bela Conceição – Maria da Glória Pombo – Doroteia (Lisbon) (Porto – 3rd, 4th Portuguese Physics and Chemistry Escola Básica 2,3 da and 5th editions) Ana Freire – Maria do Céu Claro – Abrigada (Alenquer) Patrícia Santos History Biology and Geology Escola Secundária (Loulé – 5th edition) Ana Leite – Maria Eduarda Romão – Alves Redol Physical Education Economics (Vila Franca de Xira) Monitoring Ana M. Guimarães – Maria João Avellar – Escola Secundária and assessment Philosophy Portuguese Aquilino Ribeiro Judith Silva Pereira Ana Margarida Nunes – Maria João Mineiro – (Oeiras) Biology and Geology Biology and Geology Escola Secundária Partners Ana Maria Fernandes – Maria José Mira – D. Dinis (Lisbon) A Oficina Philosophy Portuguese Escola Secundária Teatro Nacional Ana Paula Serra – Maria José Ramos – D. Filipa de Lencastre de São João Portuguese Portuguese (Lisbon) Câmara Municipal Ana Pereira – Maria Lemos Bárcia – Escola Secundária de Oeiras Biology Portuguese D. Pedro V (Lisbon) Câmara Municipal André Guterres – Maria Teresa Alves – Escola Secundária de de Loulé Physics and Chemistry Mathematics Caldas das Taipas Arte em Rede Ângela Rebordão – Mariana Vidó Cansado – (Guimarães) Centro de Formação de Physics and Chemistry Philosophy Escola Secundária Escolas António Sérgio António Martins – Mário Linhares – de Portela e – project accreditation Philosophy Visual Arts Moscavide (Lisbon) Universidade Nova Dárida Fraga de Castro – Nuno Resende – Escola Secundária (UIED) – Faculdade de Physical Education Physical Education do Cerco (Porto) Ciências e Tecnologia Dora Santos – Olga Esteves – Escola Secundária da Universidade Nova English Portuguese Doutora Laura Ayres de Lisboa, through Elisa Moreira – Paula Cristina da Silva (Quarteira) the Unit for Research Portuguese Santos – History Escola Secundária Padre in Education and Fernanda M. Rosário – Paula Oliveira Cruz – António Vieira (Lisboa) Development Biology Portuguese Escola Secundária (UIED-FCT/UNL) Francisco Estorninho – Paula Reis – Seomara da Costa Vende-se Filmes Mathematics Mathematics Primo (Lisboa) Micropedagogies

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