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Arts and Inclusion
Scholar Year: 2023/2024 - 2S
| Code: |
PG_EE08 |
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Acronym: |
AINC |
Courses
| Acronym |
N. of students |
Study Plan |
Curricular year |
ECTS |
Contact hours |
Total Time |
| PG_EE |
24 |
|
1º |
4,0 |
15 |
|
Teaching language
Portuguese
Intended learning outcomes (Knowledges, skills and competencies to be developed by the students)
The “Arts and Inclusion” unit is an area of formation in which, through the creation, production and public presentation of an artistic project, students can acquire a set of practical and theoretical tools that allow the articulation and establishment of meaningful connections between the arts and educational work, in the context of in the context of special educational needs.
In this context, the learning objectives of this unit are:
A. Experiencing processes of artistic creation and performances integrating different modes of expression, developing competences in the scope of specific needs and in inclusion;
B. Promote the development of theoretical, technical and artistic instruments that enable imaginative and experimental practices;
C. Encourage the use of didactic and methodological strategies of creative nature in the processes of education and interpersonal formation;
D. Understand the value of the arts and their different modalities in the development of an education and an harmonious identity in a context of specific needs and an inclusive perspective.
At the end of the work, the expected competences are located around 4 major domains: (a) framing the arts in the context of Inclusive Education ; (B) design, creation and production of a multi-media artistic performance; (C) integration of the arts, creativity and pedagogy of the different expressions into educational contexts that know how to respect and value difference; (D) understanding the different components and modalities of creative work in the context of working with children and young people as specific educational needs.
Syllabus
The contents of the unit “Arts and Inclusion” are organized around the following themes:
1. The processes of creation and artistic experimentation;
2. Didactics and methodologies in the processes of artistic enjoyment (creation and interpretation);
3. Learning, imagination and creativities;
4. The role of arts in the context of Special Education
Demonstration of the syllabus coherence with the UC intended learning outcomes
The contents expressed in points 1 and 2 are linked to the objectives set out in A and in B. The creation and experimentation processes as well as their teaching and methodologies are more easily apprehended if we take into account that the objectives of our pedagogical intervention seek to provide artistic experiences and develop skills and instruments that allow the aesthetic domain of the different expressions in terms of an harmonious and integral formation of the individual in its intrinsic specificity.
The contents expressed in 3 and 4 are linked to the objectives set out in C and D, since the understanding of the educational value and the formative role of the arts, imagination and creativity is possible only if our pedagogical objectives contemplate the fostering of creative and experimental didactics in the constant search for an adaptation to the contexts and the specific needs of the learners.
Teaching methodologies
The sessions are organized in three fundamental components. A first component is related with practical work of creating and producing a performance involving different types of expressions, processes, techniques, procedures and communicational goals. A second component involves the public performance. Finally, a component of a comprehensive analysis of work and its transfer to the most diverse contexts of Education, and especially, those that demand greater respect for difference.
In this context, the sessions will also include works of a practical nature of experimentation and reflection on artistic practices, the exposition of contents by the teachers as well as the discussion in small and large group of the themes involved.
Each student is expected to participate in the creation, production and presentation of the common artistic project, as well as in the proposed works and in the discussion of the issues under analysis. It is expected, in particular, that the student read, analyze and discuss the proposed texts; execute the requested evaluation products, evidencing, with clarity and rigor, the knowledge acquired.
Demonstration of the teaching methodologies coherence with the curricular unit's intended learning outcomes
The work of a practical nature is articulated primarily with the first three sets of defined objectives: A, B and C. Theoretical and analytical work with the objectives expressed in D.
Assessment methodologies and evidences
The evaluation will be continuous, focusing on the performance in the activities, the work proposed in the classes and the public presentation of the performance. Continuous assessment has a weighting of 40% and the punctual assessment of 60%. The calculation of the final classification will be elaborated from the following weights:
Continuous evaluation:
- Attendance and participation: 10%
- Level of performance in class activities: 20%
Conception and development of artistic project: 20%
Punctual evaluation
- Final work: 30%
- Guidelines of the performative project : 20%
Attendance system
Students who cannot attend all face-to-face sessions, but participate in the overall final work, the individual and / or peer report, consists of a text with the same question but with an increase in the number of words: 1800 words
Bibliography
Almeida, J. C. R. (1998). Um olhar musical pelos resíduos. Lisboa: Instituto dos Resíduos. Burnard, P. (2013). Musical Creativities in Practice. Oxford: University Press.
Craft. A. et al. (2004). Criatividade e educação. Lisboa: Associação Educativa para o Desenvolvimento da Criatividade.
Crutchfield, S. & Epstein, M. (2000). Points of Contact: Disability, Art, and Culture. Michigan: University of Michigan.
Csikszentmihalyi M. (1996). Creativity: Flow and the psychology of discovery and invention, New York: HarperCollins.
Fleming, M. (2012). The Arts in Education: An Introduction to Aesthetics, Theory and Pedagogy. London: Routledge.
Fumoto, H., Robson, S., Greenfield, S. & Hargreaves, D. J. (2012). Young Children's Creative Thinking. London: Sage Publications.
Griffiths, F. (Ed.) (2010). Supporting Children’s Creativity through Music, Dance, Drama and Art. Creative Conversations in Early Years. London: Routledge.
Guedes, T. (2000). Criatividade precisa-se. Na poesia, na narrativa e na área de Projecto. Lisboa: Caminho.
Hammel, A. & Hourigan, R. (2011). Teaching Music to Students with Special Needs: A Label-Free Approach.
Oxford: Oxford University Press.
Hodkinson, A. & Vickerman, P. (2009). Key Issues in Special Educational Needs and Inclusion. London: Sage Publications.
Kuppers, P. (2013). Disability and Contemporary Performance: Bodies on the Edge. London: Routledge. Menéres, M. A. (1993). O que é imaginação. Lisboa: Difusão Cultural.
Monteiro, G. (2003). O Professor, o Corpo e a Voz. Conhecer, Praticar, Desenvolver. Porto: Edições Asa. Novelly, M. C. (1994). Jogos Teatrais para grupos e sala de aula. São Paulo: Papirus Editora
Rodari, G. (1993). Gramática da fantasia. Introdução à arte de inventar histórias. Lisboa: Caminho.
Santos, F. M. & Serra, E. (2007). Quero ser escritor. Manual de escrita criativa para todas as idades. Lisboa: Oficina do Livro.
Sternberg, R. J. (Ed.) (2004). Handbook of Creativity. Cambridge: Cambridge University Press.
Tavares, G. M. (2013). Atlas do Corpo e da Imaginação. Teoria. Fragmentos e Imagens. Lisboa: Editorial Caminho.
Thomas, K. & Chan, J. (Ed.) (2013). Handbook of Research Creativity. Cheltenham: Edward Elgar Publishing Limited.
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