Formatividades e balizas - processos de ensino, aprendizagem e criação na escola de balizas do estado de Goiás

Abstract

The figure of the Majorettes has, for many decades, drawn the attention of the population in various Brazilian cities who watch parades, celebratory festivities, opening ceremonies of games, and various other public events. Historically, this character has its origins in militarism, guiding the marching band that encouraged the combatants. Additionally, it was influenced by the "capoeiras" (capoeira practitioners) who participated in the carnival of the time, particularly in the "ranchos" and "cordões". It entered the school environment at a time when the order was to discipline students, instill values of morality, civics, and respect for hierarchies. However, over the years it has transformed, leaving behind the allegories and carnival parades, the military uniforms, and the technical instructions to make room for reflections, enabling those involved to construct various ethical, aesthetic, pedagogical, and artistic interpretations. Due to the scarcity of studies dedicated to observing and understanding this character, this qualitative study aimed to investigate the holistic development of students, the possible relationships between the content taught in classes and the daily lives of the students at the Majorettes School, especially during the choreographic composition process for performances and their impacts on the students' corporeality. Applied in nature, the research had an exploratory objective, seeking to obtain a deeper and broader understanding of the subject in question, presenting reflections on pedagogical proposals. Autoethnographic procedures were adopted, with the environment of the Goiás Majorettes School as the data source, obtained from descriptive records, photographs, yearbooks, reports, and logbooks, with the immersive participation of the author. Given a scenario with few historical records, disconnected information, and sometimes contestable between authors, the writing presented chronologically the various environments in which the performance of Majorettes is recorded, establishing a dialogue between the artistic and educational environments, seeking to elucidate the teaching-learning processes and training that encompass them. In light of the above, here is an invitation for the reader to pause what is being experienced in automatic mode for a deeper and more meaningful experience in the world of Bands, Fanfares, and Majorettes.