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Para arranca - para nada
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Este é um ensaio sobre um projeto em que a escrita é pesquisa viva. Para Arranca - para nada investiga, a partir das caminhadas partilhadas que aconteceram no bairro Alto do São João, com pessoas de muitas idades, moradoras do bairro e de localidades vizinhas na cidade de Lisboa. Um projeto de intervenção co-criado e implementado por Clara Bevilaqua e Guilherme Calegari (ambos estudantes do Mestrado em Educação, Práticas Artísticas e Inclusão) com orientação de Elisabete X. Gomes. O mesmo projeto, a mesma orientadora, olhares e dissertações distintas. A a/r/tografia é a escolha metodológica que sustenta uma escrita em que o processo é também resultado e acontece porque quem escreve se coloca entre ser artista, educadora e investigadora. Ao longo dos capítulos a autora discorre sobre o movimento, a relação com a rua e a cidade, a educação, a presença, as artes, as infâncias e o brincar. O “para nada” emergiu como estado de criação e de resistência à lógica produtivista, permitindo que o brincar se afirmasse como prática política e estética. O “nadar” surge como metáfora de um corpo em movimento que aprende com o desconhecido, o vazio, o que nasce e o próprio nada. A escrita tornou-se uma continuação das caminhadas - uma busca por brechas em que o brincar pudesse existir também no texto. Um olhar para as artes e a educação como espaços vivos de encontro, vulnerabilidade e transformação. Deixa brechas abertas como um convite para estar presente, brincar e “nadar”.
This essay emerges from a project in which writing is a form of living research. Para Arranca – for nothing investigates, through shared walks that took place in the Alto do São João neighborhood, the relationships among people of different ages — residents of the neighborhood and nearby areas of Lisbon. It is an intervention project co-created and implemented by Clara Bevilaqua and Guilherme Calegari (both students of the Master’s in Education, Artistic Practices and Inclusion), under the supervision of Elisabete X. Gomes. The same project, the same supervisor — different perspectives and dissertations. A/r/tography is the methodological choice that sustains a kind of writing in which the process is also the outcome, and where the writer positions herself between being an artist, an educator, and a researcher. Throughout the chapters, the author reflects on movement, the relationship with the street and the city, education, presence, the arts, childhoods, and play. The idea of “for nothing” emerged as a state of creation and a form of resistance to the logic of productivity, allowing play to affirm itself as both a political and aesthetic practice. Swimming appears as a metaphor: a body in motion that learns from the unknown, the void, what is being born, and from nothing itself. Writing became a continuation of the walks - a search for the cracks where play could also exist within the text. It is a gaze toward the arts and education as living spaces of encounter, vulnerability, and transformation. The research leaves open cracks as an invitation to be present, to play, and to swim.
This essay emerges from a project in which writing is a form of living research. Para Arranca – for nothing investigates, through shared walks that took place in the Alto do São João neighborhood, the relationships among people of different ages — residents of the neighborhood and nearby areas of Lisbon. It is an intervention project co-created and implemented by Clara Bevilaqua and Guilherme Calegari (both students of the Master’s in Education, Artistic Practices and Inclusion), under the supervision of Elisabete X. Gomes. The same project, the same supervisor — different perspectives and dissertations. A/r/tography is the methodological choice that sustains a kind of writing in which the process is also the outcome, and where the writer positions herself between being an artist, an educator, and a researcher. Throughout the chapters, the author reflects on movement, the relationship with the street and the city, education, presence, the arts, childhoods, and play. The idea of “for nothing” emerged as a state of creation and a form of resistance to the logic of productivity, allowing play to affirm itself as both a political and aesthetic practice. Swimming appears as a metaphor: a body in motion that learns from the unknown, the void, what is being born, and from nothing itself. Writing became a continuation of the walks - a search for the cracks where play could also exist within the text. It is a gaze toward the arts and education as living spaces of encounter, vulnerability, and transformation. The research leaves open cracks as an invitation to be present, to play, and to swim.
Descrição
Palavras-chave
Brincar a/r/tografia Infâncias Educação Para Nada Play A/r/tography Childhoods Education For Nothing