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Inclusive Artistic Practices

Scholar Year: 2023/2024 - 2S

Code: MEPAI05    Acronym: PAI
Scientific Fields: Artes, Ciências Sociais
Section/Department: Arts


Acronym N. of students Study Plan Curricular year ECTS Contact hours Total Time
MEPAI 12 6,0 45 162,0

Teaching weeks: 15


Carla Cibele Fiel Vasconcelos FigueiredoHead

Weekly workload

Hours/week T TP P PL L TC E OT OT/PL TPL O S
Type of classes


Type Teacher Classes Hours
Contact hours Totals 2 3,00
Carla Cibele Figueiredo   1,00
Patrícia Paixão   2,00

Teaching language


Intended learning outcomes (Knowledges, skills and competencies to be developed by the students)

- Knowing national and international artistic practices with the objective of including people, groups and communities in vulnerable and/or at-risk situations (inmates, people with disabilities and/or mental health problems, homelessness, refugees, victims of violence , vulnerable elderly…)
- Understand the characteristics of vulnerable groups and communities and the needs for expression that can take the form of a creative artistic act.
- Understand the creative act as a form of expression of singularities and personal and community empowerment
- Develop skills to create artistic activities and projects as an approach to the potential inclusion and social development of people, groups and communities.
- Knowing how to involve the community in artistic interaction, promoting ties of cultural identification and stimulating pro-social behavior;
- Identify the various Intervention Theater movements, the conditions of their emergence and current activity.


1. Identity(ies) and expressive languages
- The expression of oneself and of the group(s) of social, cultural and community belonging
-The socio-identity reconstructions
- Social vulnerability and logic of action for social inclusion.
- Citizenship and social participation: intervene and say about yourself in the public space

2. Dynamics of expression, empowerment and inclusion of vulnerable groups through theatrical practices

- Manifestations of theatricality of popular cultures
- The social functions of the Theater: authors and reference movement.
- Intervention theater practices in/with the community – Sociodrama, Theater of the Oppressed, Immersive Theater, Community Theater and Documental Theater.

3. Participatory creative processes
- Cooperative creation: development of active listening skills, empathy and collaborative work, recording and documentation, reflexivity and learning
- The processes of evaluating impacts, changes and socio-cultural effects and inclusion of artistic practices and interventions.

Demonstration of the syllabus coherence with the UC intended learning outcomes

For Boal, every human being “is an artist”, it is also based on this principle to propose to trainees the identification of the potential of each one and for the recognition of this potential in the other, especially when “the other”, by own conditions or created socially, he finds himself in a more or less lasting situation of social exclusion. The proposed link between Psychosociological approaches to processes and conditions of exclusion is fundamental to understanding how the arts can be assumed as a motor for discovering and affirming forces that are likely to lead the individual and/or the group to progressively create conditions, or the transformation and vision of himself (leaving, for example, the status of victim) and claiming other ways for society to act socially towards himself and/or his condition. In this sense, objectives and contents form a coherent whole.

Teaching methodologies

- Analysis of documentation with a view to understanding the contents (texts, videos, WEB pages, etc), namely reference Inclusive Artistic Practices (PARTIS/FCG)
- Study visits and/or seminars with participants in Inclusive Artistic Practices
-Identification and characterization of an Inclusive Artistic Practice (later it can be developed in the dissertation or in the Intervention Project).
- Collaborative processes with Inclusive Artistic Practices and/or co-creation of artistic activities with/for institutions with which ESE-IPS has collaboration protocols (Nosso Bairro, Nossa Cidade/Bela Vista, CPCJ, Recrear-se/População sem Abrigo /Cáritas, Community Center of São Sebastião, etc)

Demonstration of the teaching methodologies coherence with the curricular unit's intended learning outcomes

The proposed methodologies focus on the connection between a theoretical corpus and a praxis, seeking that trainees know and recognize the references to which the work being carried out in the field is linked. Given that the time available will not allow for a creative artistic process from scratch with a community and/or group in a vulnerable situation, the aim is to provide them with a connection and involvement with existing practices, namely those in the region where the school is located (for example, the Recrear-se project in which the ESE-IPS is involved) through the study or collaboration in these same practices.

Assessment methodologies and evidences

- Participation in class dynamics (20%) - individual
- Identification and characterization of an Inclusive Artistic Practice (40%) - individual
- Preparation of a session to encourage expressive practices (with emphasis on dramatic ones) for/with a group in a situation of social vulnerability (40%) - group

Attendance system

According to the regulation.


Bezelga, I. (2015). Teatro e Comunidade em Portugal: Práticas que reflectem a relação entre teatro, educação e sociedade. In H. Cruz (co-ord.) Arte e Comunidade(pp.213-240) Lisboa: Fundação Callouste Gulbenkian.
Boal, A. (2008). Teatro do Oprimido e outras poéticas políticas. Rio de Janeiro: Civilização Brasileira.
Castellano, C. Raposo, P. (2019). Textos para uma história da Arte socialmente comprometida. Lisboa: Editora Documenta.
Figueiredo, C.C., Alcântara, A., Fialho, F., Matos, J. (2022). IdoSOS, vozes cruzadas e aprendizagens intergeracionais em tempo de pandemia. Revista Da Investigação às Práticas (no prelo). Lisboa. CIED
Cruz, H. (2015). (coord.). Arte e Comunidade. Lisboa: Fundação Callouste Gulbenkial
Scher, E. (2010). Teatro de Vecinos - de la comunidad para la comunidad. (INTeatro, Ed.). Buenos Aires: Argentores
Teixeira, J. (2014). Teatro Comunitário em Portugal: dois casos de estudo recentes. Dissertação de mestrado. Faculdade de Letras da Universidade do Porto

Página gerada em: 2024-05-21 às 11:46:06