Social representations of artistic practices in rural schools

. This work analyzes the movement of re-elaboration of social representations on artistic practices of rural teachers. These educators have graduated Rural Education from Faculdade de Educação at Universidade Federal de Minas Gerais, Brazil. Artistic practices constitute a way of creation, fruition, and reflection of art present in education processes. Those practices carry historicity and resistance embedded in the struggle of social movements to the right of rural education. The theoretical background is guided by the Social Representations in Movement, related to the Theory of Social Representations. The methodological approach is based on narrative interviews and observations of pedagogical practices. The data analysis was built from the reconstruction of trajectories considering the movement of the Social Representations. We have observed that the artistic practices can be seen as a pedagogical mechanism of the struggle for transforming education and by strengthening rural identities.

Palabras clave: prácticas artísticas, prácticas pedagógicas, educación en contexto rural, representaciones sociales.The narrative interview was chosen as a procedure for data collection, taking as theoretical reference the works of Jovchelovitch and Bauer (2013)

Theoretical and methodological references
This research utilizes concepts of the Theory of Social Representations, Arts and Rural Education.The articulation of such concepts would allow us to have a psychosocial look at the subjects here discussed by encompassing their context and pedagogical and artistic practices.Moscovici (1978)  By digging into artistic practices in dialogue with social transformations, we refer to Bosi (1986) and Pareyson (1954) to discuss the three ways of an artistic process: making, knowing, and expressing.
The first position analysis, "saberes    We have also noticed that the characteristic of reinvention persists, which constantly drives it to learn and change posture through overcoming challenges.In this process, Lucas shapes classes, aiming at his pedagogical practices by artistic and interdisciplinary actions that, built from the constant questioning about the types of learning, the courses, the contents to be developed, and his wish to make teaching references transform learning processes into innovative experiences.
In the study of Social Representations, we can also construct analyses, considering the anchoring process as a determinant factor for understanding the symbolic object in social relations.For Moscovici (2010), "by the process of anchoring, society makes the social object an instrument from which it can dispose, and this object is placed on a scale of preference in existing social relations" (Moscovici, 2010, p. 156).In this aspect, the assumption is that anchoring demarcation places the insertion of science in a table of reference subjects.
In Mas a mística realmente ela é uma integração e concretização de uma luta.Quando a gente usa a palavra de ordem é para relembrar uma luta "Educação do campodireito nosso dever do estado" é para realmente relembrar que é dever do estado promover a política pública de educação do campo e é dever nosso cobrar isso do estado o tempo inteiro (Lucas) We therefore synthesized Moscovici (1978Moscovici ( , 2010Moscovici ( , 2012) ) This article brings out reflections about the social representation of artistic practices in rural schools in the search to understand them as a form of language that reads and interprets the world.We argue that artistic practices constitute a set of artistic languages constructed and fruited by the individuals, whose understanding encompasses social relations.By using this concept, a set of languages which will be named as Fine Arts, are incorporated, as well as we seek to highlight the dimension of human work historically present in the artistic field.Due to the massive production in a society organized by the dispute of possession and use of material and symbolic goods, at least two tensions in artistic practices have emerged throughout history.It is possible to visualize such tensions according to two sets of dichotomies: neutral or engaged artistic practices and scholarly or popular artistic practices.In this research, we seek to investigate these tensions from a dialectical perspective, in order to overcome the dichotomy based on the understanding of the relations of complementarity and dialogue among those.When we approach the tensions in school education, at least two more dichotomous sets have been observed.They are related to the tensions between artistic practices, such as knowledge or entertainment production, and artistic practices understood as a technique or didactic practice.Such dichotomies certify in the teaching tasks the need to conduct teaching and learning processes that promote Art awareness in dialogue with the debate of artistic practices to the context of rural schools, we incorporate the discussion present in the Rural Education Movement, which has been collectively organized for more than 20 years, in search for education access.This movement claimed the formulation of public policies for in-service teacher training, which resulted initial and continuous training programs for teachers, besides bringing schools out to the leading role in the struggle for land rights.The artistic practices held in this context are challenged to incorporate such debate and add the meanings of the struggle for land rights, as well as resistance to the preservation of cultural values, such as the struggle for the preservation of traditional folk practices.The translation of these tensions into rural educators' practice occurs from the challenge of dealing with article, we anchored in Carvalho's work (2017), whose aim was to highlight and analyze the challenges experienced by rural educators in the teacher training and practice processes, focused on artistic practices.The issue which inspired this research process focused on the analysis of what happens when rural teachers start their career and develop their artistic and pedagogical practices in rural schools.These teachers majored in Rural Education at the School of Education of the Federal University of Minas Gerais, (Licenciatura em Educação do Campo da Faculdade de Educação da Universidade Federal de Minas Gerais, Brazil (LECampo/FaE/UFMG).From this point, we start to analyze the construction process of social representations of the artistic and pedagogical practices of these individuals.Do these representations carry the contents seized at university, article presents the research outcomes with two graduates of LECampo/FaE/UFMG, presented here under the pseudonyms Camila and Lucas.They had completed the major in Language, Art, and Literature (LAL), having entered the course in 2010 and finished in 2015.The choice of these subjects for research analysis concerns the attempt to continue Carvalho's research (2015), which analyzed artistic practices during the teacher training offered by LECampo/FaE/UFMG, also in search of understanding the relationship between training and teaching practice.
culture from art-making.The second represents the work's reading from its interpretation as an object of knowledge and historical construction.On the other hand, the third way is characterized by the expression of signs and symbols based on the intentions and contexts of creation, considering the dialectic of form and strength in the limit of the artist's identity.analytical category of the artistic practices of the subjects of the Rural.We have specifically anchored in the struggle and right school's principles to evaluate the subjects here analyzed as part of a collective unit, from which has been building a counter-hegemonic paradigm and maintains itself open for the compreenhesion of the relations between urban and rural territory.With such references, we have constructed the analytical categories to observe what happens when rural teachers begin to act as rural teachers.The theoretical-methodological perspective of social representations in the movement was fundamental to analyze the constitutive elements of the construction movement of the subjects' social representations.This perspective allowed the reconstruction of the subjects' trajectories in times and spaces of schooling, teaching initiation and training at university.This concept, in fact, helped analyze the movement of the ways of thinking, feeling, and acting of the graduates of LECampo/FaE/UFMG on artistic practices, considering their initiation in the academic environment as space/time that adds changes to their knowledge.In possession of this, we use the ways of constructing artistic practices to understand the characteristics attributed and developed by the subjects, also perceiving, in this movement, of artistic practices in significant re-elaboration trends.
The analysis of Camila's artistic and pedagogical practices as a teacher, indicates a teaching action based on the interdisciplinary perspective that dialogues with the dimension of diversity of artistic languages learned at University.It reveals resistance in the construction of artistic expressiveness that materializes the meaning of its struggle for the right to education, including the right to art in education as a perspective of the subject's participatory journey.Lucas is a 26 -year -old educator who was born in Jordania, also a small town in the state of Minas Gerais.He is the third child of a family of rural workers.Until the age of ten, he lived on the farm where his father used to work, and where he had to spend a daily journey of almost 4 hours to get to school.The first artistic experience Lucas had had was with the Jordania Folklore Festival.His dancing and performing shows enable him to focus on popular culture themes, which represent an element of his identity.Another fundamental component for Lucas's trajectory was when he affiliated and worked as a mobilizer to Sindicato de Trabalhadores Rurais de Jordania, (Jordania Rural Workers Union).His initiation at the Union was key to the dissemination of LECampo/FaE/UFMG vestibular.Lucas's training at the University enabled the construction of knowledge from the perspective of teaching (through the teaching perspective).Knowing the classical manifestations and the ways of teaching them in dialogue with the popular ones was necessary to think about the nonhierarchization of knowledge in the expressions of his town.During his art internship, Lucas considered to gather both academic and popular knowledge, addressing the theme of performing arts techniques for the Folklore Festival, as to reflect, together with the students, on the non/UFMG, Lucas was selected as Elementary School Teacher for the State of Minas Gerais, also teaching classes for the second cycle of Elementary and High School.His position initially directed him to teach Portuguese Language and such experience allowed him to promote activities about Literature and Art themes, as well as acquiring an interdisciplinary character.We notice in Lucas' pedagogical practices the highlights of the elements in popular culture.Such teaching practices provoke students to position themselves on the artistic manifestations present in their communities and society.such, we seek to apprehend what positioning process is adopted to deal with the new element, as well as education and teaching in their representative universe.We aim to comprehend the contents present in this process of thinking, feeling, and acting, from the dimension of all artistic practices and seeking to notice the social, historical, political, and contextual aspects.The construction movement of the Social Representations in Camila and Lucas's journey can be visualized from the following spiral image, which synthesizes the elements present in their Social Representations.From what Antunes-Rocha (2012) discusses about Social representation from the movement's perspective, four positions have been built: previous knowledge, artistic practices during undergraduate years, internship, and artistic practices in pedagogical practices.

Figure 1 -
Figure 1 -Camila and Lucas's construction movements of the social representation.
prévios das práticas artísticas" or "previous knowledge of artistic practices", illustrates understand art in her hometown and her role as an agent of the struggle for education.As for Lucas, learning theories in the course was a way to organize his future teaching practices.In this sense, the movement of construction of its social representation incorporates the popular culture and the importance of identity to create rural references."The art internship practice" or "Estágio Tempo Comunidade", which is indicated by the third positioning, was their first contact with teaching and represented the possibility of organizing their pedagogical approaches learned at LeCampo.Camila's internship project prioritized themes related to "Boi de Janeiro" of popular content.This movement of cherishing rural identity, as an artistic manifestation, carried out during the years at LECampo/FaE/UFMG, shows that the internship allowed Lucas reaffirming a social representation of the artistic practices learned in Rural Education.Lucas' internship project took into account the perspective of the learned knowledge of the performing arts in dialogue with the "Popular Folklore Festival."It is possible to notice that his trajectory of construction of social representations on artistic practices reveals the presence of the third perspective, as pointed out byAntunes-Rocha (et al., 2015), according to which he accepted the new, without neglecting the knowledge previously built in his lifetime.
teachers at school, by adapting content from the area of Language, Art and Literature, methods, and theoretical elaborations seized during their undergraduate years.The task of inserting Rural Education into the school environment is the main challenge of this familiarity.Both educators are seen as pioneers by constructing practices and bringing out, to the teaching and pedagogical staff, reflections on the rural school's role and the possibility of transforming the rural subjects' reality.We noticed that these subjects' pioneering causes them to build a type of rural school from the actions developed in their classrooms.Hence, we have found that Camila clings to the training at LeCampo, in dialogue with her life experiences and overcoming oppression, besides her master's degree and means of discussion, such as the intersectoral group.On the other hand, Lucas clings to the content of training at LECampo, in been able to perceive that Camila and Lucas share in common the knowledge and technique seized at LeCampo.Thus, they need to change this representation into the artistic and pedagogical practices developed by them as teachers.They are also connected with the historical and social elements and concrete challenges faced in their teaching activities.This dialogue is conducted by a movement of construction and re-elaboration of its Social Representations, characterized by different positions before artistic practices, which can be analyzed from the concepts of objectification and anchorage of the Theory of Social Representations.We seek to apprehend objectification, such as the subject's attempt to capture the unfamiliar object, by creating an image, which intellectually and materially concretizes its meaning.For Moscovici (2012), objectification allows the passage of concepts and ideas to images and schemes close to reality.The search for image construction is also pointed out by Jodelet (2001, p. 38) to identify the elements of communication, the pressures of belonging of the subjects, and the organization of the representation's contents.These elements appear in constructing Camila's Social Representations and are exemplified from the objectification that learning at LECampo allowed her to unveil a critical look at the world, reaffirmed in her practice as a teacher.The excerpts below show the symbolization of the image of "unveiling," present in the training course and Camila's teaching actions.
From here, Lucas anchors in the political meaning of his previous experiences, inserted in the frame of reference of the struggle, since this reference provides him with subsidies to insert the artistic and pedagogical practices, which constituted a foreign object to his representative universe.The analysis of the processes of objectification and anchorage on Camila and Lucas's journeys allows us to perceive how the image and the meaning attributed to the representative object constitute the essence of the content and shape social RBEC Tocantinópolis/Brasil v. 6 e11886 10.20873/uft.rbec.e118862021 ISSN: 2525-4863 19 representations.The image of "unveiling" to see the critical perspective of rural Education constructed by Camila and the idea of "unfinished" of Lucas' teaching practice connects with the meaning of the struggle built in the anchorage of these individuals.This complementarity, pointed out by Moscovici (2012), allows us to apprehend how the knowledge of artistic and pedagogical practices is part of the subjects' social and practical context.Representations on artistic practices as teachers, is highlighted by the third perspective of social representations in movement, in which, according to Antunes-Rocha (et al., 2015), is characterized by the change in the face of a new situation, where individuals accept the unknown, without neglecting what is known.One fact that draws our attention is that, although both were allocated into this movement, e each one's journey is defined by some specificities.However, these elements are related to collective dynamics of the subjects' historical, political, and social context.task of inserting Rural Education into the school environment is the main challenge of this familiarity.Both educators are pioneers by constructing practices and bringing out o the academy pedagogical reflections on the role of the rural school and its possibility of transforming the reality of these individuals.Regarding the analysis of the objectification and anchorage, there has been some complementary process accounted.The image of objectification raised the meaning of "unveiling" for Camila and the meaning of "unfinished" for Lucas.Still, the anchoring process of both allowed the construction of a sense of "struggle" for artistic and pedagogical practices, which aligns with the conceptual matrix of the struggle to Rural Education.We highlight the importance of performing the analysis of Social Representations to perceive how the social object of artistic and pedagogical practices have been inserted into the framework of meanings and social relations of the Rural Education graduates.It is also possible to perceive the use of Art as a practice, seen from the construction of pedagogical practices that refer to the territories' history.We have concluded that, in this movement, the subjects promote strategies that articulate elements of the literary conventions of narratives, elements of local culture, plus the memory and history of the territory.This process means the rescue of knowledge that refers to strengthening identity from students' personal and have enabled us to grasp the relationship between the ways of thinking, feeling, and acting of Lucas and Camila.